Der Freischütz
Performance cancelled

due to the decree of the Federal Ministry for Health
Music Carl Maria von Weber → Romantische Oper in drei Aufzügen (fünf Bildern)

In all opera literature, few works have been subjected to such extreme and frequent paradigm shifts as Weber’s Der Freischuütz. While some considered him the originator of natural folk style, others regarded him as the “most German” of composers (Wagner); while some considered the uncanny to be a central plot element, others felt that fate or even nature, more specifically the forest, truly played the lead role (Pfitzner). Later people said that Weber was a successor to French Revolution opera, or that with his use of folk song he followed after Haydn and Beethoven. Regardless of all these considerations, Der Freischuütz – a “Romanticopera” in the widest sense of the term – is a popular and definitive work of the German-language repertoire.
12. May 2020
19.00 - 22.00
1 intermission
15. May 2020
19.00 - 22.00
1 intermission
19. May 2020
19.00 - 22.00
1 intermission

Cast 12.05.2020

Conductor Axel Kober
Director Christian Räth
Set and costume design Gary McCann
Lighting Design Thomas Hase
Video Nina Dunn
Choreography Vesna Orlic


The young composer Max is due to marry Agathe, but before his wedding he must finish his opera on which he has been working for quite some time. Despite all his efforts, Max is plagued by worries that he will fail to complete the piece and so makes almost no progress. Visions and hallucinations haunt him, the boundaries between dream and reality seem to blur and overlap. Caspar tries to persuade him finally to give in to the hidden and dark creative powers within him and so overcome his inability to write; Caspar’s efforts are finally rewarded. Max first breaks away from Agathe’s world and seeks out the nightmarish Wolf’s Glen. Invoking Samiel, in a kind of creative ecstasy he welcomes his dark creative potential which he now draws on eagerly.

Agathe is beset with doubts about her future with Max. Together with Ännchen, she feels hope and longing but also sees fearful visions. However, when Max, pressed from all sides, dares to take the final step and plays the seventh inspiration he came by at the Wolf’s Glen, as if by a miracle it remains intact.

Before the assembled company, Max finally admits that he has spent time in the Wolf’s Glen. The punishment imposed by Ottokar is reduced by the seemingly superior Hermit to one trial year in which Max must continue the composition of his opera. Max is once again torn between the bright and dark forces within him ...