Information on Seat Selection

Best Available Seat Booking
In best available seat booking, you choose a category of seats and select the number of tickets you would like. An automatic allocation of seats will take place within the selected category; you receive the best available seats.
Seating Chart Booking
In seating chart booking, you personally select your exact seats from agraphic seating chart. Begin the seating chart booking and choose an area. There you can select the seats by clicking on them.
General Seating
means that, with your ticket, you can freely select your seat according to the conditions on-site.

Information on Online Sales

Please examine our General Terms and Conditions and our information regarding privacy policy (in German) as well as the following information on ticket pre-sales.
Ticket Pre-sales
Ticket pre-sales for performances at all venues generally begin on the same date two months before the day of the performance. If the first pre-sale date falls on a Saturday or Sunday, then pre-sales will begin on that Friday. If it falls on a holiday, then sales will begin the day before. Binding orders with a SEPA Direct Debit mandate will start to be processed two weeks before ticket pre-sales begin. Some events cannot be purchased through online sales. For such cases, please contact our telephone ticket service ((+49) (0) 711. 20 20 90, Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm). Performances outside of the previously mentioned pre-sale periods can be ordered using the online ordering form. Please examine our general information on ticket pre-sales.
Seat Selection
In the course of your booking, information relating to seat selection will be displayed.
Ticket Prices
Ticket prices for online sales include a service fee of 1.00 € per ticket.
Discounts (other than the Schauspielcard)
Please use the alternative sales channels for discounts, as they are not available or applicable for online sales.
Gift Vouchers
Gift certificates can be transferred to third parties and are valid up to three years after the issue date. The period begins on December 31 of the year the certificate has been purchased. An extension of this period is excluded. The disbursement of the certificate value is not possible. The monetary value will be offset against the price (higher differences must be paid). Existing remaining amounts are disbursed as another gift certificate. A later setting-off of a certificate to a purchase already made is not possible. Gift certificates cannot be used for the purchase of further certificates.
Delivery / Pick Up with Confirmation of Purchase
Tickets or gift vouchers can be sent out for a shipping fee of 1.50 €, if the time of the order allows for it. The Staatstheater Stuttgart cannot accept any responsibility for the shipment.
Confirmation of purchase will automatically be sent by email to the address you provided, as soon as purchase of your order has been initiated.
By presenting printed confirmation of purchase, tickets can be picked up at the theatre box office or at the appropriate performance box office; gift vouchers only at the theatre box office (Mon – Fri 10 am – 7 pm, Sat 10 am – 2 pm).
Only printed tickets are valid as passes for means of transport with the VVS. Printed confirmations of purchase will not be accepted as valid ride passes for the VVS.
You can purchase any of our print@home ticket(s) (with the start of season 14/15) at any time and print them out yourself. This booking service is available to you until 1 hour before a performance starts at no additional cost and is specified during the booking via choice of shipping option. After completing the purchasing transaction, the desired ticket will be displayed as a PDF file and can be printed immediately. You will receive a confirmation of purchase at the email address you have provided, with the ticket file as an attachement. The personalization of each ticket with a name and date of birth prevents improper duplication for the protection of the purchaser. Each ticket entitles the holder to one unique admission in conjunction with a valid ID. If there are any questions, please contact our telephone sales office ((+49) (0) 711. 20 20 90). Operating hours telephone sales office: Mon - Fri 10 am - 08 pm; Sat 10 am - 06 pm.

print@home ticket = transit ticket
Your print@home ticket is valid as a transit ticket for public transportation in the VVS system at no additional cost and will automatically beeig print with your print@home ticket. Please pay attention to the required personalisation during the booking transaction.
Late Seating
may not be possible for certain performances. Our telephone ticket service (0711. 20 20 90, Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm) will be happy to provide you with more information!
Tickets can be paid with credit card (American Express, MasterCard, VISA) or SEPA direct debit (Not for new customers, these should call our ticket-service first (+49) (0)711. 20 20 90).
Return / Exchange
We ask that you carefully check your information before authorising purchase of your order, as tickets and gift vouchers cannot be returned or exchanged.
Technical Requirements
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  • Cookies activated. -> Privacy policy (in german)
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Any more questions?
Phone: (+49) (0) 711. 20 20 90
Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm 
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Back on stage
23 September 2017
Coproduction by Stuttgart Opera and the Stuttgart Ballet
Act I: ca. 1 hour 20 min.
Intermission ca. 25 min.
Act II: ca. 1 hour 6 min.
Conductor: Marco Comin, Direction and Choreography: Demis Volpi, Stage and Costume Design: Katharina Schlipf, Lighting: Reinhard Traub, Chorus: Christoph Heil, Dramaturgy: Sergio Morabito, Ann-Christine Mecke

Gustav von Aschenbach: Matthias Klink, Traveller/ Elderly fop/ Old gondolier/ Hotel manager/ Hotel barber/ Leader of the players/ Voice of Dionysus: Georg Nigl, Voice of Apollon: Jake Arditti, Apollon: David Moore, Hotel porter: Daniel Kluge, Boatman: Tommaso Hahn-Fuger, Hotel waiter / Restaurant waiter: Michael Wilmering, Strawberry seller / Street singer: Aoife Gibney, Glassmaker / Street singer: Kai Kluge, English clerk: Ronan Collett, A guide: Padraic Rowan, Beggar: Fiorella Hincapié, Lace seller: Catriona Smith, Newspaper seller: Cristina Otey, The Polish mother: Joana Romaneiro, Tadzio: Gabriel Figueredo, Schülern der John Cranko Schule, Staatsopernchor Stuttgart, Staatsorchester Stuttgart

Death in Venice

by Benjamin Britten
in English with German supertitles

A man in the midst of a personal crisis in his life: Gustav von Aschenbach is very successful professionally, but a vague sense of yearning drives him to search for something new and mysterious – he therefore decides to travel to Venice. In 1973 and based on a libretto by Myfanwy Piper, Benjamin Britten set to music author Thomas Mann‘s famous novella. Piper’s work has masterfully translated the storyline into theatrical images, and with his opera, the British composer surprised with a many-colored and exotic sounding work.
International Opera Awards 2018


An introduction is held 45 minutes prior to the start of every performance at the Grand Tier Foyer (Foyer I. Rang).
Photo gallery



The successful author Gustav von Aschenbach is worn out. A working method based on discipline and self-control has brought him to a dead end.
Encouraged by the sight of a foreign traveler, he decides to take a trip to Venice. Instead of spending the summer working in the mountains as usual, he will recuperate in the southern sun.

On the voyage to Venice, he is shocked by the crass behavior of an elderly fop and other passengers.

A gondolier takes Aschenbach – in defiance of his clearly stated wishes – to his destination, a seaside resort called the Lido.

The ostentatiously deferential hotel manager shows him to his room and raves about the view.
One of the hotel guests catches Aschenbach’s eye: a Polish youth named Tadzio. The writer is captivated by his beauty.
On an excursion to the historic center, Aschenbach feels overwhelmed by the merchants’ importunities, and the scirocco makes him ill. He resolves to cut short his stay.

His departure is thwarted when his luggage goes astray. He secretly rejoices that he will not have to give up the sight of Tadzio after all.
Aschenbach spends his days observing Tadzio on the beach. He finds himself artistically inspired by the shapeliness of the boy’s body but is incapable of speaking to him. Daydreaming, he imagines the »Games of Apollo,« from which Tadzio emerges victorious in every discipline. At last the writer admits to himself that he loves the boy.
Aschenbach grapples with the knowledge of his love.

He devotes more and more energy to his outward appearance and his desire to look younger.
Rumors reach Aschenbach, from various sources, of a dangerous epidemic  spreading  through Venice.
He begins to follow Tadzio and his family on their outings in the city.

He is appalled by the performance of three vulgar buskars in the hotel. The only connection he feels is to Tadzio, who does not seem to be enjoying himself either.

The rumors prove to be true: Venice is in the grip of cholera. Aschenbach is unable to warn Tadzio’s mother. He imagines that he and Tadzio are the catastrophe’s only survivors.
In a dream, Aschenbach looks on as Apollo, the god of form and measure, succumbs to Dionysus, the god of ecstasy.
The hotel staff prepares for the departure of the remaining guests. On the deserted beach, Aschenbach watches one last time as Tadzio plays with the other boys. Tadzio is wrestled to the ground and humiliated. Aschenbach wants to rush to his aid but lacks the strength. He dies of the cholera as Tadzio, walking alone toward the sea, turns and waves to him.