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
  • Current web browser (Internet Explorer, Firefox, Safari, Chrome or Opera).
  • Cookies activated. -> Privacy policy (in german)
  • Please do not use your browser’s ‘Back’ button!
Any more questions?
Phone: (+49) (0) 711. 20 20 90
Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm 
26 April 2018
Co-Production with La Monnaie/de Munt (Brussels)
Il Prigioniero: ca. 50 min.
Intermission: ca. 35 min.
Das Gehege:ca. 35 min.
Performances, Cast, Tickets
April 2018
26.04.2018 19:00 - 21:15 | Cast
9 / 18 / 27 / 41 / 54 / 67 / 83 / 100 / 116 € / G
29.04.2018 15:00 - 17:15 | Cast
9 / 17,50 / 25,50 / 38 / 50 / 63 / 78 / 94 / 109 € / F
May 2018
21.05.2018 18:00 - 20:15 | Cast
9 / 15 / 21,50 / 32 / 42 / 53 / 65 / 78 / 91 € / E
26.05.2018 19:30 - 21:45 | Cast
9 / 17,50 / 25,50 / 38 / 50 / 63 / 78 / 94 / 109 € / F
June 2018
09.06.2018 20:00 - 22:15 | Cast
9 / 17,50 / 25,50 / 38 / 50 / 63 / 78 / 94 / 109 € / F
16.06.2018 20:00 - 22:15 | Cast
9 / 17,50 / 25,50 / 38 / 50 / 63 / 78 / 94 / 109 € / F
25.06.2018 20:00 - 22:15 | Cast
9 / 15 / 21,50 / 32 / 42 / 53 / 65 / 78 / 91 € / E
Cast Apr 2018 - Jun 2018
Conductor: Franck Ollu, Director: Andrea Breth, Stage Design: Martin Zehetgruber, Lighting: Alexander Koppelmann, Chorus: Johannes Knecht, Dramaturgy: Sergio Morabito

With: Staatsorchester Stuttgart, Actor/Dancer: Michael Guevera Era

Il prigioniero

Mother: Ángeles Blancas Gulín, The Prisoner: Georg Nigl, The Jailer / The Grand Inquisitor: John Graham-Hall, First Priest: Julian Hubbard, Second Priest: Guillaume Antoine

Das Gehege

The Woman: Ángeles Blancas Gulín

Il prigioniero | Das Gehege

Theatrical evening by Luigi Dallapiccola and Wolfgang Rihm
in Italian and German with German supertitles

Both operas have strong political implications. Dallapiccolla‘s Il prigioniero, first premiered in 1949, was one of the most successful and most frequently staged contemporary operas in West-Germany during the time of the Cold War – a plea for individual freedom versus totalitarian suppression. The only disturbing element is, however, that it is the jailer himself who tries to influence the prisoner with his ideas of freedom before he personally escorts the allegedly released prisoner to the stake. Is the opera, after all, not so much a confirmation of the so-called free world, but far more a depiction of its ideological cul-de-sacs?

Rihm‘s opera Das Gehege which was first premiered in 2005, starts right at the end of the Cold War with yet another story about an ambiguous relationship between prisoner and jailerr: During the night of the Fall of the Berlin Wall a woman attempts to entice an eagle in the zoo into freedom. The encounter between the two leads to the animal being slaughtered by the woman.


Sunday, 22 April 2018.
A introduction to the next premiere presented by the production team. The presentation is held in German and takes place at the Grand Tier Foyer (I. Rang).
More information and tickets.

Pre-performance introduction
A introduction is held in German 45 minutes prior to the start of every performance at the Grand Tier Foyer (Foyer I. Rang).
Photo gallery


Video © La Monnaie / De Munt, 2018



Video © La Monnaie / De Munt, 2018



Video © La Monnaie / De Munt, 2018



A lonely, terrorized mother reveals her fear. A reoccurring nightmare has given her the impression that her last encounter with her son is imminent. Every night from the end of a long corridor she sees the ominous figure of the tyrant Philip II approaching, who turns into the allegory of death.

In the darkness of a cell, the mother meets her martyred son. He proclaims that at the height of his agonies his guard called him "brother". This word gave him back hope and faith towards life. He confesses that he started to pray again. The cell door opens. The prisoner does not pay attention to the despair of his mother.

The guard warns the prisoner never to give up hope. He reports that a revolt broke out in Flanders against the Spanish foreign rule, and that soon the Roelandt-bell will sound again in Ghent, the symbol of resistance and freedom. Enthusiastically, the prisoner joins his guards’ song of liberation.

The prisoner notices that the guard did not close the cell. He carefully opens the door and finds himself in a narrow corridor. He begins to cross it arduously, repeating the prayer of his childhood to strengthen himself. Two priests pass by, seemingly without noticing him. A breeze seems to indicate a nearby outside door to the prisoner.
The prisoner enters a garden under the night sky. His bliss is short-lived. He finds himself in the arms of the Grand Inquisitor, in who he recognizes his keeper's voice saying, "Brother, why did you want to leave us on the eve of your rescue?" The prisoner realizes that his execution awaits him and that the illusion of freedom and hope was his final torture.


A woman enters a zoo at night and begins a conversation with a golden eagle sitting motionless in an aviary. She pulls a knife and opens the wire-netting of his cage. The eagle remains in its languor. Similarly driven by erotic fascination and fear, the woman provokes the eagle and incites him to attack by insults, ridicule and threats. At last the eagle counterattacks. The woman massacres the eagle.