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 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. 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.
print@home
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!
Payment
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.
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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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Benjamin Britten

Death in Venice

19:00 - 22:00 Opernhaus
Information
Opernhaus
Back on stage
24 September 2017
Duration
1st part: approx. 1 hour 40 min
Intermission: approx. 25-30 min
2nd part: approx. 1 hour 5 min
Performances, Cast, Tickets
September 2017
24.09.2017 19:00 - 22:30 | Cast | iCal | Tickets
9 / 17,50 / 25,50 / 38 / 50 / 63 / 78 / 94 / 109 € / F
October 2017
01.10.2017 19:00 - 22:30 | Cast | iCal | Tickets
9 / 17,50 / 25,50 / 38 / 50 / 63 / 78 / 94 / 109 € / F
08.10.2017 19:00 - 22:30 | Cast | iCal | Tickets
9 / 17,50 / 25,50 / 38 / 50 / 63 / 78 / 94 / 109 € / F
15.10.2017 18:00 - 21:30 | Cast | iCal | Tickets
9 / 17,50 / 25,50 / 38 / 50 / 63 / 78 / 94 / 109 € / F
20.10.2017 19:00 - 22:30 | Cast | iCal | Tickets
9 / 17,50 / 25,50 / 38 / 50 / 63 / 78 / 94 / 109 € / F
November 2017
01.11.2017 16:00 - 19:30 | Cast | iCal | Tickets
9 / 15 / 21,50 / 32 / 42 / 53 / 65 / 78 / 91 € / E
Conductor: Maurizio Barbacini, Director: Andrea Moses, Stage Design: Susanne Gschwender, Costumes: Werner Pick, Lighting: Reinhard Traub, Chorus: Christoph Heil, Dramaturgy: Thomas Wieck, Moritz Lobeck

Angelina: Diana Haller, Clorinda: Catriona Smith, Tisbe: Maria Theresa Ullrich, Don Magnifico: Enzo Capuano, Don Ramiro: Sunnyboy Dladla, Dandini: Bogdan Baciu, Alidoro: Adam Palka, With: Staatsopernchor Stuttgart, Staatsorchester Stuttgart
Cast Sep 2017 - Nov 2017
Show
Conductor: Maurizio Barbacini, Director: Andrea Moses, Stage Design: Susanne Gschwender, Costumes: Werner Pick, Lighting: Reinhard Traub, Chorus: Christoph Heil, Dramaturgy: Thomas Wieck, Moritz Lobeck

Angelina: Lilly Jørstad, Diana Haller, Clorinda: Catriona Smith, Tisbe: Maria Theresa Ullrich, Don Magnifico: Enzo Capuano, Don Ramiro: Sunnyboy Dladla, Dandini: Bogdan Baciu, Alidoro: Adam Palka, With: Staatsopernchor Stuttgart, Staatsorchester Stuttgart

La Cenerentola

Gioachino Rossini
In Italian with German supertitles


A fairy tale without wizardry: No magical tree on the mother’s grave, no pumpkin carriage and no fitting of the glass slipper. The essence of the Cinderella fairy tale, however, has been preserved in Rossini’s sparkling comedy which first premiered in 1817: Namely the firm conviction that beautiful dresses only enhance the already existing inner beauty of a person whilst nasty step sisters will always remain the way they are. And this is why Angelina’s goodness of heart can finally triumph over the malice of her own family, over rational calculation and reason of state.

PRE-PERFORMANCE INTRODUCTION (IN GERMAN)

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


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Video: Thiemo Hehl | Foto: A.T. Schaefer
SYNOPSIS

SYNOPSIS

LA CENERENTOLA OR WHO WILL MARRY WHOM AND WHY!

Don Ramiro, the only heir to an unspecified estate, has to get married immediately according to the testamentary provision. If he doesn’t, he will be denied the legacy as well as the leading position of his father. This would imply the dissolution of all longstanding systems, which subsequently would mean the disintegration of the empire. Ramiro is summoned to appear before the general assembly of executives, who present him with the choice between immediate marriage or disinheritance.

Alidoro, a young and smart consultant with a bright future, has already largely prepared this wedding, of which the two future spouses are neither aware of nor have they ever set eyes on each other.
Alidoro’s plan is the following: Disguised as the clerk Dandini, Don Ramiro will get to know Alidoro’s chosen “bride victim” incognito. According to Alidoro’s speculation, this girl than will fall madly in love with Ramiro, so that Ramiro, overwhelmed with the sudden force of this innocent love, will fall for her too.

This wonderful meeting is supposed to be happening at the house of the well-known wine lover Don Magnifico, who urgently has to revamp his dilapidated estate. His last assets are his two biological daughters Tisbe and Clorinda. These assets have to be cherished and pampered and may not be spent prematurely. But to find a rich husband for them proves to be a near impossible task: Altogether they have seen better days.

But there is also Don Magnifico’s stepdaughter, who goes by the name of Cenerentola. She may never get married, as her stepfather has long misappropriated her dowry, inheritance of her late mother. Thus Don Magnifico is facing some major challenges, especially because Alidoro – this being quite a puzzling surprise for everybody – has just chosen the unmarried Cenerentola as Don Ramiro’s bride.

Nevertheless Alidoro’s plan seems to come together without conflicts: Don Magnifico and his two daughters fail magnificently all along the line. Thinking they will marry rich, the sisters throw themselves unhesitatingly at Dandini, who is splendidly impersonating the rich heir Don Ramiro. The kindhearted Cenerentola and the blissfully bewildered Don Ramiro, disguised as the modest young man Dandini, function perfectly according to Alidoro’s plans – until, well, until both marriage candidates realize, that they are only part of a game, whose point is not their happiness but only so called matters of greater interest.

Which conclusions will they draw from this? This question arises not only for Dandini, who unfortunately has fallen in love with Cenerentola too, but increasingly also for Alidoro, who confronted with an ever more confident Cenerentola is becoming rather anxious.