Andreas Wolf

Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality. In only his second opera production after Don Giovanni in 2006, he presents what ARTE described as a “disillusioned vision of love in an ice-cold, realistic interpretation”.

Mozart solennel

Thamos, König in Ägypten

It's double trouble when fate and an ill-executed diamond robbery throw Mel and Franny together in a race and chase against time.

Bach's seminal work of sacred art paints a monumental fresco of life's journey to redemption. Calixto Bieito, one of the most exciting directors of his generation, directs this dramatised oratorio. With the help of an excellent cast, the period orchestra Les Talens Lyriques and a group of amateur singers which form the chorus at the heart of the narrative, he leads us into dialogue with this work today to confront pain and death.

Grandmother Maria, Sam and the riding instructor Kaan are trying together to keep Gut Kaltenbach running, which is in financial difficulties. The ambitious Isabell supports her, although she secretly pursues her own goals. The impulsive Ari comes to riding training in Kaltenbach, where she develops a special relationship with Windstorm, the eponymous horse of the film series, and she also makes friends with Mika. Mika and Ari try to save the estate and protect Windstorm from reckless horse trainer Thordur Thorvaldson.