Macbeth

Giuseppe Verdi

Opera in four acts
Libretto by Francesco Maria Piave and Andrea Maffei
after William Shakespeare

From 8. November 2025 until 30. November 2025

  • Duration :
    2 H. 55 Min. Inkl. Pause after 2nd image after approx. 1 H. 25 Min.
  • Language:
    In Italian with German and English surtitles.
  • More information:
    Introduction 45 min before the performance.

Music Direction:
Gianandrea Noseda

Gianandrea Noseda

Gianandrea Noseda has been General Music Director of the Zurich Opera House since the 2021/22 season. In addition, he is Music Director of the National Symphony Orchestra and Principal Guest Conductor of the London Symphony Orchestra. In 2019, he became Music Director of the newly founded Tsinandali Festival and the Georgian Pan-Caucasian Youth Orchestra. From 2007 to 2018, Noseda served as General Music Director of the Teatro Regio di Torino, where he artistically reshaped the opera house during his tenure. Noseda has conducted the world’s leading orchestras (Berlin Philharmonic, Chicago Symphony, Concertgebouw Orchestra, Vienna Philharmonic) as well as at the most prestigious opera houses (La Scala, Metropolitan Opera, Royal Opera House) and festivals (BBC Proms, Edinburgh, Salzburg, and Verbier). He has also held leading positions with the BBC Philharmonic (Chief Conductor), the Israel Philharmonic Orchestra (Principal Guest Conductor), the Mariinsky Theatre (Principal Guest Conductor), and the Stresa Festival (Artistic Director). His discography comprises more than 80 CDs, with a special focus on the "Musica Italiana" project, which features neglected 20th-century Italian repertoire. Born in Milan, Noseda is a Commendatore al Merito della Repubblica Italiana and received the Order of Merit of the City of Milan in 2024. In 2015, he was named "Musical America’s Conductor of the Year," was awarded "Conductor of the Year" at the 2016 International Opera Awards, and received the Puccini Prize in 2023. In the same year, the Oper! Awards honored Noseda as "Best Conductor," particularly recognizing his interpretations of the first two "Ring" operas at the Zurich Opera House.

Un ballo in Maschera22 / 28 / 31 May / 7 / 13 Jun 2026 La forza del destino2 / 7 / 12 / 15 / 18 / 21 / 26 / 29 Nov / 17 / 21 Dec 2025 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025 Ehnes & Noseda23 Nov 2025 Concert Kinderopernorchester­concert25 May 2026 Open-Air-Concert28 Jun 2026 Mühlemann & Noseda21 Mar 2026
Director:
Barrie Kosky

Barrie Kosky

Barrie Kosky was Artistic Director and Chief Stage Director of the Komische Oper Berlin from 2012 to 2022. He directs at major opera houses such as the Bavarian State Opera, the Paris Opera, the Royal Opera House Covent Garden, and the Vienna State Opera, as well as at the Salzburg and Bayreuth Festivals, the Glyndebourne Festival, and at theatres including the Deutsches Theater Berlin and the Schauspiel Frankfurt. In 1996, he was Artistic Director of the Adelaide Festival, and from 2001 to 2005, he served as Co-Director of the Schauspielhaus Wien. His award-winning production of "The Magic Flute" (together with 1927) at the Komische Oper Berlin has since been seen in over 45 cities worldwide. For "From the House of the Dead" at the Hanover State Opera, he received the theatre prize "Der Faust" in 2009, and for "Castor et Pollux" at the English National Opera, he was awarded the Laurence Olivier Award in 2011. His Bayreuth production of "Die Meistersinger von Nürnberg" was named "Performance of the Year" in the 2017 Opernwelt critics’ poll. Under his leadership, the Komische Oper Berlin was named "Opera House of the Year" for the 2012/13 season, followed in 2015 by the International Opera Award in the category "Ensemble of the Year." Barrie Kosky has been named "Director of the Year" several times, including in 2014 at the International Opera Awards, in 2016 in the Opernwelt critics’ poll, and in 2020 by the magazine Die deutsche Bühne. In 2022, he received the Order of Merit of Berlin and was awarded the Federal Cross of Merit in 2024. At the Zurich Opera House, Barrie Kosky has staged "La fanciulla del West," "Macbeth," "Eugen Onegin," "Die Gezeichneten," "Boris Godunov," and "Manon Lescaut."

Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025
Stage and lighting designer:
Klaus Grünberg

Klaus Grünberg

Klaus Grünberg, a native of Hamburg, studied stage design under Erich Wonder in Vienna and has since worked as a freelance stage and lighting designer at theatres and opera houses across Europe, as well as in Kuwait and Buenos Aires. For many years, he has collaborated with composer and director Heiner Goebbels, as well as with Tatjana Gürbaca and Barrie Kosky. His recent works include "The Magic Flute," "Macbeth," "Werther," "Lucia di Lammermoor," and "The Merry Widow" at the Zurich Opera House; "The Rise and Fall of the City of Mahagonny" and the Berlin-themed evening "…und morgen könnt ihr mich!" at the Komische Oper Berlin; "Ulisse" and "La Juive" at the Frankfurt Opera; "Simon Boccanegra" at the Aalto Music Theatre Essen; "Rusalka" at the Hanover State Opera; "L’incoronazione di Poppea" at the Theater Bremen; and Gogol’s "The Government Inspector" at the Burgtheater Vienna. In 1999, Klaus Grünberg opened MOMOLMA (Museum of More or Less Modern Art) in Hamburg.

Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Werther14 / 19 Jun / 1 / 4 / 10 Jul 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025
Associate set designer:
Anne Kuhn

Anne Kuhn

Anne Kuhn, born in Chemnitz, studied Applied Theatre Studies in Giessen. After numerous stage and set design assistantships, including with Beatrice Schultz, Klaus Grünberg, and Wolfgang Gussmann, she has been collaborating regularly with stage and lighting designer Klaus Grünberg since 2008. In addition, she realizes her own independent projects. Anne Kuhn lives and works as a stage designer and illustrator in Berlin and Hamburg. She has worked on productions such as "The Nose" (Royal Opera House Covent Garden), "Don Giovanni" and "Simplicius Simplicissimus" (Theater Bremen), "Rusalka" (Hanover State Opera), "Der Freischütz" (Aalto Music Theatre Essen), as well as at the Komische Oper Berlin on "Frühlingsstürme," "Pelléas et Mélisande," and "Akhnaten." At the Zurich Opera House, she collaborated with Klaus Grünberg on the stage designs for "Macbeth" and "The Merry Widow" (directed by Barrie Kosky), as well as for "Aida," "The Magic Flute," "Werther," and "Lucia di Lammermoor" (directed by Tatjana Gürbaca).

Werther14 / 19 Jun / 1 / 4 / 10 Jul 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025
Costumes:
Klaus Bruns

Klaus Bruns

Klaus Bruns studied stage and costume design at the Mozarteum in Salzburg. For almost 30 years, he has worked as a costume designer at theatres including those in Stuttgart, Graz, Frankfurt, Zurich, Cologne, and Leipzig, as well as at the Burgtheater in Vienna, the Thalia Theater Hamburg, the Schaubühne and Deutsches Theater Berlin, and the Residenztheater and Kammerspiele in Munich. He has a long-standing collaboration with Karin Henkel. In opera, he has worked with Barrie Kosky, Michael Talke, Andreas Homoki, Olivier Tambosi, Michael Schulz, Harry Kupfer, Götz Friedrich, and Christof Loy, among others, at the three Berlin opera houses, the Nuremberg Opera, Vlaamse Opera Antwerp, the Bavarian State Opera in Munich, the Leipzig Opera, Teatro Regio Turin, Theater an der Wien, the National Theatres in Mannheim and Weimar, the Rossini Opera Festival in Pesaro, and Dutch National Opera in Amsterdam. His collaborations with Barrie Kosky include "Der Ring des Nibelungen" at the Hanover State Opera; "Rusalka," "Moses und Aron," "Eugene Onegin," "Anatevka," and "The Rise and Fall of the City of Mahagonny" at the Komische Oper Berlin; "La fanciulla del West," "Macbeth," "Die Gezeichneten," "Eugene Onegin," "Boris Godunov," and "Manon Lescaut" at the Zurich Opera House; "Prince Igor" at the Opéra Bastille in Paris; "Fiddler on the Roof" at the Lyric Opera of Chicago; and "Agrippina" at the Hamburg State Opera. For the costumes in Kosky’s Bayreuth production of "Die Meistersinger von Nürnberg," Klaus Bruns was named "Costume Designer of the Year" by Opernwelt magazine in 2018. In 2024, he received the Oper! Award for Best Costume Designer for the world premiere of Alexander Raskatov’s "Animal Farm" in Amsterdam.

La clemenza di Tito26 / 29 Apr / 3 / 8 / 15 / 17 / 20 / 25 May 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025
Chorus Master:
Klaas-Jan de Groot

Klaas-Jan de Groot

Klaas-Jan de Groot is a Dutch conductor and choral director. After studying in The Hague and Cardiff, from 2016 to 2022, he acted as an assistant to chorus director Ching-Lien Wu at the Dutch National Opera in Amsterdam, where he prepared several productions and projects with the opera chorus. Since 2018, he has worked regularly with the Netherlands Radio Choir (Groot Omroepkoor). From 2018 to 2024, he was annually engaged as assistant to chorus director Eberhard Friedrich at the Bayreuth Festival. He has conducted various concerts and performances with Opera Zuid, the Orchestra of the 18th Century, and the Essen Philharmonic. From 2022 to 2025, he was chorus director at the Aalto Theatre in Essen. Since 2023, he has worked regularly with the NDR Vokalensemble in Hamburg. In 2024, he made his debut with both the MDR Radio Choir and the Rundfunkchor Berlin. As part of a program supporting emerging talent, Klaas-Jan de Groot was awarded the prestigious Dutch conducting prize of the Anton Kersjes Fund in 2021. Beginning with the 2025/26 season, he is choral director at the Zurich Opera House.

Der Rosenkavalier21 / 26 Sept / 1 / 5 / 14 / 17 / 21 / 26 Oct 2025 Tannhäuser21 / 24 / 27 Jun / 2 / 5 / 8 / 11 Jul 2026 Cardillac15 / 18 / 21 / 25 Feb / 1 / 6 / 10 Mar 2026 La Damnation de Faust10 / 14 / 17 May 2026 Hänsel und Gretel16 / 20 / 23 / 28 / 30 Nov / 2 / 4 / 11 / 16 / 18 / 21 Dec 2025 / 2 / 24 / 25 / 31 Jan 2026 Carmen18 / 21 / 23 / 27 / 31 Jan 2026 Un ballo in Maschera22 / 28 / 31 May / 7 / 13 Jun 2026 La forza del destino2 / 7 / 12 / 15 / 18 / 21 / 26 / 29 Nov / 17 / 21 Dec 2025 Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Fidelio3 / 6 / 10 / 14 / 16 May 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025
Dramaturgy:
Claus Spahn

Claus Spahn

Claus Spahn was chief dramaturge at the Zurich Opera House during Andreas Homoki’s tenure as artistic director. There, he supervised music theater projects by Wolfgang Rihm, Helmut Lachenmann, George Benjamin, Roman Haubenstock-Ramati, and world premieres by Heinz Holliger, Christian Jost, and Stefan Wirth. As a production dramaturge, he worked with directors such as Sebastian Baumgarten, Herbert Fritsch, Jan Philipp Gloger, Tatjana Gürbaca, Andreas Homoki, Barrie Kosky, Nadja Loschky, David Marton, and Evgeni Titov. He also shares a close artistic partnership with the choreographer and former director of Zurich Ballet, Christian Spuck. For him, Spahn was involved in the development of the productions “Anna Karenina,” “Nussknacker und Mausekönig,” and “Monteverdi” in Zurich, he also wrote libretti for the ballets “Orlando” based on Virginia Woolf (world premiere in 2021 at the Moscow Bolshoi Ballet) and “Bovary” based on Gustave Flaubert (world premiere in 2023 at the Berlin State Ballet). Additionally, he is the librettist of the chamber opera “The Dream of You” by Swiss composer Xavier Dayer, which premiered in 2017 at the Zurich Opera House. Before joining the Zurich Opera House, Claus Spahn was the arts editor for 14 years at the German weekly newspaper DIE ZEIT, where he was responsible for the music section. From 1990 to 1997, he worked as a freelance music journalist mainly for the Süddeutsche Zeitung and Bavarian Broadcasting. Claus Spahn was born in Germany, studied classical guitar in Freiburg im Breisgau, and completed training at the German School of Journalism in Munich.

Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Le nozze di Figaro24 / 29 Jan / 1 / 5 / 7 / 10 / 14 Feb 2026 Werther14 / 19 Jun / 1 / 4 / 10 Jul 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025 Messa da Requiem20 / 22 / 28 Feb / 1 / 5 / 7 Mar / 6 Apr 2026

Cast


Macbeth Roman Burdenko


Banco Insung Sim


Lady Macbeth Ewa Plonka


Kammerfrau der Lady Macbeth Thalia Cook-Hansen


Macduff Omer Kobiljak


Malcolm Salvador Villanueva Zuzuarregui


Arzt Evan Gray


Diener Macbeths, Mörder Guram Margvelashvili

Roman Burdenko

The baritone Roman Burdenko was born in Russia and studied at the conservatories in Novosibirsk and St. Petersburg. He was a prizewinner at international singing competitions in Moscow and Paris, as well as at Plácido Domingo’s Operalia in Beijing (2012) and the Belvedere Singing Competition in Amsterdam (2013). From 2006 to 2011, he was a soloist at the Mikhailovsky Theatre and, from 2017 onward, at the Mariinsky Theatre in St. Petersburg. His repertoire includes roles such as Escamillo ("Carmen"), Robert (Tchaikovsky’s "Iolanta"), Belcore ("L’elisir d’amore"), Don Carlo ("La forza del destino"), and Scarpia ("Tosca"), as well as the title roles in "Eugene Onegin" and "Rigoletto." At the Grand Théâtre de Genève, he has performed as Alfio ("Cavalleria rusticana"), Tonio ("Pagliacci"), the title role in "Nabucco," and Dunois in a concert performance of Tchaikovsky’s "The Maid of Orleans." He made his Glyndebourne Festival debut in 2013 as Ford ("Falstaff") under Sir Mark Elder and returned the following year as Giorgio Germont ("La traviata"). Further engagements have taken him to the Opéra de Lille as Lord Enrico Ashton ("Lucia di Lammermoor"), to the Teatro Municipal de Santiago de Chile as Alfio and Tonio ("Pagliacci"), to the Royal Danish Opera in Copenhagen as Ford, to the Bolshoi Theatre in Moscow as Prince Igor, and to the Deutsche Oper Berlin and the Bavarian State Opera in Munich for several roles. Most recently, he sang Don Carlo ("Ernani") in St. Petersburg and Amonasro ("Aida") at the Opéra National de Paris. Roman Burdenko made his debut at the Zurich Opera House in 2015 as Ford and has since returned as Count Tomsky, Alfio, Tonio, Lord Enrico Ashton, and in the 2025/26 season in the title role of "Macbeth."

Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025

Insung Sim

The South Korean bass Insung Sim studied in Seoul and Vienna. He is the winner of the KBC Singing Competition in Korea (1996) and was a prizewinner at the Belvedere Singing Competition (2000) as well as at competitions in Los Angeles and Oslo. In 2001, he made his debut at the Vienna State Opera, marking the beginning of his international career. In recent years, he has performed roles such as Il Re ("Aida"), Fasolt ("Das Rheingold"), Raimondo ("Lucia di Lammermoor"), and appeared in a gala concert celebrating Antonio Pappano’s 22nd anniversary at the Royal Opera House Covent Garden. He made his role debut as Palémon ("Thaïs") at La Scala in Milan and has appeared as Sarastro ("The Magic Flute") in Montpellier, Turin, and Seattle. His repertoire also includes Vodník ("Rusalka"), Count des Grieux ("Manon"), First Soldier ("Salome"), and Klingsor ("Parsifal"). His more recent engagements have taken him to the Teatro Real de Madrid, the Israeli Opera in Tel Aviv, Vancouver, the Tokyo Spring Festival, the Ópera de Oviedo, and with Mozart’s "Requiem" to the Malmö Symphony Orchestra and the Granada Festival. Most recently, he has appeared as Lodovico ("Otello") in Madrid, Sarastro at the Komische Oper Berlin, Ramfis ("Aida") at the Teatro de la Maestranza in Seville and the Teatro Massimo Bellini in Catania, and Timur ("Turandot") at the Irish National Opera, in Tel Aviv, and at the Seoul Arts Center. He has also given song recitals at the Opéra de Marseille and the Opéra d’Avignon.

Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025

Ewa Plonka

The Polish-American soprano Ewa Płonka completed her vocal studies at the renowned Juilliard School in New York, after having previously studied piano at the Music Academy in Poznań as well as at the Universities of Oklahoma and Utah. As a concert pianist, she won several prizes at international competitions and has performed in the USA, Poland, Israel, France, Italy, Germany, and Norway. As an opera singer, she first made her debut in mezzo-soprano roles such as Azucena ("Il trovatore", Oper Frankfurt) and Giovanna Seymour ("Anna Bolena", Badisches Staatstheater Karlsruhe) before successfully transitioning to the dramatic soprano repertoire. Since then, leading roles in "Turandot", "Tosca" and "Aida" as well as roles such as Lady Macbeth ("Macbeth"), Abigaille ("Nabucco"), the Foreign Princess ("Rusalka") and Venus ("Tannhäuser") have taken her to the world’s most prestigious opera houses, including the Royal Opera House Covent Garden, the Hamburg State Opera, Teatro Real in Madrid, Deutsche Oper Berlin, Arena di Verona, Semperoper Dresden, Washington National Opera, and the Bavarian State Opera in Munich, as well as to Seoul and Tokyo. On the concert stage, she has appeared in Mahler’s Symphony No. 3, Rachmaninov’s choral symphony "The Bells", Mendelssohn’s "Elijah", Wagner’s "Wesendonck Lieder", Szymanowski’s "Stabat Mater", and in gala concerts at Carnegie Hall. Engagements for the 2025/26 season include Aida at the Opéra Bastille in Paris, Floria Tosca at the Hamburg State Opera, her debut at La Scala in Milan as Turandot, Abigaille at the Bavarian State Opera, and Elisabetta ("Don Carlo") at the Staatsoper Unter den Linden in Berlin.

Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025

Thalia Cook-Hansen

The American soprano Thalia Cook-Hansen completed her master’s degree at the Dutch National Opera Academy following vocal studies in the USA and Canada. She also took part in masterclasses with, among others, Elliot Madore, Floris Visser, and Lynne Dawson. Concert appearances and staged productions have taken her to the USA, Canada, Germany, the Czech Republic, Austria, and the Netherlands. In Amsterdam, she has appeared as Nerina in Haydn’s “La fedeltà premiata,” Fanny in Rossini’s “La cambiale di matrimonio,” Bastienne in Mozart’s “Bastien et Bastienne,” and Adele in “Die Fledermaus.” She sang Barbarina (“Le nozze di Figaro”) at the Estates Theatre in Prague, as well as the Erste Dame (“Die Zauberflöte”) and Mademoiselle Silberklang (“Der Schauspieldirektor”) in Toronto. Her repertoire also includes roles such as Bubikopf in Viktor Ullmann’s “Der Kaiser von Atlantis,” Singer No. 1 in Conrad Susa’s “Transformations,” Amore in Monteverdi’s “Il ritorno d’Ulisse in patria,” and the title role in Donizetti’s “Lucia di Lammermoor.” Starting with the 2025/26 season, she will be a member of the International Opera Studio at the Zurich Opera House.

Werther14 / 19 Jun / 1 / 4 / 10 Jul 2026 Der Rosenkavalier26 Sept / 1 / 5 / 14 / 17 / 21 / 26 Oct 2025 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025

Omer Kobiljak

The tenor Omer Kobiljak is originally from Bosnia and was born in Switzerland. He studied singing with David Thorner, first at the Winterthur Conservatory and then at the Kalaidos University of Applied Sciences in Aarau. He attended masterclasses with Jane Thorner-Mengedoht, David Thorner, and Jens Fuhr and won first prize with distinction at the Thurgau Music Competition in 2012. The following year, he sang a apprentice (“Die Meistersinger von Nürnberg”) under Daniele Gatti at the Salzburg Festival and made his debut in the same role at La Scala in Milan in 2017. From the 2017/18 season, he was a member of the International Opera Studio at the Zurich Opera House, where he appeared in productions such as “La fanciulla del West,” “Parsifal,” “The Flying Dutchman,” and “La traviata.” He also performed as Lord Arturo Buklaw (“Lucia di Lammermoor”) and as the notary in the concert performance of “La sonnambula.” Since the 2019/20 season, Omer Kobiljak has been part of the ensemble at the Zurich Opera House, where he has sung roles including Abdallo (“Nabucco”), Macduff (“Macbeth”), Froh (“Das Rheingold”), Alfredo (“La traviata”), Tybalt (“Roméo et Juliette”), the Mad Hatter (“Alice in Wonderland”), and a singer (“Der Rosenkavalier”). His further engagements include Prince Alexis (Umberto Giordano’s “Siberia”), Yamadori (“Madama Butterfly”), and Don Riccardo (“Ernani”) at the Bregenz Festival, as well as the title role in “The Count of Luxembourg” at the Tiroler Festspiele Erl. In 2023, Omer Kobiljak was a finalist in the Operalia Competition in Cape Town. Most recently, he made his house debuts as Lord Arturo Buklaw at the Semperoper Dresden, as Froh at the Opéra de Monte-Carlo, and as Narraboth (“Salome”) at the Baltic Opera Festival in Poland.

Der Rosenkavalier21 / 26 Sept / 1 / 5 / 14 / 17 / 21 / 26 Oct 2025 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025

Salvador Villanueva Zuzuarregui

Salvador Villanueva is a Mexican tenor. He completed his vocal training at the Universidad de Sonora and subsequently at the Mexican Opera Studio (MOS). There, he sang roles including Goro in “Madama Butterfly” and Remendado in “Carmen.” In the 2023/24 and 2024/25 seasons, he was a member of the Opera Studio at the Amsterdam Opera, where he took on roles such as Gastone (“La traviata”), Borsa (“Rigoletto”), the tenor role in Tom Johnson’s “The Four Note Opera,” and the Sailor (“Dido und Aeneas”). In 2024, he returned to Mexico as the title character in Gounod’s “Roméo et Juliette.” Salvador Villanueva was a finalist in singing competitions in Mexico City and ’s-Hertogenbosch. Starting with the 2025/26 season, he will be a member of the International Opera Studio at the Zurich Opera House.

Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025 Der Rosenkavalier1 / 5 / 14 / 17 / 21 / 26 Oct 2025

Evan Gray

Evan Gray is a Swiss bass-baritone from Winterthur. He began his musical training as an alto with the Zürcher Sängerknaben and later transitioned to the bass voice category. After receiving his first vocal lessons at the Conservatory in Winterthur, he went on to study at the renowned Curtis Institute in Philadelphia. His previous roles include the Förster (“Das schlaue Füchslein”), Figaro (“Le nozze di Figaro”), and Leporello (“Don Giovanni”). As an experienced recitalist, he has performed Schubert’s “Winterreise” and Vaughan Williams’ “Songs of Travel” on multiple occasions and has collaborated with artists such as Julius Drake and Robert Holl. From 2023 to 2025, he was a guest artist at the Marlboro Music Festival, where he developed a close artistic relationship with pianist Mitsuko Uchida, who has invited him to return for the 2026 summer edition. Since the 2025/26 season, Evan Gray has been a member of the International Opera Studio at the Zurich Opera House.

Tosca28 Sept / 2 / 8 / 11 / 15 / 19 Oct 2025 Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Werther14 / 19 Jun / 1 / 4 / 10 Jul 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025

Guram Margvelashvili

The Georgian baritone Guram Margvelashvili completed his vocal studies in 2024 at the State Conservatory in Tbilisi. From 2019 to 2023, he was a member of the Tbilisi Opera Studio, where he took on roles such as the Priest and Papageno in “Die Zauberflöte,” Valentin in Gounod’s “Faust,” as well as the title roles in “Don Giovanni” and “Jewgeni Onegin.” He also sang Belcore in Donizetti’s “L’elisir d’amore.” Guram Margvelashvili received several scholarships and was a finalist in the Giuseppe Di Stefano International Singing Competition in Sicily and the Tamar Iveri Competition in Georgia. Starting with the 2025/26 season, he will be a member of the International Opera Studio at the Zurich Opera House.

Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025 Carmen18 / 21 / 23 / 27 / 31 Jan 2026
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Abstract

A political drama about a bloody seizure of power, namely the rise and terrible fall of the Scottish military leader Macbeth and his wife, are at the heart of Verdi’s opera, based on Shakespeare’s famous tragedy. Barrie Kosky's production is «an aesthetic milestone in the work’s reception» (NZZ). It radically concentrates on the protagonists’ inner perspective in a ghostly jet-black stage space. Gianandrea Noseda navigates Verdi’s bold score. Roman Burdenko and Ekaterina Semenchuk sing the roles of the couple shattered by fears and madness.

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Trailer «Macbeth»



Good to know

Synopsis

Erster Akt
Macbeth hört die Stimmen der Hexen. Sie prophezeien ihm, dass er Herrscher über Cawdor und König von Schottland wird. Seinem Begleiter Banco sagen sie voraus, dass er «Vater von Königen» sein wird.
Kurz darauf vernehmen Macbeth und Banco die Nachricht, dass Macbeth tatsächlich von König Duncan zum Herrscher über Cawdor ernannt worden ist. Die erste Prophezeiung hat sich erfüllt.
Macbeth fragt sich, ob auch die zweite Prophezeiung in Erfüllung geht und hat einen blutrünstigen Gedanken.
Lady Macbeth erfährt durch einen Brief Macbeths von den neuesten Entwicklungen und will ihren Ehemann um jeden Preis auf dem Thron von Schottland sehen. Als König Duncan seinen Besuch bei Macbeth ankündigt, beschwört Lady Macbeth die Geister der Hölle und stiftet ihren zögernden Gatten zum Königsmord an.
Macbeth sieht einen Dolch vor sich, der mit dem Blut des Königs beschmiert ist. Der blutige Dolch ist das Trugbild von Macbeths grausamen Mordgedanken.
Macbeth kehrt nach dem Mord zu Lady Macbeth zurück, hört Stimmen und halluziniert den schrecklichen Anblick des getöteten Königs. Die Lady fordert ihn auf, den Wachen den Dolch unterzuschieben, um den Tatverdacht auf sie zu lenken. Macbeth sieht sich ausserstande, zum Tatort zurückzukehren. Die Lady geht selbst.
Der Königsmord wird entdeckt. Die Hofgesellschaft fleht zu Gott, den Menschen Beistand zu leisten und den Täter hart zu bestrafen.

Zweiter Akt
Macbeth ist König von Schottland. Auch die zweite Hexen-Prophezeiung hat sich erfüllt. Aber die Weissagung, Banco werde «Vater von Königen» sein, lässt Macbeth keine Ruhe. Er fasst den Entschluss, auch Banco und seine Nachkommen zu töten. Lady Macbeth bestärkt ihn in dieser Absicht und sieht sich am Ziel ihrer Machtfantasien. Macbeth gibt die Morde in Auftrag.
Banco ahnt Unheilvolles. Er warnt seinen Sohn Fleance. Banco wird ermordet, aber Fleance gelingt die Flucht.
Der neue König Macbeth gibt ein Fest, und Lady Macbeth stimmt ein Trinklied an. Macbeth sieht mitten im fröhlichen Treiben plötzlich Bancos Geist vor sich.
Lady Macbeth verhöhnt ihren Ehemann als Feigling. Macbeth beschliesst noch einmal die Hexen zu befragen, um etwas über seine Zukunft in Erfahrung zu bringen. Macduff durchschaut, dass die Macht des neuen Königs auf verbreche­rischen Taten gründet und flieht. Die Menschen sind entsetzt von Macbeths Wahn. Sie ahnen, dass aus dem Land eine Mördergrube geworden ist.

Dritter Akt
Macbeth hört erneut die Stimmen der Hexen. Sie beschwören finstere Mächte herauf. Diese warnen ihn vor Macduff, versichern ihm, dass ihm keiner gefährlich werden könne, der von einer Frau geboren worden sei, und dass er unbesiegbar bleibe, bis sich der Wald von Birnam bewege. In einer Vision sieht Macbeth eine Prozession von Königen vorbeiziehen, in denen er Bancos Nachkommen erkennt.
Macbeth erzählt Lady Macbeth von seinen Visionen. Die beiden steigern sich in einen Rausch des Hasses auf den vermeintlichen Rivalen Macduff und fassen den Beschluss, ihn und alle seine Nachkommen zu töten.

Vierter Akt
Die Menschen beklagen die Demütigung des geknechteten Vaterlandes.
Macduff denkt immerzu an seine ermordete Familie, die ebenfalls von Macbeth getötet wurde. Er will dem Tyrannen entgegentreten und Vergeltung für die grausame Tat üben.
Gemeinsam mit Duncans Sohn Malcolm setzt sich Macduff an die Spitze des Widerstandes. Mit Ästen aus dem Wald von Birnam als Tarnung ziehen sie mit ihrem Heer gegen Macbeth.
Lady Macbeth schlafwandelt. Sie sieht Blutflecke an ihren Händen, die auch durch unentwegtes Säubern nicht wegzukriegen sind.
Macbeth ahnt, dass die Nachwelt ihn verdammen wird. Die Nachricht vom Tod seiner Gattin lässt ihn gleichgültig.
Macduff tritt Macbeth entgegen und sagt ihm, dass er nicht auf natürlichem Wege geboren, sondern aus dem Leib seiner Mutter geschnitten wurde.
Macbeth unterliegt im Kampf gegen die Aufständischen. Er sieht sich am Ende seiner Mörder-Existenz: «Der Blitz der Rache fällt auf mich Verdammten. Ich sterbe im Zorn mit dem Himmel und der Erde.»
Malcolm wird als neuer König gefeiert.