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KunstBio sæson 2019-2020



Velkommen til OPERA/KONCERT- og BALLET BIO i Baltoppen Bio: KUNSTBIO SÆSON nr. 4 2019-2020







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Baltoppen Bio
Biografdirektør og musikelsker
Jan Boye Thomsen


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Billetsalg starter 15. juni.



søndag 29. september

Rigoletto on the Lake


K

    søndag 29. september

    2t 30min

    Ikke vurderet

    Rigoletto on the Lake

    12:00
    K - Sal 2
    VÆLG SPILLETIDSPUNKT
    K
    Giuseppe Verdi’s masterpiece – compelling, blood-curdling and beautiful – is being performed for the first time on the unique, Bregenz lake stage. Once of Verdi's most popular works, Rigoletto is an unforgettable tale of a sacrifice and revenge; of a father's rage and a daughter's shame. It features several of opera's best-known arias-including Rigoletto's passionate denouncement 'Cortigiani, vil razza dannata,' Gilda's dreamy 'Caro nome' and the Duke's instantly recognisable 'La donna è mobile.' Directed and designed by Philip Stölzl, this timeless tragedy will delight audiences with a powerhouse combination of entertainment and emotional intensity from the spectacular shore of Lake Constance.
    Biografpremiere: Tirsdag 17. september
    Instruktion: Wiener Symphoniker
    Skuespillere: Få cast på dagen
    Spilletid: 02:30
    Censur: Ikke vurderet

    søndag 13. oktober

    ROH 2019: Don Giovanni


    K

      søndag 13. oktober

      3t 30min

      Ikke vurderet

      ROH 2019: Don Giovanni

      12:00
      K - Sal 2
      VÆLG SPILLETIDSPUNKT
      K
      The impulsive, charismatic Don Giovanni is a serial seducer, accompanied by his long-suffering servant Leporello. But when Don Giovanni commits murder, he unleashes a dark power beyond his control.

      Don Giovanni continues to seduce and betray with his usual rapacity. Haunted by the ghost of the murdered man, he decides to invite him to dinner. The ghost urges him to repent – but Don Giovanni refuses.
      Biografpremiere: Tirsdag 8. oktober
      Instruktion: Dirigent: Hartmut Haenchen
      Skuespillere: Erwin Schrott, Roberto Tagliavini, Malin Bystrom, Christine Rice, m.fl.
      Spilletid: 03:30
      Censur: Ikke vurderet

      søndag 20. oktober

      Placido Domingo: 50th Anniversary Concert


      K

        søndag 20. oktober

        2t 30min

        Ikke vurderet

        Placido Domingo: 50th Anniversary Concert

        12:00
        K - Sal 2
        VÆLG SPILLETIDSPUNKT
        K
        For one very special night, the legendary Plácido Domingo returns to the breath-taking Arena Di Verona amphitheatre, 50 years after his debut, to revisit three of his greatest ever roles.
        Biografpremiere: Tirsdag 1. oktober
        Instruktion: Special Night
        Skuespillere: Placido Domingo
        Spilletid: 02:30
        Censur: Ikke vurderet

        søndag 3. november

        ROH 2019: Don Pasquale


        K

          søndag 3. november

          2t 30min

          Ikke vurderet

          ROH 2019: Don Pasquale

          12:00
          K - Sal 2
          VÆLG SPILLETIDSPUNKT
          K
          Don Pasquale, a wealthy old bachelor, is outraged when he hears his nephew Ernesto intends to marry the impoverished widow Norina. He determines to marry himself and disinherit Ernesto. Ernesto and Norina despair, but their friend Doctor Malatesta promises to help them – and teach Pasquale a lesson. Malatesta persuades Norina to disguise herself as his sister, then presents her to Don Pasquale as a potential bride. Pasquale is so delighted with the young woman’s docile behaviour that he demands they marry at once.

          The marriage takes place – witnessed by a fake notary – after which the young bride becomes utterly overbearing and unpleasant, tormenting her ‘husband’. When Pasquale discovers a note from his ‘wife’ arranging a rendezvous with a lover, he determines to confront her and end his misery. The conspirators are now set to reveal their trickery, but will Don Pasquale forgive them?
          Biografpremiere: Torsdag 24. oktober
          Instruktion: Dirigent: Evelino Pido
          Skuespillere: Bryn Terfel, Olga Peretyatko, Ioan Hotea, Mariusz Kwiecien
          Spilletid: 02:30
          Censur: Ikke vurderet

          søndag 17. november

          The Met 2019: Turandot


          K

            søndag 17. november

            3t 30min

            Ikke vurderet

            The Met 2019: Turandot

            12:00
            K - Sal 2
            VÆLG SPILLETIDSPUNKT
            K
            ACT I
            Peking, in the mythic past. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to him, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful silence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. The three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor.


            ACT II
            Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality.

            In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded. Turandot arrives. She recounts the story of her beautiful ancestor, Princess Lou-Ling, who was abducted and killed by a conquering prince. In revenge, Turandot has turned against men and determined that none shall ever possess her. Trumpets then herald the beginning of the riddles. Turandot poses her first question to Calàf: What is born each night and dies each dawn? “Hope,” Calàf answers correctly. Turandot continues: What flickers red and warm like a flame, yet is not a flame? “Blood,” Calàf replies after a moment’s thought. Shaken, Turandot delivers the third riddle: What is like ice but burns, and if it accepts you as a slave, makes you a king? Tense silence prevails until Calàf triumphantly cries “Turandot!” The crowd erupts in joy, and the princess vainly begs her father not to give her to the stranger. Hoping to win her love, Calàf offers Turandot a challenge of his own: If she can learn his name by dawn, he will forfeit his life.


            ACT III
            At night in the Imperial Gardens, Calàf hears a proclamation: On pain of death, no one in Peking shall sleep until Turandot learns the stranger’s name. Calàf is certain of his victory, but Ping, Pang, and Pong try to bribe him to leave the city. As the fearful mob threatens him to learn his name, soldiers drag in Liù and Timur. Calàf tries to convince the crowd that neither of them knows his secret. When Turandot appears, commanding Timur to speak, Liù replies that she alone knows the stranger’s identity and will never reveal it. Soldiers torture her, but she remains silent. Impressed by her fortitude, Turandot asks what gives Liù the strength to resist. It is love, she replies. When the torture intensifies, Liù tells Turandot that she, too, will know the joys of love. Then she snatches a dagger and kills herself. The crowd forms a funeral procession, and Timur follows as they take away her body. Turandot remains alone to confront Calàf, who impetuously kisses her. Knowing emotion for the first time, Turandot weeps. Calàf, now sure of winning her, reveals his identity.

            Once again before the emperor’s throne, Turandot declares she knows the stranger’s name: It is Love.
            Biografpremiere: Lørdag 12. oktober
            Instruktion: Dirigent: Yannick Nezet-Seguin
            Skuespillere: Roberto Aronica, Marco Berti, Eleonora Burrato, Hibla Gerzmava og James Morris
            Spilletid: 03:30
            Censur: Ikke vurderet

            søndag 24. november

            ROH 2019: Concerto - Enigma Variations - Raymonda Act III


            K

              søndag 24. november

              3t 00min

              Ikke vurderet

              ROH 2019: Concerto - Enigma Variations - Raymonda Act III

              12:00
              K - Sal 2
              VÆLG SPILLETIDSPUNKT
              K
              From The Royal Ballet’s classical origins in the works of Petipa, to the home-grown choreographers who put British ballet on the world stage, this mixed programme highlights the versatility of the Company. Petipa’s Raymonda Act III is Russian classical ballet summarized in one act, full of sparkle and precise technique, while Ashton’s Enigma Variations is quintessentially British in every way – from its score by Elgar and period designs by Julia Trevelyan Oman, to Ashton’s signature style, the essence of British ballet. Concerto, MacMillan’s fusion of classical technique with a contemporary mind, completes a programme that shows the breadth of the Company’s heritage.
              Biografpremiere: Tirsdag 5. november
              Instruktion: Koreografi: Kenneth MacMillan, Frederick Ashton, Rudolf Nureyev, Marius Petipa
              Skuespillere: Danser: Anna Rose O'Sullivan, James Hay, Yasmine Naghdi, m.fl.
              Spilletid: 03:00
              Censur: Ikke vurderet

              søndag 1. december

              The Met 2019: Manon


              K

                søndag 1. december

                4t 12min

                Ikke vurderet

                The Met 2019: Manon

                12:00
                K - Sal 2
                VÆLG SPILLETIDSPUNKT
                K
                ACT I

                The noblemen de Brétigny and Guillot de Morfontaine are having dinner with three young women—Poussette, Javotte, and Rosette—at an inn in Amiens. People gather for the arrival of the coach to Paris, among them Lescaut. He is waiting for his young cousin Manon, who is on her way to enter a convent. The coach arrives and Manon expresses her exuberant joy about her first journey away from home. Enchanted by her, Guillot offers to take Manon to Paris, but she and his companions laugh at him. Lescaut reproaches Manon for her behavior, which could shame their family. Manon gazes with envy at the elegant clothes of the other girls. The young Chevalier des Grieux arrives too late to catch the coach, which has already left for Paris. He falls in love with Manon at first sight, and when she tells him that it is her fondness for pleasure that has led her family to send her to a convent, he is determined to rescue her from such a fate. They escape together in Guillot’s coach. The returning Lescaut furiously accuses Guillot of having kidnapped his cousin, but then learns from the innkeeper that Manon went off with a young man. Guillot, mocked by everyone, swears revenge on the eloping couple.

                ACT II

                In their apartment in Paris, des Grieux writes to his father for permission to marry Manon. The maid announces visitors: Lescaut and another man, who, she warns Manon, is de Brétigny in disguise. Lescaut, using the argument of family honor offended, berates des Grieux for having abducted Manon. In fact he is trying to profit by setting her up with de Brétigny. Des Grieux, to prove his honorable intentions, produces his letter. Meanwhile, de Brétigny tells Manon that des

                Grieux’s father is planning to kidnap his own son that evening; if she does nothing to prevent it and instead comes to live with de Brétigny, she can have wealth and luxury. After Lescaut and de Brétigny have left, des Grieux goes out to post his letter. Manon realizes she is unable to resist de Brétigny’s offer and bids farewell to her life with des Grieux. Des Grieux returns to find her weeping, but she will not tell him why. He talks of his dream of an idyllic future together in the country. When there’s a knock on the door Manon begs him not to answer it, but he goes. Looking out the window, she sees him being abducted.

                ACT III

                On a public holiday, a crowd has gathered at the Cours-la-Reine. Manon, now living with de Brétigny and the toast of Paris, praises the pleasures of her luxurious existence. Overhearing a conversation between de Brétigny and the Count des Grieux, she learns that the count’s son, following an unhappy love affair, is about to become a priest and will preach later that day at the seminary of St. Sulpice. Manon doesn’t believe that des Grieux could have forgotten her and leaves the festivities to find him.

                At St. Sulpice, des Grieux has attracted much admiration for his sermon. The count tries to dissuade his son from entering the priesthood in favor of marriage. Des Grieux is adamant but realizes that he can’t forget Manon. When she appears he angrily confronts her. She admits her guilt but begs him to forgive her and to remember their past love. Des Grieux yields to his feelings and renounces his vows.

                ACT IV

                Gamblers are gathered at the Hôtel de Transylvanie, among them Guillot and Lescaut. Manon and des Grieux arrive, and she reminds him that his fortune has nearly run out. He accepts Guillot’s challenge to play. Manon, Poussette, Javotte, and Rosette consider what money might bring them. Des Grieux wins heavily and Guillot accuses him of cheating, threatening to inform the count. The police arrive and des Grieux is arrested. The count assures his son that he will be released soon. Manon, as his accomplice, is taken away to prison.

                ACT V

                Des Grieux and Lescaut have come up with a plan to rescue Manon, who has been sentenced to deportation to America, but their paid accomplices have deserted them. Lescaut manages to bribe the guards and leaves Manon and des Grieux alone together. Ill and exhausted, she begs des Grieux to forgive her for the shame she has brought him. While she recalls their past, he only thinks of their future together. But the rescue has come too late. As des Grieux assures her of his forgiveness and love, Manon dies in his arms.
                Biografpremiere: Lørdag 26. oktober
                Instruktion: Dirigent: Maurizio Benini
                Skuespillere: Lisette Oropesa, Michael Fabiano.
                Spilletid: 04:12
                Censur: Ikke vurderet

                søndag 15. december

                ROH 2019: Coppelia


                K

                  søndag 15. december

                  2t 30min

                  Ikke vurderet

                  ROH 2019: Coppelia

                  12:00
                  K - Sal 2
                  VÆLG SPILLETIDSPUNKT
                  K
                  Toy maker Dr Coppélius seems to have a beautiful young woman in his house: Coppélia, who sits and reads on his balcony. Franz and his fellow young villagers are curious about her and how she ignores them all. Franz’s fiancée Swanilda is not pleased by Franz’s interest in another woman, but equally curious. When Dr Coppélius goes to the local tavern, the young villagers slip into his house to introduce themselves to the strangely silent young woman.

                  In the house, they are astonished by several mechanical dolls, including Coppélia. Coppélius returns and throws them all out – except Swanilda, who hides and takes Coppélia’s place. When Franz climbs in through a window, Coppélius drugs him and attempts through magic to put his lifeforce into the mechanical Coppélia. Swanilda is able to trick him into believing his spell has worked. In the inevitable happy ending, Coppélius is placated, and Swanilda happily united with Franz as the villagers celebrate their new town bell.
                  Biografpremiere: Tirsdag 10. december
                  Instruktion: Koreografi: Ninette de Valois, Lev Ivanov, Enrico Cecchetti
                  Skuespillere: Danser: Nunez, Vadim Muntagirov, Gary Avis
                  Spilletid: 02:30
                  Censur: Ikke vurderet

                  søndag 22. december

                  ROH 2019: The Nutcracker


                  K

                    søndag 22. december

                    2t 15min

                    Ikke vurderet

                    ROH 2019: The Nutcracker

                    12:00
                    K - Sal 2
                    VÆLG SPILLETIDSPUNKT
                    K
                    Clara is given an enchanted Nutcracker doll on Christmas Eve. As midnight strikes, she creeps downstairs to find a magical adventure awaiting her and her Nutcracker.

                    The magician Drosselmeyer transforms the drawing room for a battle between mice and toy soldiers. During the battle, Clara saves the Nutcracker's life - so breaking a magical spell that turned him from a boy to a toy - and the Mouse King is defeated. In celebration, Drosselmeyer sweeps Clara and the Nutcracker off to the Kingdom of Sweets, where they meet the Sugar Plum Fairy and take part in a wonderful display of dances. The next morning, Clara's adventures seem to have been more than just a dream.
                    Biografpremiere: Tirsdag 17. december
                    Instruktion: Koreografi: Peter Wright, Lev Ivanov
                    Skuespillere: Danser: Lauren Cuthbertson, Federico Bonelli, Francesca Hayward, m.fl.
                    Spilletid: 02:15
                    Censur: Ikke vurderet

                    søndag 29. december

                    The Met 2019: Madama Butterfly


                    K

                      søndag 29. december

                      3t 30min

                      Ikke vurderet

                      The Met 2019: Madama Butterfly

                      12:00
                      K - Sal 2
                      VÆLG SPILLETIDSPUNKT
                      K
                      ACT I

                      Japan, at the turn of the 20th century. Lieutenant Benjamin Franklin Pinkerton of the U.S. Navy inspects a house overlooking Nagasaki harbor that he is leasing from Goro, a marriage broker. The house comes with three servants and a geisha wife named Cio-Cio-San, known as Madam Butterfly. The lease runs for 999 years, subject to monthly renewal. The American consul Sharpless arrives breathless from climbing the hill. Pinkerton describes his philosophy of the fearless Yankee roaming the world in search of experience and pleasure. He is not sure whether his feelings for the young girl are love or a whim, but he intends to go through with the marriage ceremony. Sharpless warns him that the girl may view the marriage differently, but Pinkerton brushes off such concerns and says someday he will take a real, American wife. He offers the consul whiskey and proposes a toast. Butterfly arrives with her friends for the ceremony. In casual conversation after the formal introduction, Butterfly admits her age, 15, and explains that her family was once prominent but lost its position, and she has had to earn her living as a geisha. Her relatives arrive and chatter about the marriage. Cio-Cio-San shows Pinkerton her few possessions and quietly tells him that she has been to the Christian mission and will embrace her husband’s religion. The Imperial Commissioner reads the marriage agreement, and the relatives congratulate the couple. Suddenly, a threatening voice is heard from afar—it is the Bonze, Butterfly’s uncle, a priest. He curses the girl for going to the mission and rejecting her ancestral religion. Pinkerton orders them to leave, and as they go, the Bonze and the shocked relatives denounce Cio-Cio-San. Pinkerton tries to console Butterfly with sweet words. Suzuki helps her into her wedding kimono before the couple meets in the garden, where they make love.

                      ACT II

                      Three years have passed, and Cio-Cio-San awaits her husband’s return at her home. Suzuki prays to the gods for help, but Butterfly berates her for believing in lazy Japanese gods rather than in Pinkerton’s promise to return one day. Sharpless appears with a letter from Pinkerton, but before he can read it to Butterfly, Goro arrives with the latest suitor, the wealthy Prince Yamadori. Butterfly politely serves the guests tea but insists she is not available for marriage—her American husband has not deserted her. She dismisses Goro and Yamadori. Sharpless attempts to read Pinkerton’s letter and suggests that perhaps Butterfly should reconsider Yamadori’s offer. In response, she presents the consul with the young son she has had by Pinkerton. She says that his name is “Sorrow,” but when his father returns, he will be called “Joy.” Sharpless is too upset to tell her more of the letter’s contents. He leaves, promising to tell Pinkerton of the child. A cannon shot in the harbor announces the arrival of a ship. Butterfly and Suzuki take a telescope to the terrace and read the name of the vessel—it is Pinkerton’s. Overjoyed, Butterfly joins Suzuki in decorating the house with flowers from the garden. Night falls, and Butterfly, Suzuki, and the child settle into a vigil watching over the harbor.

                      ACT III

                      Dawn breaks, and Suzuki insists that Butterfly get some sleep. Butterfly carries the child into the house. Sharpless appears with Pinkerton and Kate, Pinkerton’s new wife. Suzuki realizes who the American woman is and agrees to help break the news to Butterfly. Pinkerton is overcome with guilt and runs from the scene, pausing to remember his days in the little house. Cio-Cio-San rushes in hoping to find Pinkerton, but sees Kate instead. Grasping the situation, she agrees to give up her son but insists Pinkerton return for him. Dismissing everyone, Butterfly takes out the dagger with which her father committed suicide, choosing to die with honor rather than live in shame. She is interrupted momentarily when the child comes in, but Butterfly says goodbye and blindfolds him. She stabs herself as Pinkerton arrives, calling out for her.
                      Biografpremiere: Lørdag 9. november
                      Instruktion: Dirigent: Pier Giorgio Morandi
                      Skuespillere: Hui He, Ana Maria Matinez, Piero Pretti, Andrea Care, Placido Domingo.
                      Spilletid: 03:30
                      Censur: Ikke vurderet

                      søndag 19. januar

                      The Met 2019: Akhnaten


                      K

                        søndag 19. januar

                        4t 00min

                        Ikke vurderet

                        The Met 2019: Akhnaten

                        12:00
                        K - Sal 2
                        VÆLG SPILLETIDSPUNKT
                        K
                        ACT I
                        Year 1 of Akhnaten’s reign. Thebes.

                        Funeral of Amenhotep III
                        The opera begins with the death of Amenhotep III. We see him first revealed both as a corpse and as a ghostly figure, reciting words taken from the Egyptian Book of the Dead. During the ceremony, we see a sacred ritual performed in which the body’s organs are carefully taken out and placed into canopic jars and the body is wrapped and embalmed. A ceremony takes place that represents a ritual occurring in the Book of the Dead, in which the pharaoh’s heart is weighed against a feather; if his heart is as light as this, it will ensure that Amenhotep will travel through into the afterlife.

                        Coronation of Akhnaten
                        The figure of Amenhotep’s son steps forward and the coronation ceremony begins. The new pharaoh is dressed in sacred robes, and the crowns representing Upper and Lower Egypt are brought together to symbolize Amenhotep IV’s power over all of Egypt. Once he is crowned, the new pharaoh rises up the stairs to make his first pronouncement.

                        The Window of Appearances
                        At the Window of Appearances, the pharaoh reveals his intentions to form a monotheistic religion. He changes his name from Amenhotep IV, meaning “spirit of Amon,” to Akhnaten, meaning “spirit of Aten.” Aten, the sun god, is glorified by Akhnaten, his wife Nefertiti, and Queen Tye, his mother. As the trio makes their pronouncement at the window, the sun rises behind them.

                        ACT II
                        Years 5 to 15. Thebes and Akhetaten.

                        The Temple
                        Akhnaten and Queen Tye begin to make the changes that he has promised. He leads a revolt to banish the old religion and replace it with his own. Akhnaten enters the temple and finds the priests performing the old religious rituals. Akhnaten banishes them and forms the new order of Aten.

                        Akhnaten and Nefertiti
                        Akhnaten and Nefertiti affirms their love for each other.

                        The City
                        The site for a new city is chosen carefully. The new city of Akhetaten—“The City of the Horizon of Aten”—is built in praise of the new religion.

                        Hymn
                        Akhnaten sings a private prayer to his god. His vision of a new religion and a new society is complete.

                        ACT III
                        Year 17 and the present. Akhetaten.

                        The Family
                        Akhnaten and Nefertiti dwell in an insular world of their own creation with their six daughters. Meanwhile, Queen Tye is uneasy. She senses unrest beyond the city’s walls. Crowds gather outside the gates, and letters arrive expressing increasing concern about Akhnaten’s self-imposed isolation.

                        Attack and Fall
                        The priests of Amon emerge from the gathering crowds and break through the palace doors. The daughters try to escape and are drawn away from Akhnaten and into the swelling mass. Queen Tye and Nefertiti are also separated from Akhnaten, who is finally killed.

                        The Ruins
                        Akhnaten’s father mourns his son’s death. Meanwhile, the new pharaoh, the young Tutankhamun, is crowned in a ceremony similar to that of his father, and the old polytheistic religion is restored.

                        Intercutting this ceremony, a group of modern-day students is listening to a lecture given by a professor.

                        Epilogue
                        The ghosts of Akhnaten, Nefertiti, and Queen Tye are heard from the ancient world once again.
                        Biografpremiere: Lørdag 23. november
                        Instruktion: Dirigent: Karen Kamensek
                        Skuespillere: Anthony Roth Costanzo, J'Nai Bridges.
                        Spilletid: 04:00
                        Censur: Ikke vurderet

                        søndag 26. januar

                        ROH 2020: The Sleeping Beauty


                        K

                          søndag 26. januar

                          3t 00min

                          Ikke vurderet

                          ROH 2020: The Sleeping Beauty

                          12:00
                          K - Sal 2
                          VÆLG SPILLETIDSPUNKT
                          K
                          The wicked fairy Carabosse is furious she wasn’t invited to Princess Aurora’s christening. She gives the baby a spindle, saying that one day the Princess will prick her finger on it and die. The Lilac Fairy makes her own christening gift a softening of Carabosse’s curse: Aurora will not die, but will fall into a deep sleep, which only a prince’s kiss will break.

                          On her 16th birthday, Aurora discovers the spindle and pricks her finger. She falls into an enchanted sleep, and the whole palace sleeps with her. One hundred years later, Prince Florimund discovers the palace, hidden deep within a great, dark forest. He wakes Aurora with a kiss.
                          Biografpremiere: Torsdag 16. januar
                          Instruktion: Koreografi: Marius Petipa
                          Skuespillere: Danser: Lauren Cuthbertson, Federico Bonelli, m.fl.
                          Spilletid: 03:00
                          Censur: Ikke vurderet

                          søndag 16. februar

                          ROH 2020: La boheme


                          K

                            søndag 16. februar

                            2t 35min

                            Ikke vurderet

                            ROH 2020: La boheme

                            12:00
                            K - Sal 2
                            VÆLG SPILLETIDSPUNKT
                            K
                            When Rodolfo, a penniless poet, meets Mimì, a seamstress, they fall instantly in love. But their happiness is threatened when Rodolfo learns that Mimì is gravely ill.

                            Rodolfo is painfully aware that he cannot afford the medicine and care Mimì needs, and so separates from her. As her sickness takes hold Mimì returns to Rodolfo’s garret. They are joyfully reunited – but, despite the care of Rodolfo and his friends, Mimì dies.
                            Biografpremiere: Onsdag 29. januar
                            Instruktion: Dirigent: Emmanuel Villaume
                            Skuespillere: Sonya Yoncheva, Charles Castronovo, Andrzej Filonczyk, m.fl.
                            Spilletid: 02:35
                            Censur: Ikke vurderet

                            søndag 23. februar

                            The Met 2020: Wozzeck


                            K

                              søndag 23. februar

                              2t 00min

                              Ikke vurderet

                              The Met 2020: Wozzeck

                              12:00
                              K - Sal 2
                              VÆLG SPILLETIDSPUNKT
                              K
                              ACT I

                              The soldier Wozzeck is shaving the Captain. The officer urges him to work more slowly, then tells him that he is a good man but lacks morality because he has an illegitimate child. Wozzeck replies that virtue is a luxury not meant for the poor.

                              Wozzeck and a fellow soldier, Andres, are cutting firewood in the fields. Wozzeck is frightened by visions: he hears noises and imagines the sinking sun as a fire setting the earth aflame. Then suddenly all is quiet.

                              Marie, the mother of Wozzeck’s child, and her neighbor Margret watch a military band pass by outside their window. Marie admires the handsome Drum Major and Margret mocks her. Alone with her young son, Marie sings him a lullaby. Wozzeck arrives and tells her about his visions, which he sees as an omen of evil things to come. Marie tries to comfort him, but he rushes off to the barracks without looking at his son. Overwhelmed by her own fears, Marie runs out of the room, leaving the child.

                              Wozzeck visits the Doctor, who pays him for use in his pseudo-scientific research. Full of self-delusion about making a grand scientific discovery, the Doctor asks Wozzeck about his diet. Wozzeck again brings up his visions, which the doctor dismisses as mere imagination.

                              On the street before her door, the Drum Major makes advances toward Marie.

                              She resists at first, then gives in to him.

                              ACT II

                              Marie is admiring the earrings the Drum Major has given her. When Wozzeck enters, she tries to hide them, then claims she found them in the street. Wozzeck is suspicious. He gives her the money he has earned and leaves. Marie is overwhelmed by remorse.

                              The Captain and the Doctor meet in the street and talk morbidly of sickness and death. When Wozzeck passes by, they taunt him with allusions to Marie’s infidelity. Shocked, Wozzeck asks them not to make fun of the one thing in the world that is his. Then he rushes off.

                              Wozzeck confronts Marie with his suspicions and tries to force her to confess. He

                              is about to hit her but she remains defiant, telling him that she’d rather have a knife in her belly than his hand on her.

                              Two drunken apprentices amuse the crowd in a beer garden. Wozzeck enters and sees Marie and the Drum Major on the dance floor. A fool approaches Wozzeck and tells him he smells blood. Wozzeck has a vision of people waltzing while covered with blood.

                              The same evening in the barracks, Wozzeck wakes to nightmarish memories of what happened in the beer garden. The Drum Major enters, drunk, and boasts about his conquest. The two men fight and Wozzeck is knocked down.

                              ACT III

                              Alone with her child, Marie reads from the Bible, first about the adulteress who was forgiven, then about Mary Magdalene. She begs God for mercy.

                              Marie and Wozzeck are walking together near a pond. Marie wants to hurry back to town, but Wozzeck makes her sit with him. He kisses her and makes ironic remarks about her fidelity. When she attempts to escape, he draws a knife and kills her.

                              Wozzeck is drinking in a tavern, shouting wildly, and dancing with Margret. When she notices blood on his arm, he is unable to explain where it has come from and rushes out.

                              At the pond, Wozzeck searches for the knife and throws it into the water. Suddenly he imagines that the moon will reveal his crime. He wades farther into the water to hide the knife in a safer place and to wash the blood off his hands. The Doctor and Captain, passing by, hear him drown.

                              Neighbor children playing in the street tell Marie’s son that his mother is dead. He does not understand and keeps singing and playing.
                              Biografpremiere: Lørdag 11. januar
                              Instruktion: Dirigent: Yannick Nezet-Seguin
                              Skuespillere: Peter Mattei, Elza van den Heever, Christopher Ventris.
                              Spilletid: 02:00
                              Censur: Ikke vurderet

                              søndag 8. marts

                              The Met 2020: Porgy and Bess


                              K

                                søndag 8. marts

                                3t 40min

                                Ikke vurderet

                                The Met 2020: Porgy and Bess

                                12:00
                                K - Sal 2
                                VÆLG SPILLETIDSPUNKT
                                K
                                ACT I

                                Catfish Row, a tenement neighborhood of Charleston, South Carolina, in the 1920s. The inhabitants of Catfish Row are relaxing after a day’s work. Clara sings a lullaby to her baby. The drug-dealer Sportin’ Life, Clara’s husband Jake, and some of the other men are playing craps under the disapproving eye of the religious Serena. Jake sings a lullaby of his own to the baby.

                                The disabled beggar Porgy arrives and is about to join the game when Crown and his partner Bess appear. The loudmouthed Crown joins the dice game. Drunk and high on drugs, he loses, starts a fight, and kills Robbins with a cotton hook. Before the police arrive, Crown runs off to hide, telling Bess that he’ll be back for her. The community shuns Bess as they await the arrival of the police. Sportin’ Life offers to take her to New York with him, but she refuses. Only Porgy is sympathetic to her: He offers her shelter and his protection, which she accepts.

                                In her room the following evening, Robbins’s widow Serena leads the mourners at her husband’s funeral. A collection is being taken to meet the cost of the burial. Porgy and Bess enter, and Bess offers Serena a contribution which at first she refuses thinking it must be Crown’s money. She finally accepts is when it is explained that it is Porgy’s.

                                The police officers arrive and accuse Peter the Honeyman of the murder. Fearing what might happen, he tells them that Crown was responsible but is himself promptly arrested as a material witness.

                                Serena convinces the undertaker to bury Robbins for less than his usual fee. Bess leads everyone in an exultant spiritual.

                                A month later, Jake and the other fishermen are mending their nets. Porgy compares his life to theirs. Sportin’ Life enters, but before he has an opportunity to peddle any of his “happy dust,” Maria, the matriarch of Catfish Row, chases him away. “Lawyer” Frazier sells Bess a divorce, even though she and Crown were never married.

                                Everyone is preparing to leave for a church picnic on Kittiwah Island. Sportin’ Life asks Bess again to come to New York with him and tries to give her more dope, which she refuses. Porgy threatens him and chases him off. He and Bess reflect on their newfound happiness. Porgy insists that Bess should go to the picnic without him. At first, she refuses, not wanting to leave him alone, but eventually, she yields to his persuasion and joins the others as they set off.

                                On Kittiwah Island, the evening of the same day, Sportin’ Life describes his own cynical view of religion to some of the revelers, until Serena chastises them for being taken in by his stories. The steamboat whistle announces that its time to leave, and everyone starts to pack up their belongings. Bess hurries along until Crown, who has been hiding on the island since the Robbins murder, calls out to her. He wants Bess to come with him, but she explains that she now has a new life with Porgy. Crown forces her to stay with him.

                                ACT II

                                In Catfish Row, at dawn a week later, fishermen leave for a day’s work at sea despite a storm warning. Bess is heard talking deliriously from Porgy’s room. She has been feverish and ill since returning from Kittiwah Island. Peter, released from police custody that morning, advises Porgy to take her to hospital, but Serena would rather pray for her recovery. Her prayers are answered: Bess emerges into the courtyard, free of the fever. She explains to Porgy that she wants to stay with him but that when Crown returns, she’ll be forced to go back to him. Porgy tells her that she doesn’t have to go with Crown, and he and Bess reaffirm their love for each other. The wind begins to rise and the hurricane bell sounds.

                                At dawn the following day, everyone cowers together in Serena’s room, and they pray for deliverance from the storm. Suddenly, there’s a knock at the door: It’s Crown seeking shelter and looking for Bess. She won’t go with him, insisting that she belongs to Porgy alone. He mocks Porgy and the frightened townspeople and counteracts their prayers for deliverance with a vulgar song. At the storm’s height, Clara sees Jake’s boat has overturned and rushes out to save her husband. Bess calls for one of the men to go after her. Crown is the only one to respond.

                                In Catfish Row the following night, the storm has passed. The women grieve for those who have been lost, including Jake, Clara and, it is assumed, Crown. Sportin’ Life appears, mocks their weeping, and hints that Crown is still alive. Bess is seen at a window lulling Clara’s baby to sleep. Under the cover of darkness, Crown steals in and approaches Porgy’s door. But Porgy is ready for him, strikes the first blow, and kills him.

                                The next afternoon, the detective returns to Catfish Row, accompanied by the coroner. They are investigating Crown’s murder, but their questioning of Serena and two other women draws a blank. They go to Porgy’s room and tell him he must come with them and identify Crown’s body. Horrified that he must look at Crown’s face, Porgy refuses to go and has to be dragged off.

                                Taking advantage of Porgy’s absence, Sportin’ Life tries to convince Bess that Porgy will be locked up for certain, and he attempts to lure her away to a new life. When Bess spurns him, he forces some dope on her and leaves more outside her door as he leaves.

                                A week later, the inhabitants of Catfish Row greet each other at the beginning of another day. Porgy returns from jail in jubilant mood: He distributes gifts that he has bought with money he won playing games of crap in jail. He is unaware of his friends’ discomfort as he calls out for Bess. Eventually, Serena and Maria tell him that Bess has gone to New York with Sportin’ Life. Hearing this, Porgy decides to follow her: He cannot live without Bess.
                                Biografpremiere: Lørdag 1. februar
                                Instruktion: Dirigent: David Robertson
                                Skuespillere: Eric Owens, Angel Blue
                                Spilletid: 03:40
                                Censur: Ikke vurderet

                                søndag 15. marts

                                ROH 2020: New Marston - New Scarlett


                                K

                                  søndag 15. marts

                                  3t 00min

                                  Ikke vurderet

                                  ROH 2020: New Marston - New Scarlett

                                  12:00
                                  K - Sal 2
                                  VÆLG SPILLETIDSPUNKT
                                  K
                                  Cathy Marston is previously an Associate Artist of the Royal Opera House and Director of Bern Ballett, and much in demand internationally. The inspiration for her first work for The Royal Ballet Main Stage is the momentous life and career of the cellist Jacqueline du Pré.

                                  A new work by Liam Scarlett, The Royal Ballet’s Artist in Residence, provides the second part of the programme.
                                  Biografpremiere: Tirsdag 25. februar
                                  Instruktion: Koreografi: Cathy Marston, Liam Scarlett
                                  Skuespillere: Danser: TBA
                                  Spilletid: 03:00
                                  Censur: Ikke vurderet

                                  søndag 22. marts

                                  ROH 2020: Fidelio


                                  K

                                    søndag 22. marts

                                    2t 30min

                                    Ikke vurderet

                                    ROH 2020: Fidelio

                                    12:00
                                    K - Sal 2
                                    VÆLG SPILLETIDSPUNKT
                                    K
                                    Beethovens only opera is a masterpiece, an uplifting story of risk and triumph. In this new production, conducted by Antonio Pappano, Jonas Kaufmann plays the political prisoner Florestan, and Lise Davidsen his wife Leonore (disguised as Fidelio) who daringly sets out to rescue him. Set in strong counterpoint are the ingredients of domestic intrigue, determined love and the cruelty of an oppressive regime. The music is transcendent throughout and includes the famous Act I Quartet, the Prisoners’ Chorus and Florestan’s impassioned Act II cry in the darkness and vision of hope. Tobias Kratzer’s new staging brings together the dark reality of the French Revolutionary ‘Terror’ and our own time to illuminate Fidelios inspiring message of shared humanity.
                                    Biografpremiere: Tirsdag 17. marts
                                    Instruktion: Dirigent: Antonio Pappano
                                    Skuespillere: Lise Davidsen, Jonas Kaufmann, Georg Zeppenfeld, Simon Neal, m.fl.
                                    Spilletid: 02:30
                                    Censur: Ikke vurderet

                                    søndag 5. april

                                    ROH 2020: Swan Lake


                                    K

                                      søndag 5. april

                                      2t 55min

                                      Ikke vurderet

                                      ROH 2020: Swan Lake

                                      12:00
                                      K - Sal 2
                                      VÆLG SPILLETIDSPUNKT
                                      K
                                      Prince Siegfried chances upon a flock of swans while out hunting. When one of the swans turns into a beautiful woman, Odette, he is enraptured. But she is under a spell that holds her captive, allowing her to regain her human form only at night.

                                      The evil spirit Von Rothbart, arbiter of Odette’s curse, disguises his daughter Odile as Odette to trick Siegfried into breaking his vow of love. Fooled, Siegfried declares his love for Odile, and so dooms Odette to suffer under the curse forever.
                                      Biografpremiere: Onsdag 1. april
                                      Instruktion: Koreografi: Liam Scarlett, Marius Petipa, Lev Ivanov
                                      Skuespillere: Danser: TBA
                                      Spilletid: 02:55
                                      Censur: Ikke vurderet

                                      søndag 12. april

                                      The Met 2020: Agrippina


                                      K

                                        søndag 12. april

                                        4t 10min

                                        Ikke vurderet

                                        The Met 2020: Agrippina

                                        12:00
                                        K - Sal 2
                                        VÆLG SPILLETIDSPUNKT
                                        K
                                        PART I

                                        When Agrippina, wife of the Roman emperor Claudio, receives news of her husband’s death, she wastes no time in ensuring that Nerone, her son by a previous marriage, succeeds him. Prepared to go to any lengths to achieve her ends, she sends separately for Pallante and Narciso, of whose passion for her she is fully aware. She promises each of them in turn that she will reciprocate their love if they will proclaim Nerone as Claudio’s successor.

                                        Her scheme is thwarted when Claudio’s servant Lesbo announces that the emperor’s life has been saved by Ottone, the commander of the army. When Ottone reaches the city, he declares that Claudio has rewarded his bravery by nominating him as his successor; but in a private conversation with Agrippina, he reveals that he loves Poppea more than the throne.

                                        Agrippina now devises a fresh intrigue to secure the throne for Nerone. Aware that Claudio also desires Poppea, Agrippina tells Poppea that Ottone has betrayed her by yielding her to Claudio in exchange for the imperial throne. Agrippina suggests that, to avenge herself, Poppea must make Claudio jealous and convince him that Ottone, emboldened by his new status, has ordered Poppea to refuse Claudio and return to him: For this, the emperor will punish Ottone. When Claudio arrives, Poppea executes Agrippina’s plan.

                                        Having discovered that Agrippina has deceived them, Pallante and Narciso decide to form an alliance. Ottone enters, apprehensive about the imminent public celebrations. The imperial family arrives, and when Ottone approaches the emperor, Claudio accuses him of treachery. To his increasing dismay, Ottone is shunned by Agrippina, Nerone, and Poppea.

                                        PART II

                                        Poppea begins to doubt Ottone’s guilt. Seeing him approach, she hides. When he sees her, she reveals to him what Agrippina told her. Ottone protests his innocence. Realizing that she has been a pawn in Agrippina’s plans, Poppea swears to be avenged and hatches a plot involving both Claudio and Nerone, who also desires her.

                                        Ever ambitious, Agrippina has been plotting further to make Nerone emperor. First, she commands Pallante to murder Ottone and Narciso. Then, she asks Narciso to murder Ottone and Pallante. She tells Claudio that Ottone is seeking revenge on him for the loss of the succession and persuades him to suppress Ottone’s dissent by declaring Nerone as heir. Impatient to be with Poppea, Claudio agrees.

                                        Poppea enacts her plan for revenge. She hides Ottone, telling him not to be jealous because of anything he overhears. Nerone arrives, eager to make love to Poppea, but she pretends that Agrippina is expected at any moment and he must therefore hide. Claudio enters, and Poppea complains that he does not truly love her. He reminds her of all that he has done for her, including Ottone’s punishment. At this, Poppea claims that he misunderstood her: It was Nerone, not Ottone, who constantly harassed her. Having hidden Claudio, Poppea calls to Nerone, who resumes his amorous pursuit of her; but Claudio interrupts and dismisses him. Poppea frees herself of Claudio on a pretext, and she and Ottone swear their eternal love.

                                        Nerone recounts his disgrace to Agrippina and begs her to protect him from Claudio’s rage. Dismayed by all the treachery, Pallante and Narciso reveal Agrippina’s conspiracy to the emperor. When confronted by Claudio, Agrippina realizes that her schemes are now in jeopardy. She claims that she acted only in Rome’s best interests and accuses him of paying undue attention to Poppea. When Agrippina reveals that Ottone loves Poppea, Claudio lays the blame for his actions on Nerone, whom he commands to marry Poppea, and names Ottone as his successor. But Ottone renounces the throne in order to reclaim Poppea. Endorsing this exchange, Claudio nominates Nerone as his heir. Agrippina’s ambition for her son has finally come to fruition.
                                        Biografpremiere: Lørdag 29. februar
                                        Instruktion: Dirigent: Harry Bicket
                                        Skuespillere: Joyce DiDonato, Kate Lindsey og Brenda Rae
                                        Spilletid: 04:10
                                        Censur: Ikke vurderet

                                        søndag 19. april

                                        The Met 2020: Der Fliegende Hollander


                                        K

                                          søndag 19. april

                                          2t 45min

                                          Ikke vurderet

                                          The Met 2020: Der Fliegende Hollander

                                          12:00
                                          K - Sal 2
                                          VÆLG SPILLETIDSPUNKT
                                          K
                                          ACT I

                                          The Norwegian coast, 19th century. A storm has driven Daland’s ship several miles from his home. Sending his crew off to rest, he leaves the watch in charge of a young steersman, who falls asleep as he sings about his girl. A ghostly schooner drops anchor next to Daland’s ship. Its captain steps ashore and, with increasing despair, reflects on his fate: once every seven years he may leave his ship to find a wife. If she is faithful, she will redeem him from his deathless wandering. If not, he is condemned to sail the ocean until Judgment Day. Daland discovers the phantom ship, and the stranger, who introduces himself as “a Dutchman,” tells him of his plight. The Dutchman offers gold and jewels for a night’s lodging, and when he learns that Daland has a daughter, asks for her hand in marriage. Happy to have found a rich son-in-law, Daland agrees and sets sail for home.

                                          ACT II

                                          Daland’s daughter, Senta, is captivated by the portrait of a pale man in black—the Flying Dutchman. Her friends, working under the watchful eye of Mary, Senta’s nurse, tease Senta about her suitor, Erik, who is a hunter, not a sailor. When the superstitious Mary refuses to sing a ballad about the Dutchman, Senta sings it herself. The song reveals that the Dutchman’s curse was put on him for a blasphemous oath. To everyone’s horror, Senta suddenly declares that she will be the woman to save him. Erik enters with news of the sailors’ return. Alone with Senta, he reminds her of her father’s wish to find her a husband and asks her to plead his cause, but she remains distant. Realizing how much the Dutchman’s picture means to her, he tells her of a frightening dream in which he saw her embrace the Dutchman and sail away on his ship. Senta declares that this is what she must do, and Erik rushes off in despair. A moment later, the Dutchman enters. Senta stands transfixed. Daland follows and asks his daughter to welcome the stranger, whom he has brought to be her husband. Daland leaves, and the Dutchman, who is equally moved by the meeting, asks Senta if she will accept him. Unaware that she realizes who he is, he warns her of making a rash decision, but she vows to be faithful to him unto death. Daland is overjoyed to learn that his daughter has accepted the suitor.

                                          ACT III

                                          At the harbor, the villagers celebrate the sailors’ return. Baffled by the strange silence aboard the Dutchman’s ship, they call out to the crew, inviting them to join the festivities. Suddenly the ghostly sailors appear, mocking their captain’s quest in hollow chanting. The villagers flee in terror. Quiet returns and Senta appears, followed by the distressed Erik. He pleads with her not to marry the Dutchman since she has already pledged her love to him. The Dutchman, who has overheard them, lets go of all hope and boards his ship. When Senta tries to stop him, he explains she will escape damnation—the fate of those who betray him—only because she has not yet proclaimed her vows before God. He reveals his identity and Senta ecstatically replies that she knows who he is. As his ship pulls away, she throws herself into the sea, faithful unto death.
                                          Biografpremiere: Lørdag 14. marts
                                          Instruktion: Dirigent: Valery Gergiev
                                          Skuespillere: Bryn Terfel, Anja Kampe, Franz-Josef Selig.
                                          Spilletid: 02:45
                                          Censur: Ikke vurderet

                                          søndag 26. april

                                          ROH 2020: Cavalleria rusticana - Pagliacci


                                          K

                                            søndag 26. april

                                            3t 10min

                                            Ikke vurderet

                                            ROH 2020: Cavalleria rusticana - Pagliacci

                                            12:00
                                            K - Sal 2
                                            VÆLG SPILLETIDSPUNKT
                                            K
                                            Pietro Mascagnis Cavalleria rusticana (Rustic Chivalry) and Ruggero Leoncavallos Pagliacci (The Players) are today Italian opera’s most famous double act, but they were written independently. Cavalleria rusticana came first, its hugely successful premiere in 1890 doubtless an influence on Leoncavallo. His Pagliacci in 1892 was another triumph. The two works, each undeniable masterpieces of the verismo tradition of realism, share dramatic concision, melodic richness and an obsession with violent jealousy.

                                            Damiano Michielettos production was an Olivier-Award-winning hit when first presented in 2015. He sets both operas within the same village, allowing characters from one piece to reappear in the other and offering theatrical realism within visuals that are modern and yet timeless. The production was widely praised at its premiere, and summarized by the Financial Times as a gripping evening all round’.
                                            Biografpremiere: Tirsdag 21. april
                                            Instruktion: Dirigent: Daniel Oren
                                            Skuespillere: Liudmyla Monastyrska, Elena Zilio, Dimitri Platanias, m.fl.
                                            Spilletid: 03:10
                                            Censur: Ikke vurderet

                                            søndag 17. maj

                                            The Met 2020: Tosca


                                            K

                                              søndag 17. maj

                                              3t 20min

                                              Ikke vurderet

                                              The Met 2020: Tosca

                                              12:00
                                              K - Sal 2
                                              VÆLG SPILLETIDSPUNKT
                                              K
                                              ACT I

                                              Rome, June 1800. Cesare Angelotti, an escaped political prisoner, rushes into the Church of Sant’Andrea della Valle. After finding the key his sister has hidden for him, he hides in his family’s private chapel. Soon, the painter Mario Cavaradossi arrives to work on his portrait of Mary Magdalene. The painting has been inspired by Angelotti’s sister, the Marchesa Attavanti, whom Cavaradossi had seen praying in the church. Angelotti, who was a member of the former Bonapartiste government, emerges from his hiding place. Cavaradossi recognizes him and promises help, then hurries him back into the chapel as the singer Floria Tosca, his lover, calls from outside. When he lets her into the church, she jealously asks Cavaradossi to whom he has been talking and reminds him of their rendezvous that evening. Suddenly recognizing the Marchesa Attavanti in the painting, she accuses him of being unfaithful, but he assures her of his love. When Tosca has left, Angelotti again comes out of hiding. A cannon signals that the police have discovered the escape, and he and Cavaradossi flee to the painter’s home. The sacristan enters with choirboys who are preparing to sing in a Te Deum celebrating the recent victory against Napoleon at the Battle of Marengo. At the height of their excitement, Baron Scarpia, chief of the secret police, arrives, searching for Angelotti. When Tosca comes back looking for Cavaradossi, Scarpia shows her a fan with the Attavanti crest that he has just found. Seemingly confirming her suspicions about her lover’s infidelity, Tosca is devastated. She vows vengeance and leaves as the church fills with worshippers. Scarpia sends his men to follow her to Cavaradossi, with whom he thinks Angelotti is hiding. While the congregation intones the Te Deum, Scarpia declares that he will bend Tosca to his will.

                                              ACT II

                                              That evening in his chambers in the Palazzo Farnese, Scarpia anticipates the pleasure of having Tosca in his power. The spy Spoletta arrives with news that he was unable to find Angelotti. Instead, he brings in Cavaradossi. Scarpia interrogates the defiant painter while Tosca sings at a royal gala in the palace courtyard. Scarpia sends for her, and she appears just as Cavaradossi is being taken away to be tortured. Frightened by Scarpia’s questions and Cavaradossi’s screams, Tosca reveals Angelotti’s hiding place. Henchmen bring in Cavaradossi, who is badly hurt and hardly conscious. When he realizes what has happened, he angrily confronts Tosca, just as the officer Sciarrone rushes in to announce that Napoleon actually has won the battle, a defeat for Scarpia’s side. Cavaradossi shouts out his defiance of tyranny, and Scarpia orders him to be executed. Once alone with Tosca, Scarpia calmly suggests that he would let Cavaradossi go free if she’d give herself to him. Fighting off his advances, she declares that she has dedicated her life to art and love and calls on God for help. Scarpia becomes more insistent, but Spoletta bursts in: Faced with capture, Angelotti has killed himself. Tosca, now forced to give in or lose her lover, agrees to Scarpia’s proposition. Scarpia orders Spoletta to prepare for a mock execution of Cavaradossi, after which he is to be freed. Tosca demands that Scarpia write her a passage of safe-conduct. After he has done so, he attempts to make love to Tosca, but she grabs a knife from the table and stabs him. She takes the pass and flees.

                                              ACT III

                                              At dawn, Cavaradossi awaits execution on the ramparts of Castel Sant’Angelo. He bribes the jailer to deliver a farewell letter to Tosca, and then, overcome with emotion, gives in to his despair. Tosca appears and explains what has happened. The two imagine their future in freedom. As the execution squad arrives, Tosca implores Cavaradossi to fake his death convincingly, then watches from a distance. The soldiers fire and depart. When Cavaradossi doesn’t move, Tosca realizes that the execution was real, and Scarpia has betrayed her. Scarpia’s men rush in to arrest her, but she cries out that she will meet Scarpia before God and leaps from the battlement.
                                              Biografpremiere: Lørdag 11. april
                                              Instruktion: Dirigent: Bertrand de Billy
                                              Skuespillere: Anna Netrebko, Najmiddin Mavlyanov, George Gagnidze
                                              Spilletid: 03:20
                                              Censur: Ikke vurderet

                                              søndag 31. maj

                                              ROH 2020: The Dante Project


                                              K

                                                søndag 31. maj

                                                3t 00min

                                                Ikke vurderet

                                                ROH 2020: The Dante Project

                                                12:00
                                                K - Sal 2
                                                VÆLG SPILLETIDSPUNKT
                                                K
                                                Dantes Divine Comedy is an epic journey through the afterlife: it encompasses the horrifying drama of Inferno and its damned, the lyrical mysticism of pilgrims on mount Purgatorio and the dazzling spheres of Paradiso with their endless configurations of light. The poem was inspired by the agony of Dante’s own exile, and traces his path from crisis to revelation guided by his literary hero Virgil and his lost love Beatrice. In his new work, The Royal Ballet’s trailblazing Resident Choreographer Wayne McGregor creates a world premiere in collaboration with an award-winning team – contemporary conductor-composer Thomas Ades, artist Tacita Dean, lighting designer Lucy Carter and dramaturg Uzma Hameed – to bring us closer to Dante and his extraordinary vision.
                                                Biografpremiere: Torsdag 28. maj
                                                Instruktion: Koreografi: Wayne McGregor
                                                Skuespillere: Danser: TBA
                                                Spilletid: 03:00
                                                Censur: Ikke vurderet

                                                søndag 14. juni

                                                The Met 2020: Maria Stuarda


                                                K

                                                  søndag 14. juni

                                                  3t 10min

                                                  Ikke vurderet

                                                  The Met 2020: Maria Stuarda

                                                  12:00
                                                  K - Sal 2
                                                  VÆLG SPILLETIDSPUNKT
                                                  K
                                                  ACT I

                                                  At the Palace of Whitehall in London, the court are celebrating. The Duke of Anjou, brother to the King of France, has sought Queen Elizabeth’s hand in marriage and the glorious alliance of the two kingdoms is eagerly anticipated. Elizabeth is still undecided as to whether she will accept the French proposal. For a long time, her heart has belonged to her favorite, Robert Dudley, Earl of Leicester, but recently she has sensed that his love for her is waning. Talbot, Earl of Shrewsbury and Mary Stuart’s custodian for many years, takes the opportunity to petition the Queen for her cousin’s release. Cecil, Elizabeth’s Secretary of State, argues that Mary presents a constant threat to the stability of England while she remains alive. Elizabeth refuses to be drawn in on the subject of her cousin but privately fears that the Queen of Scots has stolen the love of Leicester from her. In the past, Leicester has been a suitor for Mary’s hand and was dazzled by the young Queen’s beauty when he first met her, long ago in France. Leicester arrives and Elizabeth gives him a ring to convey to the French Ambassador in equivocal acceptance of Anjou’s proposal. His indifferent response fuels her suspicions and she leaves, attended by the court. Alone with Leicester, Talbot secretly hands him a letter and a miniature sent by Mary. Enmeshed in the plots of the English Catholics against Elizabeth, Mary’s life now hangs in the balance. Enraptured by the portrait, Leicester vows to give his aid and support to Talbot’s plans for Mary’s liberation. As Talbot leaves, Elizabeth returns, alone. Suspicious of Talbot, she demands to see the letter in Leicester’s hands. Mary has written to beg Elizabeth for an audience and despite herself, tears spring to Elizabeth’s eyes. Seizing his advantage, Leicester presses the Queen to agree to ride out near Mary’s prison on a hunt and under this pretext engineer a meeting between the two queens. Although mistrustful, Elizabeth agrees to her favorite’s request.

                                                  Unexpectedly allowed by Talbot to walk freely in the park outside her prison of Fotheringhay Castle, Mary rejoices, running far ahead of her lady-in-waiting, Hannah Kennedy. Her thoughts turn to times of happiness and liberty in France. The horns of the royal hunt are suddenly heard in the distance. The approaching huntsmen cry out Elizabeth’s name and Mary is struck with fear at the prospect of finally setting eyes on her cousin. Leicester has ridden ahead of the hunt to prepare Mary for the meeting. He urges her to humble herself before Elizabeth and move the Queen to pity. Pledging his love and loyalty, he promises Mary that she may yet be free. He hastens to greet Elizabeth as she arrives with the hunting party. She is agitated and suspicious and Leicester’s solicitude for Mary’s cause rouses her jealousy. Talbot leads Mary forward and the two queens stare into each other’s eyes for the first time. Mary masters her pride and shows deference before Elizabeth but her cousin remains aloof and insulting. She accuses Mary of licentiousness, murder, and treason. The tender words with which Leicester tries to calm Mary serve only to increase Elizabeth’s anger. Insulted beyond endurance, Mary turns on Elizabeth. She denounces her as the illegitimate offspring of a whore, one who’s foot sullies and dishonors the throne of England. Elizabeth orders the guards to seize Mary and drag her back to her prison.

                                                  ACT II

                                                  Time has passed and Mary has remained incarcerated at Fotheringhay, under ever harsher conditions. The marriage to Anjou is now a faded dream for Elizabeth. Cecil has procured evidence that implicates Mary in a Catholic plot to assassinate Elizabeth, and a warrant for her death lies on the Queen’s desk at the Palace of Whitehall. But Elizabeth is racked with anxiety and fear. If she signs it, she sends an anointed monarch to the scaffold and makes an enemy of all Catholic Europe. Cecil urges her to be strong: her own life could be at stake and all England will applaud her and defend her, if need be. Elizabeth’s indecision ends when Leicester enters the chamber. Quickly and indifferently she signs the warrant and hands it to Cecil. Appalled, Leicester pleads with her to rescind the order and show mercy. Elizabeth commands him to be present as witness to the execution. Leicester tells her that she has sent a sister to her death and leaves.

                                                  In her room at Fotheringhay, Mary rails bitterly against her fortune. Suddenly, Cecil and Talbot enter to tell her that she must die in the morning. Cecil offers her the services of a Protestant minister in her final hours. Angrily, she refuses and commands him to leave but asks Talbot to stay. He tells her that Leicester will be present when she dies and tries to comfort her. But Mary is tormented by the ghosts of her past and longs to make the confession to God that Cecil has denied her by refusing the ministrations of a Catholic priest. Her heart is heavy with the bloody memories of her short reign in Scotland, and the deaths of her beloved favorite, David Rizzio, and her husband, Darnley. Gently, Talbot urges her to confess to him. She agrees and begins to unburden her conscience. Finally, she confesses her unwitting acquiescence in the fatal plot of the English Catholic, Sir Anthony Babington, to assassinate Elizabeth. She and Talbot pray together for God’s absolution and Mary calmly prepares for death.

                                                  Early next morning, Mary’s faithful servants gather, weeping outside the great hall of Fotheringhay, where Mary will be beheaded. The Queen enters. She asks them not to shed tears, as death comes to liberate her. She gives Hannah a silken handkerchief to bind her eyes when the moment comes and leads the household in a fervent prayer. The shot of a cannon on the ramparts above signals that the time of execution is near and Cecil arrives with guards to conduct Mary into the hall. Elizabeth has sent word that all requests should be granted her in her final moments and Mary asks that Hannah may accompany her to the scaffold. She tells Cecil that she forgives her cousin and prays that her blood will wash away all memory of hatred between them. Leicester suddenly appears, distraught, as more shots of the cannon indicate the time has come. Mary calms him. She is content that she will die with him close at hand. She prays that England may be spared the vengeful wrath of God. Dressed in red, the color of Catholic martyrdom, she ascends the scaffold.
                                                  Biografpremiere: Lørdag 9. maj
                                                  Instruktion: Dirigent: Maurizio Benini
                                                  Skuespillere: Diana Damrau, Jamie Barton, Stephen Costello
                                                  Spilletid: 03:10
                                                  Censur: Ikke vurderet

                                                  søndag 21. juni

                                                  ROH 2020: Elektra


                                                  K

                                                    søndag 21. juni

                                                    2t 00min

                                                    Ikke vurderet

                                                    ROH 2020: Elektra

                                                    12:00
                                                    K - Sal 2
                                                    VÆLG SPILLETIDSPUNKT
                                                    K
                                                    Strauss’s thrilling and audacious adaptation of Greek tragedy receives a new staging by the award-winning Christof Loy. This uncompromising opera, about a daughter intent on bloody revenge and a mother driven to madness, has provoked critics to lively debate and both shocked and excited audiences since its 1909 premiere. Antonio Pappano conducts music that combines violence with moments of exquisite tenderness in his first Strauss interpretation for The Royal Opera since 2002. The outstanding cast includes Nina Stemme (Brünnhilde in last Seasons Der Ring des Nibelungen) in the title role, and Karita Mattila in her role debut as the haunted queen Klytamnestra.
                                                    Biografpremiere: Torsdag 18. juni
                                                    Instruktion: Dirigent: Antonio Pappano
                                                    Skuespillere: Nina Stemme, Sara Jakubiak, Karita Mattila, Christof Fischesser, m.fl.
                                                    Spilletid: 02:00
                                                    Censur: Ikke vurderet