I Masnadieri Tickets

Bavarian State Opera, Munich, Germany

All photos (7)

1 / 7

Available Dates: 17 - 20 Jul, 2025 (2 events)

Important Info

Type: Opera

City: Munich, Germany

Duration: 2h 40min

Acts: 4

Sung in: Italian

Titles in: English,German

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Choose the date to see the peformers

Creators

Composer: Giuseppe Verdi

Librettist: Andrea Maffei

Assistant: Dorota Karolczak

Director: Johannes Erath

Costume designer: Kaspar Glarner

Dramaturge: Malte Krasting

Light: Olaf Freese

Overview

A famous Verdi piece that hardly anyone knows. A plot bursting under high-pressure from the very beginning.

A work, incandescent with love and hate, about people searching for a valve to release their passion, with arias that can scarcely be controlled with their emotional abundance. A German story as an Italian opera: Verdi wrote I masnadieri for a libretto based on Friedrich Schiller’s The Robbers. Karl and Franz become Carlo and Francesco; instead of combating social grievances as in the play, in the opera all the characters struggle to keep up with a family story that is laden with early loss and brotherly rivalry, with suppressed desire and misunderstood needs. Slander, blackmail and knife fights become the stuff of the confrontation. The political conflict of The Robbers is intensified on the personal level in Verdi’s opera. It’s not the age that appears to be decrepit, it’s the people. As a commissioned work by Her Majesty’s Theatre in London, I masnadieri was the first opera that Verdi wrote for a theatre outside of Italy, a work during the upheaval at the end of his “galley years”. In his Macbeth created almost in parallel the fissures are already breaking open; in I masnadieri the subterranean fault lines are just about to explode – a tension that is expressed with every beat of the music, in the solos just as much as in the famous robber choirs. Johannes Erath, who had already staged Un ballo in maschera in Munich with an interpretation that profoundly explores the characters, stages this opera as a chamber play of overflowing dimensions.

History

Premiere of this production: 22 July 1847, Her Majesty's Theatre, London

I masnadieri (The Bandits or The Robbers) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Andrea Maffei, based on the play Die Räuber by Friedrich von Schiller. As Verdi became more successful in Italy, he began to receive offers from other opera houses outside the country. The London impresario Benjamin Lumley had presented Ernani in 1845 and, as a result of its success, commissioned an opera from the composer which became I masnadieri. It was given its first performance at Her Majesty's Theatre on 22 July 1847 with Verdi conducting the first two performances.

Synopsis

Act 1

Scene 1: A tavern on the borders of Saxony.

During a break from his studies at Dresden University, Carlo, the elder and favourite son of Count Massimiliano Moor has fallen amongst thieves, literally. He has become a member of a notorious gang of highwaymen and cut-throats who terrorise the local community by robbery, extortion and rowdy singing at all hours of the day and night.

But already Carlo has tired of living a life of depravity and longs to return home to be with Amalia, his gentle cousin and lifelong sweetheart (O mio castel paterno / "O castle of my fathers"). He is awaiting the reply to a letter he has sent to his father begging for forgiveness for his recent misdemeanors.

Rolla and the other robbers arrive with the longed-for reply from the Count. Carlo's joy soon turns to sorrow, and then anger (Nell'argilla maledetta / "Let my wrath plunge these swords into the accursed clay"), as he finds that the letter is not from his father but from his younger brother Francesco, who warns him not to return home because, far from having forgiven Carlo, the old Count is intent on punishing him and locking him away.

Carlo renounces his former life and swears an oath to remain with his new comrades for the rest of his days. The robbers unanimously elect him as their new leader.

Scene 2: A room in Count Moor's castle in Franconia.

Francesco is congratulating himself on having intercepted the letter from his brother to their father, knowing that Massimiliano would certainly have forgiven Carlo if he had received it. Now only the elderly, infirm Count stands between Francesco and the family title and estates, and he has devised a plan to hasten his father's death (La sua lampada vitale / "The lamp of his life burns low").

He forces Arminio, one of the castle servants, to disguise himself as a soldier recently arrived with tragic 'news' of Carlo's death, and sings his cabaletta, Tremate, o miseri / "Tremble, you wretches, you shall see me in my true terrible aspect".

Scene 3: Count Moor's bedroom in the castle.

Amalia is watching over the ailing Count. Each of them is thinking affectionately of the missing Carlo (Lo sguardo avea degli angeli / "His face had the smile of the angels").

Francesco ushers the disguised Arminio into the room. Arminio describes how he fought alongside Carlo for King Frederick in a battle for the city of Prague, and how he saw him mortally wounded. Carlo's final act in this world was to inscribe a message, using his own blood, on the blade of his sword, that Amalia and Francesco should marry.

Amalia and the Count are completely taken in; Massimiliano falls into a dead faint and Amalia, in a frenzy of hysteria, rushes offstage leaving a jubilant Francesco.

Act 2

Scene 1: A graveyard near the castle.

Several months have passed since the previous scene and Amalia enters to pray at Count Massimiliano's tomb (Tu del mio Carlo al seno / "Blessed spirit, you have flown to the bosom of my Carlo"). In the distance can be heard the sounds of a festive banquet hosted by Francesco, the new Count.

Arminio has followed Amalia from the castle because he is overcome by guilt at his part in Francesco's wicked scheming. He just has time to reveal that both Carlo and the old Count are still alive (provoking Amalia's cabaletta Carlo vive? O caro accento / "Carlo lives? ... O sweet words") before he is disturbed by the arrival of Francesco and forced to flee the scene.

Francesco has also been searching for Amalia with the intention of asking her to marry him. Her scornful refusal provokes him into a rage and he becomes violent. Amalia pretends a change of heart and embraces him so that she can seize his dagger and fend him off before making her escape into the nearby forest.

Scene 2: A clearing in a Bohemian forest.

Rolla has been captured in Prague and the brigands are awaiting the return of their leader, Carlo, who has gone to rescue him. The rescue is achieved, but at the same time Carlo has managed to set fire to much of the city, resulting in armed citizens pursuing him. The scene ends with Carlo exhorting his gallant band to fight like wolves to save themselves.

Act 3

Scene 1: A clearing in a Franconian forest.

The robbers sing of the pleasures of their criminal activities. They are now in the same forest as the distraught Amalia. Amalia fails to recognise her betrothed when he approaches her. Carlo reveals his identity, without mentioning his comrades, and there is a joyous reconciliation. Carlo is horrified when he learns of his brother's unsuccessful attack on her virtue.

Scene 2: Another clearing in the Franconian forest.

Carlo is alone and contemplates his dismal future (Di ladroni attorniato / "Surrounded by robbers, fettered to crime"). He considers suicide, but decides that he must accept his dreadful fate and live on in loneliness and misery, reviled by all decent people.

Arminio enters stealthily and approaches some nearby ruins. Hearing a voice within the ruins, Carlo investigates and discovers the emaciated figure of his father. Massimiliano fails to recognise his son, but nevertheless describes to him how Francesco attempted to bury him alive after his collapse on hearing of Carlo's death (Un ignoto tre lune or saranno / "An unknown - it will be three moons ago now - told me that my Carlo had been killed"). Fortunately Arminio saved him and has kept him hidden in the ruins where Carlo has found him.

Leaving the Count, Carlo calls on his band to storm the castle and capture his evil brother.

Act 4

Scene 1: Another room in Count Moor's castle.

Francesco wakes after terrifying, guilt ridden nightmares (Pareami che sorto da lauto convito / "I fancied that, having risen from a sumptuous banquet, I was sleeping ..."). He summons the local priest who refuses him absolution for his heinous crimes. At this point the brigands are heard storming the castle and Francesco rushes out, swearing that he will defy the very fires of Hell.

Scene 2: The second clearing in the Franconian forest.

Massimiliano bewails Carlo's death, although he still does not recognise that the man standing in front of him is his favourite son. He blesses the "unknown stranger" for saving his life.

The robbers reappear and report that they had not been able to capture Francesco. This pleases Carlo who intends to change his ways. At this moment Amalia is dragged in by the brigands. Carlo is forced to admit to her, and to his father, his role as leader of the robbers. Massimiliano expresses his horror and despair, but Amalia declares that despite everything she still loves Carlo and wants to stay with him.

Although Carlo has sworn to change his ways, he has also given his oath of lifelong allegiance to his band of robbers. He cannot allow the woman he loves to be dragged down into his world of degradation and disgrace and he cannot escape his own evil fate; he resolves this paradox by stabbing Amalia to death. Carlo rushes offstage claiming he is going in search of his own death.

Venue Info

Bavarian State Opera - Munich
Max-Joseph-Platz 2

The Bavarian State Opera or the National Theatre (Nationaltheater) on Max-Joseph-Platz in Munich, Germany, is a historic opera house and the main theatre of Munich, home of the Bavarian State Opera, Bavarian State Orchestra, and the Bavarian State Ballet.

During its early years, the National Theatre saw the premières of a significant number of operas, including many by German composers. These included Wagner’s Tristan und Isolde (1865), Die Meistersinger von Nürnberg (1868), Das Rheingold (1869) and Die Walküre (1870), after which Wagner chose to build the Festspielhaus in Bayreuth and held further premières of his works there.

During the latter part of the 19th century, it was Richard Strauss who would make his mark on the theatre in the city in which he was born in 1864. After accepting the position of conductor for a short time, Strauss returned to the theatre to become principal conductor from 1894 to 1898. In the pre-War period, his Friedenstag (1938) and Capriccio were premièred in Munich. In the post-War period, the house has seen significant productions and many world premieres.

First theatre – 1818 to 1823
The first theatre was commissioned in 1810 by King Maximilian I of Bavaria because the nearby Cuvilliés Theatre had too little space. It was designed by Karl von Fischer, with the 1782 Odéon in Paris as architectural precedent. Construction began on 26 October 1811 but was interrupted in 1813 by financing problems. In 1817 a fire occurred in the unfinished building.

The new theatre finally opened on 12 October 1818 with a performance of Die Weihe by Ferdinand Fränzl, but was soon destroyed by another fire on 14 January 1823; the stage décor caught fire during a performance of Die beyden Füchse by Étienne Méhul and the fire could not be put out because the water supply was frozen. Coincidentally the Paris Odéon itself burnt down in 1818.

Second theatre – 1825 to 1943
Designed by Leo von Klenze, the second theatre incorporated Neo-Grec features in its portico and triangular pediment and an entrance supported by Corinthian columns. In 1925 it was modified to create an enlarged stage area with updated equipment. The building was gutted in an air raid on the night of 3 October 1943.

Third theatre – 1963 to present
The third and present theatre (1963) recreates Karl von Fischer's original neo-classical design, though on a slightly larger, 2,100-seat scale. The magnificent royal box is the center of the interior rondel, decorated with two large caryatids. The new stage covers 2,500 square meters (3,000 sq yd), and is thus the world's third largest, after the Opéra Bastille in Paris and the Grand Theatre, Warsaw.

Through the consistent use of wood as a building material, the auditorium has excellent acoustics. Architect Gerhard Moritz Graubner closely preserved the original look of the foyer and main staircase. It opened on 21 November 1963 with an invitation-only performance of Die Frau ohne Schatten under the baton of Joseph Keilberth. Two nights later came the first public performance, of Die Meistersinger von Nürnberg, again under Keilberth.