Maria Stuarda Tickets

Bavarian State Opera, Munich, Germany

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Available Dates: 20 Dec 2026 - 10 Jul 2027 (7 events)

Important Info

Type: Opera

City: Munich, Germany

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: Gaetano Donizetti

Dramaturge: Alberto Mattioli

Light: Alessandro Verazzi

Costume designer: Alessio Rosati

Dramaturge: Ana Edroso Stroebe

Chorus Master: Christoph Heil

Director: Francesco Micheli

Librettist: Giuseppe Bardari

Overview

Maria Stuarda at the Bavarian State Opera presents a gripping story of rivalry, power, and fate. With its soaring bel canto melodies and intense dramatic confrontations, the production captures the tragic conflict between Mary Stuart and Elizabeth I in a deeply emotional operatic experience.

Maria Stuarda by Gaetano Donizetti is one of the masterpieces of the bel canto repertoire, combining vocal brilliance with powerful dramatic storytelling. Presented at the Bavarian State Opera, this production explores themes of political intrigue, personal honor, and inevitable fate through richly expressive music.

The opera centers on the historical conflict between Mary, Queen of Scots, and her cousin, Queen Elizabeth I of England. Imprisoned and accused of treason, Mary becomes the focal point of a tense struggle for power, where politics intertwines with deeply personal emotions. Their legendary confrontation—one of the most electrifying scenes in opera—reveals not only political rivalry but also jealousy, pride, and vulnerability.

Donizetti’s score is a showcase of bel canto artistry, demanding exceptional vocal control, agility, and expressiveness from its performers. The music moves seamlessly from intimate, lyrical passages to powerful dramatic climaxes, allowing both queens to reveal their inner worlds.

This Bavarian State Opera production emphasizes the psychological depth of its characters, highlighting the contrast between Mary’s passionate, impulsive nature and Elizabeth’s controlled, authoritative presence. Through elegant staging and intense performances, Maria Stuarda becomes a powerful meditation on power, identity, and the tragic cost of greatness.

History

Premiere of this production: 30 December 1835, La Scala, Milan

Maria Stuarda (Mary Stuart) is a tragic opera (tragedia lirica), in two acts, by Gaetano Donizetti, to a libretto by Giuseppe Bardari, based on Andrea Maffei's translation of Friedrich Schiller's 1800 play Maria Stuart.

Synopsis

Place: Palace of Westminster, London and Fotheringhay Castle, Northamptonshire, England.
Time: The year 1587.

Act 1

Scene 1: Elisabetta's court at Westminster

The Lords and Ladies of the Court enter after a tournament to honor the French ambassador, who has brought a marriage proposal to Queen Elizabeth from the Dauphin François. They express their joy as Elizabeth enters. She considers the proposal, one which would create an alliance with France, but she is reluctant to give up her freedom and also pardon her cousin Mary Stuart, the former Queen of Scots, whom she has imprisoned because of various plots against her throne (Cavatina: Ahi! quando all'ara scórgemi / "Ah! when at the altar a chaste love from heaven singles me out"). Elizabeth expresses her uncertainty while at the same time, Talbot and the courtiers plead for Mary's life (Cabaletta: Ah! dal Ciel discenda un raggio / "Ah! may some ray descend from heaven").

Just as Elizabeth inquires where Leicester is, he enters and Elizabeth tells him to inform the French ambassador that she will indeed marry François. He betrays no signs of being jealous, and the Queen assumes that she has a rival.

Alone with Leicester, Talbot reveals to him that he has just returned from Fotheringay and gives a letter and a miniature portrait of Mary. Joyously, Leicester recalls his love for Mary (Aria of Leicester, then duet with Talbot: Ah! rimiro il bel sembiante / "Ah! Again I see her beautiful face"). Talbot asks what he intends to do and Leicester swears to try to free her from her imprisonment (Vuò liberarla! Vuò liberarla! / "I want to set her free").

Talbot leaves and, as Leicester is about to do so, Elizabeth enters. Clearly knowing what has gone on between the two men, she questions him, asks about a letter from Mary, and then demands to see it. Reluctantly, Leicester hands it over, noting that Mary has asked for a meeting with her cousin and he pleads with the Queen to agree to do so. Also, upon her questioning, he confesses his love for Mary (Duet of Leicester and Elizabeth: Era d'amor l'immagine / "She was the picture of love"). Told that Elizabeth can join a hunting party on the estates where Mary is imprisoned, she agrees to the meeting, albeit with revenge on her mind (Cabaletta to the duet: Sul crin la rivale la man mi stendea / "Over my head my rival stretched out her hand").

Scene 2: Fotheringay Castle

[In many modern performances this scene is called Act 2, with the final act becoming Act 3. Donizetti scholar William Ashbrook in Grove Dictionary notes that the opera is "in two or three acts".]
Mary reflects on her youth in France with her companion, Anna (Cavatina: Oh nube! che lieve per l'aria ti aggiri / "Oh cloud! that wanders light upon the breeze"). The sounds of a royal hunt are heard and, hearing the hunters cry out that the Queen is close by, Mary expresses her disgust (Cabaletta: Nella pace del mesto reposo / "In the peace of my sad seclusion, she would afflict me with a new terror"). To her surprise, Leicester approaches and warns Mary of Elizabeth's imminent arrival, counseling her to behave humbly towards the Queen, who is then despondent (Duet: Da tutti abbandonata / "Forsaken by everyone… my heart knows no hope"). But assuring Mary that he will do whatever is necessary to obtain her freedom, Leicester leaves her to meet Elizabeth. He then attempts to plead with the Queen for her forbearance.

When Mary is brought in by Talbot, Elizabeth reacts with hostility (È sempre la stessa: superba, orgogliosa / She is always the same, proud, overbearing") and, after each character collectively expresses his or her feelings, Mary approaches and kneels before the Queen (Aria: Morta al mondo, ab! morta al trono / "Dead to the world, and dead to the throne… I come to beg your pardon"). The confrontation soon becomes hostile. Elizabeth accuses Mary of having murdered her husband, Lord Darnley, as well as acts of treason and debauchery, all the while Leicester attempting to calm both sides. Stung by Elizabeth's false accusations, Mary calls her the Figlia impura di Bolena ("Impure daughter of Boleyn") and continues with the final insult: Profanato è il soglio inglese, vil bastarda, dal tuo piè! ("The English throne is sullied, vile bastard, by your foot"). Elizabeth is horrified and demands that the guards take Mary away, declaring "The axe that awaits you will show my revenge". Mary is returned to captivity.

Act 2

Scene 1: A room in Elisabetta's apartments

Cecil enters with the death warrant and attempts to persuade her to sign it. While she hesitates, Elizabeth contemplates the situation (Aria: Quella vita a me funesta / "That life, so threatening to me"). Cecil urges her to sign it "so that every ruler will know how to pardon you for it" and, as she is about to do so, Leicester arrives. Seeing him, Elizabeth exclaims "you are hastening the execution" and signs the death warrant. Leicester pleads for mercy, Elizabeth rejects the plea, and Cecil urges her to remain firm (Trio Deh! per pietà sospendi l'estremo colpo almeno / "Alas! For pity's sake spare the final blow at least"). The confrontation ends with Elizabeth holding firm despite Leicester's accusations of cruelty; she orders him to witness Mary's execution.

Scene 2: Maria's room

Mary contemplates her fate, and that of Leicester also: "I have brought misfortune to all". Talbot and Cecil enter and Cecil tells Mary that he holds her death warrant. After Cecil leaves the room, Talbot informs her that Leicester has been ordered to witness her execution. Beside herself with grief, Mary imagines that the ghost of Lord Darnley is in the room with her, while Talbot offers comfort (Duet: Quando di luce rosea il giorno a me splendea / "While with the light of dawn my life still sparkled"). However, Talbot then presses her about "one more sin": her "unity with" ("uniti eri") Babington, to which she initially responds "Ah! be silent; it was a fatal error", but, when he insists, adds that "dying my heart affirms it."

Scene 3: The courtyard at Fotheringay

People gather at the site of the execution, lamenting that a queen's death will bring shame upon England. Mary enters and says her farewells to the crowd, which includes Talbot, telling them she will be going to a better life. She calls them to a final prayer (Mary, with Chorus: Deh! Tu di un úmile preghiera il suono odi / "Ah! May Thou hear the sound of our humble prayer") and, together, she and the crowd pray for God's mercy. When Cecil arrives to tell her that the time for her execution has come, he informs her that Elizabeth has granted her final wishes, including allowing Anna to accompany her to the scaffold. Then Mary offers a pardon to the queen (Mary, Anna, Talbot, Cecil, chorus: Di un cor che more reca il perdóno / "From a heart that is dying, may pardon be granted"). Leicester comes to bid her farewell. Both are distraught and he expresses outrage. Mary asks him to support her at the hour of her death and protests her innocence once again (Aria: Ah! se un giorno da queste ritorte / "Ah! Though one day from this prison your arm wanted to abduct me, now you lead me to my death"). She is then led to the scaffold.

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.