The summer of 2013 marks the 40 th anniversary of THE HAMBURG BALLET let by John Neumeier as director and chief-choreographer. Reason enough to make the new season 2012/2013 a jubilee-season, spanning the vision from the very beginning to new outsets to the future:

Join us on our journey through 40 years of ballet in Hamburg and discover new visions of dance!, says John Neumeier. Four revivals, one premiere, an extended issue of the Hamburg Ballet-Days with two guest-companies – the Bavarian State Ballet and Les Ballets de Monte-Carlo – and a multifaceted repertoire mark the highlights of the season.

The four revivals exemplify single aspects of John Neumeier’s choreographic work.

Nijinsky-Epilogue, an evening comprising Le Pavillon d’Armideand Le Sacre, illuminates the importance of the exceptional dancer Vaslaw Nijinsky for Neumeier. The revival Scenes from Shakespearedepicts key-scenes from his ballets based on works by the famous English playwright. It will open the 39th edition of our dance-festival Hamburg Ballet-Days on June 9, 2013, starting out the jubilee festivities.

Romeo and Juliet, Neumeier’s first narrative ballet in Hamburg is also perceived as part of this aspect of his oevre. The revival of Préludes CV exemplifies Neumeier’s co-operation with contemporary composers – namely with Lera Auerbach who was commissioned the score for his successful ballet The Little Mermaid later on as well.

The season’s only premiere is a new production of John Cranko’s Onegin. For Neumeier, Onegin refers to his outset in Germany. Cranko created this highly successful ballet in Stuttgart in 1965, during Neumeier’s engagement as a member of the company. Cranko’s unique way of transforming literature into dance influenced Neumeier’s first steps as a choreographer.

I find Cranko’s clear and readily comprehensible language exemplary up to today comments John Neumeier.

During the 39th Hamburg Ballet-Days, THE HAMBURG BALLET, its ballet-school and the BUNDESJUGENDBALLET (National Youth Ballet), will present a record-breaking number of 16 different performances in 21 days. In addition, two guest companies are invited: the Bavarian State Ballet and Les Ballets de Monte-Carlo. Both companies are successfully directed by former dancers of THE HAMBURG BALLET: Ivan Liška in Munich and Jean-Christophe Maillot in Monte-Carlo. »We share amicable relations with both companies and look forward to having them as guests in our anniversary season, John Neumeier says. As another highlight, the world-famous choreography Saint Matthew Passion is going to be shown in the main church of St. Michaelis in Hamburg for the first time since 2004.

Moreover, a special gala is set to top off the highlights of the Ballet-Days: On June 22, 2013, a triple-bill-evening consisting of John Neumeier’s choreographies Vaslaw, and Kinderszenen, as well as a new production of Rückert Lieder are presented by our dancers alongside two world class musicians at the Gala for Piano, Voice and Dance. I am very happy that with Christoph Eschenbach as pianist and Matthias Goerne as baritone, we could win two outstanding and highly distinguished musicians for this very special occasion.

The retrospective of the last 40 years at THE HAMBURG BALLET is echoed in the repertoire of the season which spans from current works such as Liliom, Purgatorio and The Little Mermaid to classics as A Midsummer Night’s Dream, Lady of the Camellias, Third Symphony of Gustav Mahler and audiences favourites like Illusions – like Swan Lake and Nijinsky.

We thank the Foundation for the Advancement of the Hamburg State Opera for the support of the jubilee-season.

Premiere New Production


Ballet in Three Acts by John Cranko

Based on Alexander Puschkin

Music Peter I. Tschaikowsky

Choreography and Staging John Cranko

Set and Costumes Jürgen Rose

Production Reid Anderson

Musical Director James Tuggle


Premiere A: Premiere B:

December 2, 2012; 6.00 PM December 4, 2012; 7.30 PM



December 7 | 10 | 12, 2012; 7.30 PM

December 16, 2012; 7.00 PM

John Cranko’s classic story ballet tells the tragic love story of arrogant snob Onegin and sensitive Tatjana. Cranko based his work on Alexander Pushkin’s verse poem Eugen Onegin, published in 1830, which creates a colourful panorama of the society in Russia at the time. Cranko’s well-balanced characterization of his four protagonists is embedded into a fine narrative structure, which leaves space for the encounters of Onegin, Tatjana, Lenski and Olga. His characters are breathing humans, not pre-determined models. The dynamics of his language of movement are derived from what is happening on the psychological level of the story. His images and narrative moments are based in part on Pushkin’s verses and transform these into acts which are conceivable on the visual basis. Pushkin’s poetry, which is full of images and metaphors, is thus rendered into dance.

The choreographer chose the music by Peter I. Tschaikowsky as the musical foundation of the work: A score of works, composed by Kurt-Heinz Stolze, including orchestrated and adapted piano works as well as parts of Francesca da Rimini. Onegin is a steady part in the repertoire of the renowned Ballet Companies all over the world. In 1984 it celebrated its Premiere at THE HAMBURG BALLET and visited the Hanseatic City in 1991 the last time.


John Cranko was born on August 15, 1927 in Rustenburg, South Africa. He received his dance education mainly at the University of Cape Town, where he also choreographed his first ballet to Stravinsky’s Suite from The Soldier’s Tale. In 1946, he continued his studies at the Sadler’s Wells School in London and shortly afterwards became a member of the Sadler’s Wells Ballet (subsequently The Royal Ballet). In 1947, Cranko made a sensational choreography to Debussy’s »Children’s Corner« for the Sadler’s Wells Ballet; from 1949 on he devoted himself exclusively to choreography, producing extremely successful ballets – mostly for the Sadler’s Wells Ballet. In 1955, he choreographed »La Belle Hélène« for the Paris Opera Ballet and in 1957 he created his first full-length ballett, »The Prince of the Pagodas«, for The Royal Ballet. In 1961, John Cranko was appointed ballet director in Stuttgart by Walter Erich Schaefer, the General Director of the Wuerttemberg State Theatre (today’s Stuttgart State Theater). At the beginning of his time in Stuttgart, Cranko created short ballets and gathered together a group of dancers, among whom were Egon Madsen, Richard Cragun, Birgit Keil and, most importantly, a young Brazilian dancer named Marcia Haydée who was to become his prime muse and inspiration. The breakthrough for Cranko came in December 1962 with the world premiere of »Romeo and Juliet«, which was highly praised by critics and audience alike. In Stuttgart, Cranko created many small choreographic jewels such as »Jeu de cartes« and »Opus I«, as well as his symphonic ballet »Initials R.B.M.E.«, but it was with his dramatic story ballets such as »Onegin«, »The Taming of the Shrew«, »Carmen«, »Poéme de l’Extase« and »Traces« that Cranko secured his place in the pantheon of great choreographers. In addition, he encouraged young dancers in his company – including Jiri Kylian and John Neumeier – to try their hand at choreography. Cranko’s gift for nuanced story-telling, clear dramatic structure and his exquisite mastery of the art of the pas de deux conquered New York audiences during a triumphant season at the Metropolitan Opera in 1969. World wide acclaim soon followed, as Cranko and his young company toured the globe. John Cranko died unexpectedly at age 45 on June 26, 1973, on a return flight from a successful U.S.A. tour.

Source: The Stuttgart Ballet


Reid Anderson, Artistic Director of the Stuttgart Ballet since September 1996, can look back over a long and successful career as a dancer, teacher, trainer, producer and ballet director. Anderson was born in 1949 in New Westminster, British Columbia/Canada, and began his dance training at the Dolores Kirkwood Academy in Burnaby, B.C. He was given a grant at the age of 17 which allowed him to study at the Royal Ballet School in London, England. One year later, in February 1969, he joined the Stuttgart Ballet, whose Artistic Director at the time was John Cranko. During his 17-year career at the Stuttgart Ballet, Reid Anderson, who was promoted to Soloist in 1974 and to Principal Dancer in 1978, danced in a wide range of classical and contemporary ballets and worked with many of the leading choreographers of the 20th century. From August 1987 to June 1989, Reid Anderson was Artistic Director of Ballet British Columbia in Vancouver and in July 1989 he was appointed Artistic Director of the National Ballet of Canada in Toronto. In 1996, Reid Anderson returned to the Stuttgart Ballet as Artistic Director, where he rejuvenated the company adding 21 new dancers, prompting the renowned dance critic Horst Koegler to state: »Today’s Stuttgart Ballet is the best Stuttgart Ballet in thirty-five years«. From the very outset, Reid Anderson followed a repertoire policy which placed equal weight on preserving and cultivating the Cranko legacy and promoting the works of established contemporary choreographers as well as on discovering and nurturing new talent. Reid Anderson travels frequently in order to rehearse Cranko’s masterpieces with famous ballet companies all over the world. In February 2006 Reid Anderson was awarded the German Dance Prize 2006 for his contribution to the dance art form in Germany. In the same month, the readers of the popular dance magazine “Dance Europe” voted Reid Anderson “Director of the Year”. In April 2009, Reid Anderson received the Medal of Merit of Baden-Württemberg. In 2011, the Stuttgart Ballet under direction of Reid Anderson was elected »Company of the year« in the annual international critics survey of the renowned magazine tanz.

Source: The Stuttgart Ballet


Revival I


Two Ballets by John Neumeier


Music Nikolai Nikolajewitsch Tscherepnin

Choreography, Set und Costumes John Neumeier


Music Igor Strawinsky

Choreography and Light John Neumeier

Musical Director Christoph Eberle

Revival: September 16, 2012; 6.00 PM


September 19 | 20 | 23, 2012, June 16, 2013; 7.30 PM

With »Nijinsky-Epilogue«, John Neumeier depicts aspects of legendary dancer and choreographer Vaslaw Nijinsky’s life and work. The double-bill evening is set to complement – as an epilogue – his ballet »Nijinsky«. The first part of the evening, »Le Pavillon d’Armide«, interweaves Nijinsky’s life as a Swiss sanatorium-inmate with the ballet’s original libretto, creating an atmosphere that crosses the lines between dream and reality. Tscherepnin’s score that Neumeier choreographed on for the first time since the Ballets Russes, sets the musical base. In the second part, »Le Sacre«, Neumeier interprets the legendary ballet »Le Sacre du printemps«. Choreographing to the visionary music by Igor Strawinsky and ignoring every norm of classical ballet, Vaslaw Nijinsky accomplished a veritable theatre scandal in 1913, when the ballet was first performed. Neumeier’s version was created for the Frankfurt Ballet in 1972 and had its first performance in Hamburg in 1975. »Le Pavillon d’Armide« was last performed by the HAMBURG BALLET in 2011, »Le Sacre« in 2010. On June 16, 2013, we will present a double-bill of »Nijinsky« and »Nijinsky Epilogue«.

Revival II


Ballet by John Neumeier

Music Lera Auerbach

24 Préludes for Violoncello and Piano

24 Préludes for Violin and Piano
Choreography, Set and Costumes John Neumeier

Violin Vadim Gluzman

Violoncello Ani Aznavoorian
Piano Lera Auerbach Angela Yoffe


January 8, 2013; 7.30 PM


January 9 | 11 | 12 | 13, 2013; 7.30 PM

June 29, 2013; 8.00 PM

»Don’t try to understand this ballet. It has no “story” (that I could tell you) aside from the many stories that you yourself might sense, remember, or recognize while hearing this music and seeing the accompanying movement images. Surely, each of you might suggest very different stories…« With these words, John Neumeier describes his first ballet based on music by Lera Auerbach. Her Préludes-cycles for Violoncello and Piano, Violin and Piano that had their world-premiere with this ballet in 2003, inspired Neumeier to create dancercharacters in spontaneous interaction and relationship-building. Actions expand associatively – let not by intention, but emotions. »Préludes CV« was part of the repertoire of THE HAMBURG BALLET until June 2004. The Russian-American composer Lera Auerbach wrote the score for John Neumeier’s successful ballet »The Little Mermaid« in 2005 (Hamburg Version 2007) as well.

Revival III

Ballet by John Neumeier based on William Shakespeare
Music Sergej Prokofjew

Choreography and Staging John Neumeier

Set and Costumes Jürgen Rose

Musical Director Markus Lehtinen


April 11, 2013; 7.00 PM


April 12 | 13 | 17 | 18 | 19, 2013; 7.00 PM

June 14, 2013; 7.00 PM

As early as 1971, John Neumeier created his ballet-version of Shakespeare’s famous play of the two tragic lovers. In 1974, he presented his Hamburg version of the choreography. In 1981, he readjusted the production, creating a revised version including new settings by Jürgen Rose. Sergej Prokofjew’s ballet-score from 1935 is the musical base for all versions. »Romeo and Juliet« was last staged as part of the THE HAMBURG BALLET’s repertoire in 2006.

Revival IV


(Working Title)

Key-Scenes from the Shakespeare-Ballets by John Neumeier

Hamlet | Othello | As You Like It | VIVALDI or As you like

Music Michael Tippett, Arvo Pärt, Alfred Schnittke, Naná Vasconcelos, Antonio Vivaldi, Wolfgang Amadeus Mozart

Choreography John Neumeier

Equipment John Neumeier, Hans Martin Schröder, Christina Engstrand, Klaus Hellenstein
Musical Director Simon Hewett


June 9, 2013; 6.00 PM

June 28, 2013; 7.30 PM

»Shakespeare is one of the greatest sources of inspiration a choreographer can have: He is the most humane of all poets. He sees and talks about things with a dimension far stronger than words. By saying this, I do not mean to diminish his language. But one critic once stated that it is impossible to truly grasp Shakespeare’s intention unless you complement him with your own idea of humanity. I find this essential: Shakespeare understood humans so deeply, described his characters and their relations so intensely and thoroughly that we are capable of understanding them through dance only, without any describing words, as paradox as this may seem. In » Scenes from Shakespeare«, John Neumeier depicts a personal collection of extracts from four of his Shakespeare-Ballets that comprise more than one decade of examination based on works by the English playwright: »Hamlet« (1985/1997), »Othello« (1985), »As You Like It« (1985) as well as »VIVALDI or As you like« (1996).

Special Performance

Ballets by John Neumeier


Music Johann Sebastian Bach

Choreography John Neumeier

RÜCKERT LIEDER (Revised Version)

Music Gustav Mahler

Choreography and Costumes John Neumeier


Music Robert Schumann

Choreography John Neumeier

Costumes Silvia Strahammer

Piano Christoph Eschenbach

Baritone Matthias Goerne


June 22, 2013; 7.30 PM

This triple-bill gala consisting of »Vaslaw« (1979), »Rückert Lieder« (1976) and »Kinderszenen« (1974) evokes a different aspect of John Neumeier’s oevre: His musical concentration on piano and human voice in songs and their choreographic implementation. With the renowned pianist and conductor Christoph Eschenbach and the Baritone Matthias Goerne, John Neumeier could win two world class musicians for this special project.


SEASON 2012/2013




Ballet legend by John Neumeier

based on a play by Ferenc Molnár


September 26, 28, 30, 2012


December 31, 2012


January 4, 6, 2013


June 25, 2013




Ballet by John Neumeier

based on the novel of Alexandre Dumas the Younger


October 3, 6, 2012


May 1, 3, 5, 9, 25, 2013


June 13, 2013




Ballet by John Neumeier

based on Hans Christian Andersen’s tale


October 27, 2012


November 2, 9, 10, 2012


June 27, 2013




Two Ballets by Jerome Robbins

»Dances at a Gathering«

»The Concert«


November 12, 15, 16, 2012




Ballet by John Neumeier


December 20, 22, 26, 27, 2012


June 21, 2013




A Danse Macabre by John Neumeier

based on the Novella by Thomas Mann


January 16, 18, 2013


March 26, 28, 2013


June 26, 2013




Ballet by John Neumeier after William Shakespeare


March 1, 3, 8, 9, 2013


June 23, 2013




Ballet by John Neumeier


March 16, 17, 23, 2013


April 5, 2013


June 20, 2013




March 29, 31, 2013 (State Opera)


June 18, 19, 2013 (HK St. Michaelis)




Ballet by John Neumeier


April 26, 27, 2013


May 7, 10, 2013


June 16, 2013






Ballet by John Neumeier


May 20, 23, 24, 2013


June 15, 2013




Alina Cojocaru


in »A Midsummer Night’s Dream«, »Liliom« und »Lady of the Camellias«.

Dates to be announced.





JUNE 9TH – JUNE 30TH, 2013

June 9th Scenes from Shakespeare

June 11th The Bavarian State Ballet

June 12th The Bavarian State Ballet

June 13th Lady of the Camellias

June 14th Romeo and Juliet

June 15th Third Simphony of Gustav Mahler

June 16th Nijinsky (afternoon)

Nijinsky-Epilogue (evening)

June 18th Les Ballets de Monte-Carlo

June 18th Saint Matthew Passion (St. Michaelis church)

June 19th Les Ballets de Monte-Carlo

June 19th Saint Matthew Passion (St. Michaelis church)

June 20th Purgatorio

June 21st Illusions – like “Swan Lake”

June 22nd Gala for piano, voice and dance

June 23rd A Midsummer Night’s Dream

June 24th Performance of the Theatre Classes of the School of THE HAMBURG BALLET

June 25th Liliom

June 26th Death in Venice

June 27th The Little Mermaid

June 28th Scenes from Shakespeare

June 29th Préludes CV

June 30th Nijinsky-Gala XXXIX

Guesting Companies


The Bavarian State Ballet


Although Munich is known to be a city rich in dance tradition, it was not until 1988 that the Bavarian State Ballet gained independence from the Opera as a result of the tireless advocacy of Konstanze Vernon and the support of the State of Bavaria. It was the start of the company’s rise to an impeccable international reputation. No longer called the Ballet of the Bavarian State Opera, but instead the Bavarian State Ballet, the troupe has been under the artistic leadership of Ivan Liška since 1998. Before accepting the post of artistic director, he spent two decades at the Hamburg Ballet under its director John Neumeier, becoming one of its most distinguished soloists during his active career. The close, mentor-student relationship between Neumeier and Liška is one of the reasons, the Bavarian State Ballet is proud to have many Neumeier works in its repertory today. The Bavarian State Ballet is known for its substantial and highly versatile repertory made up of over fifty works all together. A big emphasis lies on evening length ballets. From the romantic times »Giselle« and »La Sylphide«, to the classics »Swan Lake«, »The Sleeping Beauty«, »Don Quixote«, »La Bayadère« and »Le Corsaire«, to the contemporary classics: John Cranko’s »Romeo and Juliet«, »Onegin« and »The Taming of the Shrew«, or Frederick Ashton’s »La Fille mal gardée« and »Scènes de ballet«, Kenneth MacMillan’s »Song of the Earth«, Robbin’s »Goldberg Variations« and John Neumeier’s »A Midsummer Night’s Dream«, »The Nutcracker«, »A Cinderella Story«, »The Lady of the Camellias« and »Illusions – Like Swan Lake«. In addition, it includes works by Balanchine, Kylián, van Manen, William Forsythe, Mats Ek, Twyla Tharp, Lucinda Childs, Angelin Preljocaj, Merce Cunningham, José Limón as well as promising new talent such as Terence Kohler, Richard Siegal and Simone Sandroni. In September 2010, Ivan Liška and Konstanze Vernon, together with Jan Broeckx, inaugurated the Bavarian State Ballet II / Junior Company as the first official ensemble of its kind in Germany. Starting off point was the wish for young, talented dancers to develop close the main company, for them to be exposed to world-class artists and be challenged to find artistry at a young age. Moreover, it is the mission of the troupe to further the presence and positive reputation of dance in our community. In February of 2012, Ivan Liška received the German Dance Award for his career achievements both as a dancer and artistic director. The German Dance Award »Future«was also given to Munich.

Source: Bavarian State Ballet




»The great tradition of dance in Monaco only holds meaning when it recalls, above all, its devotion to the tradition of modernity. It is not a nostalgic hold on a glorious past, rather is diligently shrouded in the discovery of new expressions«. H.R.H. the Princess of Hanover. It is in response to this new expectation that in 1993, H.R.H. the Princess of Hanover appoints Jean-Christophe Maillot as head of the Ballets de Monte-Carlo. Crowned with a strong career path as a dancer acquired with Rosella Hightower and John Neumeier, as well as experience acquired as choreographer and director of the National Choreographic Centre of Tours, Jean-Christophe Maillot opens up new horizons for the Monegasque company. He constitutes an original repertory around his own creations mixing the great masters of American abstraction like Lucinda Childs, Karole Armitage, William Forsythe and with European choreographers such as Jacopo Godani, Nacho Duato, Larbi Cherkaoui among others. Jean-Christophe Maillot’s personal research is spotlighted in such creations as »Dov’è la luna«, »Recto-Verso«, »Vers un Pays Sage«, »Entrelacs«, »Opus 40«, »Men’s Dance«, »D’une Rive à l’Autre«, »Noces«, »Miniatures«, as well as in the great classics with timeless themes such as »Romeo and Juliet«, »The Nutcracker«, »Cinderella«, »La Belle« (The Beauty), »Le Songe« and »Faust«. With him, many artists of various disciplines have collaborated in these works: visual artists like George Condo, Ernest Pignon Ernest, Philippe Favier, Dominique Drillot, composers such as Yan Maresz, Andrea Cera, Ivan Fedele, Ramon Lazkano, Martin Matalon, Gérard Pesson, Marc Ducret, and costume designers like Jérôme Kaplan or Philippe Guillotel. Resolutely turned towards the future and new technologies, the choreographer also calls on photographers and video artists, among whom are Ange Leccia, and Gilles Delmas. Itinerant during part of the year, since 1993 the company of fifty dancers is present on the greatest international stages, thus participating in the prestigious splendour of the Principality.

Source: Les Ballets de Monte-Carlo





Last update: April 2012 | subject to change


Brisbane, Queensland Performing Arts Centre, Playhouse




August 26, 27 and 28, 2012


A Midsummer Night’s Dream


August 30, and 31, 2012; September 1 (twice), 2, 3, 4 and 5, 2012


Baden-Baden, Festspielhaus




October 12, 13 and 14, 2012


Illusions – like “Swan Lake“


October 19, 20 and 21, 2012




October 14, 2012


St. Petersburg, Alexandrinsky Theater


Lady of the Camellias


November 6 and 7, 2012




Chicago, Harris Theatre




February 1 and 2, 2013


Orange County, Segerstrom Center for the Arts


The Little Mermaid


February 7, 8 and 9, 2013


San Francisco, War Memorial Opera House




February 13, 14, 15, 16, 17 and 19, 2013


Essen, Philharmonie


Gala for Piano, Voice and Dance


May 17, 2013


Additional Dates


SEASON 2012/2013


Hamburger Theaternacht


September 8, 2012 , 7.00 to 10.00 p.m.

The Ballet school performs at the State Opera


Ballett-Werkstätten (Ballet workshops)


October 3, 2012


November 25, 2012


(Charity workshop)


January 13, 2013


May 5, 2013 (200th workshop) at 11 a.m.




The School of THE HAMBURG BALLET at the Ernst Deutsch Theater


February 28 – March 2, 2013


PERFORMANCE OF THE THEATRE CLASSES Hamburgische Staatsoper, Großes Haus


June 24, 2013



The BUNDESJUGENDBALLET (National Youth Ballet) in the season 2012/2013


Also in the new season 2012/2013, the BUNDESJUGENDBALLET (National Youth Ballet) is going to perform in the most varied venues – nationwide. The ensemble performs in schools, nursing homes, hospitals and prisons as well as theatres, concert halls and at festivals. A range of single events, including performances at Hamburg Theatre Night (8.9.12) and in Kursana Resience Hamburg Niendorf (16.12.12), have already been set. Untypical for ballet, venues as the dome of the Reichstag building in Berlin (9.9.12) or the swimming pool Otterndorf (29. and 30.11.12) have already become an inherent part of the program. With the serie »Im Aufschwung« the successful co-operation with the Ernst Deutsch Theatre will be continued in the new season. On September 26 th and 27th, as well as on November 19th, 20th, 22nd and 23th, 2012 the BUNDESJUGENDBALLET (National Youth Ballet) is going to present two different programs in the theatre. Likewise the series »doppel::punkt« set in the Hamburg music-club Übel & Gefährlich, in cooperation with The Young ClassX, will be continued (31.10.12). In casual club atmosphere both institutions aim to reach young audiences, combining music and dance. Amongst others, a new co-operation with Diakonie Hamburg is going to come up during the new season. Within this co-operation the young ensemble is going to perform in several social facilities. Dates and places will be announced soon.

Education Projects

During the past seasons, THE HAMBURG BALLET has constantly expanded its youth projects. Not only do we offer family introductions to the ballets, rehearsal visits and school projects in collaboration with »TuSch« (“Theater und Schule”, an educational program in Hamburg funded by the Koerber Stiftung, see for Details). We also intensified the co-operation with universities in the greater Hamburg area – including the Bucerius Law School, Hamburg University and Leuphana University Lüneburg. Our goal is to spark young people’s interest in dance and THE HAMBURG BALLET, and we look forward to hearing from you! If you are interested in our education projects, please contact Daniela Rothensee for college projects +49 (0)40-21 11 88 16, [email protected] Indrani Delmaine for [email protected] Kathrin Bartels for rehearsal visits [email protected]



Advance Ticket Sale: Changes for »Ballet-Workshops« and »Nijinsky-Gala«


In the next season THE HAMBURG BALLET will further improve the advanced ticket sale system for the Ballet-Workshops and for the Nijinsky-Gala. The number of tickets available for purchase is limited based on the high demand of tickets for those performances. While tickets for the Nijinsky-Gala can be purchased exclusively in written form (orders by e-mail will not be accepted), orders for the Ballett-Werkstätten (Ballet-Workshops) can only be placed at the box office or via telephone. The advanced ticket sale starts on May 2 nd 2012: For Workshops: from 10:00 a.m. on Wednesday, May 2, 2012 at the box office or via telephone +49 (0) 40 35 68 68. Reservations and bookings on the internet and written reservations (fax, email or letter) are not accepted. A limited number of tickets are reserved for those over 70 and those who are registered as severely disabled (over 80% “MdE”) – these tickets can be booked by telephone only. Please bring the relevant card or identification with you when you collect your tickets.


For the Nijinsky-Gala: Reservations can be placed from May 2 to May 31, 2012 (according to the date of the receipt stamp), per mail only to: Hamburgische Staatsoper, Kartenservice, Große Theaterstraße 25, 20354 Hamburg. Orders by telephone and internet bookings are not possible, and no tickets will be sold at the box office. The reservations will be processed in order of arrival. It is not possible to submit orders in person. An informal reservation is sufficient: please give your name, address, customer number (where applicable) and the number of tickets required, and chose either payment by direct debit or credit card. Please include your bank account details or your credit card details including expiry date and card validation code (CVC). Reservations from customers who did not receive tickets for the Nijinsky gala in previous seasons will be prioritised.

No tickets will be sold through ticket agencies and there will be no last-minute ticket sales.

Service Box-office

Große Theaterstrase 25, D-20354 Hamburg

Tel. +49 (0)40 35 68 68

Fax +49 (0)40 35 68 610

Mo. to Sa. 10.00 a. m. to 6.30 p. m.

During summer break (July 2 until August 18, 2012):

Mo. to Fri. 10.00 a. m. to 6.30 p. m., Sa. 10.00 a. m. to 2.00 p. m.


Online booking


Select and purchase tickets – easy and convenient at




Advance booking for performances between September 15 and October 31, 2012 starts on Monday, May 7, 2012. Tickets will also be sold during summer break. Advance booking for all other performances of 2012/13 season starts on Monday, August 20, 2012 (for subscribers only) respectively Monday, August 27, 2012 (for all other customers, also online booking and sale by private booking offices). Please note that the dates for the advance booking mentioned above do not apply to the Nijinsky-Gala and the Ballett- Werkstätten (ballet work-shops). There will be a limited number of tickets available on short call 28 days prior to all other performances. The evening box-office opens 90 minutes prior to the beginning of the performance. The ticket sale for the respective performance has priority. Written ticket orders or orders via telephone have to be paid for within a deadline you will receive with our order confirmation.




The quickest way to get your tickets is to book using your credit card (MasterCard, VISA and American Express accepted). On request we will send you the tickets by post. There will be a charge of € 5 (online booking: € 2.50) for each dispatch. Tickets which have been paid for cannot be returned or subsequently reduced. A list of our general business conditions in German is available from our box-office or can be found on our homepage.

Other advance booking offices

Tickets are also available at some private booking offices in Hamburg and at Hamburg Tourismus GmbH (Hotline +49 (0)40 300 51 777; and at all Ticket-online booking offices and TUI-travel agencies.




Information can be obtained from our subscription office: Tel. +49 (0)40 35 68 800 Mo. to Fri. 10.00 a. m. to 6.30 p. m. During summer break (July 11 until August 21, 2012): Mo. to Fri. 10.00 a. m. to 2.00 p. m.

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