Amidst a world seemingly defined by a constant barrage of crises, music, particularly opera, offers a potential refuge, a parallel reality where contemplation and hope can take root. Bernd Loebe, the Intendant of the Frankfurt Opera, champions opera as precisely this escape, an "ideal parallel world" where audiences can engage with profound themes and complex narratives. He articulated this vision during the presentation of the 2025/26 season’s program, emphasizing the art form’s capacity to serve as a commentary on the past, an examination of the present, and even a blueprint for a utopian future.
The Frankfurt Opera’s reputation precedes it. The institution has been repeatedly recognized for its excellence, most recently earning its eighth title as "Opera House of the Year." This accolade, bestowed based on the opinions of discerning critics, highlights the opera house’s "sure instinct for a dramatically plausible, innovative, and diverse program." The critics have consistently praised the Frankfurt Opera for its ability to strike a balance between traditional works and more adventurous, unconventional pieces, creating a repertoire that appeals to both seasoned opera aficionados and newcomers alike. This balancing act is a key element of Loebe’s artistic vision, as he seeks to maintain the art form’s relevance in a rapidly changing world.
Loebe himself acknowledged that the upcoming season’s program is "once again somewhat unorthodox," a testament to his commitment to pushing boundaries and exploring the lesser-known corners of the operatic world. The 2025/26 season boasts ten premieres, a mix of beloved classics and intriguing rarities. Familiar works such as Mozart’s "Cosi fan tutte" and Puccini’s "Turandot" will undoubtedly draw audiences, providing a foundation of well-loved repertoire. However, it is the inclusion of lesser-known works that truly sets the Frankfurt Opera apart.
One such rarity is a work by the largely forgotten Baroque composer Agostino Steffani. Loebe’s discovery of Steffani’s work has a serendipitous quality. During a visit to the Frankfurt Cathedral, he inadvertently stepped on Steffani’s gravestone. This seemingly chance encounter sparked Loebe’s interest in the composer, who died in Frankfurt in 1728 while traveling back to Italy. This unexpected discovery encapsulates Loebe’s approach to programming: a willingness to explore uncharted territory and to unearth hidden gems from the past. It also demonstrates a connection to the city’s own history and cultural heritage.
Other unconventional choices in the upcoming season include Harrison Birtwistle’s darkly comic opera "Punch and Judy" and Wolfgang Fortner’s "Bluthochzeit" (Blood Wedding), both works that are not staples of the operatic canon. These challenging pieces promise to push audiences beyond their comfort zones and to confront them with complex and often disturbing themes. The inclusion of such works is a deliberate attempt to engage with contemporary issues and to explore the darker aspects of the human condition.
Furthermore, Loebe’s casting choices often add another layer of meaning to the productions. In a particularly poignant decision, he has cast a Ukrainian singer in the title role of Mussorgsky’s "Boris Godunov," a Russian opera centered on themes of politics, power, and intrigue. This casting decision resonates deeply with the current geopolitical climate and highlights the opera’s enduring relevance to contemporary society. It serves as a subtle yet powerful commentary on the ongoing conflict and underscores the universality of the themes explored in the opera.
Thomas Guggeis, the General Music Director of the Frankfurt Opera, echoes Loebe’s sentiment, emphasizing the deeply human nature of opera. He describes opera as an art form that creates a "small miracle" on stage night after night. The power of opera, according to Guggeis, lies in its ability to leave audiences feeling "strengthened, thoughtful, and perhaps a little hopeful" as they return to the "very intense reality" of the outside world. He suggests that the emotional catharsis and intellectual stimulation offered by opera can provide a much-needed respite from the anxieties and uncertainties of modern life.
The combination of Loebe’s innovative programming and Guggeis’s musical leadership has transformed the Frankfurt Opera into a vibrant and dynamic institution. The opera house’s success is not solely due to its artistic merit; it also reflects a deep understanding of the role that opera can play in contemporary society. In a world that often feels fragmented and overwhelming, the Frankfurt Opera offers a space for reflection, connection, and hope. It is a place where audiences can confront difficult truths, explore complex emotions, and ultimately emerge with a renewed sense of purpose and possibility. The Frankfurt Opera’s commitment to both artistic excellence and social relevance ensures its continued success as a leading cultural institution. The 2025/26 season promises to be another testament to this commitment, offering audiences a diverse and thought-provoking program that will challenge, inspire, and ultimately uplift them. The opera house is not just a place to escape reality, but a place to engage with it in a meaningful and transformative way.
