Bavarian State Opera tickets 14 February 2026 - The Bartered Bride | GoComGo.com

The Bartered Bride

Bavarian State Opera, National Theatre, Munich, Germany
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Saturday 14 February 2026
6 PM
From
US$ 107

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.

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).

Important Info
Type: Opera
City: Munich, Germany
Starts at: 18:00
Acts: 3
Intervals: 1
Duration: 2h 50min
Sung in: German
Titles in: English,German

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.

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
Conductor: Tomáš Hanus
Bass: Bálint Szabó (Krušina)
Chorus: Chorus of the Bavarian State Opera
Soprano: Emily Pogorelc (Mařenka)
Soprano: Juliane Banse (Kathinka)
Tenor: Pavol Breslik (Hans)
Creators
Composer: Bedřich Smetana
Director: David Bösch
Costume designer: Falko Herold
Librettist: Karel Sabina
Dramaturge: Lukas Leipfinger
Light: Michael Bauer
Scenography: Patrick Bannwart
Overview

The story from Smetana's successful opera The Bartered Bride of 1866 evolved into a hit around the globe via something of a detour – it is not the Czech original that made it into the repertoire, but rather and in particular the German translation by Max Kalbeck, which has the right popular song qualities.

And the interplay between seriousness and comedy is as if made for director David Bösch, who is more than happy with ..., "I know a girl, she's got the money".

Seeing his love succeed against the will of the parents is pretty difficult in a rural setting. Especially when he is also considered an outsider, things do not look good with the parents-in-law, and there's a lot of money in the mix as well. But what Hans negotiates with Kezal the marriage broker, without discussing it with his beloved Marie, certainly requires a very special kind of chutzpah, and it very nearly goes all wrong – bartering his loved one to a certain person, which turns out through rhetorical trickery to be himself, only becomes evident as a good idea at the end. Which once again proves: The comedy is only a tragedy avoided at the very last minute.

History
Premiere of this production: 30 May 1866, Provisional Theatre, Prague

The Bartered Bride (Prodaná nevěsta, The Sold Bride) is a comic opera in three acts by the Czech composer Bedřich Smetana, to a libretto by Karel Sabina. The work is generally regarded as a major contribution towards the development of Czech music. It was composed during the period 1863 to 1866, and first performed at the Provisional Theatre, Prague, on 30 May 1866 in a two-act format with spoken dialogue.

Synopsis

FIRST ACT
It is spring and the villagers are celebrating heartily at the church fair. Praising the joys of young love, they do, however, warn of the monotony that can appear all too quickly in married life. Marie bemoans to her lover Hans that she, at the behest of her parents, shall be wedded to an unknown man today. Hans attempts to calm her and encourages her to resist her parents’ wishes. Marie feels no better, but swears her love for Hans. She would remain his forever, if only her parents did not force her to wed another man. Hans’ placidity leads Marie to the belief that his love for her is not serious. She asks her lover about his origins and background, and he replies by saying that he is from a prosperous family. After the death of his mother, his father took a new wife and Hans was banished from the court. Hans laments his mother’s passing, and Marie comforts him. The young couple reassure each other of their reciprocal love. Marie’s parents, Kruschina and Kathinka, consult the marriage broker Kezal. He praises his own style of mediation and ensures Marie’s parents of the legitimacy of planning Marie’s wedding without her consent. Kezal reminds Kruschina that years ago he already promised Tobias Micha that his son may marry his daughter. Kathinka scolds her man for agreeing to give away their daughter without her consent. Marie will not back down. While Kruschina and Kezal press for the marriage, Marie reveals her love for Hans. She does not accept the contract signed between Kezal and her father. Kezal suggests that Kruschina meet Tobias Micha so that the two fathers may discuss the situation. Meanwhile, the villagers continue to drink and dance.

SECOND ACT
As the men enjoy their beer, Hans drinks to his happiness. Kezal swears by the value of money. Tobias Micha’s son Wenzel wants to free himself from his mother’s contract and collect his bride Marie, clearly out of his depth. He meets Marie, who recognises him instantly as her chosen groom. She warns him of his future bride, her love for another and how she will torment him to death. She invents a secret admirer for him and entices him to make a secret oath: Wenzel shall renounce Marie as his bride and never go near her again. Kezal attempts to separate Hans from Marie. Once again, the marriage broker praises money as a higher commodity than love and promises Hans another woman with great wealth. Hans resists, but Kezal offers him money to leave Marie free for Tobias Micha’s son. For 300 florins, Hans consents to such a worded contract. Secretly, Hans celebrates: he is now sure he has laid the path for his marriage to Marie. Kezal informs the villagers of the contract between him and Hans. That somebody could sell their bride for money, disgusts them and Kruschina.

THIRD ACT
A travelling circus interrupts the musings of the deathly-saddened Wenzel. The circus manager announces the highlight of the programme: the dancer Esmeralda, an Indian chief, a cannibal and, as the main attraction, a bear from America. However, Muff, the Indian impersonator, informs the manager that the bear impersonator got drunk in a bar and is unable to perform. A replacement cannot be found, as the bear costume fits no one. Then they notice Wenzel, who has the correct size. The circus manager senses his chance and invites Wenzel to join the circus troupe, with the promise that were he to perform as the bear and dance in costume, he would receive Esmeralda as his wife. Wenzel quickly forgets his reservations that he cannot dance, and his mother’s reproaches for such attempts, when Esmeralda makes eyes at him. In contrast to his parents, Agnes and Tobias Micha, Wenzel wishes to know nothing more of his betrothal to Marie. Marie is appalled at hearing of Hans’ alleged betrayal, and Kezal confirms her fears by showing her the contract signed by Hans. Kathinka and Kruschina suggest that their daughter become engaged to Wenzel. He wishes to marry her immediately, as he recognises her as the charming girl who made him renounce his oath. Marie laments her lost happiness with Hans. She wishes to know no more from him and allows him to speak no words when he tries to explain his contract with Kezal. Kezal now finally wants to enact the sale of the bride. Marie is shocked that Hans is in agreement. To everyone’s amazement, Tobias Micha recognises his lost son in the shape of Hans. Hans’ plan begins to bear fruit: the fact he is Tobias Micha’s son means that he has, in fact, not sold Marie to another. Marie must now decide between him and Wenzel, a decision she finds easy. She chooses Hans. The parents of the happy couple laugh at Kezal’s failure, while he bemoans his defeat. Suddenly, there are news about an escaped bear. Wenzel can be recognised under the bear costume, and is ridiculed by everyone and scolded by his mother Agnes through shame. Tobias Micha reconciles himself with his son, and there is now nothing to stand in the way of the marriage between Hans and Marie. 

Act 1

A crowd of villagers is celebrating at the church fair ("Let's rejoice and be merry"). Among them are Mařenka and Jeník. Mařenka is unhappy because her parents want her to marry someone she has never met. They will try to force her into this, she says. Her desires are for Jeník even though, as she explains in her aria "If I should ever learn", she knows nothing of his background. The couple then declare their feelings for each other in a passionate love duet ("Faithful love can't be marred").

As the pair leave separately, Mařenka's parents, Ludmila and Krušina, enter with the marriage broker Kecal. After some discussion, Kecal announces that he has found a groom for Mařenka – Vašek, younger son of Tobiáš Mícha, a wealthy landowner; the older son, he explains, is a worthless good-for-nothing. Kecal extols the virtues of Vašek ("He's a nice boy, well brought up"), as Mařenka re-enters. In the subsequent quartet she responds by saying that she already has a chosen lover. Send him packing, orders Kecal. The four argue, but little is resolved. Kecal decides he must convince Jeník to give up Mařenka, as the villagers return, singing and dancing a festive polka.

Act 2

The men of the village join in a rousing drinking song ("To beer!"), while Jeník and Kecal argue the merits, respectively, of love and money over beer. The women enter, and the whole group joins in dancing a furiant. Away from the jollity the nervous Vašek muses over his forthcoming marriage in a stuttering song ("My-my-my mother said to me"). Mařenka appears, and guesses immediately who he is, but does not reveal her own identity. Pretending to be someone else, she paints a picture of "Mařenka" as a treacherous deceiver. Vašek is easily fooled, and when Mařenka, in her false guise, pretends to woo him ("I know of a maiden fair"), he falls for her charms and swears to give Mařenka up.

Meanwhile, Kecal is attempting to buy Jeník off, and after some verbal fencing makes a straight cash offer: a hundred florins if Jeník will renounce Mařenka. Not enough, is the reply. When Kecal increases the offer to 300 florins, Jeník pretends to accept, but imposes a condition – no one but Mícha's son will be allowed to wed Mařenka. Kecal agrees, and rushes off to prepare the contract. Alone, Jeník ponders the deal he has apparently made to barter his beloved ("When you discover whom you've bought"), wondering how anyone could believe that he would really do this, and finally expressing his love for Mařenka.

Kecal summons the villagers to witness the contract he has made ("Come inside and listen to me"). He reads the terms: Mařenka is to marry no one but Mícha's son. Krušina and the crowd marvel at Jeník's apparent self-denial, but the mood changes when they learn that he has been paid off. The act ends with Jenik being denounced by Krušina and the rest of the assembly as a rascal.

Act 3

Vašek expresses his confusions in a short, sad song ("I can't get it out of my head"), but is interrupted by the arrival of a travelling circus. The Ringmaster introduces the star attractions: Esmeralda, the Spanish dancer, a "real Indian" sword swallower, and a dancing bear. A rapid folk-dance, the skočná, follows. Vašek is entranced by Esmeralda, but his timid advances are interrupted when the "Indian" rushes in, announcing that the "bear" has collapsed in a drunken stupor. A replacement is required. Vašek is soon persuaded to take the job, egged on by Esmeralda's flattering words ("We'll make a pretty thing out of you").

The circus folk leave. Vasek's parents – Mícha and Háta – arrive, with Kecal. Vašek tells them that he no longer wants to marry Mařenka, having learned her true nature from a beautiful, strange girl. They are horrified ("He does not want her – what has happened?"). Vašek runs off, and moments later Mařenka arrives with her parents. She has just learned of Jeník's deal with Kecal, and a lively ensemble ("No, no, I don't believe it") ensues. Matters are further complicated when Vašek returns, recognises Mařenka as his "strange girl", and says that he will happily marry her. In the sextet which follows ("Make your mind up, Mařenka"), Mařenka is urged to think things over. They all depart, leaving her alone.

In her aria ("Oh what grief"), Mařenka sings of her betrayal. When Jeník appears, she rebuffs him angrily, and declares that she will marry Vašek. Kecal arrives, and is amused by Jeník's attempts to pacify Mařenka, who orders her former lover to go. The villagers then enter, with both sets of parents, wanting to know Mařenka's decision ("What have you decided, Mařenka?"). As she confirms that she will marry Vašek, Jeník returns, and to great consternation addresses Mícha as "father". In a surprise identity revelation it emerges that Jeník is Mícha's elder son, by a former marriage – the "worthless good-for-nothing" earlier dismissed by Kecal – who had in fact been driven away by his jealous stepmother, Háta. As Mícha's son he is, by the terms of the contract, entitled to marry Mařenka; when this becomes clear, Mařenka understands his actions and embraces him. Offstage shouting interrupts the proceedings; it seems that a bear has escaped from the circus and is heading for the village. This creature appears, but is soon revealed to be Vašek in the bear's costume ("Don't be afraid!"). His antics convince his parents that he is unready for marriage, and he is marched away. Mícha then blesses the marriage between Mařenka and Jeník, and all ends in a celebratory chorus.

Venue Info

Bavarian State Opera - Munich
Location   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.

Important Info
Type: Opera
City: Munich, Germany
Starts at: 18:00
Acts: 3
Intervals: 1
Duration: 2h 50min
Sung in: German
Titles in: English,German
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