An evocative, frightening and challenging double-bill that delves deeply into the human psyche. Enter at your own risk.

If you’re only going to see one opera this year, make it this one
– DN
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Duke Bluebeard’s Castle

An opera in one act by BÉLA BARTÓK (1881-1945). Libretto by BÉLA BALÁZS.
Performed in Hungarian with Swedish surtitles.

The young Judith has just married the cheerless Duke Bluebeard. She wants to know everything about him. She is able to accomplish this by opening the castle's doors, which are actually different ways into his soul. The work has been described as a psychoanalysis in which both the patient and the psychiatrist are destroyed.

Two sterling masterpieces in concentrated form, with their power completely intact
– Göteborgs-Posten


A monodrama in one act by ARNOLD SCHÖNBERG (1874-1951). Libretto by MARIE PAPPENHEIM. Performed in German with Swedish surtitles.

The woman in Schönberg’s Erwartung wanders in a forest. She is driven by jealousy and is searching for her beloved. Suddenly she thinks she sees him dead. Who has murdered him? Did she do it herself? Or was it all a dream?

Director David Radok takes on these two works, which will be linked to one another as a whole piece. For us, set designer Martin Chocholoušek most recently did the magnificent décor for Puccini's Turandot. Duke Bluebeard is interpreted by house bass Anders Lorentzson, while Katarina Giotas returns as his Judith . As the woman in Erwartung Katarina Karnéus has perhaps her greatest operatic challenge to date.

As David Radok searches deep into the core of these two remarkable operas, he creates a new masterpiece
– Svenska Dagbladet

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