Der Freischütz

Carl Maria von Weber

Der Freischütz

Premiere: 7. 3. 2017


Director: Christian von Götz

Conductor: Christoph Gedschold

Stage: Dieter Richter

Costumes: Jessica Karge

Kaspar: Tuomas Pursio

Max: Thomas Mohr

Agathe: Gal James

Ännchen: Magdalena Hinterdobler

Samiel: Verena Hierholzer

Ottokar: Jonathan Michie

Kuno: Jürgen Kurth

Kilian: Patrick Vogel

Eremit: Runi Brattaberg


"Psychologically accurate and dramaturgically intelligent production: Carl Maria von Webers FREISCHÜTZ staged by Christian von Götz at Opera Leipzig." (Leipziger Volkszeitung, 5. 3. 2017)

“No gorge anywhere. No tree either. And still nothing is left owing to the wolf’s glen by director Christian von Götz and stage designer Dieter Richter.” (Leipziger Volkszeitung, 5. 3. 2017)

“Director Christian von Götz submits a masterpiece” (Bild-Zeitung, 6. 3. 2017)

“Amid his vision of Weber’s evergreen sylvan romanticism director Christian von Götz creates something apparently impossible” (Concerti, 6. 3. 2017)

“With many of the idiosyncratic details, perceptibly arising out of the score and libretto, he consciously fastens on to traditional performances, yet still cultivates an utterly distinct, present-day view. It is focused on Samiel, who here is a woman-child acting as a vessel for the anxieties, the suppressed guilt, the abysses of a masculine society frozen in cheap rituals. Often the extraordinarily expressive dancer Verena Hierholzer stands unnoticed on the window sill of the embattled tavern (…) and views the scene, palpably enraged and even more forlorn.” (Concerti, 6. 3. 2017)

Snowwhite and the 77 dwarfs

Elena Kats-Chernin

Snowwhite and the 77 dwarfs

Premiere: 1. 11. 2015



"Director Christian von Götz with sparkling ideas up to the final scene" (Berliner Morgenpost, 3.11.2015)

The merry wives of windsor

Otto Nikolai

The merry wives of windsor

Magdeburg Opera House
Premiere: 7. 5. 2016



“First of all, forget about Shakespeare. Secondly: Forget about Sir John Falstaff, at any rate Verdi’s. Thirdly: Forget about “komisch-phantastische Oper”, as the the subheading of Otto Nicolai’s “Lustige Weiber von Windsor” reads. Open your mouths, or eyes and ears, respectively, for a hilarious evening in the theatre, a musical with slightly more music from the mid-19th and slightly less sound from the later mid-20th century. Christian von Götz has it mixed inventively and with many shenanigans. (…) a bike-and-drink-mobile, a gaudily coloured beetle, a ridable pink giant settee … carrying the bulky Falstaff via a washing machine into the chilly Thames. (…) In the final act, set LSD-coloured and greenish magically under a huge osier (…), the stage director actually achieves a midsummernight’s dream with Shakespeare.” (Volksstimme, 9. 5. 2016)

The Turn Of The Screw

Benjamin Britten

The Turn Of The Screw

Magdeburg Opera House
Opening night: Oct. 2nd 2010


Conductor: Adrian Prabava
Stage Director: Christian von Götz
Set and Costume Design: Lukas Noll

Governess: Noa Danon
Mrs Grose: Lucia Cervoni
Quint: Manfred Wulfert
Miss Jessel: Undine Dreißig
Flora: Julie Martin du Theil
Miles: Henning Stangl


“Fascinating direction by Christian von Götz”
(Magdeburger Sonntag Oct. 12th 2010)

“Enthusiastic applause for all”
(Opernglas Dec. 2010)

“A production one should see without fail ”
(aspektMagazin, Magdeburg Nov. 2010)

“The interpretation (...) succeeds brilliantly”
(Neues Deutschland, Oct. 25th 2010)

(Opernglas Dec. 2010)

“Christian von Götz created multitudinous impressive tableaux (...) An incredible achievement.”
(Volksstimme, Magdeburg Oct. 6th 2010)


Der Prinz von Jemen

Composition-Class of the Akademie für Tonkunst Darmstadt

Der Prinz von Jemen

Darmstadt State Theatre (Opera House)
Opening night: April 9th 2011


Conductor: Ekhart Wycik
Director: Christian von Götz
Stage Designer: Conrad Moritz Reinhardt
Costume Designer: Ursula Kudrna
Choreography: Sandra Klimek/Christian von Götz

David Pichlmaier
Aki Hashimoto
Lucian Krasznec
Hubert Bischof
Anja Vincken
Elisabeth Hornung
Sandra Klimek


"Director Christian  von Götz provides in his precise and subtle interpretation further  means to characterize the different background of Prince and Princess. The Princess’ language is canto, the Prince’s dance. Together they need to find a mutual basis for their communication: in the first act this even leads to a choreographed Pas de Deux. Aki Hashimoto, the Princess, herself executes the dances, at the same time achieving to perform impeccably her soprano part in high tessitura and full of Zerbinetta-like  coloraturas. (...)"

(Opera Magazine "DIE BÜHNE", June 2011)

"Christian von Götz’ direction is sensitive and expressive."

(Opera Magazine "OPERNGLAS", June 2011)



Richard Strauss


Edinburgh International Festival/Cologne Opera House
Opening night: May 31st 2009


Conductor: Markus Stenz
Stage Director: Christian von Götz
Set and Costume Design: Gabriele Jaenecke

Countess: Gabriele Fontana/Camiila Nylund/Solveig Kringelborn
Count: Ashley Holland
Flamand: Martin Homrich/Hauke Möller
Olivier: Miljenko Turk/Johannes Beck
La Roche: Michael Eder
Clairon: Dalia Schaechter/Ursula Hesse von den Steinen
Monsieur Taupe: Johannes Preissinger
Italian Songstress: Csilla Csövari/Katharina Leyhe
Italian Songster: Benjamin Bruns/Ray Wade
Chamberlain: Ulrich Hielscher
Dancer: Luisa Sancho Escanero/Birgit Mühlram


“Christian von Götz’ interpretation turns the plot into a ingenious play within the play. (...) Powerful tableaux, intellectually convincing, emotionally moving, maintained by an ensemble whose acting is full of intensity, an opera event evolves one cannot elude.”
(dacapo, June 22nd 2009)

“A crash of the ivory tower – in an intelligent manner Christian von Götz imparts political dimensions to Richard Strauss’ Capriccio. (...) Strauss and his librettist have created an autonomous work of art that tries to shut out the real world. Perhaps it was an artistic effort to survive hell. That this must remain utopian the Cologne production demonstrates in a fascinating way.”
(Bonner General-Anzeiger, June 22nd 2009)


Les Contes d'Hoffmann

Jacques Offenbach

Les Contes d'Hoffmann

Magdeburg Opera House
Opening Night: March 31st 2012


Conductor: Kimbo Ishii-Eto

Director: Christian von Götz

Stage Design: Ulrich Schulz

Costumes: Carolin Roider

Moving Coach: Verena Hierholzer

Dramaturgy: Michael Otto


Kor-Jan Dusseljee (Hoffmann)

Lucia Cervoni (Muse/Niklas)

Martin-Jan Nijhof (Lindorf, Copelius, Mirakel, Dapertutto)

Hale Soner (Olympia)

Noa Danon (Antonia)

Undine Dreissig (Giulietta)

Kim Schrader (Andreas, Cochenille, Franz, Pitichinaccio)

Markus Liske (Nathanael, Spalanzani)

Wolfgang Klose (Schlemihl)

Verena Hierholzer (Stella)

u. A.



"With this performance the director Christian von Götz succeeded in producing a prime example of a well-directed show."

(Wochenspiegel, Kultur, 5.4.2012)

"Excellent  'Regietheater' (...) many intelligent details (...) a level of scenic presentation rarely to be encountered"

(Gerhard Wiesend,, 3.4.2012)


(Magdeburger Volksstimme, 2.4.2012)

"Widely splashed at the beginning, artificial blood will in the course of the production by successful opera director Christian von Götz continue to be used copiously. (...) With von Götz the theatre points to the theatre itself, it all comes down to the old inquiry into the connection between art and life.(...) Basically, it is the playfulness of the staging, which is enchanting."

(Magdeburger Volksstimme, 2.4.2012)

"His statement ‘Can art improve the world? Can art improve us? The latter would, in any case, be an excellent object.’ will gain him appreciative acclaim."

(Wochenspiegel Kultur, 5.4.2012)



Wolfgang Fortner


Wuppertal Opera House
Opening Night January 13th 2013

Conductor: Hilary Griffiths

Director/Stage Design: Christian von Götz

Costume Design: Ulrich Schulz


Mother: Dalia Schaechter

Beggar Woman (The Death): Ingeborg Wolff

Leonardo: Thomas Laske

Bride: Banu Böke

Father of the Bride: Stephan Ullrich

Woman of Leonardo: Miriam Ritter

Bridegroom: Gregor Henze

The Moon: Martin Koch

The Demon: Verena Hierholzer




Giacomo Puccini


National Opera Odessa
Opening night: May 22nd 2010


Conductor: Alexander Samoile
Stage Director: Christian von Götz
Set and Costume Design: Lena Brexendorff
Choreography: Verena Hierholzer

Turandot: Olga Perrier/Tatjana Anisimova
Kalaf: Valerij Benderov/Aleksey Repchinskij
Liu: Larisa Zuenko/Olena Kisteneva
Timur: Vasily Navrotskij/Viktor Shevchenko
Ping: Vasilij Dobrovolskij/Vladimir Muraschenko
Pang: Valerij Regrut/Sergey Krasnykh
Pong: Andrey Perfilov/Oleg Zlakoman
Emperor: Sergey Krasnykh/Anatolij Kapustin
Mandarin: Vladimir Muraschenko/Ivan Fliak


“Turandot directed by Christian von Götz – this signifies a new impulse for the craft of stage. We are witnessing the beginning of a new and fascinating chapter in the history of theatre in our country.” 
(Odessa Daily, May 24th 2010)

“The realisation of Christian von Götz’ precise direction, leading every single singer individually, was of a quality you will not always find at the foremost western opera houses.”
(Opernglas, July/Aug. 2010)


West Side Story

Leonard Bernstein

West Side Story

Dessau Theatre
Opening Night: 30.9.2011


Conductor: Daniel Carlberg

Director/Stage Concept: Christian von Götz

Stage: Britta Bremer

Costume Design: Katja Schröpfer

Choreography Dances: Carlos Matos

Choreography Fights: Klaus Figge





"With his worldwide unique revolving stage-concept opera director Christian von Götz symbolizes the climactic spiral of violence which finally gets out of hand. (…) He stages the touching story as a fascinating symbiosis of music, play and dance. (…) ‘West Side Story’ in Dessau unquestionably sets new standards  (…). The audience was plainly carried away by the incredible intensity and the realisticdramatic-tragic qualities of the staging.

(VOLKSSTIMME Oct. 4th,2011)


"At the beginning a doll is broken, at the end people will lie in their own blood – but the little girl will still be trying to fix her destroyed toy. It is a plain, coherent framework that Christian von Götz provides for his interpretation of West Side Story at the Anhaltisches Theater Dessau. And it perfectly fits the deadly game between the Jets and the Sharks in the streets of New York (...) Christian von Götz supplies anything but a dull remake of the classic standard. Thanks to the gigantic revolving stage in Dessau he created a labyrinth leaving enough space between fire escape stairs und air condition cases for intense  tableaux. (...) Hence, only a few accessories are necessary (...) to transfer the story into the present, and a few drastic moments suffice to prove its existential dimension."