Information on Seat Selection
Best Available Seat Booking
In best available seat booking, you choose a category of seats and select the number of tickets you would like. An automatic allocation of seats will take place within the selected category; you receive the best available seats. Numbered seats are generally located next to each other. If your computer is having problems with Java, then the best available seat booking will automatically take place.
Seating Chart Booking
In seating chart booking, you personally select your exact seats from agraphic seating chart. Begin the seating chart booking and choose an area. There you can select the seats by clicking on them. Seating chart booking is not offered for some events.
means that, with your ticket, you can freely select your seat according to the conditions on-site. Normally this involves seats, however in some cases standing room will also be available.
Seat or Standing Room, Depending on Availability
In this price category, seats are predominantly offered (but not guaranteed). In some circumstances, standing room tickets at the same price are also sent. An exact request regarding standing room or a seat unfortunately cannot be fulfilled in this context. A later exchange of the tickets delivered is not possible.
Due to building conditions or the demands of individual productions, obstructed views (including of the supertitles that are used in numerous performances) are possible from certain seats. Please inquire about potential impairments at
(+49) (0)711. 20 20 90 (Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm).
No Longer Available for Delivery
means that the event is taking place soon and that shipment of the tickets is no longer possible. Please select “Pick up tickets” as an alternative.
Only 1 Ticket Can be Selected / Individual Seat
Only individual seats (no groups of adjoining seats) can still be booked in the corresponding category using the best available seat booking. Individual seats are scattered vacancies. Even if a greater number are available, these seats are not adjoining. Adjoining seats might still be available using the seating chart booking.
Any more questions?
Call our Ticket Service:
(+49) (0) 711. 20 20 90, Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm
Information on Online Sales
Please examine our
General Terms and Conditions
as well as the following information on ticket pre-sales.
Ticket pre-sales for performances at the Opernhaus, the Schauspielhaus and at the Liederhalle generally begin on the same date two months before the day of the performance. For performances in all other venues, pre-sales generally begin one month before the performance date. If the first pre-sale date falls on a Saturday or Sunday, then pre-sales will begin on that Friday. If it falls on a holiday, then sales will begin the daybefore. Some events cannot be purchased through online sales. For such cases, please contact our telephone ticket service ((+49) (0) 711. 20 20 90, Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm). Performances outside of the previously mentioned pre-sale periods can be ordered using the online ordering form. Please examine our general
on ticket pre-sales.
In the course of your booking, information relating to seat selection will be displayed.
Ticket prices for online sales include a service fee of 1.00 € per ticket.
Discounts (other than the Schauspielcard)
Please use the alternative sales channels for discounts, as they are not available or applicable for online sales.
Gift certificates can be used as a form of payment for one or more performances at the Statestheatres Stuttgart. You can even use them to pay for subscriptions and merchandising products. Gift vouchers can be transferred to third parties and can be redeemed without any time limit until cancelled. If the order total is greater than the value of the gift voucher, the difference can be paid out. Remaining balances will be repaid in the form of a gift voucher. Redeeming gift vouchers for online sales is currently not possible. Please use our alternative sales channels for this purpose.
Delivery / Pick Up with Confirmation of Purchase
Tickets or gift vouchers can be sent out for a shipping fee of 1.50 €, if the time of the order allows for it. The Staatstheater Stuttgart cannot accept any responsibility for the shipment.
Confirmation of purchase will automatically be sent by email to the address you provided, as soon as purchase of your order has been initiated.
By presenting printed confirmation of purchase, tickets can be picked up at the theatre box office or at the appropriate performance box office; gift vouchers only at the theatre box office (Mon – Fri 10 am – 7 pm, Sat 10 am – 2 pm).
Only printed tickets are valid as passes for means of transport with the VVS. Printed confirmations of purchase will not be accepted as valid ride passes for the VVS.
You can purchase any of our print@home ticket(s) (with the start of season 14/15) at any time and print them out yourself. This booking service is available to you until 1 hour before a performance starts at no additional cost and is specified during the booking via choice of shipping option. After completing the purchasing transaction, the desired ticket will be displayed as a PDF file and can be printed immediately. You will receive a confirmation of purchase at the email address you have provided, with the ticket file as an attachement. The personalization of each ticket with a name and date of birth prevents improper duplication for the protection of the purchaser. Each ticket entitles the holder to one unique admission in conjunction with a valid ID. If there are any questions, please contact our telephone sales office ((+49) (0) 711. 20 20 90). Operating hours telephone sales office: Mon - Fri 10 am - 08 pm; Sat 10 am - 06 pm.
print@home ticket = transit ticket
Your print@home ticket is valid as a transit ticket for public transportation in the VVS system at no additional cost and will automatically beeig print with your print@home ticket. Please pay attention to the required personalisation during the booking transaction.
may not be possible for certain performances. Our telephone ticket service (0711. 20 20 90, Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm) will be happy to provide you with more information!
Tickets can be paid with credit card (American Express, MasterCard, VISA) or direct debit (Not for new customers, these should call our ticket-service first (+49) (0)711. 20 20 90).
Return / Exchange
We ask that you carefully check your information before authorising purchase of your order, as tickets and gift vouchers cannot be returned or exchanged.
Any more questions?
Phone: (+49) (0) 711. 20 20 90
Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm
The 2014-15 season
The 2015-16 Season
The Stuttgart Ballet
John Cranko Schule
THE STUTTGART BALLET
THE CRANKO ERA
CHOREOGRAPHERS AT THE STUTTGART BALLET
In his sixteenth year as Artistic Director of the Stuttgart Ballet, Anderson has premiered over 80 world premieres in the Opera House and the Playhouse, mainly by young choreographers. It is his determined support for emerging choreographic talent which enabled him to win over prodigies such as
for Stuttgart, where both created their first choreographies for the Noverre Society and later their first works for a major ballet company.
Since the beginning of the 2005/2006 season, the Stuttgart Ballet has a further resident choreographer in
, who represents the young avant-garde with his unique dance language. Born in Wuppertal, he initially caused a stir with several remarkable pieces for the Noverre Society, before choreographing
Sweet Sweet Sweet
for the Stuttgart Ballet in 2005. Dance critics herald him as an artist on whom high hopes may be pinned (ballettanz magazine), repeatedly acknowledging him as an exceptional talent. In December 2006, Marco Goecke presented his third world premiere for the Stuttgart Ballet: A dark and mysterious version of
, which was enthusiastically celebrated by the audience and received major critical acclaim. In 2010, his groundbreaking full length ballet
was presented in Stuttgart.
Not long after his debut as choreographer, Marco Goecke's innovative approach met with international interest. In the past years, he has been commissioned to choreograph works for dancers of the New York City Ballet, the Scapino Ballet Rotterdam, the Hamburg Ballet and the Ballett of the Braunschweig State Theatre. His pieces were shown at the Joyce Theater in New York, the Jacob's Pillow Festival in Becket, Massachusetts, the Venice Dance Biennale as well as the Pacific Northwest Ballet, Seattle, amongst others. In December 2006 Marco Goecke received the renowned Nijinsky Award as Emerging Choreographer at the Monaco Dance Forum in Monte Carlo.
CHOREOGRAPHIC WORK AT THE STUTTGART BALLET
The youngest of the Stuttgart Ballet's choreographic talents is
, born in Buenos Aires, who after several works for the Noverre-Society and contributions to mixed bills at Stuttgart Ballet presented his version of the
Carnival of the Animals
in the Opera House in 2010. In the annual critics survey of the renowned magazine
, Volpi was elected one of the hope-bearers of the year 2011.
, as of the 2012-13 season Artistic Director of the Ballet Company at the “Musiktheater im Revier” in Gelsenkirchen, danced and choreographed at Stuttgart Ballet for many years.
In addition to her very successful career as a Principal Dancer, she started working as a freelance choreographer with the status of an Artist in Residence in 2008. After presenting her first own choreographies
In the kitchen
The Foul Prank
at the Noverre Society’s “Young Choreographers” in 2005, 2006 and 2007, Bridget Breiner has soon made herself a name as a tremendously creative and humorous contemporary choreographer, creating pieces such as
Zeitsprünge, Adagio Assai, La Grande Parade du Funk
(for the Erik-Bruhn-Competition), and in cooperation with Demis Volpi
The Broadway Baby
. Bridget Breiner has also created the choreography for the production
Der Prinz von Dänemark – Ein Hamlet Musical
with the Schauspiel Stuttgart in 2008. For the Kevin O’Day Ballet in Mannheim she choreographed
in 2009, in 2010 followed her first commissioned work for the Stuttgart Ballett,
Letters of Others
, and another piece created for the Theater Augsburg:
. In 2011, she took her leave from Stuttgart Ballet by presenting
Double Bass Concerto
danced and choreographed at Stuttgart Ballet from 1996 to 2011, before continuing his career as a freelance choreographer at international theatres. He gave his choreographic debut in February 1999 with
Jane, John, John, Jane, Jane, John...
for the Noverre Society’s “Young Choreographers”. In the same year Artistic Director Reid Anderson commissioned a new work for the Stuttgart Ballet from Douglas Lee:
Curtain of Hands
, followed by a number of further Ballets Lee created for the Stuttgart Ballet:
Siren sounding, Cindy’s Gift, Aubade, Lachrymal, Dummy Run, Leviathan, Fanfare LX
. Since 2005, Douglas Lee has also been invited to several international companies such as the Norwegian National Ballet, the Royal Ballet of Flanders and the New York City Ballet. His New York works
were also adopted into Stuttgart Ballet’s repertory.
Further choreographers from whom Reid Anderson has commissioned new works include
Amongst the new works were several full-length ballets:
made his choreographic debut at the Stuttgart Ballet with a new production of
in December 2000, and Jean-Christophe Blavier choreographed
A Midsummer Night's Dream
in 1998. During the 2006/2007 season Mauro Bigonzetti created his full-length
I fratelli – The Brothers
based on the film by Luchino Visconti. In October 2009 Kevin O'Day presented his
What is more, Reid Anderson has broadened the stylistic range of the company with works by
Sir Frederick Ashton
Paul Lightfoot/Sol León
Hans van Manen
, amongst others.
THE STUTTGART BALLET ABROAD
Alongside world premieres and the expansion of the repertoire, John Cranko's oeuvre represents a focal point in the programming of the Stuttgart Ballet. Not only in the Stuttgart Opera House, but also on the company's international tours,
Romeo and Juliet
The Taming of the Shrew
are always sold-out performances.
Since the beginning of his directorship, Reid Anderson has taken the company on extensive tours, including New York, San Francisco and other US cities, Peking, Hong Kong, Shanghai and other cities in China, to Seoul, Tokyo, Osaka and other Japanese cities, to Bangkok/Thailand, Cairo/Egypt and to numerous cities in Europe, including Palermo and Turin in Italy, Sevilla and Madrid in Spain, London/England, Paris/France, Neuchâtel/Switzerland and various cities all over Germany.
In addition, Reid Anderson has taught Cranko's masterpieces worldwide to countless leading ballet companies, including the American Ballet Theatre, the Boston Ballet, the National Ballet of Canada, the Australian Ballet in Melbourne, Teatro Colón in Buenos Aires, the Chinese National Ballet, the Royal Ballet, London, the Paris Opera Ballet, La Scala Opera Ballet in Milan, the Rome Opera Ballet, the Norwegian National Ballet, the Royal Swedish Ballet, the Royal Danish Ballet, the National Ballet of Finland, the Ballet of the Vienna State Opera, the Staatsballett Berlin and the Hamburg Ballet.
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