Information on Seat Selection

Best Available Seat Booking
In best available seat booking, you choose a category of seats and selectthe number of tickets you would like. An automatic allocation of seats willtake 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.
General Seating
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.
Obstructed Views/Supertitles
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 ticketsis 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 inthe 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:
Ticket Service Die Staatstheater Stuttgart  (+49) (0) 711. 20 20 90 Mon – Fri 10 am – 8 pm, Sat10 am – 6 pm

Information on Online Sales

Please examine our General Terms and Conditions as well as the following excepts from the general information on ticket pre-sales.
Ticket Pre-sales
Ticket pre-sales for performances in the Opernhaus as well as for concerts 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 information on ticket pre-sales.
Seat Selection
In the course of your booking, information relating to seat selection will be displayed.
Ticket Prices
Ticket prices for online sales include a service fee of 1.00 € per ticket.
Discounts (other than the Schauspielcard)
Please use the alternate sales channels for discounts, as they are not available or applicable for online sales.
Gift Vouchers
Gift certificates can be used as a form of payment for one or more performances at Staatstheater 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 is not currently possible for online sales. Please use our alternate 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: 10am – 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.
Late Seating
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!
Payment
Tickets can be paid with direct debit or credit card (American Express, MasterCard, VISA).
Return / Exchange
We ask that you carefully check your information before authorizing purchase of your order, as tickets and gift vouchers cannot be returned or exchanged.
Technical Requirements
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Any more questions?
Phone: (+49) (0) 711. 20 20 90
Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm 
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THE STUTTGART BALLET

CHOREOGRAPHERS

Stuttgarter Ballett, Photo: Orlando, F.Vogel und Ensemble, c: Ulrich Beuttenmüller
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 Christian Spuck and Marco Goecke for Stuttgart, where both created their first choreographies for the Noverre Society and later their first works for a major ballet company.

RESIDENT CHOREOGRAPHERS

Stuttgarter Ballett
Since the beginning of the 2005/2006 season, the Stuttgart Ballet has a further resident choreographer in Marco Goecke, 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 The Nutcracker, which was enthusiastically celebrated by the audience and received major critical acclaim. In 2010, his groundbreaking full length ballet Orlando 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

Stuttgarter Ballett, Photo: Demis Volpi, c: die arge lola
The youngest of the Stuttgart Ballet's choreographic talents is Demis Volpi, 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 tanz, Volpi was elected one of the hope-bearers of the year 2011.

Bridget Breiner, 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 and Sirs 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 Hold lightly in 2009, in 2010 followed her first commissioned work for the Stuttgart Ballett, Letters of Others, and another piece created for the Theater Augsburg: Othello. In 2011, she took her leave from Stuttgart Ballet by presenting Double Bass Concerto.
 
Also Douglas Lee 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, Nightlight and finally Miniatures. 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 Viewing Room and Lifecasting were also adopted into Stuttgart Ballet’s repertory.

Further choreographers from whom Reid Anderson has commissioned new works include David Bintley, Uwe Scholz, Mauro Bigonzetti, Jean-Christophe Blavier, Kevin O'Day, James Sutherland, Pascal Touzeau, Trey McIntyre, Dominique Dumais, Marguerite Donlon, Daniela Kurz, John Alleyne, Itzik Galili, Wayne McGregor, Marc Spradling, Matjash Mrozewski, Sabrina Matthews, Caetano Soto and Nicolo Fonte.

Amongst the new works were several full-length ballets: Maximiliano Guerra made his choreographic debut at the Stuttgart Ballet with a new production of Don Quijote 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 Hamlet.
 
What is more, Reid Anderson has broadened the stylistic range of the company with works by Sir Frederick Ashton, George Balanchine, William Forsythe, James Kudelka, Paul Lightfoot/Sol León, Hans van Manen, John Neumeier, Jerome Robbins and Uwe Scholz, 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 and Onegin 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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