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.
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.
General Seating
means that, with your ticket, you can freely select your seat according to the conditions on-site.

Information on Online Sales

Please examine our General Terms and Conditions and our information regarding privacy policy (in German) as well as the following information on ticket pre-sales.
Ticket Pre-sales
Ticket pre-sales for performances at all venues generally begin on the same date two months before the day of the performance. 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 day before. Binding orders with a SEPA Direct Debit mandate will start to be processed two weeks before ticket pre-sales begin. 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 alternative sales channels for discounts, as they are not available or applicable for online sales.
Gift Vouchers
Gift certificates can be transferred to third parties and are valid up to three years after the issue date. The period begins on December 31 of the year the certificate has been purchased. An extension of this period is excluded. The disbursement of the certificate value is not possible. The monetary value will be offset against the price (higher differences must be paid). Existing remaining amounts are disbursed as another gift certificate. A later setting-off of a certificate to a purchase already made is not possible. Gift certificates cannot be used for the purchase of further certificates.
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.
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!
Tickets can be paid with credit card (American Express, MasterCard, VISA) or SEPA 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.
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 

Reid Anderson

Artistic Director


Reid Anderson, Artistic Director of the Stuttgart Ballet since September 1996, can look back over a long and successful career as a dancer, teacher, trainer, producer and ballet director.

Anderson was born on April 1, 1949 in New Westminster, British Columbia/Canada, and began his dance training at the Dolores Kirkwood Academy in Burnaby, B.C. He was given a grant at the age of 17 which allowed him to study at the Royal Ballet School in London, England. One year later, in February 1969, he joined the Stuttgart Ballet, whose Artistic Director at the time was John Cranko.

During his 17-year career as a dancer with the Stuttgart Ballet, Reid Anderson, who became a Soloist in 1974 and was promoted to Principal Dancer in 1978, danced in a wide range of classical and contemporary ballets and worked directly with many of the leading choreographers of the 20th century, including John Cranko, Sir Kenneth MacMillan, Glen Tetley, John Neumeier, Jiří Kylián and William Forsythe. He danced the leading roles in many of John Cranko's works, such as Onegin, The Taming of the Shrew, Romeo and Juliet, Initials  R.B.M.E. and Opus 1. Anderson was well known for his compelling interpretation of characters, his elegance and especially for his partnering skills. He was a popular partner for many world-famous ballerinas, including Márcia Haydée, Karen Kain and Natalia Makarova. He performed as a guest artist with many ensembles including the Royal Swedish Ballet, the London Festival Ballet, the ballet company of La Scala Milan, the Hamburg Ballet, the Prague State Opera Ballet and the National Ballet of Canada.
From August 1987 to June 1989 Reid Anderson was Artistic Director of Ballet British Columbia in Vancouver and in July 1989 he was appointed Artistic Director of the National Ballet of Canada in Toronto. Over the course of seven seasons, he acquired important pieces for that company's repertoire from choreographers such as George Balanchine, Anthony Tudor, Jerome Robbins, Frederick Ashton, Kenneth MacMillan, Jiří Kylián, Paul Taylor, Ben Stevenson and John Cranko. He also commissioned works by William Forsythe (The Second Detail), John Neumeier (Now and Then) and Glen Tetley (Oracle) as well as giving numerous young choreographers the opportunity to create pieces for the National Ballet of Canada.

In 1996 Reid Anderson returned to the Stuttgart Ballet as Artistic Director and at the end of that season, he was appointed Intendant of the company, becoming one of the first persons ever to hold this special title in Germany. In his first season as Director/Intendant, he rejuvenated the company adding 21 new dancers, prompting renowned dance critic Horst Koegler to state: "Today’s Stuttgart Ballet is the best Stuttgart Ballet of the last thirty-five years."

From the very outset, Reid Anderson followed a repertoire policy which placed equal weight on preserving and cultivating the Cranko legacy, maintaining the high art of classical ballet, on acquiring the works of established neo-classical and contemporary choreographers and most especially on discovering and nurturing new choreographic talent. In his very first season, Reid Anderson commissioned new works by the choreographers David Bintley, Uwe Scholz, Mauro Bigonzetti and Jean Grand-Maître and added George Balanchine's The Four Temperaments, Frederick Ashton's Monotones and William Forsythe's Herman Schmerman to the repertoire.

Since then, more than 90 world premieres of works by choreographers from the younger generation have been performed on the stages of the Opera House, the Playhouse Theatre and the Chamber Theatre under Anderson's auspices, including 7 new full-length ballets. For many choreographers, a premiere in Stuttgart has become a milestone in their progression towards international recognition. This applies in particular to the two Resident Choreographers Marco Goecke and Demis Volpi who are now in demand worldwide – both for new works and for those created for the Stuttgart Ballet. Guest choreographers such as Mauro Bigonzetti (I fratelli – The Brothers) and Kevin O'Day (Hamlet) created their first full-length narrative ballets for the Stuttgart Ballet.

Other choreographers whose works Anderson has commissioned for the Stuttgart Ballet include Wayne McGregor, Sidi Larbi Cherkaoui, Itzik Galili, David Bintley, Jorma Elo, Uwe Scholz, Christian Spuck, Edward Clug, Douglas Lee, James Sutherland, Pascal Touzeau, Jean Grand-Maitre, Martino Müller, Trey McIntyre, Dominique Dumais, Marguerite Donlon, Daniela Kurz, Sabrina Matthews, Cayetano Soto, Bridget Breiner, John Alleyne, Marc Spradling, Matjash Mrozewski, Nicolo Fonte, Katarzyna Kozielska, Louis Stiens and Jean Christophe Blavier.

Anderson has also been instrumental in his dancers and choreographers moving on to directorial positions. During his tenure seven of his former dancers and choreographers have become directors of the following companies: Korean National Ballet, Zurich Ballet, Czech National Ballet, Augsburg Ballet, West Australian Ballet, Ballet du Rhin (France), Ballet im Revier Gelsenkirchen and Gauthier Dance.
Reid Anderson has also been enriching the Stuttgart Ballet's repertoire by adding acclaimed works by famous choreographers such as George Balanchine, Jerome Robbins, Frederick Ashton, Glen Tetley, John Neumeier, Hans van Manen, William Forsythe, Uwe Scholz, Jean Christophe Maillot, Paul Lightfoot and Sol Leon, Daniela Kurz and James Kudelka.

In addition to premiering newly created works and strengthening the repertoire in the field of modern classics and contemporary choreography, Anderson keeps the flame of John Cranko's legacy alight in the Stuttgart Ballet's programme. Both at home in the Stuttgart Opera House and on worldwide tours, the company has been performing Romeo and Juliet, The Taming of the Shrew and Onegin to sold-out houses. Since the beginning of his time as Artistic Director, Reid Anderson and the company have undertaken extended and exceedingly successful tours to New York, San Francisco and other cities in the USA; Peking, Hong Kong, Shanghai and other Chinese cities; the South Korean capital Seoul; Tokyo, Osaka and other Japanese cities; Bangkok and Singapore; Palermo, Turin and other cities in Italy; Cairo, Madrid, Paris, London and Moscow.

In 1984 Anderson staged and produced Onegin for the National Ballet of Canada, a production which was broadcast on television in 1986 and was nominated for an Emmy Award.
Reid Anderson travels frequently in order to stage Cranko's masterpieces with famous ballet companies all over the world; these include the Bolshoi Ballet in Moscow, the Royal Ballet, the Paris Opera Ballet, Australian Ballet in Melbourne, the State Ballet of Berlin, the Hamburg Ballet, the La Scala Opera Ballet in Milan, the Teatro Colón in Buenos Aires, the Boston Ballet, the Opera Ballet company of Rome, the Norwegian National Ballet, the Ballet of the Vienna State Opera and the Chinese National Ballet in Peking.

In February 2006 Reid Anderson was awarded the German Dance Prize 2006 for his contribution to the dance art form in Germany. By honouring him in this way, the German Professional Association for Dance Education and the Society for the Promotion of Dance Art in Germany acknowledged Reid Anderson's efforts in continuing Cranko's legacy at the Stuttgart Ballet and his considerable contribution to promoting new talent and establishing a clear repertoire policy. In February 2006 the readers of the popular dance magazine "Dance Europe" voted Reid Anderson "Director of the Year".  In April 2009 Reid Anderson received the Medal of Merit of Baden-Württemberg. In 2011 the Stuttgart Ballet under the direction of Reid Anderson was elected "Company of the year" in the annual international critics survey of the renowned magazine tanz.

Stuttgarter Ballett, Portrait von Reid Anderson, Foto: Roman Novitzky