Janai Brugger

Master baker Oskar Lorenz is plagued by a number of worries, because almost every day one of his employees is affected by a different "ailment", making it difficult for the bakery to meet the plan. After all, Lorenz and his team have to ensure that fresh bread rolls and, above all, Berlin country bread can be sold to customers on time every day. And Oskar alone cannot fill all the gaps in the staff. To remedy this situation, Oskar's sister Ilse has come up with something for her brother: a "disease" that is difficult to diagnose. He is now confined to his bed and can no longer fulfill his duties. Ziegler, his deputy, is deeply impressed by the pitiful sight that his otherwise strong master now presents. This seems to be the first ray of hope for Ilse to cure Oskar's coworker and her brother of their "ailments" at the same time.

Having triumphed at the Met in some of the repertory’s fiercest soprano roles, Sondra Radvanovsky stars as the mythic sorceress who will stop at nothing in her quest for vengeance. Joining Radvanovsky in the Met-premiere production of Cherubini’s rarely performed masterpiece is tenor Matthew Polenzani as Medea’s Argonaut husband, Giasone; soprano Janai Brugger as her rival for his love, Glauce; bass Michele Pertusi as Glauce’s father, Creonte, the King of Corinth; and mezzo-soprano Ekaterina Gubanova as Medea’s confidante, Neris. Carlo Rizzi conducts.

Haydn’s Missa in tempore belli is also known as the Paukenmesse (kettledrum mass) because of its dramatic use of timpani. Responding to the work's innate theatricality, Dutch National Opera presents the mass in a fully-staged performance. Director Barbora Horáková reveals the flipside of the unfaltering faith that runs throughout Haydn’s music, poignantly portraying individuals who suffer under the heavy burden of a narrow-minded ideology.