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Mary Stuart, the Catholic Queen of Scotland, has fled from her people, who accuse her of murdering her husband. In England, she hopes to obtain political asylum from her cousin, the Protestant Queen Elizabeth. At the same time, however, she lays claim to the crown, as she considers herself to be its rightful heir. She is captured and imprisoned, and rescue attempts by young liberators fail. But Mary’s brilliance shines on from her dungeon: she knows she can count on her dedicated supporters and the loyalty of France. After several thwarted attempts to assassinate Queen Elizabeth, for which Mary is blamed, she is sentenced to execution. Opinions differ among Elizabeth’s advisors, and an attempt at reconciliation in the form of a meeting between the two queens fails spectacularly. Nevertheless, Elizabeth hesitates to sign the death sentence and fears that the outcome will be a duel without a victor.

Friedrich Schiller’s Maria Stuart is an intrigue involving politics, religion, love and power – a web in which all its characters are inescapably caught. It paints a tableau of powerful people shunning responsibility and choking on their positions. And he shows them as deeply human characters who, through their action or non-action, are continually thrown back on themselves – lonely, isolated and unfree. As Sartre says: "Man is condemned to freedom. Because once he is thrown into the world, he is responsible for everything he does."

Endspiel in eisiger Kälte: Klaus Michael Grüber inszeniert Dezember 1977 im einschüchternden Riesenrund des Stadions, das sich Hitler 1936 für seine Olympischen Spiele auf das Reichssportfeld bauen ließ, mit acht Sportlern, mit Handwerkern, Kameraleuten, Fotoreportern und zwanzig Mitgliedern des Ensembles der Berliner Schaubühne am Halleschen Ufer ein echtes deutsches Trauerspiel. Szenen aus Wort und Sport, Licht und Klang, Theater und Politik und Textfragmenten »Hyperion«. Ein inzwischen legendäres Theaterereignis. 

In love with an exiled count turned pirate, a young woman has been forced into a marriage with his worst enemy. Is there a way out of this dramatic love triangle?
Il pirata marked the beginning of young Bellini's fruitful collaboration with the librettist Felice Romani, called 'the Dante of his time', and of an international career as dazzling as it was short. Abandoning the tradition of happy endings, the gothic plot culminates in one of the first ‘mad scenes’ in the history of opera.

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