What will the stages of tomorrow look like? How can these vital spaces for collective cultural experience evolve, and what must opera houses and theatres provide as civic institutions in the years ahead? The 2018 exhibition "Grand Opera – Much Theatre?" already grappled with these questions. Since then, Frankfurt and cities across Europe have engaged in spirited—often contentious—debates about whether to renovate or rebuild these architecturally and culturally significant structures. "Grand Opera – Much More Theatre?" renews this conversation, tracing how different cities have responded to these challenges while showcasing two compelling contemporary examples. The exhibition also examines potential sites for opera and theatre in Frankfurt am Main.

Most German theatre buildings were rebuilt in the 1950s and 1960s following Second World War destruction. Despite ongoing maintenance, their 60- to 70-year-old facades fall far short of modern energy standards. But aging infrastructure extends beyond the building envelope. The complex stage machinery – which enables multi-level productions with towering sets and intricate scene changes – is equally outdated. Add to this the building systems: electrical distribution, fire safety, and particularly ventilation and air conditioning. Without them, a hall seating several hundred cannot operate. When spare parts or refrigerants become unavailable, performances simply cannot happen. Yet the challenges go beyond technical infrastructure. Backstage work areas – from scene shops to musician rehearsal spaces – no longer meet current workplace standards. Equally important, audience expectations have shifted. Today's theatres must offer more than evening performances: studio formats, daytime events, and expanded programming for children and young people are now essential.

Frankfurt initiated a comprehensive structural assessment and feasibility study of its Municipal Theatre on Willy-Brandt-Platz in summer 2017. Since then, officials have weighed various options – complete renovation with partial reconstruction, new construction, dual facilities versus individual buildings – and explored alternative city sites. Key decisions followed: the city council voted in January 2020 to build new rather than renovate, and in December 2023 selected Willy-Brandt-Platz for the opera house. September 2024 brought approval to purchase land on Gutleutstraße for an interim campus. Currently pending is whether to lease a property owned by Frankfurter Sparkasse and Landesbank Hessen-Thüringen on Neue Mainzer Straße as the theatre location for 199 years.

Frankfurt's dilemma over renovation versus reconstruction is hardly unique. When the DAM mounted "Grand Opera – Much Theatre?" in 2018, it did more than present the feasibility study for Frankfurt's dual-venue concept—it surveyed remarkable new builds and renovations of theatrical architecture across Europe in recent years. The current exhibition "Grand Opera – Much More Theatre?" shifts focus to developments since 2018 and the location options now under consideration for Frankfurt's stages. This iteration also presents paradigmatic design approaches, with several project timelines refreshed, including the ongoing renovation of the Cologne theatres.

Three compelling new projects have entered the exhibition: the renovation of Mannheim's National Theatre (opera and drama), discussions surrounding Deutsche Oper am Rhein in Düsseldorf, and a workshop centre proposal integrated into Salzburg's Mönchsberg for the Festival's sprawling theatre operations. Copenhagen's opera house was enhanced with an underground parking structure and, notably, an exceptional public plaza above. Two best-practice examples round out the selection – both completed on time and on budget. "Isarphilharmonie Gasteig HP8" (gmp · Architekten von Gerkan, Marg und Partner) exemplifies an interim solution that transcends its temporary role: the concert hall extends a converted transformer station that functions as a city library and gallery by day, transforming into the hall's foyer by evening.

Munich audiences have embraced both the Isarphilharmonie and the Volkstheater München's striking new building (designed by LRO Lederer Ragnarsdóttir Oei). Since the theatre had leased its previous home, relocation occurred during the summer break – and it succeeded without budget overruns. Munich took an innovative approach: a competitive bidding process that invited construction firms to team with architecture practices. The theatre provided an exhaustive 1,000-page specification document. The resulting building, which opened on schedule for the 2021/22 season, stands as an architectural achievement in its own right.

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