With The Magic Flute, Mozart wanted to write a piece for everyone – the blend of Viennese folk theater, Singspiel, and Italian opera makes it a favourite with audiences to this day. There's something for every taste, from catchy songs and arias to humorous spoken dialogue and fairytale elements. Günter Krämer’s production creates two contrasting worlds: the realm of the Queen of the Night and the temple of the Sun King. Between them travels Prince Tamino, accompanied by the bird catcher Papageno. On their adventurous journey, they traverse primeval forests inhabited by lions, rhinoceroses and snakes. Mozart’s opera imaginatively invites reflection on good and evil, dreams, fears and love. The lovingly crafted, partly mechanical set design creates stage magic. Renowned Mozart interpreter Tomáš Netopil conducts the Deutsche Oper Berlin orchestra. Our ensemble of soloists will enchant with their joy in acting and singing.

The Magic Flute

Deutsche Oper Berlin

Long before the cinematic popularity of Downton Abbey or the Jane Austen craze, the ruthless inner world of the British landed gentry became the setting for Italian opera. With his 1835 setting of Walter Scott's successful novel The Bride of Lammermoor, Gaetano Donizetti created a lyrical drama that remains the epitome of Italian Romanticism. Set in Scotland around 1700, the tragedy is also the most famous example of the transformation of the virtuosic bel canto style into a highly expressive stylisation of extreme emotional states and contains what is arguably the most famous scene of madness in Italian opera. Filippo Sanjust’s production, with its painted scenery and spotlights, evokes the atmosphere of an operatic evening from the work’s original era. Michele Spotti, Principal Guest Conductor of Deutsche Oper Berlin, conducts the company’s ensembles for the first time in his new role. As Lucia we encounter the virtuoso Nina Minasyan, and one of the most brilliant bel canto tenors, Xabier Anduaga, returns to our stage as Edgardo.

Lucia di Lammermoor

What is worth living and dying for – love, art, freedom? This question lies at the heart of Tosca, uniquely blending musical brilliance with a gripping plot and historical events with archetypes of the operatic stage. Throughout a single fateful night, the audience follows the story of the singer Floria Tosca, the painter Mario Cavaradossi and the unscrupulous police chief Scarpia, a night that ends fatally for all three. The greatest stars of opera history have graced Boleslaw Barlog’s historically accurate production for over 50 years. Joining this chronicle for the first time in this season’s initial run are, among others, Aleksandra Kurzak, who has already sung Tosca at the Metropolitan Opera in New York and the Royal Opera in London, and Roberto Alagna, who showcases his exceptional tenor in another role at Deutsche Oper Berlin. Antonino Fogliani, one of the most gifted Puccini conductors of our time, will be appearing at Deutsche Oper Berlin for the first time.

Tosca

On the occasion of the new directorship, Deutsche Oper Berlin is venturing to show a project that crashes through boundaries and opens up new spaces: Karlheinz Stockhausen’s Mittwoch aus Licht will be shown as a scenic opera production in the German-speaking world for the first time. Stockhausen, visionary of sound, crafted nothing less than a cosmic theatrum mundi about man and woman, good and evil, birth and death with his monumental cycle LICHT. Die sieben Tage der Woche. While other portions of the cycle centre around the struggle between competing forces, the polarity of which reshapes our lives every day, Mittwoch celebrates the utopia of love and the spiritual connection in the spirit of music, as well as the belief that community and solidarity are possible. Stockhausen was uncompromising in his search for a new type of music; he is considered one of the most innovative and yet most controversial composers of the 20th century. A pioneer of electronic music, he also inspired pop music across all genres, including Kraftwerk and Björk. The spectacular centrepiece of Mittwoch aus Licht is the helicopter string quartet, in which Stockhausen expands the musical space beyond the theatre itself: The members of a string quartet sit in four helicopters circling high above the audience. Sounds of strings meld with the helicopter blades, floating down to the audience from above. For our production, the quartet will be performed live as a one-of-a-kind event for the whole city, with film recordings of the quartet becoming part of the production. Award-winning duo Susanne Kennedy and Markus Selg, who caused a sensation with Einstein on the Beach at Theater Basel and Parsifal at Opera Antwerpen, will transform their first opera production in Berlin into an immersive ritual. Maxime Pascal, Principal Guest Conductor under the new directorship, is an expert and passionate connoisseur of Stockhausen and has performed every piece of the LICHT cycle except for Mittwoch.

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Survivors of the sea, refugees, exiles come together on an island. They create a new society from scratch without the old rules of origin or power. Is it possible to have a community built on love? The hosts for this evening are two intergalactic collaborators: Sun Ra, pioneer of Afrofuturism in response to omnipresent racism, and Karlheinz Stockhausen, who sought to flee the constriction of the art world. Both are fascinated by interplanetary vibrations, read the same spiritual book about love in the 1970s and set the cosmos free.

Sunville

With La forza del destino, Verdi broke new ground in the 1860s. The title itself refers to this paradigm shift, as it does not refer to the name of a character or a historical event, but rather evokes the universal concept of the «power of fate». Accordingly, the composer wrote a four-act opera that is a drama of ideas, dealing with the fate of entire social classes and peoples. Building on this, director Frank Castorf creates connections to the Spanish Civil War of the 20th century and the fight against fascism in the Second World War, weaving the individual fates of the characters with the horrors of colonial history. In this production by the veteran enfant terrible of the Berlin theatre scene, the «triangle of fate» is embodied this time by an internationally sought-after trio consisting of Guanqun Yu (Leonora) and the two house debutants Luciano Ganci (Don Alvaro) and Igor Golovatenko (Don Carlos). Massimo Zannetti, a frequent guest at the Berlin State Opera in the past, makes his debut at the Deutsche Oper with this revival.

La forza del destino

«Free she was born, free she will die»: To preserve her freedom, Carmen even accepts her own death. With her uncompromising will to autonomy, she shattered the moral conventions of her time. This sets her apart from the many passive, self-sacrificing female characters of 19th-century opera – once a scandalous figure, later a figure of identification, always a large screen onto which audiences project their own feelings. Director Ole Anders Tandberg takes up these ambivalences and works with iconic images: the bright red flamenco dress, the torero costume and the bullring. But these symbols are not left uncommented upon; instead, they are exaggerated to the point of the grotesque and the macabre. An emotional rollercoaster ride with catchy tunes like the Habanera and the Toreador Song that will linger long in memory. Argentinian conductor Alejo Pérez, General Music Director of Teatro Colón in Buenos Aires, makes his debut at Deutsche Oper Berlin. Gaëlle Arquez brings charm and sophistication to the French Carmen, and later our new ensemble member Kristina Stanek introduces herself as the new Berlin Carmen.

Carmen

The Alonetimes guides six extraordinary performers through a web of memories, times and parallel worlds: a druid by a fire made of broken iPads, two boys at a piano just before a meteorite impact, the voice of a lost love on a walkie-talkie. Scenes like found objects from personal history. For this project, two fascinating and very different composers come together: Jennifer Walshe and Philip Venables explore loneliness in their new music theatre piece – sharpened by constant digital presence, intensified by pandemic and crisis. The soloists appear as fragile time travellers, a “broken consort” that only finds resonance in togetherness. In music, language and movement, they unearth buried stories – comical, painful, tender. A piece about letting go of old burdens and the realisation that loneliness can only be overcome together. Walshe and Venables combine their passion for collage, voice and direct, open musical theatre. Personal experiences are woven into a vibrant network in which no one exists without the others. From broken bonds and buried memories, a new form of community emerges.

The Alonetimes

With The Flying Dutchman, controversial theatre director Milo Rau is tackling the work and Richard Wagner’s oeuvre for the first time, using the Romantic opera as a starting point for a journey into the political depths of the Federal Republic of Germany. The story centres on a cursed sailor who can only be delivered through the faithfulness of a woman, and who finds in Senta an obsessively determined ally. Taking Wagner’s ideologically camouflaged preoccupation with Ahasverus, the motif of the Wandering Jew, his anti-Semitism and redemption cult as a basis, Rau turns his gaze toward the long post-war history of guilt, memory and the search for reconciliation. What does it mean to be a fan of Wagner after the Holocaust? Is there redemption for Wagner, any deliverance from German guilt? The production searches for the answers to these questions via the unredeemed Dutchman of the title, like a road trip movie through German culture and history after 1945 as well as the emotionally charged German-Israeli relations up to the present day. The Dutchman appears as a national metaphor, a figure who is constantly failing to overcome his own history. Through this, Rau ventures a step into painful corners of the discourse without promising any answers that can be easily swallowed. With a documentarian narration style and the tools of musical theatre, the score becomes a space for reflecting on reception and accountability. The music of Wagner’s ghostly opera is coupled with the energetic narration of young conductor Giedrė Šlekytė, who is giving her Wagner debut at Deutsche Oper Berlin with this production. Tomasz Konieczny, who has a wealth of experience in the role, will portray this new Dutchman. At his side will be Aušrinė Stundytė, internationally celebrated for her radical portrayals of women and who will be debuting her portrayal of Senta.

The Flying Dutchman

«What is our life? A game! Good and evil are merely dreams, work and honesty just lies,» Hermann fatalistically concludes in Pique Dame, as he faces his end at the gaming table. Based on Pushkin’s novella, Tchaikovsky paints a picture of a world dominated by economic inequality and the law that dictates only the strongest survive. Hermann must live up to the social standing of his lover Lisa at any cost; he hopes to gain wealth through the Countess’s cursed card secret. But his hope for happiness vanishes in a spiral of obsession that drags Hermann into the abyss. Doris Soffel returns as the Countess in Sam Brown’s production. Elena Guseva takes on the role of Lisa, while Arsen Soghomonyan makes his house debut as Hermann; both have performed the roles on stages from Milan to New York. Stéphane Degout and Alexey Markov, two great baritones of our time, appear as Prince Yeletsky and Count Tomsky, respectively. The musical direction is by the Ukrainian conductor Kirill Karabits.

Queen of Spades

Sounds like those Richard Strauss unleashed in Elektra with a gigantic orchestra were unprecedented until the opera’s premiere in 1909. And the radicalism and expressive ferocity of Elektra have lost none of their power to this day. The archaic subject matter both terrifies and fascinates: Elektra, an infinitely lonely young woman, is kept alive solely by the thought of avenging her mother’s murder of her father, Agamemnon. When her father is avenged and her brother Orestes has killed their mother and her lover, Elektra dances an ecstatic dance, at the climax of which she collapses dead. This is a roller coaster of an opera. Ricarda Merbeth, one of the most important Wagner and Strauss interpreters of our time, takes on the title role, while the charismatic Okka von der Damerau makes her debut as Clytemnestra. The Slovak conductor Juraj Valčuha, for years one of the most influential guest conductors at Deutsche Oper Berlin, conducts the monumental work.

Elektra

Mozart’s singspiel The Abduction from the Seraglio (Die Entführung aus dem Serail) may at first glance appear fairytale-like and almost a bit naive. And the plot surrounding Konstanze, who has been abducted by pirates and is now trapped in the harem of Bassa Selim, seems to only confirm this. But Mozart’s music transcends the boundaries of the singspiel. It transforms the characters, who seem bound to the «Turkish opera» so popular in the 18th century but usually quite simplistic, into profoundly human characters exposed to extreme situations and experiencing conflicting emotions. For Mozart, the inner conflicts of his characters were more important than the external plot, and his music explores them in a psychologically profound way. The Argentinian-Spanish author and director Rodrigo García has transposed the story to the present day and rewritten the dialogue. With the French-British conductor Stephanie Childress, one of the most interesting young musicians of our time makes her debut at Deutsche Oper Berlin. In addition, the premiere Konstanze returns to Bismarckstrasse with Kathryn Lewek.

The Abduction from the Seraglio

At its premiere in Turin in 1896, La bohème was met with scepticism. Only after further performances in several Italian cities did it achieve the success that quickly brought Puccini and his librettist international fame. With their first collaboration, based on Henri Murger’s novel Scènes de la vie de bohème, the trio created the epitome of the romantic love story on the operatic stage. Puccini gave the story of a group of young people, their joys and tragically ending passions, a richly coloured score that includes some of the most famous arias and duets in music history. Götz Friedrich’s production, set against a timeless backdrop, spans from the intimate artist’s apartment to the expansive spectacle in the Latin Quarter. The perfect accompaniment to the festive season! With the very young Juliana Grigoryan and later the charismatic Corinne Winters, two of the most heartfelt Puccini singers appear in the role of Mimì. Don't forget your tissues!

La bohème

With Hänsel und Gretel, Engelbert Humperdinck created a fairy-tale opera that has captivated children and families for over 100 years, not just during the Advent season. The enduring success of the work is due, in part, to the exciting story of two children who get lost in a dark forest and are threatened by an evil witch, whom they ultimately defeat through cunning and trickery. The combination of simple, catchy folk melodies like «Ein Männlein steht im Walde» («A Little Man Stands in the Forest») with lavishly orchestrated sound and powerful operatic voices remains highly appealing to audiences of all ages. Andreas Homoki’s production tells the story straightforwardly in poetic imagery, without neglecting either theatrically effective spooky effects or comedic moments. Our young and dynamic conductor, Anna Handler, leads the performance with her vibrant musical energy.

Hansel and Gretel

Isolation and loneliness have become part of our collective experience, especially since the coronavirus pandemic. Violetta, the young courtesan, suffers them on her deathbed, forced by societal demand to reject her lover. Verdi’s only opera set in the bourgeois world of his time demonstrates the hypocrisy of a society that first fawns over a young woman and then abandons her. Götz Friedrich’s production amplifies the emotional impact of Verdi’s music by telling Violetta’s story as a flashback: The premonition of death is present from the beginning, hanging like a shadow over the Parisian party. Thus, a timeless drama with a requiem-like quality unfolds. We eagerly anticipate the Violetta debut of Federica Lombardi, a favourite with audiences at Deutsche Oper Berlin. She will later be succeeded by Martina Russomanno, new in our ensemble. Michele Spotti, the new Principal Guest Conductor, promises a sophisticated musical interpretation.

La traviata

A contemporary and topical opera for our time: When US President Richard Nixon lands on Chinese soil one foggy February morning in 1972, the world holds its collective breath. After decades of silence, the rival powers are starting to come together. A momentous instant in diplomatic history and a superlative media spectacle unfolds as cameras and microphones follow Nixon and Mao Zedong constantly. American composer John Adams and librettist Alice Goodman have taken original, historical documents to create a poppy narration of modern myths and spectacular imagery politics. This minimalist music opera follows the protocol of the state visit like a satirically exaggerated TV documentary, and shows figures between larger-than-life self-presentation and boundless self-deception. Musical theatre collective Hauen und Stechen, known for its anarchic directorial bent, focuses amidst the rush of images on the propagandistic aspect of the summit and provides furious insight into the power plays of the 20th century.

Nixon in China

If he were to approve this play, he might as well tear down the Bastille – so said King Louis XVI when he was presented with Le mariage de Figaro by the Enlightenment thinker Beaumarchais. Prophetic words just a few years before the French Revolution. Yet no ban could prevent the highly topical work from spreading rapidly. The story, in which everyone rebels against the tyrannical rule of a patriarch, struck a chord with the times. With Le nozze di Figaro, Mozart and his librettist Lorenzo da Ponte created a timeless social study in which humour and social criticism are perfectly balanced. Götz Friedrich’s production focuses on the turbulent interpersonal dynamics, thus creating the ideal platform to showcase the enthusiastic performances of the ensemble members and guest artists. As a preview to his new production of Così fan tutte, Riccardo Minasi is conducting this revival with Maria Bengtsson as the Countess and the two young French performers Florian Sempey as the Count and Adèle Charvet as Cherubino.

Le nozze di Figaro

A clown whose laughter catches in his throat, a ruthless lover, a hitman with a warm voice: In Rigoletto, Verdi assembles bawdy farce, profound character studies and overwhelming emotion into a dazzling grotesque about power and vulnerability. The opera is so much more than „La donna è mobile!” In his production, Jan Bosse tells the tragedy of a man who fails to separate his private life from his public actions. The Deutsche Oper Berlin auditorium becomes the decadent ducal court of Mantua, the understage a claustrophobic hiding place. There, Rigoletto keeps his daughter Gilda hidden from the eyes of the nobles. But as the action unfolds, the carefully separated roles of the cynical court jester and the gentle father begin to crumble. In his futile attempt to protect his daughter, Rigoletto inadvertently destroys his world – until only an empty stage remains. Conductor Anna Handler, already a favourite with the public, will conduct her first Verdi production.

Rigoletto

In times when the world seems complicated and the economic situation is dire, the longing for someone who supposedly offers simple solutions to difficult problems becomes overwhelming. The 20th century provides ample evidence of this, and the present day offers similar examples. In Richard Wagner’s Lohengrin, it is a mysterious knight who promises to fight for Elsa of Brabant; in doing so, he becomes a projection screen for the yearning of a fractured people for a charismatic leader. Wagner, himself a revolutionary in the mid-19th century, artistically expressed his political utopia of a different world order in Lohengrin – a utopia of saving the world through art, but here doomed to failure. Eric Cutler, a youthful heroic tenor trained in bel canto, sings the title role, while the Finnish soprano Miina-Liisa Värelä provides the necessary counterweight as Ortrud. Her compatriot, conductor Susanna Mälkki, is making her debut with both the Deutsche Oper Berlin orchestra and the work itself.

Lohengrin

Three men who make a bet. Two women who are the objects of this bet. Don Alfonso has thought up a perfidious game to test the faithfulness of these women: Fernando and Guglielmo are convinced that Fiordiligi and Dorabella would never betray them. They pretend to go off to war and return in disguise to seduce their respective beloved as a supposed stranger: If they succeed, they have lost the bet and Don Alfonso is triumphant. This is the setup for Mozart’s Così fan tutte. A contemporary operatic subject? It is primarily Mozart's music that secures this opera its place in the repertoire to this day, for it looks deep into the characters’ hearts without condemning them. When what began as a light-hearted game develops into a cruel experiment that ultimately pulls the rug out from under everyone involved, the music lays bare the characters’ emotions in all their complexity and contradiction; it plumbs the existential depths of love, which we all experience in the same way regardless of gender – today as in 1790, when Mozart's opera premiered. The Belgian directing collective FC Bergman, which won the Silver Lion at the Venice Biennale and recently celebrated a resounding success at the Ruhrtriennale, is inclined towards visually powerful surrealism in its theatrical language and tells – for the first time in Berlin and in only its third opera production – Così fan tutte as a story about young people of today who are playfully searching for answers to the questions of life: What does love mean to us? What roles do we play in life? Who manipulates whom? Is reality truly always more sustainable than fantasy? Riccardo Minasi, one of the most interesting conductors in the field of historical performance practice, is working with the Deutsche Oper Berlin orchestra for the first time. A young ensemble of soloists led by Elsa Dreisig as Fiordiligi explores the psychological facets of this many-layered game of love.

Opera events in Berlin

The Magic Flute

Deutsche Oper Berlin

Lucia di Lammermoor

Deutsche Oper Berlin

Tosca

Deutsche Oper Berlin

Wednesday from Light

Deutsche Oper Berlin

The Artelize Podcast Pres...

Artelize

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Artelize

The Artelize Podcast and ...

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The Artelize Podcast - A ...

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Sunville

Deutsche Oper Berlin

La forza del destino

Deutsche Oper Berlin

Carmen

Deutsche Oper Berlin

The Alonetimes

Deutsche Oper Berlin

The Flying Dutchman

Deutsche Oper Berlin

Queen of Spades

Deutsche Oper Berlin

Elektra

Deutsche Oper Berlin

The Abduction from the Se...

Deutsche Oper Berlin

La bohème

Deutsche Oper Berlin

Hansel and Gretel

Deutsche Oper Berlin

La traviata

Deutsche Oper Berlin

Nixon in China

Deutsche Oper Berlin

Le nozze di Figaro

Deutsche Oper Berlin

Rigoletto

Deutsche Oper Berlin

Lohengrin

Deutsche Oper Berlin

Così fan tutte

Deutsche Oper Berlin