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Die Frau ohne Schatten

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Wed, Feb 5, 2025, 18:00
About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline... Read full text

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Die Frau ohne Schatten

Sun, Jan 26, 2025, 17:00
Deutsche Oper Berlin (Berlin)
About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up. About the production Tobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.
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Die Frau ohne Schatten

Thu, Jan 30, 2025, 18:00
Deutsche Oper Berlin (Berlin)
About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up. About the production Tobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.
Info & Ticket (deutscheoperberlin.de)
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Die Frau ohne Schatten

Sun, Feb 2, 2025, 17:00
Deutsche Oper Berlin (Berlin)
About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up. About the production Tobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.
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Die Frau ohne Schatten

Sat, Feb 8, 2025, 17:00
Deutsche Oper Berlin (Berlin)
About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up. About the production Tobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.
Info & Ticket (deutscheoperberlin.de)
Artistic depiction of the event

Die Frau ohne Schatten

Tue, Feb 11, 2025, 18:00
Deutsche Oper Berlin (Berlin)
About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up. About the production Tobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.
Info & Ticket (deutscheoperberlin.de)
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Opera Lecture: Die Frau ohne Schatten

Mon, Jan 20, 2025, 18:30
Deutsche Oper Berlin, Foyer (Berlin)
About 560 employees and innumerable guests behind and before the stage see to it that at the Deutsche Oper Berlin “the cloth is raised”, enabling the audience to leave the scene enriched by unforgettable impressions. We cannot introduce you to every personality at once in our OPERNWERKSTATT series. But if you regularly visit the OPERNWERKSTATT you will gradually get to know them: the clever brains behind the Opera as work of Art, and the dreams, thoughts, emotions and ambitions associated with her. OPERNWERKSTATT brings you together with directors, conductors, singers, study directors, dramaturges, theatre creators. Each event starts with a visit to a scenic or musical rehearsal. After a glimpse into the workshop we shall introduce you to the emerging project and answer your questions. So that you can see what moves us.
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LICHT UND SCHATTEN

Thu, Nov 14, 2024, 20:00
Konzerthaus Berlin, Kleiner Saal (Berlin)
Eckart Runge (Cello), Jacques Ammon (Piano), Iñigo Giner Miranda (Director)
“What breathtaking pleasure it is to see the world coming apart at the seams!” At the beginning of the 1920s, this prospect was both terrifying and enticing for the “child of the time” Klaus Mann. No sooner had the First World War survived as a “colossal orgy of hatred and destruction” than the crisis of hyperinflation caused people of all classes to slide into existential hardship. Turmoil, upheaval and growing social contrasts, but also an escape into pleasure, intoxication and all kinds of border-crossing characterized everyday life and the arts in the 1920s. And were reflected in the music of the era, for which people flocked to operettas, variety shows, revues, dance halls and jazz clubs. Concert designer Iñigo Giner Miranda emerges from the depths of time in as the evening's master of ceremony and, together with cellist Eckart Runge and pianist Jacques Ammon, transforms the Kleine Saal into a dazzling place where this creative, intoxicating decade comes to life in pieces by Bloch, Weill, Hindemith, Korngold and film music from ‘Babylon Berlin’ arranged by Runge and Ammon. Recordings of old radio recordings, projections of film footage and shadow theatre with the help of contemporary projectors are all involved in creating a fascinating world that illuminates not only Berlin but also Paris in the 1920s.
Info (www.konzerthaus.de)
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Die Meistersinger von Nürnberg

Sat, Apr 12, 2025, 16:00
Deutsche Oper Berlin (Berlin)
About the work DIE MEISTERSINGER VON NÜRNBERG was Richard Wagner’s only light-hearted opera and remains one of his most popular works. This notwithstanding, MEISTERSINGER is also the musical manifesto of a German national art movement and, as such, has accumulated so much baggage over the years that people are apt to lose sight of the opera’s essence – a jolly and coherent comedy with its helter-skelter storyline centring on illusion and reality, love, ageing and the plying of one’s art – and this despite the core theme of a life dominated by music determining not only the cast of characters but also the action of the piece. The members of the master-singers guild have convened to make music in accordance with their strict rulebook. One of the singers, the wealthy Veit Pogner, has granted his daughter Eva the freedom to choose which suitor she will marry – with the proviso that it be a master singer, in other words the winner of a public singing competition. A pity, then, that Eva is in love with Walther von Stolzing, who is talented but devoid of formal training. Nonetheless he takes part in the competition, aided and abetted by master singer Hans Sachs, who has to forego his love for Eva in the process. About the production Richard Wagner’s DIE MEISTERSINGER VON NÜRNBERG comes to the Deutsche Oper Berlin courtesy of a production trio made up of Jossi Wieler, Anna Viebrock and Sergio Morabito, whose slant on the material focuses on a “music-oriented society”, with Nuremberg’s late mediaeval guild of master singers transposed to the hermetic setting of a college of music. The institution is controlled by powerful professors and attended by their “lads” and “lassies”. The staff includes reformers like Hans Sachs and also pedants, one of whom, Sixtus Beckmesser, is likewise keen to win Eva’s hand in marriage. When new boy Walther von Stolzing, the only non-musical pupil, arrives in this ultra-regulated but at times oddball environment, the entire college is soon ...
Info & Ticket (deutscheoperberlin.de)
Artistic depiction of the event

Die Meistersinger von Nürnberg

Sat, Apr 19, 2025, 16:00
Deutsche Oper Berlin (Berlin)
About the work DIE MEISTERSINGER VON NÜRNBERG was Richard Wagner’s only light-hearted opera and remains one of his most popular works. This notwithstanding, MEISTERSINGER is also the musical manifesto of a German national art movement and, as such, has accumulated so much baggage over the years that people are apt to lose sight of the opera’s essence – a jolly and coherent comedy with its helter-skelter storyline centring on illusion and reality, love, ageing and the plying of one’s art – and this despite the core theme of a life dominated by music determining not only the cast of characters but also the action of the piece. The members of the master-singers guild have convened to make music in accordance with their strict rulebook. One of the singers, the wealthy Veit Pogner, has granted his daughter Eva the freedom to choose which suitor she will marry – with the proviso that it be a master singer, in other words the winner of a public singing competition. A pity, then, that Eva is in love with Walther von Stolzing, who is talented but devoid of formal training. Nonetheless he takes part in the competition, aided and abetted by master singer Hans Sachs, who has to forego his love for Eva in the process. About the production Richard Wagner’s DIE MEISTERSINGER VON NÜRNBERG comes to the Deutsche Oper Berlin courtesy of a production trio made up of Jossi Wieler, Anna Viebrock and Sergio Morabito, whose slant on the material focuses on a “music-oriented society”, with Nuremberg’s late mediaeval guild of master singers transposed to the hermetic setting of a college of music. The institution is controlled by powerful professors and attended by their “lads” and “lassies”. The staff includes reformers like Hans Sachs and also pedants, one of whom, Sixtus Beckmesser, is likewise keen to win Eva’s hand in marriage. When new boy Walther von Stolzing, the only non-musical pupil, arrives in this ultra-regulated but at times oddball environment, the entire college is soon ...
Info & Ticket (deutscheoperberlin.de)
Artistic depiction of the event

Die Meistersinger von Nürnberg

Sun, Apr 27, 2025, 16:00
Deutsche Oper Berlin (Berlin)
About the work DIE MEISTERSINGER VON NÜRNBERG was Richard Wagner’s only light-hearted opera and remains one of his most popular works. This notwithstanding, MEISTERSINGER is also the musical manifesto of a German national art movement and, as such, has accumulated so much baggage over the years that people are apt to lose sight of the opera’s essence – a jolly and coherent comedy with its helter-skelter storyline centring on illusion and reality, love, ageing and the plying of one’s art – and this despite the core theme of a life dominated by music determining not only the cast of characters but also the action of the piece. The members of the master-singers guild have convened to make music in accordance with their strict rulebook. One of the singers, the wealthy Veit Pogner, has granted his daughter Eva the freedom to choose which suitor she will marry – with the proviso that it be a master singer, in other words the winner of a public singing competition. A pity, then, that Eva is in love with Walther von Stolzing, who is talented but devoid of formal training. Nonetheless he takes part in the competition, aided and abetted by master singer Hans Sachs, who has to forego his love for Eva in the process. About the production Richard Wagner’s DIE MEISTERSINGER VON NÜRNBERG comes to the Deutsche Oper Berlin courtesy of a production trio made up of Jossi Wieler, Anna Viebrock and Sergio Morabito, whose slant on the material focuses on a “music-oriented society”, with Nuremberg’s late mediaeval guild of master singers transposed to the hermetic setting of a college of music. The institution is controlled by powerful professors and attended by their “lads” and “lassies”. The staff includes reformers like Hans Sachs and also pedants, one of whom, Sixtus Beckmesser, is likewise keen to win Eva’s hand in marriage. When new boy Walther von Stolzing, the only non-musical pupil, arrives in this ultra-regulated but at times oddball environment, the entire college is soon ...
Info & Ticket (deutscheoperberlin.de)