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Macbeth

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Sat, Jan 11, 2025, 19:30
About the work MACBETH was the first of Shakespeare’s plays to be set to music by Verdi, in 1847. Despite his decades of interest in the English playwright, he did not adapt another work of Shakespeare’s until late in his career. Verdi’s operatic rendition of this tale of murky prophecies and bloody struggles for the throne of Scotland came in the hugely productive decade that Verdi himself came to refer to as his »galley slave years«. Still striving for critical... Read full text

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Last update: Tue, Nov 26, 2024, 14:42

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About the work MACBETH was the first of Shakespeare’s plays to be set to music by Verdi, in 1847. Despite his decades of interest in the English playwright, he did not adapt another work of Shakespeare’s until late in his career. Verdi’s operatic rendition of this tale of murky prophecies and bloody struggles for the throne of Scotland came in the hugely productive decade that Verdi himself came to refer to as his »galley slave years«. Still striving for critical recognition, he turned out a string of operas that expanded on the bel canto genre. MACBETH was part of an evolution in Italian opera, a development that was even more evident in the modified version released in 1865. In typical fashion Verdi roughened up the storyline and injected some emotional twists and turns, intensifying the drama in the process and creating a tense momentum that sends the protagonists hurtling towards their respective gruesome ends. About the production Following on from her triumphs with BABY DOLL and NEGAR in the Tischlerei of the Deutsche Oper Berlin and her recent productions at the Bayerische Staatsoper, the Semperoper Dresden, the MusikTheater an der Wien and La Monnaie in Brüssel, Marie-Ève Signeyrole returns to the venue on Bismarckstrasse for her first staging of a new production on the main stage. Verdi’s hard-hitting Shakespearean tragedy provides the perfect material for the arresting visuals that are a hallmark of the French director, whose aesthetic vision can hold its own with any modern cinematic blockbuster.
Info (deutscheoperberlin.de)
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Wed, Nov 27, 2024, 19:00
Deutsche Oper Berlin (Berlin)
About the work MACBETH was the first of Shakespeare’s plays to be set to music by Verdi, in 1847. Despite his decades of interest in the English playwright, he did not adapt another work of Shakespeare’s until late in his career. Verdi’s operatic rendition of this tale of murky prophecies and bloody struggles for the throne of Scotland came in the hugely productive decade that Verdi himself came to refer to as his »galley slave years«. Still striving for critical recognition, he turned out a string of operas that expanded on the bel canto genre. MACBETH was part of an evolution in Italian opera, a development that was even more evident in the modified version released in 1865. In typical fashion Verdi roughened up the storyline and injected some emotional twists and turns, intensifying the drama in the process and creating a tense momentum that sends the protagonists hurtling towards their respective gruesome ends. About the production Following on from her triumphs with BABY DOLL and NEGAR in the Tischlerei of the Deutsche Oper Berlin and her recent productions at the Bayerische Staatsoper, the Semperoper Dresden, the MusikTheater an der Wien and La Monnaie in Brüssel, Marie-Ève Signeyrole returns to the venue on Bismarckstrasse for her first staging of a new production on the main stage. Verdi’s hard-hitting Shakespearean tragedy provides the perfect material for the arresting visuals that are a hallmark of the French director, whose aesthetic vision can hold its own with any modern cinematic blockbuster.
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Macbeth

Sat, Nov 30, 2024, 19:30
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About the work MACBETH was the first of Shakespeare’s plays to be set to music by Verdi, in 1847. Despite his decades of interest in the English playwright, he did not adapt another work of Shakespeare’s until late in his career. Verdi’s operatic rendition of this tale of murky prophecies and bloody struggles for the throne of Scotland came in the hugely productive decade that Verdi himself came to refer to as his »galley slave years«. Still striving for critical recognition, he turned out a string of operas that expanded on the bel canto genre. MACBETH was part of an evolution in Italian opera, a development that was even more evident in the modified version released in 1865. In typical fashion Verdi roughened up the storyline and injected some emotional twists and turns, intensifying the drama in the process and creating a tense momentum that sends the protagonists hurtling towards their respective gruesome ends. About the production Following on from her triumphs with BABY DOLL and NEGAR in the Tischlerei of the Deutsche Oper Berlin and her recent productions at the Bayerische Staatsoper, the Semperoper Dresden, the MusikTheater an der Wien and La Monnaie in Brüssel, Marie-Ève Signeyrole returns to the venue on Bismarckstrasse for her first staging of a new production on the main stage. Verdi’s hard-hitting Shakespearean tragedy provides the perfect material for the arresting visuals that are a hallmark of the French director, whose aesthetic vision can hold its own with any modern cinematic blockbuster.
Info (deutscheoperberlin.de)
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Sun, Dec 8, 2024, 17:00
Deutsche Oper Berlin (Berlin)
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Info (deutscheoperberlin.de)
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Macbeth

Sun, Jan 19, 2025, 17:00
Deutsche Oper Berlin (Berlin)
About the work MACBETH was the first of Shakespeare’s plays to be set to music by Verdi, in 1847. Despite his decades of interest in the English playwright, he did not adapt another work of Shakespeare’s until late in his career. Verdi’s operatic rendition of this tale of murky prophecies and bloody struggles for the throne of Scotland came in the hugely productive decade that Verdi himself came to refer to as his »galley slave years«. Still striving for critical recognition, he turned out a string of operas that expanded on the bel canto genre. MACBETH was part of an evolution in Italian opera, a development that was even more evident in the modified version released in 1865. In typical fashion Verdi roughened up the storyline and injected some emotional twists and turns, intensifying the drama in the process and creating a tense momentum that sends the protagonists hurtling towards their respective gruesome ends. About the production Following on from her triumphs with BABY DOLL and NEGAR in the Tischlerei of the Deutsche Oper Berlin and her recent productions at the Bayerische Staatsoper, the Semperoper Dresden, the MusikTheater an der Wien and La Monnaie in Brüssel, Marie-Ève Signeyrole returns to the venue on Bismarckstrasse for her first staging of a new production on the main stage. Verdi’s hard-hitting Shakespearean tragedy provides the perfect material for the arresting visuals that are a hallmark of the French director, whose aesthetic vision can hold its own with any modern cinematic blockbuster.
Info (deutscheoperberlin.de)
Artistic depiction of the event

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Info & Ticket (deutscheoperberlin.de)
Artistic depiction of the event

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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.
Info (deutscheoperberlin.de)
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Sun, May 25, 2025, 17:00
Oper Leipzig (Leipzig)
Andris Nelsons (Musical Director), Francisco Negrin (Inszenierung), Rifai Ajdarpasic (Bühnenbild), Ariane Isabell Unfried (Costume), Chor der Oper Leipzig (Choir), Gewandhausorchester (Orchestra), Kristīne Opolais (Soprano), Pavel Černoch (Tenor), Dmitry Belosselskiy (Bass), Matthias Stier (Tenor), Dan Karlström (Bariton), Ivo Stanchev (Bass)
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Info & Ticket (www.gewandhausorchester.de)
Artistic depiction of the event

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Info & Ticket (www.gewandhausorchester.de)