Iannis Xenakis, Open-Air in the Parkhaus Deutsche Oper // Conductor: Moritz Gnann; Stage-Director: David Hermann; With Michael Hofmeister, Seth Carico et al.
Tue 9. September 2014 / 20:00h / read more
27,00 - 15,00 € / buy ticket
tickethotline: 030.343 84 343
1. Tischlereikonzert: „Zwischen Spiel und Chaos“
Olivier Messiaen: „Pièce“ – „Le merle noir“ / Iannis Xenakis: „Dikhthas“ – „Rebonds B“ / Johann Sebastian Bach: „Die Kunst der Fuge“ BWV 1080
Mon 1. September 2014 / 20:00h / read more
16,00 - 8,00 € / buy ticket
tickethotline: 030.343 84 343
Pictures / Videos
Oresteia - Open Air
The ORESTEIA in the open air: During the remodelling of the main stage the Deutsche Oper Berlin will be mounting a major...
Oresteia - Open Air
deck of the car park © Bernd Uhlig
The ORESTEIA in the open air: During the remodelling of the main stage the Deutsche Oper Berlin will be mounting a major 20th-century work of musical theatre in the rather unusual setting of the upper deck of its multi-storey car park. Iannis Xenakis’ composition for Aeschylus’ Oresteia trilogy is conceived as an out-doors spectacle, and the world premiere took place on the baseball field of an American town – a powerful work with a singular musical language that is radically different from other scores of the period. Few works of contemporary musical theatre place such emphasis on percussion and rhythm. In presenting the ancient tale of the Atreidae, Xenakis borrows from Ancient Greek theatre, using a narrator, extended chorus sections and two monologues. These elements highlight a number of aspects of Aeschylus’ trilogy and pose the core questions relating to guilt, ritual and religion, to personal responsibility – in short, to the most agreeable system of social organisation.
The elevated car park of the Deutsche Oper Berlin – a landscape of different architectural forms and materials featuring windows, balconies and gantries that lend themselves to performance – is at once a functional urban space and an artificial setting whose very nature and appearance raise issues of the process of social civilisation, of protection and shelter, of uncertainty and disconcertedness. The staging of this extraordinary work of opera lies in the hands of director David Hermann and set designer Christof Hetzer, both of whom attracted attention in 2012 with their production of Helmut Lachenmann’s THE LITTLE MATCH GIRL at the Deutsche Oper Berlin.
Iannis Xenakis: Oresteia
Conductor Moritz Gnann Stage Director David Hermann Starring Michael Hofmeister, Seth Carico, Andrew Harris et al. Psalterion Georg Glasl Solo-Percussion Björn Matthiessen Chorus, Children's Chorus and Orchestra of the Deutsche Oper Berlin
9., 12., 13., 15., 16. September, 2014
Season Preview 2014/2015
Season Preview 2014/2015
The Premieres 2014/2015 (Videos by Chris and the Fatsox)
Billy Budd: The Making of
Following on from the successful production of PETER GRIMES in January 2013, also by director David Alden and set designer Paul Steinberg, BILLY BUDD is another visually powerful and musically complex opera by Benjamin Britten to be presented by the Deutsche Oper Berlin. The title character provides the young baritone John Chest, a new addition to the ensemble, with his maiden role. Burkhard Ulrich sings Edward Fairfax Vere and Gidon Saks the armourer Claggart. At the stand is General Music Director Donald Runnicles, for whom the staging of this musically and dramatically demanding opera is a matter of keen personal concern.
The second of Benjamin Britten´s “maritime” operas revolves around the dramatic events on board the warship “Indomitable”. As with PETER GRIMES before it, this story, too, has no truck with oceanic idylls and the image of the jolly sailor. Life at sea is tough, the code of conduct in the male environment unbending. The constant menace posed by skirmishes and the natural environment hardens the souls of individuals and leaves no room for love and affection except in perverted form. Even though Captain Vere, master of the “Indomitable”, makes no bones of his fondness for the young seaman, Billy Budd, he does not come to his aid when the boy is condemned to hang for mutiny after killing Claggart, the sadistic armourer, in a fit of passion.
The Elixir of Love
The story recounted by Donizetti and his librettist Felice Romani is a simple one: Adina and Nemorino are in love, yet neither can pluck up the courage to confess their love for the other person. Not until he recalls a single tear in Adina\'s eye, the famous “furtiva lagrima”, does Nemorino realise that his love is requited, triggering one of the most famous tenor arias in the history of opera.
The Elixir of Love: The Making of
This production of ELIXIR OF LOVE at the Deutsche Oper Berlin is in the capable hands of a director who has repeatedly served notice of her proficiency in mounting operatic and theatrical works based on more lightweight material: Irina Brook. Irina Brook and Maestro Roberto Rizzi Brignoli about THE ELIXIR OF LOVE.
La Damnation de Faust
And this complexity is also a reflection of the title character himself. The world of Berlioz´ Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz´ DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut.
La Damnation de Faust: The Making of
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz´ musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers´ songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous.
Hoffmann: The Making of
Phantasmagoria loosely based on Offenbach.
Musical adaptation and new compositions by Anne Champert.
The boundaries between reality and fiction are blurred in Hoffmann´s musical narratives. The poet conjures up in his mind three women, all of them representing radiant facets of one and the same beloved lady. The three are Olympia, a doll, Antonia, a woman suffering from a pulmonary illness, and Giulietta, a courtesan. The identity of the poet himself is as shaky as the contours of the world around him. Premiered at the Tischlerei on 18. September, 2013. With Jakop Ahlbom, Anne Champert und Seth Carico
The dramatic tale of Israelite subjugation under the Babylonian yoke of King Nebuchadnezzar remains one of Verdi\'s best-known operas and was last staged at the Deutsche Oper Berlin by Hans Neuenfels 13 years ago. In Verdi´s anniversary year the material is now being rendered by Keith Warner, one of the big names in international opera. Warner´s NABUCCO focuses on the opposing natures of two nations – the modern Hebrews, whose culture is informed by a script and by education as a democratic ideal, and the militaristic Babylonians, whose concept of a state is founded in autocratic rule.
Nabucco: The Making of
Art-Director Keith Warner and Chorus-Master William Spaulding about Verdi´s dramatic tale of Israelite subjugation under the Babylonian yoke of King Nebuchadnezzar.
NABUCCO, premiered at the Deutsche Oper Berlin on 8. September, 2013
Gilgamesh Must Die!
One third human, two thirds god, Gilgamesh, King of Mesopotamia, is a totalitarian egomaniac whose power and excesses know no bounds. Until, that is, the gods cause his best friend Enkidu to succumb to a painful death before his very eyes. Spurred on by fear, Gilgamesh embarks on a quest for the key to immortality. He is destined to discover the secret, but not in the way he expected... Using the original tablets as a guide, the Basel pop group “The bianca Story” has written eleven songs based on the eleven stages of the epic. Performed by a company of children and teens from Berlin and a number of professional singers, GILGAMESH MUST DIE! becomes a wild and jolly journey to the depths of mankind\'s most basic fears in striving for immortality.
Society repeatedly equates a Falstaff encounter with an open season for lies and masquerades. The story presents us with a pretend rendezvous, a husband disguised as a spy and a collective ghost staged in a park at night. Falstaff is the individualistic outsider stirring up the comfortable status quo with his otherness and inducing the bourgeoisie to act, to produce theatre, to be anarchical. Conductor: Donald Runnicles; Stage Director: Christof Loy; With Noel Bouley, Michael Nagy, Joel Prieto, Thomas Blondelle, Gideon Poppe, Marko Mimica, Barbara Haveman, Elena Tsallagova, Dana Beth Miller, Jana Kurucová et al.
Kannst du pfeifen, Johanna - The Making of
Ulf has a grandpa; Berra doesn\'t, but he wishes he had one like Ulf\'s – a grandpa who likes pork knuckle, drinks coffee and eats cake with his grandchildren. And then Ulf gets an idea and off they go to the old people\'s home, looking for a granddad for Berra. There they meet Nils – old, lonely, no grandchildren ..the perfect grandpa for Berra. Nils doesn\'t like pork knuckle but knows how to make a kite, and he can whistle – something Berra has always wanted to do.
- The RecordingMatthew Herbert and Band / read more
18., 19., 20., 21., 22., 23., 24., 25. Sep. 2014Tryout / A cooperation with HfM „Hanns Eisler“MusicTheatre for kids and teens /
Autumn 2014In Transit / PremiereAn experimental work by Eva-Maria Abelein, Mischa Tangian / read more
6., 8., 9., 17., 18., 19. Nov. 2014Gold / PremiereLeonard Evers (*1985) / read more
5., 7., 9., 10., 11., 12., 21., 22. Dec. 2014; 9., 10., 11. Feb.; 6., 7., 8. Mar. 2015Give-A-Way / PremiereA Sound experiment / read more
24., 27., 28., 29. Jan. 2015Kannst du pfeifen, JohannaGordon Kampe (*1976) / read more
20., 21., 22., 24., 25., 26. Feb. 2015New Scenes IIInternational composition competition / read more
10., 11., 14., 15. Apr. 2015Augenblick mal! / FestivalA Theatre Festival for Young Audience /
21. – 26. Apr. 2015HoffmannPhantasmagoria loosely based on Jacques Offenbach / read more
6., 7., 8. May 2015Comfort Ye / Guest performanceAn Umcolo opera project / read more
30., 31. May 2015Sounds for a while / PremiereAn installation of musical theatre by Anselm Dalferth / read more
25., 27., 28., 29., 30. Jun. 2015; 2. Jul. 2015