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    Schostakowitsch: Lady Macbeth von Mzensk

    Conductor: Donald Runnicles; Stage Director: Ole Anders Tandberg; With John Tomlinson, Thomas Blondelle, Evelyn Herlitzius, Maxim Aksenov et al.

    next performance

    Thu 29. January 2015 / 19:30h / read more

    C-Prices: € 90,– / 72,– / 50,– / 29,– / buy ticket

    tickethotline: 030.343 84 343

  • next highlights

    Neues in der Tischlerei: Give-A-Way

    Sound experiment with the Hector-Peterson-Schule, Berlin-Kreuzberg, Berlin musicians and the composer Alexandra Holtsch / Commissioned by the Deutsche Oper Berlin

    next performance

    Thu 29. January 2015 / 11:00h / read more

    16,00 - 8,00 € / buy ticket

    tickethotline: 030.343 84 343

  • next highlights

    Der Barbier von Sevilla

    Conductor: Moritz Gnann; Stage-Director: Katharina Thalbach; With Matthew Newlin, Markus Brück, Stephanie Lauricella, John Chest, Andrew Harris et al.

    next performance

    Fri 30. January 2015 / 19:30h / read more

    C-Prices: € 90,– / 72,– / 50,– / 29,– / buy ticket

    tickethotline: 030.343 84 343

  • next highlights

    Donizetti: Lucia di Lammermoor

    Conductor: Ivan Repusic; Stage-Director: Filippo Sanjust; With Simone Piazzola, Pretty Yende, Joseph Calleja, Matthew Newlin, Simon Lim et al.

    next performance

    Sun 1. February 2015 / 18:00h / read more

    C-Prices: € 90,– / 72,– / 50,– / 29,– / buy ticket

    tickethotline: 030.343 84 343

  • next highlights

    Richard Strauss: Elektra

    Conductor: Donald Runnicles; Stage-Director: Kirsten Harms; With Waltraud Meier, Catherine Foster, Manuela Uhl, Clemens Bieber, Tobias Kehrer, Seth Carico, Nadine Secunde et al.

    next performance

    Wed 4. February 2015 / 20:00h / read more

    C-Prices: € 90,– / 72,– / 50,– / 29,– / buy ticket

    tickethotline: 030.343 84 343



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Pictures / Videos

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  • next highlights

    Der Barbier von Sevilla

    Conductor: Moritz Gnann; Stage-Director: Katharina Thalbach; With Matthew Newlin, Markus Brück, Stephanie Lauricella, John Chest, Andrew Harris et al.

    next performance

    Fri 30. January 2015 / 19:30h / read more

    C-Prices: € 90,– / 72,– / 50,– / 29,– / buy ticket

    tickethotline: 030.343 84 343

  • next highlights

    Donizetti: Lucia di Lammermoor

    Conductor: Ivan Repusic; Stage-Director: Filippo Sanjust; With Simone Piazzola, Pretty Yende, Joseph Calleja, Matthew Newlin, Simon Lim et al.

    next performance

    Sun 1. February 2015 / 18:00h / read more

    C-Prices: € 90,– / 72,– / 50,– / 29,– / buy ticket

    tickethotline: 030.343 84 343

  • next highlights

    Richard Strauss: Elektra

    Conductor: Donald Runnicles; Stage-Director: Kirsten Harms; With Waltraud Meier, Catherine Foster, Manuela Uhl, Clemens Bieber, Tobias Kehrer, Seth Carico, Nadine Secunde et al.

    next performance

    Wed 4. February 2015 / 20:00h / read more

    C-Prices: € 90,– / 72,– / 50,– / 29,– / buy ticket

    tickethotline: 030.343 84 343




News

Tue, 6. Jan.
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All for love – To Shostakovich’s „La...

With Shostakovich’s “Lady Macbeth of Mzensk” the Deutsche Oper Berlin is staging one of the great works of the 20th cent...

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All for love – To Shostakovich’s „Lady Macbeth of Mzensk“

Lady Macbeth von Mzensk © Oslo 2014, Erik Berg

Lady Macbeth von Mzensk © Oslo 2014, Erik Berg

With Shostakovich’s “Lady Macbeth of Mzensk” the Deutsche Oper Berlin is staging one of the great works of the 20th century.

A glance at the storyline of Dmitri Shostakovich’s best known opera, “Lady Macbeth of Mtsensk”, reveals the eponymous Katerina Lvovna to be a distinctly unsympathetic character. Not only that: the tale of the bored wife of a merchant, who murders first her father-in-law and then her own husband and gets deservedly banished to Siberia, hardly seems suitable material for an opera. In any case, Nikolai Leskov’s story, which was penned in the laconic, unsparing style of a crime file and formed the basis for Shostakovich’s opera, provides no hint of the dichotomies and profundities that normally serve the composer as a hook on which to hang the music.

This did not prevent the 24-year-old Shostakovich, who had already established himself as the big new hope among the composers of the young Soviet Union following the rapid international success of his first symphony in 1926, from seizing on the material, having seen “Lady Macbeth” as a chance to portray a person whose downfall is the result not of her own depravity but of the nastiness and pitilessness of the world around her. Some months prior to the 1934 premiere Shostakovich explained his intention thus: “I suppose you could call ‘Lady Macbeth’ a tragi-satirical opera. Even though Katerina Lvovna ends up murdering her husband and father-in-law, I still align myself with her. I’ve tried to imbue the milieu in which she lives with a macabre, satirical quality.” Which is why audiences are more inclined to identify with Katerina than to be alienated. In Shostakovich’s opera it is the emotionally and sexually unfulfilled existence foisted on Katerina by her husband and tyrannical father-in-law that jump-starts the story and to some extent justifies her actions. Katerina acts purely out of love for the labourer, Sergei, with whom she is convinced she will find happiness. In the end it is the rejection by Sergei rather than the privations of exile that lead her to commit suicide.

Hence it is not the individual who is to blame for his fate but rather society, which places the individual in a hopeless position. In the young Soviet state this was a statement that chimed reasonably well with official political ideology, especially as the old order, criticised in “Lady Macbeth of Mtsensk”, had only recently been swept away by the Revolution.

In 1936, given this positive backdrop and also the unrivalled success of his “Lady” at home and abroad, Shostakovich must have been doubly shocked on reading the famous Pravda article entitled “Chaos rather than music”, which denigrated the work in particular and him as an artist in general. In all the decades up until his death in 1975 Shostakovich was unable to shake off the trauma of this public shunning, a fate that in the Soviet Union of the time brought with it great physical danger. Moreover, the official condemnation heralded a caesura in the career of that particular opera. Although the composer later modified the work to soften its impact, “Lady Macbeth of Mtsensk” was largely forgotten. It was not until the late 1970s, when Shostakovich’s symphonies had long since reached an international audience, that the opera was rediscovered as one of the greatest masterpieces of the 20th century.

Among the conductors who championed the cause of the forgotten “Lady” early in their careers was Donald Runnicles, who has been returning to the opera regularly since the early 1980s. For him it was only a matter of time before Shostakovich’s masterpiece returned to the Deutsche Oper under his baton. The version by Norwegian director Ole Anders Tandberg, a co-production with the Oslo Opera, will feature two of the most charismatic singer-actors of the modern day: Evelyn Herlitzius sings the title role and the great British bass, Sir John Tomlinson, returns to Berlin to take the part of Katerina’s father-in-law Boris.

Lady Macbeth of Mtsensk
by Dmitri Shostakovich

Conductor: Donald Runnicles
Director: Ole Anders Tandberg
With: Evelyn Herlitzius, Nadine Secunde, Maxim Aksenov, Thomas Blondelle, John Tomlinson and others
A co-production with Den Norske Opera & Ballett, Oslo

Premiere on 25th January 2015
Additional performances on 29.1., 31.1., 5.2., 14.2.2015

Fri, 16. Jan.
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Yes to an open-minded country – No t...

The Deutsche Oper Berlin is no place for people whose thinking is hidebound in national categories. Every evening artist...

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Yes to an open-minded country – No to Pegida

The Deutsche Oper Berlin is no place for people whose thinking is hidebound in national categories. Every evening artists, staff and visitors from all corners of the globe gather here under a single roof and savour together great works of opera. Every night can thus be said to symbolise a society, part of whose essence consists in the peaceful exchange of ideas and values. We therefore distance ourselves from all those who would question these values. We say ‘NO’ to Pegida and support the following statement released by the Dresden Conference of Intendants.

For an open-minded country

We view with some concern the demonstrations that have been taking place in Germany on a regular basis. Thousands of people are protesting there against the “Islamisation of the Western world” and warning of “economic refugees” and of being “overly encroached upon” by foreigners. Not only are these demonstrators co-opting the slogans and symbols of the Peaceful Revolution of 1989; they are painting a picture of a menace that has nothing to do with the German reality.
We hold the sentiments expressed at these demonstrations to be wrong. They nourish misanthropic ideologies and exploit the diffuse worries of many people. In particular they are used against the weakest members of society, those who are most in need of assistance.

We want to live in an open-minded society, one that does not close its eyes to the distress of asylum seekers but is founded on tolerance, solidarity and freedom.

We appeal to people not to be blinded by liars and scaremongers. We appeal to our fellow citizens to stand up for a robust democracy and a xenophilous country that welcomes not only tourists from all corners of the planet but also those who need our help.

We call upon all citizens to defend our country’s good reputation.

Fri, 7. Mar
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Season Preview 2014/2015

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Season Preview 2014/2015

Expand our Season Book 2014/2015
All about our opera premieres, the opera and ballet repertoire, the concerts and chamber music et al.

or available for download as [pdf-document]

or as a hard copy from the opera house
Please be as kind as to send an E-mail to info@deutscheoperberlin.de

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Sascha Weidner – Season's Photography

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Next performances

Thu, 29. Jan

Give-A-Way

Tischlerei / 11:00h / read more / Buy ticket

Thu, 29. Jan
Fri, 30. Jan

The Barber of Seville

Deutsche Oper Berlin / 19:30h / read more / Buy ticket

Sat, 31. Jan

Tour in English Language

Deutsche Oper Berlin / 15:30h / read more / Buy ticket

Sat, 31. Jan
Sun, 1. Feb

Jazz & Breakfast

Restaurant / 11:00h / read more

Sun, 1. Feb

Lucia di Lammermoor

Deutsche Oper Berlin / 18:00h / read more / Buy ticket


Videos by Chris and the Fatsox



Further News

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Opera Premieres

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Opera Premieres

  • The season’s string of premieres will begin with ORESTEIA, Xenakis’ masterpiece for chamber orchestra, chorus and baritone; the work will be mounted on the upper deck of the Deutsche Oper multi-storey car park, an unusual backdrop for the team centring on director David Hermann. Other premieres will be held in the Philharmonie, which will host Meyerbeer’s DINORAH, the first work in a cycle of Meyerbeer pieces being aired at the Deutsche Oper Berlin over the next few seasons. The Philharmonie will also provide the venue for a production of ARIADNE ON NAXOS with Anja Harteros, to mark Richard Strauss’ sesquicentenary, followed by ROBERTO DEVEREUX in November, with Edita Gruberová in one of her celebrated roles as Elisabetta I. Finally, from 14th November onwards, we will be presenting Fiona Shaw’s production of Britten’s THE RAPE OF LUCRETIA in the Haus der Berliner Festspiele.

    On 27th November 2014 the stage of the Deutsche Oper Berlin in the Bismarckstraße will re-open for performances. In the course of the season four key works in the opera’s repertoire will celebrate their premieres, marking areas of focus that are also a feature of the overall programme. The repertoire of Russian works is being extended with Ole Anders Tandberg’s production of Shostakovich’s LADY MACBETH OF MZENSK; French opera is represented by a Sasha Waltz production of ROMEO AND JULIET and Philipp Stölzl’s staging of Gounod’s FAUST; and in March 2015 we present a Puccini retrospective whose crowning event will doubtless be the premiere of Rolando Villazón’s production of LA RONDINE [THE SWALLOW].


  • Oresteia / Parkhaus
    Iannis Xenakis (1922 – 2001) / read more
    9. September 2014
    Dinorah / Concert version / Philharmonie
    Giacomo Meyerbeer (1791 – 1864) / read more
    1. October 2014
    Ariadne auf Naxos / Concert version / Philharmonie
    Richard Strauss (1864 – 1949) / read more
    14. October 2014
    Roberto Devereux / Concert version / Philharmonie
    Gaetano Donizetti (1797 – 1848) / read more
    5. November 2014
    The Rape of Lucretia / Haus der Berliner Festspiele
    Benjamin Britten (1913 – 1976) / read more
    14. November 2014
    Lady Macbeth of the Mtsensk District
    Dmitrij Schostakowitsch (1906 – 1975) / read more
    25. January 2015
    The Swallow
    Giacomo Puccini (1858 – 1924) / read more
    8. March 2015
    Roméo et Juliette
    Hector Berlioz (1803 – 1869) / read more
    18. April 2015
    Faust
    Charles Gounod (1818 – 1893) / read more
    19. June 2015

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Tischlerei 2014/2015

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Tischlerei 2014/2015


  • The Recording
    Matthew Herbert and Band / read more
    18., 19., 20., 21., 22., 23., 24., 25. Sep. 2014
    Tryout / A cooperation with HfM „Hanns Eisler“
    MusicTheatre for kids and teens / read more
    13., 14., 15. November 2014
    In Transit / Premiere
    An experimental work by Eva-Maria Abelein, Mischa Tangian / read more
    6., 8., 9., 17., 18., 19. Nov. 2014
    Gold / Premiere
    Leonard Evers (*1985) / read more
    5., 7., 9., 10., 11., 12., 21., 22. Dec. 2014; 9., 10., 11. Feb.; 6., 7., 8. Mar. 2015
    Give-A-Way / Premiere
    A Sound experiment / read more
    24., 27., 28., 29. Jan. 2015
    Kannst du pfeifen, Johanna
    Gordon Kampe (*1976) / read more
    20., 21., 22., 24., 25., 26. Feb. 2015
    New Scenes II
    International composition competition / read more
    10., 11., 14., 15. Apr. 2015
    Augenblick mal! / Festival
    A Theatre Festival for Young Audience /
    21. – 26. Apr. 2015
    Hoffmann
    Phantasmagoria loosely based on Jacques Offenbach / read more
    6., 7., 8. May 2015
    Sounds for a while / Premiere
    An installation of musical theatre by Anselm Dalferth / read more
    25., 27., 28., 29., 30. Jun. 2015; 2. Jul. 2015


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