Newsletter

News about the schedule Personal recommendations Special offers ... Stay well informed!

Subscribe to our newsletter

Subscribe to our Newsletter and receive 25% off your next ticket purchase.

* Mandatory field





Newsletter

Schedule - Deutsche Oper Berlin

Skip Media Container

Tristan and Isolde

Richard Wagner (1813 – 1883)

27
Sunday
October
16:00 - 21:00
D prices: € 144.00 / 112.00 / 82.00 / 50.00 / 30.00
Information about the work

Opera in 3 acts
First performed on 10th June, 1865 in Munich
Premiered at the Deutsche Oper Berlin on 13th March, 2011

5 hrs / 2 intervals

In German with German and English surtitles

Pre-performance lecture (in German): 45 minutes prior to each performance

recommended from 16 years
Share this post
Cast
27
Sunday
October
16:00 - 21:00
D prices: € 144.00 / 112.00 / 82.00 / 50.00 / 30.00
Cast
the content

About the work
Betrayal, lost honour, crime and atonement, passionate love, a yearning for death and forgetting… The tale of Tristan and Isolde grew from a Celtic legend into today’s work of mythical stature. It inspired Richard Wagner to his “opus metaphysicum” [Friedrich Nietzsche].

TRISTAN AND ISOLDE, with its decidedly romantic score, is considered a harbinger of modernism. The chord that introduces the opera – the famous “Tristan Chord”, one of the most hotly discussed items in the history of music – threw musicologists into disarray, challenging accepted ideas of tonality and harmony. Equally explosive is the love between Tristan and Isolde, who defy pressure to comply with conventions and moral codes.

Tristan, the “man of sorrow” who is ever mindful that his mother died giving birth to him, is in love with Isolde and yet determined to deliver her, as agreed, to his king, thereby breaking not one but two pledges. Isolde, too, is not blameless in this forbidden love affair, having in an earlier period spared the life of Tristan – who had stayed her hand with a look - instead of killing the murderer of Morold, her would-be bridegroom. She is increasingly estranged from her familiar domesticity, and, flouting all social norms, the couple inexorably approach their longed-for end – their own erasure?


About the production
TRISTAN AND ISOLDE continues to fascinate and disturb to this day. It has occupied philosophers, psychologists, writers, composers and musicologists. Briton Graham Vick, one of the most innovative stagers of opera in recent years, who worked and appeared at opera houses and festivals around the world and steered the fortunes of the Glyndebourne festival over many years, brought a solemnity to his rendering of the lovers’ story, rejecting over-dramatization. He placed his protagonists in a drawing room that, to the casual observer, appears unremarkable but whose slightly worn elegance is speckled with details alluding to the archaic foundations beneath. With unsparing precision he charts the development of the love affair, showing us the effect it has on the couple over the years. And Tristan’s perplexing utterance from his monologue in the final act – “That awful potion, which taught me torment… I myself did mix and stir it!” – lies at the core of Vick’s slant on the material.

Derived from a literary myth, TRISTAN AND ISOLDE has itself acquired the characteristics of a myth. One message of Graham Vick’s production is that it is not given to us, as Wagner’s listeners and onlookers, to be too smug in our enjoyment of the spectacle. The tale of this pair of lovers, albeit coming to us through the mists of time, is far too close for that kind of comfort.

Our recommendations

Tannhäuser and the Singers' Contest at Wartburg
Der fliegende Holländer
Lohengrin
Die Meistersinger von Nürnberg
Enter Onepager
1

slide_title_1

slide_description_1

slide_headline_2
2

slide_title_2

slide_description_2

slide_headline_3
3

slide_title_3

slide_description_3

slide_headline_4
4

slide_title_4

slide_description_4

Create / edit OnePager
14
DEC

Advents-Verlosung: Das 14. Fensterchen

This much can be revealed today: This third weekend of Advent belongs to jazz. Since 2005, the BigBand of the Deutsche Oper Berlin has been a permanent fixture in the programme: be it at big concerts with Katharine Mehrling, Madeline Bell, Lyambiko, Jocelyn B. Smith, Pe Werner, Bill Ramsey, Paul Kuhn, Georgie Fame, Jiggs Whigham, Jeff Cascaro, Till Brönner or Richard Galliano as soloists. But concerts also regularly take place in the Tischlerei with smaller formations, and audio books for children are also created here. The most recent release – following on from ‘The Jungle Book’ and ‘The Ballad of Robin Hood’ – is the audio book ‘The Canterville Ghost’.

Today we are giving away 5 CDs of ‘The Canterville Ghost’ based on Oscar Wilde's fairy tale. If you would like to be one of the winners, please send an email to advent@deutscheoperberlin.de today with the subject ‘The 14th little window’.

For generations, Canterville Castle has been haunted, but that doesn't stop the American ambassador Hiram B. Otis from acquiring the old building and moving in with his family. As modern, enlightened Americans, they don't believe British ghost stories. And so hard times begin for the old castle ghost, who has never experienced such disrespect in all his centuries.

Musicians Martin Auer and Rüdiger Ruppert have created an impressive narrative concert for the Deutsche Oper Berlin. While Christian Brückner tells the story of the disaffected castle ghost, the wild jazz orchestra creates an atmospheric backdrop of horror. A sound work of art for the whole family!



Closing date: 14 December 2024. The winners will be informed by email on 16 December 2024. The CDs will be sent by post. The judges' decision is final.