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Schedule - Deutsche Oper Berlin

Unser Weihnachts-Special

Bei den Vorstellungen von HÄNSEL UND GRETEL, DAS SCHLAUE FÜCHSLEIN, DIE ZAUBERFLÖTE und IL VIAGGIO A REIMS zwischen 13. Dezember 2024 und 5. Januar 2025 gilt der ermäßigte Preis von € 10,00 für alle bis 18 Jahre. 

Wählen Sie Ihre Tickets im Webshop aus und klicken Sie dann auf die Buchungsart „Web Kinder Sonderpreis € 10,00“. Der Berechtigungsnachweis ist bei der Kartenkontrolle vorzuweisen.

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Unser Weihnachts-Special

Our Christmas special

Il viaggio a Reims

Gioacchino Rossini (1792 – 1868)

30
Monday
December
19:30 - 22:15
C prices: € 108.00 / 90.00 / 64.00 / 40.00 / 26.00
Buy tickets
All children up to 18 years of age receive tickets for €10.00 in advance.
Information about the work

Dramma giocoso in one act;
Libretto by Giuseppe Luigi Balochi;
First performed on 19th June 1825 at the Théâtre-Italien in Paris
Premiered at the Deutsche Oper Berlin on 15th June 2018

2 hrs 45 mins / one interval

In Italian with German and English surtitles

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

recommended from 13 years on
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Cast
Our thanks to our partners

Kindly supported by Förderkreis der Deutschen Oper Berlin e. V.

30
Monday
December
19:30 - 22:15
C prices: € 108.00 / 90.00 / 64.00 / 40.00 / 26.00
Buy tickets
All children up to 18 years of age receive tickets for €10.00 in advance.
Cast
the content

About the work
A motley group of travellers on their way to Reims for the coronation of Charles X is billeted in the Hotel zur Goldenen Lilie. But when it transpires that no fresh horses are available for the stage coach, they realise they’re stranded.

In IL VIAGGIO A REIMS Gioacchino Rossini and his librettist Luigi Balochi present a chamber-piece setting in which the story’s 14-strong ensemble of equally-ranked main characters introduce themselves with a raft of original and perfectly executed arias in a situation of uncertainty and time-biding. The reason for travelling in the opera is the same as Rossini’s motive for writing it: Rossini, whose international reputation had preceded his move to Paris, was commissioned to write an opera as part of the festivities celebrating the coronation of Charles X in 1825, the climax of which would be the premiere of his work. As IL VIAGGIO A REIMS was inextricably linked to the coronation, Rossini considered that the work had a certain shelf life. He referred to the opera as a cantata and did not hesitate to use stretches of its music in one of his French operas, LE COMTE ORY. As a result the work slipped from the programmes and did not surface again until the 1980s, when Claudio Abbado staged it in Pesaro. And we can be thankful, because the opera – Rossini’s last in Italian – is a gem, despite the off-the-cuff circumstances of its composition, with the brilliance of the score and the over-the-top absurdity of the humour. This is Rossini at the pinnacle of Italian opera buffa.

Some background trivia on the characters in IL VIAGGIO A REIMS: some of them had featured in the much-read novel by Madame de Stäel, “Corinne ou l’Italie”. Yet they also represent a cross-section of 19th-century Europe converging on Reims to pay their respects to the new French king – and each a deliberate stereotype rather than a fully rounded character.


About the production
Director Jan Bosse goes to town with the rather absurd premise of Europeans holed up in a spa hotel. A room of mirrors variously serving as spa clinic, sanatorium and lunatic asylum is the setting for the stalled journey of the characters, who are keen to live up to their respective national characteristics, try to best each other in coloratura warbling and end up planning their own celebratory feast.

Our recommendations

Hansel and Gretel
The Magic Flute
The Cunning Little Vixen
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12
DEC

Adventskalender im Foyer: Das 12. Fensterchen

Today in the foyer: ‘The Snow Queen’ as a live audio play
A reading with Burkhard Ulrich and Fanny Frohnmeyer, with Lukas Zeuner on the drums
5:00 p.m. / Parkettfoyer
Duration: approx. 25 minutes / Free admission


‘Behold! Now we begin. When we reach the end of the story, we will know more than we do now, because it was an evil goblin! It was one of the very worst, it was the devil! One day he was in a good mood because he had made a mirror that had the property of making everything good and beautiful reflected in it shrink to almost nothing, but what was no good and looked bad was emphasised and became even worse. The most magnificent landscapes looked like overcooked spinach in it, and the best people became disgusting or stood on their heads without a torso,’ so begins the fairy tale “The Snow Queen” by Hans Christian Andersen.

By an unfortunate accident, a splinter of this evil magic mirror jumps into Kay's heart , whereupon he suddenly finds life in his small town quite awful and lets himself be taken by the nasty Snow Queen to the far north. But Kay's friend Gerda sets out to save her best friend. With the help of a crow and a reindeer, she eventually finds her way to the cold north of Lapland and, with the true power of friendship and laughter, she is able to free Kay from the clutches of the Snow Queen.

Today, in the foyer, the tenor Burkhard Ulrich and the director of our Junge Deutsche Oper Fanny Frohnmeyer read this touching and wonderful fairy tale by Hans Christian Andersen for all fairy tale fans, old and young! And our percussionist Lukas Zeuner provides the sound for the story with marimbas, a xylophone and all kinds of rhythm and sound instruments. And all this live and very close to the audience, next to the large fir tree in the parquet foyer.