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In the Tempodrom

Dancing at the door of doomsday

A concert to promote a young, creative and democratic future

15
Sunday
September
19:00 - 22:00
30,50 - 49,23 €
No ticket sales via the Deutsche Oper Berlin. This link leads to the online shop of WeGoApart with ART
Information about the work

Tempodrom, Möckernstr. 10, 10963 Berlin

3 hours

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Dates & Tickets
Our thanks to our partners

A concert by Kollektiv Untergang x WeGoApart with ART in co-operation with the Deutsche Oper Berlin

15
Sunday
September
19:00 - 22:00
30,50 - 49,23 €
No ticket sales via the Deutsche Oper Berlin. This link leads to the online shop of WeGoApart with ART
Cast
the content

In a world that resembles a volcano that threatens to erupt at any moment, we must use all our energy to overcome current challenges together. “Dancing at the door of doomsday” is a charity concert that proves how creativity, teamwork and democratic commitment can create something extraordinary.

The event is a cooperation between Kollektiv Untergang e.V., WeGoApart With Art e.V. and the Deutsche Oper Berlin. During the three-hour concert, we will be working with young musicians to draw attention to current crises, anti-democratic tendencies and social divisions. We are taking a stand for democracy and cultural diversity. The Young Chorus of the Deutsche Oper will provide musical accompaniment to the musicians performing their songs. The result is an extraordinary programme that combines different musical genres and choral singing in an explosive way.

The organisers are two associations that are passionately committed to promoting culture, working to ensure that young people's voices are heard more and that they are actively involved in decision-making processes. Culture is and should be accessible to everyone. Under the motto ‘Be loud for culture, because promoting culture means strengthening democracy!’, the collective Untergang e.V., in the role of initiator, brought the two other partners (WeGoApart with ART e.V. and Deutsche Oper Berlin) together to pursue a common goal: to emphasise the importance of culture and democracy in the personal development of young people. With “Dancing at the door of doomsday”, they want to show how powerful music is as a tool for social cohesion.

The profits from the concert will be donated to charitable projects. Through an interactive vote on the day of the event, audience members will experience democracy live and decide for themselves which project the donation portion of their ticket will go towards. The plan is to choose from three different organisations that represent the core identity of “Dancing at the door of doomsday”: the promotion of young, creative minds, the connection between town and country, cultural support in structurally weak regions and the strengthening of our democracy.

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22
DEC

Advents-Verlosung: Das 22. Fensterchen

On 7 March 2025, the first part of Tobias Kratzer's Strauss trilogy, ARABELLA, celebrates its revival as part of our ‘Richard Strauss in March’ weeks, with Jennifer Davis as Arabella , Heidi Stober as Zdenka/Zdenko, Thomas Johannes Mayer as Mandryka, Daniel O'Hearn as Matteo and, as in the premiere series, Doris Soffel and Albert Pesendorfer as the Waldner couple. Today we are giving away our DVD, which will not be available in shops until 14 February 2025. We would like to express our heartfelt thanks to NAXOS for giving us the very special opportunity to put ARABELLA in our lottery pot for you almost eight weeks before the official sales launch.

In today's Advent Calendar window, we are giving away two DVDs of ARABELLA – a lyrical comedy in three acts by Richard Strauss and Hugo von Hofmannsthal. If you would like to win one of the two DVDs, please write an e-mail with the subject ‘The 22nd window’ to advent@deutscheoperberlin.de.

Vienna, circa 1860. The financially strapped Count Waldner is lodging with his family in a Viennese hotel. His only path to solvency is for him to secure an advantageous marriage for one of his two daughters – and the family can only afford to present Arabella, the eldest, in the upper circles of society. To conceal the family’s indigence, the parents have raised Zdenka as a boy, dressing her accordingly. Arabella is not short of suitors but has resolved to wait for ‘Mr Right’. When Mandryka, an aristocrat from a distant region, arrives, he and Arabella are instantly smitten. Arabella only asks to be able to bid farewell to her friends and suitors at the Fasching ball that evening. At the ball, Arabella says goodbye to her admirers. There is also the young officer Matteo, with whom Zdenka is secretly in love and with whom she has formed a friendship under the guise of her disguise as a boy. Matteo, however, desires Arabella and is distraught when he realises the hopelessness of his love. Zdenka devises a plan: she fakes a letter from Arabella in which she promises Matteo a night of love together. But instead she wants to wait for him herself in the darkness of the hotel room. Mandryka learns of Arabella's alleged infidelity and goes to the hotel with the ball guests to surprise Arabella in flagrante delicto. Arabella, innocent of this, is initially shocked and saddened by Mandryka’s suspicions but forgives him when the mix-up is revealed for what it is. The two agree to marry, as do Zdenka and Matteo.

Richard Strauss’s orchestral richness and opulence coupled with the period Viennese setting of the work led to ARABELLA being falsely pigeonholed as a light-hearted comedy of errors from its 1933 premiere onwards. In the estimation of Tobias Kratzer, however, who triumphed at the Deutsche Oper with his production of Alexander von Zemlinsky’s THE DWARF, this final collaboration between Strauss and Hugo von Hofmannsthal marks a collision of two world views: the traditional roles of men and women on the one hand – as expressed in Arabella’s famous solo “Und du sollst mein Gebieter sein” – and a modern idea of social interaction on the other – as illustrated by Zdenka with her questioning of gender-based identities. Here, Kratzer turns the spotlight on this disunity between the various character portrayals in ARABELLA and explores these role-specific tensions on a continuum stretching from 19th-century Vienna to the present day. In the category of stage design, Manuel Braun, Jonas Dahl and Rainer Sellmaier were honoured with the renowned German Theatre Award DER FAUST 2023 for this production.

In this recording, under the baton of Sir Donald Runnicles, you will experience Albert Pesendorfer, Doris Soffel, Sara Jakubiak, Elena Tsallagova, Russell Braun, Robert Watson, Thomas Blondelle, Kyle Miller, Tyler Zimmerman, Hye-Young Moon, Lexi Hutton, Jörg Schörner and others, as well as the chorus and orchestra of the Deutsche Oper Berlin. The performances on 18 and 23 March 2023 were recorded by rbb Kultur and Naxos for this DVD.

We would like to thank the Naxos label for the great collaboration over the past few years, which documents recordings of DER ZWERG, DAS WUNDER DER HELIANE, FRANCESCA DA RIMINI, DER RING DES NIBELUNGEN, DER SCHATZGRÄBER, DIE MEISTERSINGER VON NÜRNBERG and ANTIKRIST. Richard Strauss' ARABELLA and INTERMEZZO will be released in the course of 2025.


Closing date: 22 December 2024. The winners will be informed by email on 23 December 2024. The DVDs will then be sent by post. There is no right of appeal.