Newsletter

News about the schedule
and the start of advance booking
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

Anna Bolena

Gaetano Donizetti (1797 – 1848)

19
Tuesday
March
19:30 - 23:00
B-Prices: € 86,00 / € 66,00 / € 44,00 / € 26,00 / € 20,00
Information about the work

Tragedia lirica in two acts
Libretto by Felice Romani after "Henri VIII" (1791) by Marie-Joseph de Chénier and "Anna Bolena" (1788) by Alessandro Pèpoli.
First performed on 26 December 1830 at the Teatro Carcano in Milan.
Premiere at Zurich Opera House on 5 December 2021
Premiere at the Deutsche Oper Berlin on 15 December 2023

3 hrs 30 mins / 1 interval

In Italian with German and English surtitles

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

recommended from 15 years on
Share this post
Cast
Our thanks to our partners

A production of Zurich Opera House. Presented by taz

19
Tuesday
March
19:30 - 23:00
B-Prices: € 86,00 / € 66,00 / € 44,00 / € 26,00 / € 20,00
Cast
the content

About the work
The world premiere of ANNA BOLENA in 1830 was a seminal moment in Italian opera. The work placed the 33-year-old Gaetano Donizetti on a par with Rossini and asserted a new and more expressive style alongside the latter’s vocal brilliance. As their material Donizetti and Felice Romani, the best-known librettist of the age, chose one of most tragic, albeit gripping, stories in the history of Britain: the trial for alleged adultery of Anne Boleyn, the second wife of King Henry VIII, proceedings that were designed to provide Henry with his second divorce and which ended in Anne’s execution. On the one hand, Donizetti and Romani were responding to increasing public demand for “authentic” storylines that had really happened; on the other hand, they were following a fad, triggered by the novels of Walter Scott, for seeing England and Scotland as a cradle of tragic and blood-thirsty drama. It was a path that Donizetti was also to tread in his later works MARIA STUARDA and ROBERTO DEVEREUX, which have joined ANNA BOLENA to form a Tudor trilogy. Since the revival of the piece in the 1950s/60s, it has given Joan Sutherland, Montserrat Caballé, Leyla Gencer and Edita Gruberová an opportunity to expand the art of dramatic bel canto. ANNA BOLENA calls not only for a charismatic heroine; the cast of characters is bulging with roles – from the unscrupulous king and his new paramour Giovanna Seymour to Anna’s confidant and alleged lover, Percy, – that combine exquisite voices, technical virtuosity and heightened powers of expression.

About the production
For the last three decades New Yorker David Alden has been establishing himself internationally as one of the most successful directors in the musical-theatre genre. Over recent years the Deutsche Oper Berlin has seen him bring his talent to the staging of Britten’s PETER GRIMES and BILLY BUDD and to a particularly triumphant run with Meyerbeer’s LES HUGUENOTS. Alden’s approach to ANNA BOLENA is informed by the same balance of tragedy and wry humour that formed his attitude towards the period operas of the 19th century. The costumes are true to their time, but Alden toys brilliantly with time periods, incorporating stylistic elements reminiscent of Thatcher’s Britain and poking fun at certain British foibles. Our heroine’s tragedy, rendered simply and shatteringly right up to the gory ending, remains at the core of the work.

Our articles on the subject

Die hard, Anna
Federica Lombardi – My seat of contentment: the opera houses of the world
The needle scene
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