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The Master Singers of Nuremberg

Richard Wagner (1813 – 1883)
Wed 29.06.2022 - 17:00 h

Informationen zum Werk

(Die Meistersinger von Nürnberg)
Opera in three acts
First performed on 21st June, 1868 at Munich
Premiered at the Deutsche Oper Berlin on 12 June 2022

In German language with German surtitles

5 hrs 30 mins / 2 intervals

Introduction (in German language): 45 minutes before beginning; Rang-Foyer


Musikalische Leitung

Sir Donald Runnicles

Bühne, Kostüme

Anna Viebrock


Dorothea Hartmann


Jeremy Bines

Hans Sachs

Johan Reuter

Veit Pogner, Goldschmied

Albert Pesendorfer

Kunz Vogelgesang, Kürschner

Gideon Poppe

Konrad Nachtigall

N. N.

Sixtus Beckmesser, Stadtschreiber

Philipp Jekal

Fritz Kothner, Bäcker

Thomas Lehman

Balthasar Zorn, Zinngießer

Jörg Schörner

Ulrich Eißlinger, Gewürzkrämer

Clemens Bieber

Augustin Moser, Schneider

Burkhard Ulrich

Hermann Ortel, Seifensieder

Stephen Bronk

Hans Schwarz

N. N.

Hans Foltz

N. N.

Walther von Stolzing, ein junger Ritter aus Franken

Klaus Florian Vogt

David, Sachsens Lehrbube

Ya-Chung Huang

Eva, Pogners Tochter

Heidi Stober

Magdalena, Evas Amme

Annika Schlicht

Ein Nachtwächter

Tobias Kehrer

About the performance

The Deutsche Oper Berlin held its last premiere of Richard Wagner’s DIE MEISTERSINGER 30 years ago. Now this monumental opera is returning to the Wagner-Haus on Bismarckstraße as a new production by Jossi Wieler and Sergio Morabito, with musical direction by general music director Sir Donald Runnicles.

It was in the 1840s when Richard Wagner began drafting the first ideas for a lighter opera, the content of which was to be a continuation of the artist drama of TANNHÄUSER UND DER SÄNGERKRIEG AUF WARTBURG from 1845: the artistic contest is the starting point for an ideological drama about the antagonism between old and new, stagnation and progress, inertia and innovation. But it took 20 years for this work, the counterpart to TANNHÄUSER, to be complete, and the score for MEISTERSINGER became one of the most multi-faceted compositions of opera literature. Throughout its incredible length of four and a half hours, Wagner draws on polyphonic techniques in the style of the old masters, combining songs and choruses with complex motifs, thereby creating an entirely new sound. This manifests as a glowing C major in the prelude, and ends most magnificently in the final fairgrounds. What remains at the end is the reproduction of the tried and true, the "whole" and pure world, the world of art and "art connoisseurs". The world of MEISTERSINGER is a closed system not only in the master singers' pedantic and by-the-book guild ironised by Wagner, but also in Nuremberg's urban society as a whole: the new – embodied by outsider Walther von Stolzing – cannot bring about revolutionary change, but rather is incorporated into the system. For their new production, Jossi Wieler and Sergio Morabito investigate the mechanisms of such a hermetic artistic society. Can art claim artistic liberty in a conservative and dogmatic environment? And what potential does it hold to overthrow the system?

Jossi Wieler und Sergio Morabito have been producing musical theatre together since 1994, and their work has won a number of awards: their production of ARIADNE AUF NAXOS at the Salzburger Festspiele 2001 was deemed the Performance of the Year. In 2002 and 2012 the duo was voted "Direction Team of the Year". They also won the German theatre award DER FAUST in the category "Best Opera Direction" for DOKTOR FAUST in 2006 and again for DIE GLÜCKLICHE HAND / SCHICKSAL in 2012. Their production BERENIKE, KÖNIGIN VON ARMENIEN by Nicolo Jommelli was voted "Rediscovery of the Year" in 2014. The duo's productions are created in the often surprising, subversive, and surreal-realistic spaces made by set designer Anna Viebrock, who has been Jossi Wieler's and Sergio Morabito's artistic partner since 1994. Their successful production of Bellini's LA SONNAMBULA in Stuttgart was premiered at the Deutsche Oper Berlin in 2019 as a new production.

The role of Hans Sachs is played by Danish baritone Johan Reuter, one of the most profiled singers on all major stages worldwide. He has performed other roles within his vocal fach at the Deutsche Oper Berlin in the past, including Verdi's NABUCCO, Barak in Strauss' DIE FRAU OHNE SCHATTEN, and the title role in Berg's WOZZECK. He temporarily played the role of Wotan in the reproduction DIE WALKÜRE in autumn 2020. Klaus Florian Vogt is returning to the Deutsche Oper Berlin as Walther von Stolzing. He has become one of the most outstanding and in-demand Wagner tenors of our time around the world since his triumphant debut in MEISTERSINGER in 2007. Swiss soprano Rachel Harnisch, whose last role at the Deutsche Oper Berlin was her acclaimed performance in Aribert Reimann’s L‘INVISIBLE, will be playing Eva for the first time. Also debuting in a new role will be the young baritone Philipp Jekal, Ensemble member of the Deutsche Oper Berlin since 2018, as Beckmesser.



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