“Often they garner a bare nod en passant despite being difficult to miss onstage. And hardly anyone in the stalls has the first idea what their names are - not that it would ever occur to anyone to question their importance for the production. The critics, too, rarely devote more than a couple of sentences to them, even though opera would be a shadow of itself without them. LOHENGRIN, AIDA or TURANDOT without chorus singers? Impossible,” wrote Albrecht Thiemann, editor of “Opernwelt”. “What would we care about Tannhäuser’s plight at Wartburg Castle if the Thuringian Landgrave’s assembled courtiers didn’t vent their anger in mighty unison at the man who had emerged from the depths of the Venusberg? And how would we shudder at the raging jealousy of Verdi’s Othello if it weren’t reflected as tragic madness in the noisy bubblings of perturbation amongst his people? Without a powerful chorus the great engine of sentiment would not amount to much.”
The chorus is indeed instrumental in the success of an opera performance. Its members are possessed of a high degree of artistry and professionalism. Evening after evening they demonstrate their command of the styles, genres and languages of opera. This breadth of proficiency has been on proud display in recent years as the chorus of the Deutsche Oper Berlin has gone from strength to strength. Building on its international reputation as one of the supreme interpreters of the operas of Wagner and Verdi, the chorus of the Deutsche Oper Berlin has reaffirmed its ability to excel in the musical theatre of the 20th and 21st centuries with its productions of Britten’s PETER GRIMES and BILLY BUDD, Shostakovich’s LADY MACBETH OF THE MTSENSK DISTRICT and Helmut Lachenmann’s THE LITTLE MATCH GIRL.
Opera Chorus of the Year 2009
Opera Chorus of the Year 2010