Welcome to the 22/23 season!

Dear Opera Lovers!

The first thing I would like to do is simply thank you. Two rollercoaster years lie behind us, during which we never knew how, or indeed whether we could open our opera house to you. You stood by us during this time, and the enthusiasm you showed for our performances has confirmed that experiencing culture in times like these is perhaps even more important than normal.

Opera and theatre not only give us precious hours to forget our everyday worries, they also offer us a chance to explore the meaning of our life, the fragility of our notions of happiness and our longing for a better world. The diverse new productions we offer you this season reflect this. Bach’s Saint Matthew Passion, Beethoven’s FIDELIO and Verdi’s SIMON BOCCANEGRA are confessional works, each in its own way. And just as Richard Strauss’ ARABELLA questioned one hundred years ago how we should live in a world which has lost its moral compass, today the composer Giorgio Battistelli asks how social change is possible in IL TEOREMA DI PASOLINI.

Good musical theatre must ask questions. Every viewer, however, must find their own answers, for an evening at the opera leaves each of us with different feelings and thoughts. The images that accompany us through the season, try to mirror this experience.

You can find out more about what we have prepared for you here on our website and in the printed preview. I look forward to welcoming you.

Yours, Dietmar Schwarz


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Today we are giving away 2 x 2 free tickets for the performance of DIE FLEDERMAUS on 31 December 2022 at 7.30 pm. If you would like to take part in the prize draw, please send an e-mail today to marketing@deutscheoperberlin.de with the subject "Das 3. Fensterchen".

In 2018, the curtain rose on a new production of FLEDERMAUS directed by Rolando Villazón. For the busy singer, director, presenter and author, this production was a matter close to his heart, as he was able to play with comic elements in Strauss’ master operetta on the one hand, but also give space to the melancholic and thoughtful on the other. For Strauss's operetta is about cheating, underground parties and the beguiling power of champagne, but also about the description of social facades and above all the abysses that lurk at the back of the bourgeois salon. And because there is always betrayal, partying and drinking, Villazón sets the three acts in three different times and takes the audience on a journey from the 19th century through the 1950s to the future.

It was already a novelty in 1874 at the Theater an der Wien that the waltz king Johann Strauss presented a plot that was not set in mythical faraway places or in fantasy states, but took the upper middle-class salon as its starting point. The bourgeois audience saw itself, with all its conceit, its double standards, grotesquely distorted on stage. The story was not new, of course: Strauß and his collaborator Genée drew on a French tabloid comedy by the Offenbach librettists Meilhac and Halévy, but supplemented it with piquant details. For example, the appearance of the disguised Rosalinde at Prince Orlofsky's ball. In general, the intensification and centring of the plot on the masquerade party with the final homage to alcohol, the general fraternisation and the champagne-loving du-i-du is due to Genée. Otherwise, the farce about cheating has all the ingredients of a good comedy: The rebellious chambermaid, the hidden lover, the self-adulterous but jealous husband and the disguised countess.

Burkhard Ulrich, Hulkar Sabirova, Annika Schlicht, Attilio Glaser, Padraic Rowan, Thomas Lehman, Jörg Schörner, Meechot Marrero, Kathleen Bauer and Ingo Paulick sing and play for you under the musical direction of Yi-Chen Lin.

Closing date: 3 December 2022. The winners will be informed by e-mail on 5 December 2022. The tickets will be sent to you by e-mails. The legal process is excluded.