Dorian Dreher

Dorian Dreher

Dorian Dreher, 1985 in Berlin geboren, studierte Musiktheater-Regie an der Universität für Musik und darstellende Kunst Wien bei Paul Esterhazy und schloss dieses von der Studienstiftung des deutschen Volkes geförderte Studium 2010 mit Auszeichnung ab. Als Regieassistent am Staatstheater Braunschweig, dem Nationaltheater Mannheim, der Vlaamse Opera und der Deutschen Oper am Rhein arbeitete er u.a. mit Stefan Herheim, Tilman Knabe, Achim Freyer, Peter Konwitschny und Christof Nel zusammen.

Dorian Drehers Inszenierung von Glucks ORPHEUS UND EURYDIKE hatte 2012 in der Hausbar des Staatstheaters Braunschweig in einer selbst erarbeiteten Kammerfassung Premiere. Am Nationaltheater Mannheim inszenierte er 2015 eine szenische Version von Schuberts SCHWANENGESANG. Diese Produktion wurde mit dem Studiopreis der Götz-Friedrich-Stiftung ausgezeichnet.

Für Peter Konwitschny studierte er 2017 dessen Inszenierung von LA JUIVE (Halévy) an der Opera national du Rhin sowie am Slowakischen Nationaltheater Bratislava ein. An Dietrich W. Hilsdorfs zwischen 2017 und 2018 entstandenen Inszenierung von Wagners DER RING DES NIBELUNGEN an der Deutschen Oper am Rhein war er als Regie-Mitarbeiter beteiligt. In der Saison 2020/21 zeichnete Dorian Dreher an der Deutschen Oper am Rhein für die Regie von Wagners TRISTAN UND ISOLDE verantwortlich. Im September 2021 hat anlässlich des 100-jährigen Bestehens der Internationalen Händel-Festspiele seine Inszenierung von RODELINDA Premiere gefeiert.

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Newsletter

03
DEC

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.