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Ensemble - Deutsche Oper Berlin

Gerlinde Pelkowski

Gerlinde Pelkowski

© Foto Frank Wentzel
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Nach dem Abitur begann Gerlinde Pelkowski 1976 ihr Studium der Musiktheater-Regie bei Prof. Götz Friedrich an der Hochschule für Musik und Darstellende Kunst in Hamburg. Während des Studiums, das sie 1980 mit Auszeichnung abschloss, assistierte sie an der Deutschen Oper Berlin, an den Opernhäusern Hamburg und Köln sowie bei Götz Friedrichs FALSTAFF-Verfilmung für Unitel. Nach einem ersten Engagement in Kiel wurde sie 1981 von Götz Friedrich als Regieassistentin an die Deutsche Oper Berlin engagiert, wo sie mit ihm und den Regisseuren Günter Krämer, Hans Neuenfels, Achim Freyer, John Dew, Willi Decker, Herbert Wernicke, David Pountney, Sven-Eric Bechtolf etc. zusammenarbeitete. Für die Deutsche Oper Berlin realisierte sie die halbszenischen Produktionen von ROMEO UND JULIA, WERTHER mit Alfredo Kraus und Vesselina Kasarova sowie Rossinis LA SCALA DI SETA und L’EQUIVOCO STRAVAGANTE, beide dirigiert von Alberto Zedda. 2001 wurde sie von Marcello Viotti eingeladen, UN BALLO IN MASCHERA in der Münchener Philharmonie zu inszenieren. 1999 kreierte sie am Moskauer Bolschoi Theater einen Gala-Abend unter dem Titel „Portrait de Manon“ für einen der letzten Auftritte des Star-Tenors Franco Bonisolli. Regelmäßig studierte sie auch Produktionen der Deutschen Oper Berlin an anderen Häusern ein, etwa Aribert Reimanns DAS SCHLOSS in München, LE NOZZE DI FIGARO und LUCIA DI LAMMERMOOR am Seoul Arts Center, im Februar 2005 Wagners LOHENGRIN am Teatro Real in Madrid sowie 2008 in Peking DER ROSENKAVALIER und TANNHÄUSER.

2006 kreierte Gerlinde Pelkowski eine Version von DIE ZAUBERFLÖTE (Inszenierung: Günter Krämer) für das Open Air Festival in Aspendos (Türkei). Für diese Adaption begann die Zusammenarbeit mit Bühnenbildner Thomas Gabriel, mit dem sie auch eine neue Inszenierung für die Berliner Waldbühne (Aufführung am 07. Juli 2007) schuf. In der Folge dieser Publikumserfolge feierte am 21. September 2008 auf der Hauptbühne der Deutschen Oper Berlin DAS MÄRCHEN VON DER ZAUBERFLÖTE Premiere, eine Version für kleine und große Zuschauer nach Wolfgang Amadé Mozart. In ihrem Team wieder Bühnenbildner Thomas Gabriel und Dramaturg Marcel Pomplun.

Im Juli 2009 adaptierten sie und Thomas Gabriel die ZAUBERFLÖTE aus der Waldbühne für das Teatro Regio in Almansa (Spanien), als Eröffnungspremiere des von Martín Baeza de Rubio gegründeten internationalen Musikfestivals. Es folgte 2010 Verdis LA TRAVIATA, die im Oktober/ November 2011 auch in Stettin (Polen) zu sehen war.

Schedule

The Fairy Tale of the Magic Fute

Mo 31.03.2025 - 11:00 h
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Mo 14.04.2025 - 18:00 h
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Tu 15.04.2025 - 18:00 h
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Gerlinde Pelkowski ... Ein Leben für die Bühne

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22
DEC

Advents-Verlosung: Das 22. Fensterchen

On 7 March 2025, the first part of Tobias Kratzer's Strauss trilogy, ARABELLA, celebrates its revival as part of our ‘Richard Strauss in March’ weeks, with Jennifer Davis as Arabella , Heidi Stober as Zdenka/Zdenko, Thomas Johannes Mayer as Mandryka, Daniel O'Hearn as Matteo and, as in the premiere series, Doris Soffel and Albert Pesendorfer as the Waldner couple. Today we are giving away our DVD, which will not be available in shops until 14 February 2025. We would like to express our heartfelt thanks to NAXOS for giving us the very special opportunity to put ARABELLA in our lottery pot for you almost eight weeks before the official sales launch.

In today's Advent Calendar window, we are giving away two DVDs of ARABELLA – a lyrical comedy in three acts by Richard Strauss and Hugo von Hofmannsthal. If you would like to win one of the two DVDs, please write an e-mail with the subject ‘The 22nd window’ to advent@deutscheoperberlin.de.

Vienna, circa 1860. The financially strapped Count Waldner is lodging with his family in a Viennese hotel. His only path to solvency is for him to secure an advantageous marriage for one of his two daughters – and the family can only afford to present Arabella, the eldest, in the upper circles of society. To conceal the family’s indigence, the parents have raised Zdenka as a boy, dressing her accordingly. Arabella is not short of suitors but has resolved to wait for ‘Mr Right’. When Mandryka, an aristocrat from a distant region, arrives, he and Arabella are instantly smitten. Arabella only asks to be able to bid farewell to her friends and suitors at the Fasching ball that evening. At the ball, Arabella says goodbye to her admirers. There is also the young officer Matteo, with whom Zdenka is secretly in love and with whom she has formed a friendship under the guise of her disguise as a boy. Matteo, however, desires Arabella and is distraught when he realises the hopelessness of his love. Zdenka devises a plan: she fakes a letter from Arabella in which she promises Matteo a night of love together. But instead she wants to wait for him herself in the darkness of the hotel room. Mandryka learns of Arabella's alleged infidelity and goes to the hotel with the ball guests to surprise Arabella in flagrante delicto. Arabella, innocent of this, is initially shocked and saddened by Mandryka’s suspicions but forgives him when the mix-up is revealed for what it is. The two agree to marry, as do Zdenka and Matteo.

Richard Strauss’s orchestral richness and opulence coupled with the period Viennese setting of the work led to ARABELLA being falsely pigeonholed as a light-hearted comedy of errors from its 1933 premiere onwards. In the estimation of Tobias Kratzer, however, who triumphed at the Deutsche Oper with his production of Alexander von Zemlinsky’s THE DWARF, this final collaboration between Strauss and Hugo von Hofmannsthal marks a collision of two world views: the traditional roles of men and women on the one hand – as expressed in Arabella’s famous solo “Und du sollst mein Gebieter sein” – and a modern idea of social interaction on the other – as illustrated by Zdenka with her questioning of gender-based identities. Here, Kratzer turns the spotlight on this disunity between the various character portrayals in ARABELLA and explores these role-specific tensions on a continuum stretching from 19th-century Vienna to the present day. In the category of stage design, Manuel Braun, Jonas Dahl and Rainer Sellmaier were honoured with the renowned German Theatre Award DER FAUST 2023 for this production.

In this recording, under the baton of Sir Donald Runnicles, you will experience Albert Pesendorfer, Doris Soffel, Sara Jakubiak, Elena Tsallagova, Russell Braun, Robert Watson, Thomas Blondelle, Kyle Miller, Tyler Zimmerman, Hye-Young Moon, Lexi Hutton, Jörg Schörner and others, as well as the chorus and orchestra of the Deutsche Oper Berlin. The performances on 18 and 23 March 2023 were recorded by rbb Kultur and Naxos for this DVD.

We would like to thank the Naxos label for the great collaboration over the past few years, which documents recordings of DER ZWERG, DAS WUNDER DER HELIANE, FRANCESCA DA RIMINI, DER RING DES NIBELUNGEN, DER SCHATZGRÄBER, DIE MEISTERSINGER VON NÜRNBERG and ANTIKRIST. Richard Strauss' ARABELLA and INTERMEZZO will be released in the course of 2025.


Closing date: 22 December 2024. The winners will be informed by email on 23 December 2024. The DVDs will then be sent by post. There is no right of appeal.