Ute M.  Engelhardt

Ute M. Engelhardt

Ute M. Engelhardt, die mit Janáceks DAS SCHLAUE FÜCHSLEIN ihr Debüt auf der großen Bühne der Oper Frankfurt gab, inszenierte für dieses Haus bereits 2010/11 Sallinens BARABBAS DIALOGE sowie 2014/15 L’INCORONAZIONE DI POPPEA (beide im Bockenheimer Depot).

In den letzten Jahren entstanden u. a. MADAMA BUTTERFLY und Händels ORLANDO am Landestheater Detmold, DAS LAND DES LÄCHELNS am Nordharzer Städtebundtheater, die Uraufführung von Saglies EL DÍA DE LA LIBERACIÓN an der Musikwerkstatt Wien und ACIS UND GALATEA als Koproduktion der Händelfestspiele Halle mit dem Ekhof-Theater Gotha.

2014, 2015 und 2016 übernahm sie die Konzeption und Inszenierung des Operncamps der Salzburger Festspiele zu den Opern FIERRABRAS, FIDELIO, DER ROSENKAVALIER, DIE LIEBE DER DANAE, DON GIOVANNI und FAUST.

Ute M. Engelhardt studierte Musiktheaterregie an der Hochschule für Musik und darstellende Kunst Wien und schloss ihr Studium 2006 mit einer Inszenierung von Ullmanns DER KAISER VON ATLANTIS ab. Im selben Jahr war sie Stipendiatin der Richard-Wagner-Stiftung Bayreuth.

In ihrer Zeit als Regieassistentin am Landestheater Detmold und an der Oper Frankfurt arbeitete Ute M. Engelhardt mit Regisseuren wie Johannes Erath, Barrie Kosky, Harry Kupfer und Christof Nel zusammen. Als Associate Director betreute sie das Gastspiel der Frankfurter Produktion DIDO AND AENEAS / HERZOG BLAUBARTS BURG (Inszenierung: Barrie Kosky) an der Los Angeles Opera.

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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.