Yuval Sharon

Yuval Sharon

Erfahrungen als Assistent sammelte der junge Regisseur Yuval Sharon unter anderem 2002 bei SAINT FRANÇOIS D’ASSISE an der Deutschen Oper Berlin, bei AIDA bei den Bregenzer Festspielen 2009, bei DIE SACHE MAKROPULOS am Marientheater St. Petersburg, bei Achim Freyers RING in Los Angeles und bei Stockhausens MITTWOCH AUS LICHT in Birmingham 2012. Seine erste Inszenierung lieferte Yuval Sharon 2003 beim Ensemble Theater Faction mit der ORESTIE, der im Jahr 2004 Falk Richters GOD IS A DJ folgte. An der San Francisco Opera war er 2007 erfolgreich mit einer ZAUBERFLÖTE FÜR FAMILIEN und in Palo Alto inszenierte er 2010 den FREISCHÜTZ.

Hauptsächlich machte er sich einen Namen mit zeitgenössischen Stoffen. So brachte er im Sommer 2010 in Los Angeles die Oper MORTAL THOUGHTS OF LADY MACBETH von Veronika Krausas heraus und inszenierte 2011 die Uraufführung DER SOLDIER SONGS von David T. Little in New York. Mit der Gründung der freien Theatergruppe „The Industry“ in Los Angeles und der Uraufführung von Anne Le Barons Hyperopera CRESCENT CITY lenkte er überregionales Aufsehen auf die Möglichkeiten freien Musiktheaters in den USA. Mit Jessye Norman, Meredith Monk und Joan La Barbara schuf er 2013 die SONG BOOKS von John Cage, die in Miami, San Francisco und in der Carnegie Hall gezeigt wurden. Seine Hauptprojekte bei „The Industry“ waren 2013 der Workshop für sechs neue Opern FIRST TAKE im Hammer Museum und die Uraufführung der Oper INVISIBLE CITIES von Christopher Cerrone nach Italo Calvino in der Union Station, die bei laufendem Bahnhofsbetrieb über Kopfhörer stattfand (Premiere Oktober 2013). Im Mai 2014 hat er DAS SCHLAUE FÜCHSLEIN in Cleveland mit Franz Welser-Möst inszeniert.



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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.