Eva-Maria  Weiss

Eva-Maria Weiss

Eva-Maria Weiss wurde 1986 in Bern geboren. Nach ihrem Abitur hospitierte sie am Stadttheater Bern bei Harry Kupfer (AUFSTIEG UND FALL DER STADT MAHGONNY) und begann 2007 ihr Studium der Musiktheaterregie an der Hochschule für Musik Hanns Eisler Berlin.

Im Rahmen ihres Studiums nahm sie an diversen Regieworkshops und Meisterkursen u. a. bei Jürgen Flimm, Andreas Homoki, Barrie Kosky und Jossi Wieler teil.

Neben kleineren Projekten im Rahmen des Studiums gehören zu ihren Inszenierungen: 2009 die Kinderoper POLLICINO von Hans Werner Henze in Zusammenarbeit mit der Musikschule Béla Bartók in Berlin, 2010 die Kammeroper MESSERTRÄNEN (LES LARMES DU COUTEAU) von Bohuslav Martinu in eigener deutscher Übersetzung, 2011 ASCHENPUTTEL von Ermanno Wolf-Ferrari in einer Fassung für Kinder an der Werkstattbühne der Staatsoper Berlin, 2012 BA-TA-CLAN von Jacques Offenbach an der Hochschule für Musik Hanns Eisler unter der musikalischen Leitung von Jean-Christophe Keck. Seit 2010 entstehen ihre Inszenierungen in künstlerischer Zusammenarbeit mit der belgischen Bühnen- und Kostümbildnerin Hanne Loosen.

Eva-Maria Weiss assistierte in der Werkstattbühne der Staatsoper im Schillertheater Berlin bei Isabel Ostermann (DER GESTIEFELTE KATER), Reinhild Hoffmann (EXERCICES DU SILENCE) und Jürgen Flimm (SATIESFACTIONEN) sowie Katharina Wagner im Rahmen der Bayreuther Festspiele 2011 bei DIE MEISTERSINGER VON NÜRNBERG.

Bei den Bayreuther Festspielen 2012 übernahm sie die Regie der MEISTERSINGER VON NÜRNBERG – FÜR KINDER.



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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.