Elmar  Supp

Elmar Supp

Elmar Supp, geboren 1980 in Berlin, studierte zunächst Politikwissenschaft in Berlin und Paris, später Schulmusik und Geschichte in Freiburg. Während seines Studiums arbeitete er als persönlicher Assistent und Dramaturg der Regisseure Gerd Heinz und Alexander Schulin, 2005 zudem als künstlerischer Mitarbeiter der Berliner Philharmoniker Education.

Ab 2006 folgten erste eigene Inszenierungen sowie verschiedene Lehraufträge an der Hochschule für Musik Freiburg und an der Albert-Ludwigs-Universität Freiburg. 2009 verließ er das universitäre Umfeld und assistierte eine Spielzeit am Theater Heidelberg, wo er auch NOAHS FLUT sowie ein eigenes Stück für 3 Schauspieler und 3 Sänger in Szene setzte.

Seit einer in Frankreich heftig diskutierten Inszenierung von weltlichen Bachkantaten im Dominikanerkloster von Guebwiller 2008 inszeniert Elmar Supp regelmäßig spartenübergreifend und sucht den Kontakt zu alternativen Spielorten im öffentlichen Raum. Er hat Stipendien u. a. des Richard-Wagner-Verbandes und des Mannheimer Mozartsommers erhalten, und assistierte für die Uraufführung METANOIA an der Staatsoper Berlin in der Regie von Christoph Schlingensief.

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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.