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Ensemble - Deutsche Oper Berlin

Dietmar Schwarz

Dietmar Schwarz

© www.christianthiel.net
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Dietmar Schwarz wurde in Biberach an der Riss geboren. Er studierte Literatur- und Theaterwissenschaft in München und an der Pariser Sorbonne. Seine beruflichen Stationen waren das Theater Freiburg, das Bremer Theater und die Oper Frankfurt. 1994 kehrte er als Leitender Dramaturg für Musiktheater an das Bremer Theater unter der Intendanz von Klaus Pierwoß zurück. Ab 1998 war er Operndirektor am Nationaltheater Mannheim, von 2006 bis 2012 in gleicher Position am Theater Basel. Unter seiner Leitung wurde das Haus in der Kritikerumfrage der Fachzeitschrift „Opernwelt“ zwei Mal in Folge zum „Opernhaus des Jahres“ (2009 und 2010) gewählt.

Im Sommer 2012 übernahm Dietmar Schwarz die Intendanz der Deutschen Oper Berlin, die er programmatisch mit Helmut Lachenmanns DAS MÄDCHEN MIT DEN SCHWEFELHÖLZERN eröffnete. Denn die Präsentation zeitgenössischen Musiktheaters ist ihm ein besonderes Anliegen: Neben Werken von Mauricio Kagel und Iannis Xenakis in den folgenden Spielzeiten sind bereits Aufträge für Kompositionen an Georg Friedrich Haas, Andrea Lorenzo Scartazzini und Detlev Glanert vergeben.

Neben der Erneuerung des klassischen Repertoires durch Regisseure wie Christof Loy, Robert Carsen, Jan Bosse und Christian Spuck bildet die französische Grand Opéra einen Programmschwerpunkt: für die Spielzeiten 2014/15 bis 2017/18 sind Neuproduktionen der wichtigsten Werke von Giacomo Meyerbeer an der Deutschen Oper Berlin geplant. Gemeinsam mit Generalmusikdirektor Donald Runnicles verfolgt Dietmar Schwarz Saison übergreifend die Präsentation von Werken Benjamin Brittens.

Die neue Spielstätte TISCHLEREI (eröffnet im November 2012) schafft einen perfekten Raum für Experimente mit neuen Formen des Musiktheaters und Uraufführungen von Kinderopern sowie für Projekte des Jugendprogramms, die Dietmar Schwarz ein besonderes Anliegen sind.

Er ist Mitglied der Intendanten-Jury des Ring Awards, des Internationalen Wettbewerbs für Regie und Bühnengestaltung in Graz. Außerdem ist er Mitglied des Think Tanks zur Zukunft der Luzerner Theaterlandschaft, durchgeführt durch das Theater Werk Luzern. Dietmar Schwarz wurde zum Mitglied der Deutschen Akademie der Darstellenden Künste ernannt.

Schedule

‘Masses’ by Ed Atkins

Su 05.01.2025 - 11:00 h
Su 02.02.2025 - 11:00 h
Su 02.03.2025 - 11:00 h

In performances like

Videos

Duett#5: Diemar Schwarz im Interview
Video – 28:12 min.

Duett #5 ... Mit Dietmar Schwarz

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Unterwegs zu einer neuen Oper: Edward II. / Teil 2
Video – 03:33 min.

Unterwegs zu einer neuen Oper: Edward II. (2)

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Video –

Dietmar Schwarz im Gespräch

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Video –

Dietmar Schwarz im Gespräch mit Rolando Villazón (lang)

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Video –

Dietmar Schwarz im Gespräch mit Rolando Villazón

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Dietmar Schwarz trifft Annette Dasch
Video – 18:53 min.

Dietmar Schwarz trifft Annette Dasch

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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.