Tabea Kranefoed

Tabea Kranefoed

Geboren in Gelsenkirchen sammelte sie erste Bühnenerfahrungen im Chor des Musiktheaters im Revier Gelsenkirchen, bevor sie ein Studium der Theaterwissenschaft an der Ruhr-Universität Bochum aufnahm. Von 2005 bis2007 arbeitete sie als Regieassistentin am Musiktheater im Revier unter anderem mit den Regisseuren Andreas Baesler und Andrej Woron. An der Opéra National du Rhin in Strasbourg assistierte sie 2006 bei LES TROYENS von Berlioz und 2008 bei FIDELIO (Beethoven). 2007 hatte sie die szenische Leitung der Übernahme der Gelsenkirchener GUILLAUME TELL-Inszenierung am Deutschen Nationaltheater Weimar.

Seit 2008 ist sie als Regieassistentin am Theater Erfurt engagiert, wo sie u. a. mit Werner Schneyder, Rosamund Gilmore, Jacob Petersmesser, Guy Montavon, Jean-Louis Grinda und Dmitri Bertman zusammenarbeitete. Anfang 2009 war sie Assistentin bei der FIDELIO-Inszenierung an der Canadian Opera Company in Toronto. Außerdem arbeitete Sie als freie Assistentin am Staatstheater Braunschweig für die Burgplatz-Produktionen MADAME BUTTERFLY (2009) und DER FREISCHÜTZ (2010).

Im Frühjahr 2011 besuchte Tabea Kranefoed den »directors acting« Workshop für junge Regisseure, am Tarragon Theatre (Theatre Smash) in Toronto, unter der Leitung von Micheline Chevrier.

Bei den DomStufen-Festspielen 2009 stellt sie mit den Bremer Stadtmusikanten ihre erste eigene Regiearbeit vor, die sie 2011 mit einer neuen Besetzung wiederaufnahm.

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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.