Anselm Dalferth

Anselm Dalferth

Anselm Dalferth studierte Violine, Germanistik und Schulmusik in Dresden, Freiburg und Paris, absolvierte eine Grundausbildung in der Atem- und Bewegungslehre Psychotonik und ein Aufbaustudium in Théâtre musical/Experimentelles Musiktheater bei Georges Aperghis in Bern. Während des Studiums war er eine Spielzeit Volontär an der Opéra national de Paris u.a. bei Peter Sellars und Bill Viola, Gründungsmitglied des Ensemble Alarm Freiburg und Assistent des Dokumentarfilmers Norbert Beilharz bei Filmen für 3sat und arte.

In den letzten Jahren arbeitete er als Dramaturg, (Co-)Regisseur, Musikvermittler, Instrumentaldarsteller und musikalischer Leiter u.a. für das Nationaltheater Mannheim, das Stadttheater Freiburg, das Theater Münster, das Ensemble Modern Frankfurt und die Educationabteilung der Berliner Philharmoniker. In der Spielzeit 2009/10 wurde er ans Nationaltheater Mannheim engagiert. Als Produktionsdramaturg für Oper und Junge Oper arbeitete er hier u.a. mit Tilman Knabe, Michael Simon, Günter Krämer, Andrea Gronemeyer, Monique Wagemakers und Johannes Schmid zusammen. Anselm Dalferth war an zahlreichen Uraufführungen beteiligt und legt einen Schwerpunkt auf Stückentwicklungen im zeitgenössischen Musiktheater, auch für Kinder und Jugendliche.

Seine Inszenierung von Mauricio Kagels DER MÜNDLICHE VERRAT wurde mit dem Studiopreis der Götz Friedrich-Stiftung für „die beste experimentelle Inszenierung 2013“ ausgezeichnet.

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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.