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16 November 2021

Das Rheingold

Conductor: Sir Donald Runnicles; With Derek Welton, Joel Allison, Attilio Glaser, Thomas Blondelle, Markus Brück, Ya-Chung Huang, Andrew Harris, Tobias Kehrer, Annika Schlicht, Flurina Stucki, Judit Kutasi, Valeriia Savinskaia, Arianna Manganello, Karis Tucker
Cast, photos, info
17 November 2021

Die Walküre

Conductor: Sir Donald Runnicles; With Brandon Jovanovich, Tobias Kehrer, Iain Paterson, Elisabeth Teige, Annika Schlicht, Nina Stemme, Flurina Stucki, Aile Asszonyi, Antonia Ahyoung Kim, Simone Schröder, Ulrike Helzel, Karis Tucker, Anna Lapkovskaja, Beth Taylor, Eric Naumann
Cast, photos, info
19 November 2021

Siegfried

Conductor: Sir Donald Runnicles; With Clay Hilley, Ya-Chung Huang, Iain Paterson, Jordan Shanahan, Tobias Kehrer, Judit Kutasi, Nina Stemme, Soloist of the Knabenchor der Chorakademie Dortmund
Cast, photos, info
21 November 2021

Götterdämmerung

Conductor: Sir Donald Runnicles; With Clay Hilley, Thomas Lehman, Jordan Shanahan, Albert Pesendorfer, Nina Stemme, Aile Asszonyi, Okka von der Damerau, Anna Lapkovskaja, Karis Tucker, Meechot Marrero
Cast, photos, info

Eight questions … to Sir Donald Runnicles

Sir Donald Runnicles, General Music Director of the Deutsche Oper Berlin, conducts Stefan Herheim’s production of Wagner’s RING.
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»The New Beginning of the End«

THE RHINEGOLD is set in a mythical, distant past, populated not by humans, but gods and dwarves. What does this pre-historic past mean to us? ... Questions to the director about the RING.
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An introductory lecture on: Das Rheingold
Alexander Meier-Dörzenbach, Jörg Königsdorf

An introductory lecture on: Das Rheingold

The eve of the RING is reserved for mythical figures: Gods, dwarves and giants open the struggle for power that will later also determine the fate of mankind. And already here it becomes clear that the unbridled lust for power ultimately only claims victims.
An introductory lecture on: Die Walküre
Alexander Meier-Dörzenbach, Jörg Königsdorf

An introductory lecture on: Die Walküre

People are frozen in a lust for power, mistrust and possessiveness, the gods limit themselves only to monitoring compliance with the old laws instead of questioning their meaning. Thus, the brother and sister Siegmund and Sieglinde are abandoned to death, and the Valkyrie Brünnhilde also falls under the spell when she dares to defy the verdict of her father Wotan.
Questions to Stefan Herheim

"All that lives loves change and transformation. That play I cannot forgo."

It’s precisely this collective humanity that we make into the nucleus of a play. This is acted out among fugitives who have lost their home and are now searching for it in myth. All parts of the RING revolve around the powerlessness of love and the lovelessness of power, and all players are at the mercy of its deceptive mechanisms.
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An introductory lecture: Siegfried
With Jörg Königsdorf

An introductory lecture: Siegfried

Wagner described his SIEGFRIED as a "heroic comedy", which is still a challenge for its directors today in its balance between comic and tragic elements. For Herheim, it is the act of the play that joins the opposites into a whole. The boundaries between animal and human become as blurred as those between the characters and their creator.

Our video recommendations

Richard Wagner: Das Rheingold
video - 03:06 min.

Richard Wagner: Das Rheingold

Richard Wagner: Das Rheingold
Richard Wagner: Die Walküre
video - 02:56 min.

Richard Wagner: Die Walküre

Richard Wagner: Die Walküre
Richard Wagner: Siegfried
video - 02:30 min.

Richard Wagner: Siegfried

Richard Wagner: Siegfried
Richard Wagner: Götterdämmerung
video - 02:59 min.

Richard Wagner: Götterdämmerung

Richard Wagner: Götterdämmerung

Topics

Annika Schlicht: A place of serenity for my soul … The museum

Mezzo-soprano Annika Schlicht sings Fricka in Wagner’s THE RHINEGOLD. To get into her roles, she looks to classical art for inspiration – and finds characters that exude timeless truths.
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Clay Hilley: A place of serenity for my soul … my suitcase

Tenor Clay Hilley sings the title role in Wagner’s SIEGFRIED. Here he describes his transient life – and how he can feel at home wherever he hangs his hat.
Siegfried
An essay by Alexander Meier-Dörzenbach

“Luminous love, laughing death!”

Laughing plays a notable role in the RING. It occurs over a hundred times in the libretto and the stage directions of the tetralogy – over three dozen times in SIEGFRIED alone – not including Mime’s laughter composed on one note “Hihihi”, his sniggering, or the orchestra’s reprise of the latter. Essentially laughter can be construed as having two meanings in the RING: mockery and joy.
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An introductory lecture: Götterdämmerung
Alexander Meier-Dörzenbach, Jörg Königsdorf

An introductory lecture: Götterdämmerung

A group of people are on the run, pause and try to find their footing in the world again through the act of playing. This is how Stefan Herheim's retelling of the RING DES NIBELUNGEN begins, which now finds its conclusion in the here and now in the last part of the tetralogy. A game unfolds that must end with the downfall of a world so that it can start all over again.

Questions to ... Ya-Chung Huang

Ya-Chung Huang grew up in Taiwan and acquired German as an adult learner. In SIEGFRIED he sings the role of the evil dwarf, Mime. Here we asked seven questions to the tenor.
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Stefan Herheim in conversation with Jörg Königsdorf

Do we really want to change the world?

How is a better world supposed to be created without great yearning? The final verbal statement is “Keep away from the Ring!” but it’s the music that has the last word. The intrinsic meaning of the “hehrstes Wunder” motif (“sublimest wonder”) must ultimately remain open, as our redemption cannot be materialized on the stage in sublime art. And so the question remains of whether we really want to change the world.
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Moving in good circles

Great ideas need supporters. And great stories always carry infinity - at the end of the last chapter the new saga announces itself. Consequently, the first meeting of the circle of supporters to fund the new production of the RING took place in the sets of the last performance of Götz Friedrich's RING production. Without the Förderkreis der Deutschen Oper Berlin and a very special circle, the new production of the RING DES NIBELUNGEN would not have been possible.
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