Dear Opera Lovers,

The first thing I would like to do is simply thank you. You stood by us during this time, and the enthusiasm you showed for our performances has confirmed that experiencing culture in times like these is perhaps even more important than normal. Opera and theatre not only give us precious hours to forget our everyday worries, they also offer us a chance to explore the meaning of our life, the fragility of our notions of happiness and our longing for a better world. The diverse new productions we offer you this season reflect this. Bach’s Saint Matthew Passion, Beethoven’s FIDELIO and Verdi’s SIMON BOCCANEGRA are confessional works, each in its own way. And just as Richard Strauss’ ARABELLA questioned one hundred years ago how we should live in a world which has lost its moral compass, today the composer Giorgio Battistelli asks how social change is possible in IL TEOREMA DI PASOLINI. Good musical theatre must ask questions. Every viewer, however, must find their own answers, for an evening at the opera leaves each of us with different feelings and thoughts.
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Artificial Intelligence and a Real Feeling

With the help of artificial intelligence, the Deutsche Oper translates the transformative power of opera into a novel visual world. The campaign designed by Stan Hema takes viewers on journeys into their own experiences, asking questions of our time.
Read about our seasonal campaign
First premieres and highlights of the 22/23 season
The 22/23 premieres in our calendar
Premiere on 25 November 2022


Opera in two acts by Ludwig van Beethoven; Conductor: Sir Donald Runnicles; Director: David Hermann; With Thomas Lehman, Markus Brück, Robert Watson, Ingela Brimberg, Tobias Kehrer et al.
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Premiere on 29 January 2023

Simon Boccanegra

Opera in a prelude and three acts by Giuseppe Verdi; Conductor: Jader Bignamini; Director: Vasily Barkhatov; With George Petean, Attilio Glaser, Liang Li, Angel Blue, Michael Bakhtadze et al.
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Premiere on 18 March 2023


Lyrical comedy in three acts by Richard Strauss; Conductor: Sir Donald Runnicles; Director: Tobias Kratzer; With Albert Pesendorfer, Doris Soffel, Rachel Willis-Sørensen, Elena Tsallagova, Russel Braun, Robert Watson et al.
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Premiere on 5 May 2023

Matthäus-Passion / St Matthew's Passion

Music by Johann Sebastian Bach; Conductor: Alessandro De Marchi; Director: Benedikt von Peter; With Sebastian Kohlhepp, Padraic Rowan, Joel Allison, Michael Bachtadze, Dean Murphy, Elbenita Kajtazi, Annika Schlicht et al.
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Premiere on 19 May 2023

Francesca da Rimini

Tragedia in four acts by Riccardo Zandonai; Conductor: Ivan Repusic; Director: Christof Loy; With Sara Jakubiak, Ivan Inverardi, Jonathan Tetelman, Charles Workman et al.
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World Premiere on 9 June 2023

Il Teorema di Pasolini

Opera by Giorgio Battistelli; libretto by Giorgio Battistelli, freely adapted from the film of the same title by Pier Paolo Pasolini; musical direction: Daniel Cohen; staging: Dead Centre; With Barbara Frittoli, Davide Damiani, Monica Bacelli, Samuel Dale Johnson, Meechot Marrero, Andrei Danilov et al.
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Premiere on 15 June

Hérodiade [concert version]

Opera in four acts by Jules Massenet; Conductor: Enrique Mazzola; With Etienne Dupuis, Clémentine Margaine, Nicole Car, Matthew Polenzani, Marko Mimica et al.
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Our season book is out now

Discover which works are new in our repertoire: as staged new productions on the big stage, as concert performances or in our second venue Tischlerei, plus 29 repertoire works from Mozart to Langgaard, concerts, recitals and jazz. In addition, portraits, essays and much more.
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Cheaper to the opera ... with the Deutsche Oper Card

If you have a Deutsche Oper Card, you have the opportunity to purchase tickets at special rates as early as 30 March. In addition, the Card entitles you to purchase up to two tickets per performance at a 25% discount for performances in price categories A, B, C, D, E and S (excluding third-party, Tischlerei and Foyer performances). The Deutsche Oper Card costs € 75.00 once and is valid for the 22/23 season.
Buy your card in the webshop

Generational performances 22/23

Children and young people under 18 pay only € 10.00 in advance, pensioners and retirees € 25.00 and that regardless of the chosen seat.
Our special price performances
Charles Mingus' EPITAPH on 19 September 2022

A centenary work beyond all borders

Titus Engel, a former bass player turned conductor, fulfils a dream of his youth in bringing Charles Mingus’ EPITAPH to the stage. He considers EPITAPH for two big bands the best piece to come out of the “Third Stream” movement, which combines elements of New Music and jazz.
To the concert at the Philharmonie
Thomas Fehrle on the conversion

Today orchestra pit, the day after tomorrow ladies' wing

Corona may not have turned managing director Thomas Fehrle into a juggler, but he does feel that he’s learned to do magic. The new season begins with renovation works: the second phase of the orchestra pit being overhauled. During this period, the company will be playing different venues in Berlin – Philharmonie, Tempodrom, Konzerthaus, Haus der Berliner Festspiele and Tischlerei. Since the beginning of his tenure in 2011, renovation has been a continuous facet of life at the Deutsche Ope. His job might seem like a cross between caretaker and therapist – Fehrle simply calls it responsible stewardship of valuable assets entrusted to the DOB staff.
Read more in the blog
SEMIRAMIDE, on 20, 22 October

On the trail of the great role model

A lover of Italian bel canto with its high drama and coloratura challenges, mezzo-soprano Vasilisa Berzhanskaya aims to to sing all ten roles Rossini tailor-wrote for the star soprano of his era, Isabella Colbran – including the upcoming SEMIRAMIDE.
A portrait of Berzhanskaya
Marc Albrecht conducts on 5 September 2022

No uneasiness in the culture

Music written between 1905 and 1920 – by Berg, Korngold and Zemlinsky – reflects this era when culture was unleashed and inebriated, and art the controlled space where a new, lustful gaze at the world reigned. Composers reached for brand-new harmonies and sonic colours, resulting in textures previously unknown and radiating erotomania.
To the concert at the Konzerthaus
22, 23, 24 September 2022 / Tempodrom

The Stuttgart Ballet presents "Pure Bliss" by Johan Inger

Choreographer Johan Inger presents the ballet evening “Pure Bliss”. Three pieces take the audience into different worlds: “Bliss”, inspired by Keith Jarrett’s “Köln Concert”, the proximity of life and death in “Out of Breath”, and a classical/modern hybrid of “Sleeping Beauty”.
All about Pure Bliss


FIDELIO, from 25 November 2022

No Beethoven without Wagner

»I refuse to accept boundaries between symphonic music and musical theatre. Every orchestra, every piece of music sings – whether there is a singer involved or not. Music breathes, the audience breathes with us, and I always try to make the orchestra sing. In his Ninth Symphony, Beethoven opened symphonic music to human voices, an epochal decision. FIDELIO is equally ground-breaking. It is the story of a liberation, one we have to keep telling as long as people suffer imprisonment. Not only in his music, but also in content, Beethoven is more topical than ever.«
Donald Runnicles in the blog
ARABELLA, from 18 March 20223

Curtain up for another Richard Strauss

ARABELLA, INTERMEZZO and DIE FRAU OHNE SCHATTEN, Strauss’ often underestimated middle operas directed from this season by Tobias Kratzer as a small cycle, are all about societies undergoing change, with consequences for identities, roles and relationships. They also illuminate matrimony, a rare subject on the opera stage ...
7 questions to Tobias Kratzer
OCEANE, from 6 January 2023

His mermaid returns

Despite three years and a pandemic between its successful premiere and its revival, composer Detlev Glanert feels that his opera OCEANE is still very present in his mind. It is his habit to revise every piece after its world premiere, incorporating insights gained during rehearsals. While his mindset was strongly affected by corona, rendering him unable to compose at times, his works, with the exception of “Der Einsiedler”, an orchestral song written for the Concertgebouw Orkest in Amsterdam, remained mainly uninfluenced.
3 Questions to Detlev Glanert
FRANCESCA DA RIMINI, from 19 May 2023

Sara Jakubiak's view of the world

First Heliane, then Francesca di Rimini – soprano Sara Jakubiak embodies courageous women at the Deutsche Oper Berlin. Heliane is more memorable to her for her total, passionate abandonment to love than her full nudity on stage. To Jakubiak, exposure is more to do with vocal ability and truthfulness. Heliane and Francesca are role models for her in their uncompromising search for freedom: confronted with her own fears, these figures offer orientation, as they have chosen freedom.
Sara Jakubiak in the Blog
Francesca da Rimini
MATTHÄUS-PASSION, from 5 May 2023

The little ones carry the cross

The MATTHÄUS-PASSION may be the most complex choral work ever written. The director Benedikt von Peter takes Johann Sebastian Bach’s megalomania a bit further: with three choruses and four orchestras, each with its own organ. There will be eight singers on stage, plus an amateur chorus. The director is known for productions with a strong current political focus, such as the growing political awareness of children and teenagers since Fridays for Future and the coronavirus pandemic. Thus, young persons aged eight to twelve will play the tale of Jesu passion and crucifixion. This enables the audience to draw connections between the classic and current issues, such as the climate crisis.
Read in our blog
HÉRODIADE, from 15 June 2023

French Enchantment

The French mezzo-soprano Clémentine Margaine appears in Jules Massenet’s HÉRODIADE, the latest in a string of Parisian Grand Opéra of the 19th century she has presented at the Deutsche Oper Berlin, from Bizet’s CARMEN to Berlioz’ LA DAMNATION DE FAUST, Massenet’s DON QUICHOTTE and Meyerbeer’s LE PROPHÈTE. A proud ambassador for French opera in Paris, Margaine calls Massenet her favourite composer, his writing highly complex, but his melodies of enchanting simplicity and simple beauty: »To me, that is very French… a little bit lyrical, a little bit dramatic; the orchestra is large, the sound full and modern. Massenet is great opera – he should be played more often!«
Margaine on Massenet
IL TEOREMA DI PASOLINI, from 9 June 2023

The Maestro turns cinema into opera

Though he lives in Rome, Giorgio Battistelli’s work as a composer has long been bound up with musical life in Germany. Since his first visits in 1975 to study with Stockhausen and Kagel and a year in West Berlin in 1985, he has considered Germany is his “artistic homeland”. The former artistic director of Rome’s Opera and the Venice Biennial is artistic director of the Haydn Orchestra in Bolzano and Trento today. Yet “I have to return to Germany at regular intervals, otherwise I feel a sense of loss,” he declares. “To me, it is the most democratic country in the field of operatic music, because avant-garde and tradition coexist here.” This is the case at the Deutsche Oper Berlin, where Battistelli’s opera IL TEOREMA DI PASOLINI will now be performed. It commemorates the Italian director and author Pier Paolo Pasolini during the centenary of his birth. The figure of the mysterious guest in Pasolini’s TEOREMA – an exterminating angel, as Pasolini himself once suggested to Battistelli – has fascinated the composer for decades, and his opera examines family ties and how we treat that which is foreign to us.
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The Tischlerei

is a laboratory for the music theatre of our time, an experimental field for new sounds and current themes, contemporary forms and changing perspectives. The productions of this season deal with female realities, question the transcendental power of theatre and illustrate the insurmountable fronts and human costs of war.
About the Tischlerei schedule
NEGAR, World premiere on 29 October 2022

Love and fear in a world of the dictatorship

Starting with the myth of Orpheus and Eurydice, NEGAR examines what happens when you turn around and return to your past. How do you shape your identity in a place full of prohibitions? Do you need others to become yourself? Signeyrole’s work resembles journalistic research, a mix of documentary and fiction, although the story itself is fictional. ... Keyvan Chemirani has extensively worked with jazz and baroque musicians, but writing for lyrical voices in NEGAR was a welcome challenge.
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29, 30 Oct; 1, 2, 3, 5, 6 Nov 2022

World premiere – Negar

Two women meet and fall in love - an everyday story. But not when it takes place in Tehran, where social life is marked by contradictions. An enormously high proportion of women at universities contrasts with laws that prohibit women from appearing in public without a veil. The French director Marie-Ève Signeyrole and the Iranian-French composer Keyvan Chemirani immerse themselves in this world full of ambiguities and write with NEGAR a music theatre about a love in the underground, about love as an act of resistance against a regime and the prevailing morals.
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3, 6, 9, 10, 11, 13, 14, 15, 16 March 2023

World premiere – Karaoper

What if we could change the world? A future with fun, with clean seas and crystal clear blue skies, a world where justice prevails, where we can still travel and be with others from other countries ...? In the specially invented KARAOPER we want to dream together with children.
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21, 22, 24, 27 April 2023

World premiere – New Scenes VI

The NEUE SZENEN competition was and is intended as an opportunity for young composers to gain experience in the complex metier of music theatre and to find a way to their own individual music-dramatic language. The three winners will be given the opportunity to write a music theatre piece of approximately thirty minutes in length - performed by students of the Hanns Eisler Academy, who will also have the opportunity to gain experience in the field of contemporary opera. From a total of 119 entries, the jury had to choose the three winners for the sixth series: Sina Fani Sani (Iran), Germán Alonso (Spain) and Juta Pranulyté (Lithuania).
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21, 22, 24, 26, 28, 30 June; 1 July 2023

World premiere – Bär*in

The multi-perspective evening by composer Arne Gieshoff and director Franziska Angerer combines Nastassja Martin's story "Croire aux fauves" (Believing in the Wild) and Berlin's urban history from the bears' point of view into a dense compositional web. BÄR*IN is a hybrid evening about metamorphoses and an invitation to consider our world as a structure in which not only humans are active agents.
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BÄR*IN, first performance on 21 June 2023

Of bears, humans and intermediates

Inspired by Nastassja Martin’s autobiographical novel »In the Eye of the Wild«, which describes how the author survived an encounter with a bear in Siberia almost by miracle, and by the story of Berlin’s heraldic animal and the questionable practice of keeping three bears in a kennel in Berlin until 2015, the director Franziska Angerer and the composer Arne Gieshoff have devised a musical theatre work about identity, power, the assignment of roles, and the (fluid) distinctions between human and animal.
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