In the highly dramatic relationship structure of grand opera, they form the calming presence: the older women who have not been particularly fortunate, but who precisely because of this represent the fact that life goes on even after great disappointments. For three decades, these widows, nurses and maids were the domain of Kaja Borris at the Deutsche Oper. As Filipyevna in Tchaikovsky's EUGEN ONEGIN, she comforted the lovesick young Tatyana; as Frau Marthe Schwerdtlein, she stood by Gounod's Marguerite; and as Frau Mary, she ensured discipline in the spinning room of THE FLYING DUTCHMAN. In addition to major roles such as Verdi's Azucena and Wagner's Erda, it was often the small character studies in which Kaja Borris shone and which she imbued with human warmth. Between her debut in 1971 in Strauss' DIE FRAU OHNE SCHATTEN and her farewell to the stage in 2002 in PARSIFAL, she made a total of 1,337 appearances in 68 roles. The German-Dutch contralto, who was born in The Hague, thus became not only the epitome of an ensemble singer, but also a person whom the theatre's visitors took to their hearts. Signs of this recognition included the Berlin Theatre Community Award and her appointment as a ‘Berliner Kammersängerin’ in 2001. Kaja Borris has now passed away in her adopted home of Berlin.

The Deutsche Oper Berlin will honour her memory.