Ehrenmitglied des Orchesters
Vicco von Bülow (Loriot)
Vorsitzender Benedikt Leithner
Stellvertretende Vorsitzende Kaja Beringer
1. Konzertmeister Nathan Giem — N. N.
1. Violine / Vorspielerin Tina Kim
1. Violinen Michael Winker — Claudia Schönemann — Stephan Joppien — Dietmar Häring — Piotr Prysiaznik — Martina Klar — Franziska Genetzke — Keiko Kido-Lerch — Darja Jerabek — Yukari Aotani-Riehl — Céline Corbach — Elisa Turri-Tischlinger — Hannah Müller — Magdalena Heinz — André Robles Field
Stimmführerin Monia Rizkallah
Stimmführer Ikki Opitz
Stellvertretender Stimmführer Daniel Draganov — Aaron Biebuyck
2. Violine Annegret Schulze — Rainer Döll — Kaja Beringer — Kai Franzke — Ivonne Hermann — Chié Peters — Iris Menzel — Kurara Tsujimoto — Esther Feustel — Gabriele Mollicone — Jueyoung Jang — Onyou Kim — Anna Matz
Solobratscher Andrei Gridchuk — N. N.
Stellvertretende Solobratschistin Kirsikka de Leval Jezierski — N. N.
Vorspielerin Yi-Te Yang
Stellvertretender Solocellist Johannes Mirow
Stellvertretende Solocellistin Maria Pstrokonska-Mödig
Vorspieler Johannes Petersen
Solo-Kontrabassist Christoph Langhammer — N. N.
Stellvertretender Solo-Kontrabassist Florian Heidenreich — N. N.
Stellvertretender Solo-Flötist Jochen Hoffmann
Flötistin Tina Bäcker
1. Solo-Oboistin Dina Heidinger
1. Solo-Oboist Juan Pechuan Ramirez
Stellvertretender Solo-Oboist Holger Burke
Klarinettist*in Reinhard Schönemann — Leandra Brehm
Klarinettist / Bassklarinettist Rainer Greis
Bassklarinettist / Klarinettist Dieter Velte
Stellvertretende Solo-Fagottistin Isabella Homann
Fagottist Holger Simon
3. Hornist Margherita Lulli — Berat Efe Sivritepe
1. Solo-Trompeter Martin Wagemann — N. N.
Stellvertretender Solo-Trompeter Thomas Schleicher
Stellvertretender Solo-Posaunist Rúben Tomé
Posaunist / Bassposaunist Jan Donner
Bassposaunist Bernd Mazelka
Kontrabassposaunist / Bassposaunist Thomas Richter
Pauken und Schlagzeug
1. Solo-Pauker Benedikt Leithner
Stellvertretender Solo-Pauker / Schlagzeuger Ralf Gröling
Schlagzeuger Thomas Döringer — Lukas Zeuner
Orchesterdirektor Axel Schlicksupp
Bibliothek Elisabeth Herpin — Philipp Lawton
Buchbinderin Ute Wegener
Orchesterwarte Gerriet Ludwig — Dongsu Schick — Sierk Ludwig — Dennis Patalas — Hanns Lupp — Thomas Schenk — Thomas Kohler
Donald Runnicles, a Scotsman by birth, has held the position of General Music Director of the Deutsche Oper Berlin since 2009. Since 2006 he has headed the Grand Teton Music Festival and been Principal Guest Conductor of the Atlanta Symphony Orchestra. He was also Principal Conductor of the BBC Scottish Symphony Orchestra from 2009 to 2016, when he assumed the role of “Conductor Emeritus”.
He made his debut at the Deutsche Oper Berlin in 1989 with Verdi’s IL TROVATORE. In 2007 he created waves with his tour-de-force rendition of two cycles of DER RING DES NIBELUNGEN. Since taking up his post he has presided over the premieres of LES TROYENS, TRISTAN UND ISOLDE, DON CARLO, JENUFA, LOHENGRIN, PARSIFAL, PETER GRIMES, FALSTAFF, BILLY BUDD, LA DAMNATION DE FAUST, LADY MACBETH OF MTSENSK DISTRICT, ROMEO AND JULIET, THE MAKROPULOS AFFAIR, DIE ENTFÜHRUNG AUS DEM SERAIL, COSI FAN TUTTE, DEATH IN VENICE, DER FLIEGENDE HOLLÄNDER and the world premiere of L’INVISIBLE. He has also conducted performances of HÄNSEL AND GRETEL, MANON LESCAUT, DER ROSENKAVALIER, OTELLO, TANNHÄUSER, PELLEAS ET MELISANDE, DON GIOVANNI, TOSCA, DIE MEISTERSINGER VON NÜRNBERG, DER RING DES NIBELUNGEN and other works.
Runnicles studied in Edinburgh and Cambridge but began his career in Germany, working at a variety of posts that included general music director in Freiburg. His 1988 debut in the USA, when he took over the baton of a production of LULU at the New York Met at very short notice, was a sensation. Two years later he was officiating for DER RING DES NIBELUNGEN at the San Francisco Opera, which led to his installation there as Music Director, a position he held from 1992 to 2009. During his time in San Francisco he conducted over 60 productions, among them world premieres of Adams’s DOCTOR ATOMIC, Susa’s THE DANGEROUS LIAISONS and Wallace’s HARVEY MILK.
He is a regular guest at leading opera houses of international repute and is widely considered one of the world’s major conductors of both symphonies and opera. He has conducted at the festivals of Bayreuth, Glyndebourne and Salzburg, at the Metropolitan Opera New York, the Opéra National de Paris, La Scala in Milan, the Staatsoper Unter den Linden, the Oper Köln, the Bayerische Staatsoper in Munich, the Hamburgische Staatsoper, the Königliche Oper in Copenhagen, the Oper Zürich and the Netherlands Opera. He maintains particularly strong links to the Wiener Staatsoper, where he conducts DER RING DES NIBELUNGEN on a regular basis. His other Vienna premieres have been LADY MACBETH OF THE MTSENSK DISTRICT, PARSIFAL, BILLY BUDD and DIE TOTE STADT at the Wiener Staatsoper and THE FIERY ANGEL and DEATH IN VENICE at the Theater an der Wien.
Runnicles collaborates regularly with the Sächsische Staatskapelle Dresden, the Tonhalle Orchester Zürich, the Royal Concertgebouw Orchestra, the Chicago Symphony Orchestra, the Philadelphia Orchestra, the Cleveland Orchestra, the Sydney Symphony Orchestra and the Berliner and Wiener Philharmoniker.
He has been involved in many live recordings. These include full-scale recordings of HÄNSEL AND GRETEL, ORPHEE ET EURIDICE, BILLY BUDD and TRISTAN UND ISOLDE. In 2013 his CD of Wagner arias featuring Jonas Kaufmann and the orchestra of the Deutsche Oper Berlin was rated Vocal Recording of the Year by Gramophone Magazine. The DVD recording of JENUFA with the orchestra and chorus of the Deutsche Oper Berlin was nominated for a “Best Opera Recording” Grammy in 2015. May 2018 will see the release by Oehms Classics of a recording of the world premiere of Aribert Reimann’s L’INVISIBLE with the orchestra of the Deutsche Oper Berlin, conducted by Donald Runnicles.
Parallel to his activities as a conductor, Donald Runnicles is also a sought-after pianist and appears in chamber concerts and as an accompanist.
For services to music Donald Runnicles has been awarded honorary doctorates by Edinburgh University, the San Francisco Conservatory of Music and the Royal Scottish Academy of Music and Drama and is a holder of the Royal Medal of the Royal Society of Edinburgh. In 2004 Queen Elizabeth II appointed him to the Order of the British Empire (OBE).
2012 marked the 100th anniversary of the Deutsche Oper Berlin and with it the opera house’s renowned orchestra. The remarkable history of this orchestra is closely linked to the city’s own tale. When a group of Berliners founded their own opera over a century ago - a house that, dispensing with private boxes and offering unimpeded views of the stage regardless of seat position, was the embodiment of a “democratic” ideal - their act was tantamount to a minor revolution. In the 1920s famous personages such as Wilhelm Furtwängler and Bruno Walter were regular guest conductors at the Deutsche Oper Berlin and the first gramophone recordings date back to that period. The opera house fell victim to aerial bombardment in the Second World War and the company spent many years performing at substitute venues before the opera house reopened in 1961 in the Bismarckstraße, its current premises. Since then the Deutsche Oper Berlin has not only been the city’s largest opera venue, with 1860 seats, outstanding acoustics and excellent overall views of the stage, but has also enjoyed a reputation as one of the prime addresses for world opera.
A sparkling array of conductors has graced the orchestra podium, either as guests or as principle conductors. They range from Lorin Maazel and Herbert von Karajan to Giuseppe Sinopoli and Christian Thielemann, the latter serving as General Music Director from 1997 to 2004. Since 2009 the Orchestra of the Deutsche Oper Berlin has had a principal conductor of international standing in the form of Donald Runnicles. The great relationship between the orchestra and Runnicles is set to continue until 2018 following the early renewal of his contract.
One of the key areas of focus of the Deutsche Oper Berlin concerns the works of Richard Wagner and Richard Strauss. The orchestra’s Wagner tradition has resulted in many of its musicians performing as members of the Bayreuth Festival Orchestra. Another major characteristic of the orchestra is its ongoing interest in contemporary music. Numerous composers have worked closely with the orchestra. The most recent example is Helmut Lachenmann, who collaborated intensively in the run-up to performances of his opera, DAS MÄDCHEN MIT DEN SCHWEFELHÖLZERN. In the autumn of 2017 the opera house hosted the premiere of L’INVISIBLE, the fruit of its latest collaboration with Aribert Reimann, who has an extensive record of premieres performed by the orchestra of the Deutsche Oper Berlin. Detlev Glanert's 2019 opera OCEANE won an International Opera Award for "Best Premiere of the Year", and shortly afterwards Chaya Czernowin's HEART CHAMBER received its first performance.
Aside from its opera productions the orchestra of the Deutsche Oper Berlin presents leading soloists in its regular symphony concerts both in the Bismarckstraße and at the Berlin Philharmonie. Parallel to this main fare the programme is peppered with concerts performed by a variety of ensembles comprising members of the orchestra – from string quartets to big-band ensembles. The orchestra’s discography extends to almost 200 titles, including numerous outstanding recordings. In its most recent venture into the recording studio the orchestra of the Deutsche Oper Berlin provided the accompaniment for tenor Jonas Kaufmann in a Wagner recital. The CD resulted in a shower of awards, including the “Echo Klassik” prize for Jonas Kaufmann. The DVD of Leoš Janáček’s JENUFA, featuring the orchestra and chorus of the Deutsche Oper Berlin under the baton of Donald Runnicles, was nominated in 2015 for the “Best Opera Recording” Grammy. The recording of Aribert Reimann's L' INVISIBLE was followed by Erich Wolfgang Korngold's THE MIRACLE OF HELIANE and Alexander von Zemlinsky's THE DWARF, also nominated for a Grammy in 2020.
1. Violine tutti
2. Violine tutti
mit Verpflichtung zum Englischhorn
mit Verpflichtung zum Fagott
mit Verpflichtung zur Wagnertube
Die Vergütung erfolgt nach TVK (A/F1) plus HTV-Zulage € 700,00;
Endgrundvergütung nach bestandenem Probejahr.
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Die Dauer der Ausbildung beträgt 2 Jahre. Das Ausbildungsprogramm enthält: vorbereitenden Instrumentalunterricht bei Mentor*innen aus dem Orchester, Mitwirkung bei 10 Diensten pro Monat (Proben und Vorstellungen / Oper, Ballett und Konzert), Probespieltraining Korrepetitionsstunden, Mentaltraining. Ausbildungsvergütung: ab 2022/23 € 1.000,00 im Monat (inklusive Stipendium des Förderkreises der Deutschen Oper Berlin e. V.).