Children' s ballet – Peter Pan

Ballet for children, aged 4 and over, with music by Edvard Grieg, Alexander Konstantinowitsch Glasunow and Herman Severin Løvenskiold

Information on the piece

Based on a novel by James Matthew Barrie [1860-1937]
Tape music

60 mins / no interval

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Dates & Tickets
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A production of the Deutsche Oper Berlin in cooperation with the Kinder Ballett Kompanie Berlin

About the performance

For over a hundred years, Peter Pan, the boy who never grows up, has been one of the best-known characters in children's literature. Generations of children have spun out the adventures that Peter, his girlfriend Wendy, the pirate captain Hook and the fairy Tinkerbell experience in their imagination and dreamed of one day being able to roam the island of Neverland themselves.

David Simic, the director and choreographer of the Kinder Ballett Kompanie, has also been fascinated by "Peter Pan" since he saw a ballet version of the story in his hometown of Belgrade as a child. Now he has developed a version for the main stage of the Deutsche Oper Berlin in which the children and young people themselves embody the heroes and villains of the fairytale adventure story.

To the music of Edvard Grieg's "Peer Gynt" and Alexander Glasunov's "Raymonda", about 50 children and young people between the ages of 6 and 18 can be seen in a variety of roles in "Children Dance: Peter Pan". The costumes were designed by the internationally award-winning costume designer Angelina Atlagic, who has worked for the Staatsballett Berlin, the Bolshoi Theatre, the Compania Nacional de Danza in Madrid and the Greek National Theatre, among others.


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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 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.