Newsletter

News about the schedule Personal recommendations Special offers ... Stay well informed!

Subscribe to our newsletter

Subscribe to our Newsletter and receive 25% off your next ticket purchase.

* Mandatory field




Newsletter

Stiftung für die DOB - Deutsche Oper Berlin

Children and young people are the opera audience of today and tomorrow – to continue to ensure their attendance, the Stiftung für die Deutsche Oper Berlin is committed to keeping ticket prices for this target group stable in the future. To achieve this, the Stiftung für die Deutsche Oper Berlin has launched this project in order to compensate for the necessary price increase following the cuts in the cultural budget.

The Stiftung für die Deutsche Oper Berlin, founded in 2016 by the Förderkreis der Deutschen Oper Berlin, supports long-term projects to help the Deutsche Oper Berlin such as acquiring instruments for the orchestra or scholarships for talented artists as well as projects in children's and youth work. The Stiftung is funded through bequests in the event of inheritance, as well as through donations, in order to support the house purposefully from the returns. Due to significant subsidy cuts, there is an urgent need for action and we kindly ask for your assistance.

Support this valuable project for young people with your donation so that the world of opera remains accessible for children and young people. Help to awaken enthusiasm for opera and keep it alive!

Transfer funds directly via PayPal

or transfer to the 
Stiftung für die Deutsche Oper Berlin
Intended purpose: Junges Publikum
IBAN: DE47 1012 0100 1004 0583 97
BIC / SWIFT-CODE: WELADED1WBB (Weberbank)

Donations of up to 300 euros can be submitted to the tax office without a donation receipt. For donations of 300 euros or more, we will be happy to send you a donation receipt. For this we need your address and e-mail address.

For questions and feedback, please contact:

Thomas Fehrle
t.fehrle@deutscheoperberlin.de

Silke Alsweiler-Lösch
loesch@deutscheoperberlin.de

The Deutsche Oper Berlin is one of the outstanding institutions of international music theatre – at the highest level, it offers its guests beautiful hours and unforgettable moments. The aim of the Foundation for the Deutsche Oper Berlin is to strengthen this wonderful art form in this unique house permanently and in the long term.

By providing the founding capital, the Förderkreis der Deutschen Oper Berlin (Support Association of the Deutsche Oper Berlin) laid the foundation stone for the foundation. The foundation enables us to support this unique theatre in the long term, independently of the current programme, daily requirements and the respective actors. Despite the tense situation worldwide, we can say that our foundation is stable and growing.

The Foundation for the Deutsche Oper Berlin is a foundation of the Förderkreis der Deutschen Oper Berlin e. V.

The information flyer is available to download as a PDF (in German)

The statutes of the Foundation for the Deutsche Oper Berlin can be downloaded here as a PDF.
[Version of 18 November 2016].

The statutes of the Foundation

Account with Weberbank

IBAN: DE47101201001004058397
BIC [SWIFT-CODE): WELADED1WBB

Board of the Foundation for the Deutsche Oper Berlin

Dr. Karlheinz Knauthe chairman
Sabine Prinzessin von Anhalt deputy chairwoman
Dr. Heike von Joest
Thomas Fehrle
Silke Alsweiler-Lösch

Board of Trustees of the Foundation for the German Opera Berlin

Dietmar Schwarz chairman
Kilian Jay von Seldeneck deputy chairman
Gerrit Bienert
Dorothee Kexel
Roland Krause

Your contact persons

Silke Alsweiler-Lösch
Telephone: 030-343 84 240
E-Mail: foerderkreis@deutscheoperberlin.de

Thomas Fehrle
Telephone: 030-343 84 680
E-Mail: kontakt@stiftungfuerdiedeutscheoperberlin.de

 

Contact

Richard-Wagner-Str. 10, 10585 Berlin
www.stiftungfuerdiedeutscheoperberlin.de
E-Mail: kontakt@stiftungfuerdiedeutscheoperberlin.de

Events at the Deutsche Oper Berlin that serve the artistic development of opera

Education and training of young artists, including scholarships

The Deutsche Oper Berlin's work with children and young people, and with them the audience of the future

 

Your support enables us to continue presenting opera of the highest calibre to our audiences in the future. By making an endowment contribution, you enter into a long-term partnership with Deutsche Oper Berlin. Your endowment contribution is added in full to the foundation's capital stock, and only the income from the capital is paid out as grants to the opera.

Your donation is tax deductible. The foundation's charitable status is constantly monitored by an independent state body. If you agree, your donation will be presented to the public in an appropriate manner.

The Foundation for the Deutsche Oper Berlin supports young singers from the estate of Bettina Volle. In the 24/25 season, Nina Solodovnikova (born 1993 in Moscow) is receiving the scholarship. She is considered one of the most interesting new talents on the international opera scene today.

Nina Solodovnikova graduated from the G. B. Martini Conservatory in Bologna and completed her studies in the Young Artist Program at the Teatro Comunale di Bologna and at the Chigiana Music Academy. She completed her training in the Donizetti repertoire at the Academy of the Teatro alla Scala and in the baroque repertoire at the Philharmonic Academy of Bologna. She has won numerous international competitions, including the 2021 Tullio Serafin International Singing Competition, the 2022 34th Concours International de Chant de Marmande (2nd prize) and the 2022 34th International Competition Francesco Paolo Neglia (1st prize).

Nina Solodovnikova will join the ensemble of the Deutsche Oper Berlin as a scholarship holder of the Stiftung für die Deutsche Oper Berlin in the 2024/25 season, where she will perform as Lady Macbeth's chambermaid / MACBETH, Violetta Valéry / LA TRAVIATA, as Musetta / LA BOHÈME, as Gretel / HÄNSEL UND GRETEL, as Pamina / THE MAGIC FLUTE and as The Voice of the Falcon / DIE FRAU OHNE SCHATTEN.

The €15,500 needed for this is being provided by the legacy of Bettina Volle, earmarked for the promotion of young talent, and by the returns on the foundation's capital stock.

For the first time, a scholarship for a young singer – Canadian baritone Joel Allison – could be taken on from the foundation's income in the 2021/22 season, which was financed from the foundation's income and the legacy of Bettina Volle. Joel Allison can be seen in many roles at the house: as Donner in DAS RHEINGOLD, Biterolf in TANNHÄUSER, Schaunard in LA BOHEME, as Der Magister / Der Schultheiss in the new production of DER SCHATZGRÄBER, as Mesner in TOSCA and as Escamillo in CARMEN. He joined the ensemble as a permanent member in the 2022/23 season. He and his young family particularly appreciate this support and are very grateful for this start-up assistance. We can all see, then, that the foundation is able to provide support exactly where financial assistance was and continues to be urgently needed.

Let your memories of unforgettable hours of fulfilling evenings of music theatre and celebrations with friends and like-minded people live on and secure this art form for future generations.

There are many ways to show your commitment to the foundation. You can support the Deutsche Oper Berlin with donations in the short term or endowments in the long term.

An endowment can be made not only during one's lifetime, but also through a bequest or legacy. For many people close to the Deutsche Oper Berlin, remembering the foundation in their will is an important personal decision that we take very seriously. Leaving a bequest to the Stiftung für die Deutsche Oper Berlin means that you are playing an important role in securing and strengthening the future of our theatre! If you have any questions on this topic, the contact persons from the board of directors and the board of trustees of the foundation are always available to help.

Endowing is a matter of trust: talk to Thomas Fehrle, the managing director of the Deutsche Oper Berlin, who is also a member of the board of the Foundation for the Deutsche Oper Berlin, or Silke Alsweiler-Lösch, head of the office of the Förderkreis der Deutschen Oper Berlin e. V. (the Deutsche Oper Berlin's supporters' association). We would be happy to arrange a personal meeting and provide you with detailed advice on this topic.

Your contacts

Silke Alsweiler-Lösch
Telephone: 030-343 84 240
E-Mail: foerderkreis@deutscheoperberlin.de

Thomas Fehrle
Telephone: 030-343 84 680
E-Mail: kontakt@stiftungfuerdiedeutscheoperberlin.de

It is considered to be a heavy piece of furniture with unattractive properties – the double bass. But it is quite wrongly vilified, because without the double bass, nothing in the orchestra would work. Without the foundation of the low strings, symphonies by Haydn or Mozart would fall apart, and Beethoven's movements would have far less earthly gravity. And because the instrument is so crucial for a good orchestral sound, the Stiftung für die Deutsche Oper Berlin has now not only purchased a simple double bass, but a top-quality instrument worth €100,000 that was made in Mittenwald around 1770/80. Since then, it has passed through many hands of great musicians and was last played by a member of the Berliner Philharmoniker. The orchestra and General Music Director Donald Runnicles are delighted with this new acquisition and would like to take this opportunity to thank all our supporters.

The new double bass has been at the house since 1 January 2019 and is rented by the foundation to the Deutsche Oper Berlin. The foundation will use the rental income to support the promotion of young talent at the Deutsche Oper Berlin.

The Foundation for the Deutsche Oper Berlin was able to finance the double bass with the help of numerous donations and a donation from the Deutsche Oper Berlin's supporters' association, which raised almost €70,000 for this purpose at its stage dinner auction. We are very grateful to all of you for this generous commitment.

The foundation has also received a further substantial bequest from an estate.
This is also intended for the purchase of a valuable instrument. This instrument will also be rented out to the Deutsche Oper Berlin. The resulting income will be used exclusively to support scholarship holders.

We are pleased that the foundation has clearly demonstrated that it can support and even secure the long-term interests of the Deutsche Oper Berlin. We are therefore very pleased that there are now other people who have included the foundation in their wills and placed their trust in us.

We will try to give you further insights into the very positive development of our foundation at the regular donor events – and if possible, we will introduce the new additions to you ‘in person’. If you are interested in the work of the foundation, please register with the foundation.

Enter Onepager
1

slide_title_1

slide_description_1

slide_headline_2
2

slide_title_2

slide_description_2

slide_headline_3
3

slide_title_3

slide_description_3

slide_headline_4
4

slide_title_4

slide_description_4

Create / edit OnePager
22
DEC

Advents-Verlosung: Das 22. Fensterchen

On 7 March 2025, the first part of Tobias Kratzer's Strauss trilogy, ARABELLA, celebrates its revival as part of our ‘Richard Strauss in March’ weeks, with Jennifer Davis as Arabella , Heidi Stober as Zdenka/Zdenko, Thomas Johannes Mayer as Mandryka, Daniel O'Hearn as Matteo and, as in the premiere series, Doris Soffel and Albert Pesendorfer as the Waldner couple. Today we are giving away our DVD, which will not be available in shops until 14 February 2025. We would like to express our heartfelt thanks to NAXOS for giving us the very special opportunity to put ARABELLA in our lottery pot for you almost eight weeks before the official sales launch.

In today's Advent Calendar window, we are giving away two DVDs of ARABELLA – a lyrical comedy in three acts by Richard Strauss and Hugo von Hofmannsthal. If you would like to win one of the two DVDs, please write an e-mail with the subject ‘The 22nd window’ to advent@deutscheoperberlin.de.

Vienna, circa 1860. The financially strapped Count Waldner is lodging with his family in a Viennese hotel. His only path to solvency is for him to secure an advantageous marriage for one of his two daughters – and the family can only afford to present Arabella, the eldest, in the upper circles of society. To conceal the family’s indigence, the parents have raised Zdenka as a boy, dressing her accordingly. Arabella is not short of suitors but has resolved to wait for ‘Mr Right’. When Mandryka, an aristocrat from a distant region, arrives, he and Arabella are instantly smitten. Arabella only asks to be able to bid farewell to her friends and suitors at the Fasching ball that evening. At the ball, Arabella says goodbye to her admirers. There is also the young officer Matteo, with whom Zdenka is secretly in love and with whom she has formed a friendship under the guise of her disguise as a boy. Matteo, however, desires Arabella and is distraught when he realises the hopelessness of his love. Zdenka devises a plan: she fakes a letter from Arabella in which she promises Matteo a night of love together. But instead she wants to wait for him herself in the darkness of the hotel room. Mandryka learns of Arabella's alleged infidelity and goes to the hotel with the ball guests to surprise Arabella in flagrante delicto. Arabella, innocent of this, is initially shocked and saddened by Mandryka’s suspicions but forgives him when the mix-up is revealed for what it is. The two agree to marry, as do Zdenka and Matteo.

Richard Strauss’s orchestral richness and opulence coupled with the period Viennese setting of the work led to ARABELLA being falsely pigeonholed as a light-hearted comedy of errors from its 1933 premiere onwards. In the estimation of Tobias Kratzer, however, who triumphed at the Deutsche Oper with his production of Alexander von Zemlinsky’s THE DWARF, this final collaboration between Strauss and Hugo von Hofmannsthal marks a collision of two world views: the traditional roles of men and women on the one hand – as expressed in Arabella’s famous solo “Und du sollst mein Gebieter sein” – and a modern idea of social interaction on the other – as illustrated by Zdenka with her questioning of gender-based identities. Here, Kratzer turns the spotlight on this disunity between the various character portrayals in ARABELLA and explores these role-specific tensions on a continuum stretching from 19th-century Vienna to the present day. In the category of stage design, Manuel Braun, Jonas Dahl and Rainer Sellmaier were honoured with the renowned German Theatre Award DER FAUST 2023 for this production.

In this recording, under the baton of Sir Donald Runnicles, you will experience Albert Pesendorfer, Doris Soffel, Sara Jakubiak, Elena Tsallagova, Russell Braun, Robert Watson, Thomas Blondelle, Kyle Miller, Tyler Zimmerman, Hye-Young Moon, Lexi Hutton, Jörg Schörner and others, as well as the chorus and orchestra of the Deutsche Oper Berlin. The performances on 18 and 23 March 2023 were recorded by rbb Kultur and Naxos for this DVD.

We would like to thank the Naxos label for the great collaboration over the past few years, which documents recordings of DER ZWERG, DAS WUNDER DER HELIANE, FRANCESCA DA RIMINI, DER RING DES NIBELUNGEN, DER SCHATZGRÄBER, DIE MEISTERSINGER VON NÜRNBERG and ANTIKRIST. Richard Strauss' ARABELLA and INTERMEZZO will be released in the course of 2025.


Closing date: 22 December 2024. The winners will be informed by email on 23 December 2024. The DVDs will then be sent by post. There is no right of appeal.