Mozart composed his Singspiel “Die Entführung aus dem Serail” in 1781, encouraged by no one less than the Austrian emperor Joseph II in order to emphasise the importance of this “national” form of music theatre as opposed to the Italian opera. It was a great success during Mozart’s lifetime and has until today lost none of its magic. In 1976 the Deutsche Oper Berlin presented a new stage direction, after Gustav Rudolf Sellner’s had been played there for many years, by the renowned Günther Rennert. Besides widely known soloists like Horst Laubenthal and Zdzisława Donat, or the actor Hans Peter Hallwachs as Selim, the star of the evening was undoubtedly the Finnish multi-talented bass Martti Talvela. The premiere in December 1976 was recorded live and broadcast on ZDF (Zweites Deutsches Fernsehen).
Aktualisiert: 2021-05-20
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“Orpheus in der Unterwelt”, Offenbach’s satirical answer to
Gluck’s “Orfeo”, was premiered in Paris 1858 and portrays society as amoral, the upper class as lax and indifferent to all and public opinion in charge of both.
In the early 1980s legendary director Götz Friedrich created his own contemporary version of the operetta at the Deutsche Oper Berlin, in German, filled with allusions to the contemporary cultural scene and society in general. Starring a large cast of renowned artists – singers and actors – Orpheus’ odyssey to the Olympic Gods and to the Underworld, in order to save his wife, receives a new face – away from Paris in the 19th century and to bourgeois West-Berlin. The performance stars Julia Migenes Johnson, Donald Grobe, Astrid Varnay and George Shirley, to name but a few. Jesús López Cobos has the musical direction in this production.
Aktualisiert: 2021-01-18
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In 2012 the Deutsche Oper in Berlin had its centennial celebrations. Although today’s building was not opened until 1961, the history of the house on the Bismarckstrasse goes further back: it was built in 1912 and opened as Deutsches Opernhaus upon the initiative of a group of people from Berlin–Charlottenburg as the citizen’s opera in opposition to the Königliche Hofoper, now Staatsoper Unter den Linden. The film illustrates all facets of the different eras of this Berlin opera institution from the beginnings
until today through interviews with artists closely connected to the Deutsche Oper Berlin as well as a large variety of archive footage that also includes documentations of rehearsals and performances from the last 100 years.
Aktualisiert: 2021-05-19
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Including: Preussisches Märchen // Montezuma // Die tote Stadt // Die Gespenstersonate / Oedipus
For its 100th anniversary the Deutsche Oper Berlin is featured in a special edition of live recordings that were produced since the beginnings of television broadcasts from the opera house. Following the first DVD collection with recordings from the 1960s, this special edition box contains operas from the 1970s and 1980s – treasures in colour featuring great opera singers, stage directors and contemporary composers.
Aktualisiert: 2021-10-21
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Libretto by Wolfgang Rihm after Friedrich Hölderlin’s translation of Sophokles “Oedipus der Tyrann” and texts by Friedrich Nietzsche and Heiner Müller As one of the most versatile and best-known contemporary German composers, Wolfgang Rihm has always impressed and shocked with the powerful expressiveness of his music. And his “Oedipus”, originally commissioned by the Deutsche Oper Berlin in 1987 has lost nothing of its musical impact over the years. Rihm’s opera – in an impressive production by the intendant and principal director at the time, Götz Friedrich, with baritone Andreas Schmidt (at the start of his international career) in the title role – was praised by audiences and critics alike. Schmidt was subsequently not only much in demand as a performer of the classical repertoire and a lieder recitalist but also gained a reputation for his interpretations of works by other contemporary composers ranging from Hans Werner Henze to Peter Ruzicka. The literary figure of Oedipus – the man who unknowingly killed his father and fathered four children with his mother, thereby fulfilling the prophecy of the oracle – is a staple of western culture. The process by which he develops towards eventual recognition of his guilt is a painful one. In the end, Oedipus punishes himself in a theatrical gesture by gouging out his eyes. With its exploration of the theme of guilt and responsibility it is a legend that never fails to fascinate – and is ideal material for the operatic stage.
Aktualisiert: 2021-05-20
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Boris Blacher was one of the most important and most widely performed composers in post-war Germany. In his 1969 opera “200 000 Taler” (200 000 Thalers) he adapted a comedy by famed and popular Jewish author Scholom Aleichem and created a sophisticated milieu study around tailor Schimele Soroker and his family who come to great fortune by winning the lottery.
This 1970 recording of the world premiere production stars a stunning Martha Mödl as Soroker’s wife and Günter Reich in the role of the shrewd tailor. Director Gustav Rudolf Sellner leads his fine cast meticulously through the comic and self-ironic material and supports the cliché-less score that Blacher conceived for Aleichem’s characters. Heinrich Hollreiser conducts the Orchestra of the Deutsche Oper Berlin with insight and musical mastery. As the Neue Zürcher Zeitung wrote after the premiere, “Blacher discovers forces and notions that move our century within the naive, unpretentious literary material at hand. … Without ever using Jewish melodies this score creates a kind of folklore of a setting that is fully Blacher’s own. Here lives a new style.”
Aktualisiert: 2021-05-21
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„Jenůfa“, still Janáček’s most successful and most often performed opera, is a musical study of the social milieu. Christof Loy moves the action of Janáček’s drama, revolving around the strict sacristan (the Kostelnička) who drowns her stepdaughter Jenůfa’s illegitimate child for fear of gossip and concern for her future, to a bare white room in which the passage of the seasons is only hinted. It is the sacristan’s stark prison cell – where he recounts past events and takes the spectator into the story seen in retrospective.
Michaela Kaune sings the title role of Jenůfa with warm soprano,
her despair at her situation palpable at every moment, culminating finally in the discovery of her dead son. Jenůfa’s stepmother is sung by American mezzo-sorano Jennifer Larmore, who delights with her great vocal expressivity and beautiness. Musical Director Donald Runnicles conducts the Orchestra of the Deutsche Oper Berlin, which perfectly balances the churning intensity and textural refinement.
“Sometimes all that is needed is to match the right director with the right piece: Christof Loy and Janáček’s ‘Jenůfa’ are evidently just such a happy case, giving the Deutsche Oper Berlin the rare example of an opera production as intelligent as it is modern.” Opernglas
“Jennifer Larmore as the Kostelnička ... endows the role with singing of uncommon beauty and vulnerability while never slighting its more dramatic moments.” The New York Times
Aktualisiert: 2020-02-13
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„Jenůfa“, still Janáček’s most successful and most often performed opera, is a musical study of the social milieu. Christof Loy moves the action of Janáček’s drama, revolving around the strict sacristan (the Kostelnička) who drowns her stepdaughter Jenůfa’s illegitimate child for fear of gossip and concern for her future, to a bare white room in which the passage of the seasons is only hinted. It is the sacristan’s stark prison cell – where he recounts past events and takes the spectator into the story seen in retrospective.
Michaela Kaune sings the title role of Jenůfa with warm soprano,
her despair at her situation palpable at every moment, culminating finally in the discovery of her dead son. Jenůfa’s stepmother is sung by American mezzo-sorano Jennifer Larmore, who delights with her great vocal expressivity and beautiness. Musical Director Donald Runnicles conducts the Orchestra of the Deutsche Oper Berlin, which perfectly balances the churning intensity and textural refinement.
“Sometimes all that is needed is to match the right director with the right piece: Christof Loy and Janáček’s ‘Jenůfa’ are evidently just such a happy case, giving the Deutsche Oper Berlin the rare example of an opera production as intelligent as it is modern.” Opernglas
“Jennifer Larmore as the Kostelnička ... endows the role with singing of uncommon beauty and vulnerability while never slighting its more dramatic moments.” The New York Times
Aktualisiert: 2019-04-24
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