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Check the theater programme and book your tickets now for the season 2017-2018!
The Deutsche Oper is the largest opera house in Berlin. It is located in the Charlottenburg district.

 

 

 

The season 2017-2018:

 

The reputation of the Deutsche Oper Berlin is very well established. Music lovers from all over the world know that the austere façade of the imposing 1950s building houses one of the largest opera companies in Europe.

 

As usual, during this season 2017-2018, the Deutsche Oper displays about 40 opera titles as well as concerts and ballet performances of very high quality. Among the new productions, one particularly notices the creation of L'Invisible. At 81 years old, the great composer Aribert Reiman offers Berlin a new opus on a text of Maeterlinck.

 

After Les Huguenots, the great French opera is again honored with The Prophet of the same Meyerbeer in a much-anticipated stage setting of the genius Olivier Py. Rolando Villazón returns, to our greatest satisfaction, for the staging of Fledermaus, a bat that the audience will welcome with great joy, as it should be. Das Wunder der Heliane should please lovers of rare performances, since Korngold's work is less often staged than Die tote Stadt, his other masterpiece.

Also noteworthy are two remarkable concert versions that allow Diana Damrau to shine in Maria Stuarda de Donizetti and Joseph Calleja in L'Arlesiana de Cilea.

 

A great season is also judged by the reprises with the appropriate distributions. It is a real pleasure to hear the beautiful Pretty Yende in Lucia di Lammermoor facing René Barbera. Bryan Hymel and Diana Damrau form an exceptional duo in Gounod's Faust and Klaus Florian Vogt is a Lohengrin that a true music lover must see at least once in his lifetime.

 

But this season 2017-2018 of the Deutsche Oper is without any doubt the year Anja Harteros. The superb soprano is distributed in no less than three operas where she offers the full extent of her immense talent (Lohengrin by Wagner and Verdi with A ballo in Maschera and Don Carlo).

Other beautiful sopranos we can enjoy in Berlin this season are Maria José Siri, Hui He, Maria Agresta or even Sonya Yoncheva in a concert where she will sing airs of Verdi. There is also an expected Traviata with Olga Peretyatko.

 

The repertory of the 2017-2018 season of the Berlin Opera is very well balanced between the works in Italian and German with, of course, operas in French (Carmen, Le Prophète, L'amour des trois oranges and Faust) and Russian (Lady Macbeth of Mtzenk). Verdi is undoubtedly the best served with the great popular successes like Aida, Nabucco, Rigoletto and Il Trovatore or the previously quoted La Traviata. Wagner doesn´t stay behind with Der fliegende Holländer, Lohengrin and Tannhaüser, but the perfect European synthesis is Mozart with Die Zauberflöte, Le nozze di Figaro, Cosí fan tutte and Don Giovanni, all true masterpieces!

 

And let´s not forget about dance, as with the Staatsballet Berlin, the Deutsche Oper offers performances of exceptional quality. The classic Swan Lake, Nutcracker and Sleeping Beauty go side by side with the works of the most contemporary choreographers in view, Benjamin Millepied or Jean-Christophe Maillot. A magnificent season that confirms Berlin´s place in the top of the great cities of classical music and the opera.

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Informations sur Deutsche Oper

Contrary to the Staatsoper Unter den Linden which was founded in the eighteenth century in the centre of town and for a long time considered the Royal Opera, the history of the Berlin Opera began in 1912, in the Charlottenburg neighborhood situated outside the city limits, and intitiated by the rich bourgeoisie. But the inevitable occured, following the economic crisis of World War I, and the Charlottenburg Opera was ultimately purchased by the City of Berlin.

 

Bruno Walter greatly improved the musical qualities of this institution which was rebaptized the Städtische Oper (City Opera). Prior to that, Carl Ebert, as administrator (with Rudolf Bing, the future legendary director of the MET in New York, as assistant), promoted more modern music, including those operas by Kurt Weill or Schreker which Klemperer could no longer perform at the then-closed Kr oll-Oper, and which provoked the ire of the Nazis as early as 1933. In 1945, the building was left in ruins, but by the month of August 45, the company presented FIDELIO at the « Theater des Westerns » and animated that theatre until 1961. During this period, the conductor Ferenc Fricsay, named music director, enabled the Städtische Oper to regain its international ranking, alternating standard repertoire in top-quality productions (where voices such as Dietrich Fischer-Dieskau or Josef Greindl were discovered), works by Stravinsky and Hindemith (who were banned by the Nazis), and world premieres. But in 1955, the Opera Unter den Linden, situated in East Germany, reopened under the name of the Deutsche Staatsoper. Under the influence of this politico-artistic competition, three decisions were made : the Städtische Oper was rebaptized the Deutsche Oper Berlin, plans were made to construct a theatre at the Charlottenburg site (situated in West Berlin), and Carl Ebert who, in the mean­time founded the Glyndebourne Festival, was called back. His productions and season programmes turned West Berlin into one of contemporary opera's main capitals.