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Deutsche Oper

Al oeste de la capital, en el dinámico barrio de Charlottemburg la Deutsche Oper ofrece una de las temporadas de ópera y danza más variadas y atractivas con cantantes y producciones del más alto nivel. Donald Runincles es el director musical de esta institución, mientras que el bailarín y coreógrafo Nacho Duato ha tomado las riendas de la compañía de danza.

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Descubre el programa del temporada 2018-2019 del Deutsche Oper Berlin y reserva sus entradas enlinea ahora.

 

No hay que perder en Noviembre 2018 :

En el mes de noviembre en la Ópera alemana de Berlín, Roberto Alagna, estrella internacional, encarna a Andrea Chénier en la ópera de Giordano con la opulenta voz de la soprano María José Siri. Otra gran estrella, Evelyn Herlitzius, encarna a Emilia Marty en el Affaire Makropoulos de Janácek. La soprano alemana Annette Dasch forma parte del reparto de El Murciélago y una velada de gala reúne algunas de las grandes voces del arte lírico. Un mes intenso y rico en acontecimientos.   

 

El edificio típico de los años 50, de apariencia austera de la Ópera alemana de Berlín encierra una de las más grandes instituciones líricas internacionales. Con una programación rica y audaz, ofrece junto con la de la Staatsoper unter den Linden un variado repertorio de ballets, óperas y conciertos que sitúan a Berlín a la cabeza de destinos de melómanos. Donald Runnicles, el director musical de la Ópera alemana ha programado una temporada 2018-2019 con numerosos eventos que habrá que reservar cuanto antes. Para asistir, por ejemplo, al triunfo de Sondra Radvanovsky en Tosca es preciso adquirir localidades sin tardanza. Otra excepcional soprano, en el mismo papel, Anja Harteros, se enfrenta a Erwin Schrott en el papel de Scarpia. Los grandes nombres del arte lírico se codean gustosamente con los cantantes del coro cuya calidad es perfecta. A los aficionados a quienes gusta descubrir los jóvenes talentos del mañana, no podemos dejar de aconsejar una representación de La flauta mágica con Matthew Newlin, por ejemplo, o Rigoletto para poder apreciar a la bonita soprano Siobhan Stagg.

 

Hay tanto que ver en la Ópera alemana de Berlín… Desde hace algunos años, Roberto Alagna reserva alguna de sus apariciones al fiel público de la sala. Esta temporada, encarna a Andrea Chénier en la ópera de Giordano con María José Siri, soprano suntuosa. Otro gran tenor, Klaus Florian Vogt, está también habituado al lugar. Presente en el reparto de La damnación de Fausto de Berlioz y en Lohengrin, su mejor rol. El admirable barítono Bryn Terfel encarna a Boris Godunov mientras que Simon Keenlyside es Wolfram en el Tannhäuser de Wagner. El compositor alemán está admirablemente representado en Berlín con un Parsifal donde reencontramos a la gran intérprete Eva-Maria Westbroek y esta ópera de juventud, Rienzi, que hay que descubrir cuando nos gusta la música del maestro. Ricarda Merbeth y Peter Seiffert encarnan los míticos Tristán e Isolda.

 

Todos los repertorios están presentes en la Ópera alemana de Berlín, siempre con una gran calidad en los repartos…Camilla Nylund  interpreta varios papeles. Anna Pirozzi y Roberto Tagliavini están en cartel con Nabucco de Verdi. La nueva producción de La sonámbula de Bellini posee uno de los mejores repartos de la temporada con una glamurosa pareja, Pretty Yende y Lawrence Brownlee. Ermonela Jaho y Carles Castronovo se reúnen para La Rondine de Puccini. La dulce Patrizia Ciofi encarna a Traviata, Evelyn Herlitzius es Emilia Marty en Affaire Makropoulos de Janácek y Etienne Dupuis canta Eugene Onegin. Edita Gruberova está presente con las heroínas belcantistas, aunque sin duda es el repertorio francés el que mejor aprovecha esta opulencia con un soberbio y raro Don Quijote de Jules Massenet, una magnífica Carmen (con Stéphanie d’Oustrac y Joseph Calleja) y, en versión concierto, la obra maestra de Ambroise Thomas, Hamlet, encarnada por el ideal Florian Sempey y la estrella Diana Damrau en el papel de Ofelia. En cuanto a danza, la soberbia compañía del Sttatsballet ofrece numerosos momentos álgidos en Berlín, como con el Romeo y Julieta de Berlioz y la emotiva coreografía de Sasha Waltz o como el de Prokofiev por John Cranko, El lago de los cisnes, obra maestra absoluta, tanto como Sylphide en la coreografía original de Augusto Bournonville.

 

¡Sólo hace falta reservar localidades para asistir a una representación en la Ópera alemana de Berlín!

Reserva entradas para Concierto, Ópera, Ballet : Deutsche Oper

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    Verdi Requiem © 2013, Bettina Stöß
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    Verdi Messa da Requiem


    Deutsche Oper Berlin, Alemania

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    De 57€ hasta 112€ + Info / Entradas
  • Ópera
    Deutsche Oper
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    Don Giovanni Mozart


    Deutsche Oper Berlin, Alemania

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    De 46€ hasta 130€ + Info / Entradas
  • Danza
    Swan Lake © Staatsballett Berlin
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    Deutsche Oper Berlin

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    Swan Lake Tchaikovsky


    Deutsche Oper Berlin, Alemania

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  • Ópera
    © 2017, Bettina Stöß
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    Lohengrin Wagner


    Deutsche Oper Berlin, Alemania

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    De 57€ hasta 177€ + Info / Entradas
  • Ópera
    © 2017, Bettina Stöß
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    Die Zauberflöte Mozart


    Deutsche Oper Berlin, Alemania

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    De 46€ hasta 130€ + Info / Entradas

Informaciones sobre Deutsche Oper

A diferencia de la Staatsoper Unter den Linden, fundada en el siglo XVIII en el centro de la ciudad y considerada desde siempre la ópera de la realeza, la Deutsche Oper tiene una historia más corta, que empieza 1912, por iniciativa de la burguesía berlinesa, buscando crear un teatro más democrático y accesible. Ubicada en el distrito de Charlottenburg, por entonces considerado fuera de la ciudad. La gran crisis económica derivada de la Gran Guerra, propiciará el rescate del teatro por parte de la ciudad de Berlín.

Rebautizada como Städtische Oper, la institución vivirá a partir de 1925, un corto aunque fecundo período de brillantez, de la mano de Bruno Walter y la gestión de Carl Ebert, asistido por el legendario Rudolph Bing, futuro director del MET. Promoverán el estreno de óperas modernas, como las de Weill o Schreker, que Klemperer no podía estrenar en la Kroll Oper, actualmente cerrada, y desatarán por ello la ira de los nazis, en cuyas manos acabará el teatro. Ebert ya en el exilio, será el fundador del Festival de Glydebourne.

En 1945, el edificio está completamente en ruinas, pero en agosto, la compañía se reúne en el Teatro del Oeste para preparar Fidelio. Permaneció allí hasta 1961. Durante este período, el director Ferenc Fricsay, llevará a la Städtische Oper a recuperar su posición internacional, alternando el gran repertorio y puestas en escena de alta calidad, con obras de Stravinsky y Hindemith, prohibidas por los nazis, y con estrenos mundiales como El abrigo rojo (1954) de Luigi Nono o El Rey Ciervo (1956) de Henze. Una época en la que el teatro descubrió las voces de Dietrich Fisher-Dieskau, Ernst Haefliger y Josef Grendl y en la que Ebert, vuelto del exilió, dio un gran impulso al teatro.

En 1961 se inauguró con Don Giovanni, el nuevo edificio del arquitecto Fritz Bornemann, que volverá a ocupar su lugar en la calle Bismark. El nuevo teatro, moderno y espacioso, goza de excelente acústica y visibilidad para todos los espectadores. Pronto alcanzará renombre internacional por la originalidad y osada modernidad de sus producciones, pero también por su calidad musical, con directores como Maazel, Jochum o Böhm. El teatro siguió en esa década, lanzando nuevos talentos: Evelyn Lear, Gundula Janowitz, José van Dam, Pilar Lorengar, Leonie Rysanek, Anja Silja, Agnes Baltsa...

Los más innovadores y originales directores de escena, han montado aquí, Herbert Wernicke, Jean-Pierre Ponnelle, Robert Carsen, John Dew, Günter Krämer, Hans Neuenfel o Peter Konwitschny, manteniendo vivo el compromiso fundacional de esta institución con Alban Berg, para que los teatros "...representen las óperas clásicas como si fueran modernas...y viceversa".