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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 Mayo 2018 : El mes de mayo es suntuoso en la Ópera Alemana de Berlín y es preciso reservar localidades ya que los espectáculos son de una gran belleza. Es un auténtico festival de grandes voces, sobre todo con en obras de Verdi, destacando especialmente Anja Harteros en Un ballo in maschera y Don Carlo (que comparte con Ildebrando D’Arcangelo y Etienne Dupuis). La fantástica Anita Rachvelishvili retoma el rol de Azucena en El Trovador. Simon Keenlyside encarna a Rigoletto y Maria Agresta, La Traviata. Otra soberbia soprano, Diana Damrau continúa su repertorio belcantista con Maria Stuarda, de Donizetti. Hay que reservar asiento para aplaudir a Clémentine Margaine en Carmen frente a Charles Castronovo y la diva Angela Gheorghiu.

 

Deutsche Oper, Berlin, Temporada 2017-2018

La reputación de la Ópera de Berlín está ya más que consolidada. Los melómanos del mundo entero saben que la austera fachada del imponente edificio años 50 alberga una de las más prestigiosas compañías de ópera de Europa.

 

Como es habitual, la Ópera de Berlín presenta con ocasión de la temporada 2017-2018, una cuarentena de títulos de ópera, así como conciertos y espectáculos de ballet de gran categoría. Entre las nuevas producciones, cabe destacar particularmente la creación de L’Invisible. A sus 81 años, el gran compositor Aribert Reiman ofrece en Berlín una nueva obra sobre un texto de Maeterlinck.

 

Después de Los Huguenots, la gran ópera a la francesa está nuevamente de honor con El Profeta, del propio Meyerbeer, con una puesta en escena muy esperada del genial Olivier Py. Reencontramos con placer a Rolando Villazón en la presentación de El murciélago, obra que se espera muy divertida, como tiene que ser. Das Wunder der Heliane colmará a los amantes de las rarezas ya que la obra de Korngold se representa con menos frecuencia que su otra obra maestra, Die tote Stadt.

También cabe señalar dos remarcables versiones en concierto que permitirán a Diana Damrau y Joseph Calleja brillar en la Maria Stuarda de Donizetti, ella, y en La Arlesiana, de Cilea, él.

 

Una gran temporada se juzga también por las reposiciones con acertados repartos. Es una auténtica suerte poder escuchar a la linda Pretty Yende en Lucia di Lammermoor frente a René Barbera. Bryan Hymel y Diana Damrau forman cartel excepcional en el Fausto, de Gounod, y Klaus Florian Vogt es un Lohengrin que cualquier melómano debe ver al menos una vez en la vida.

 

Pero la temporada 2017-2018 de la Ópera de Berlín es sin duda el año de Anja Harteros. La soberbia soprano aparece nada menos que en tres óperas (Lohengrin, de Wagner, y Verdi con Un ballo in Maschera y Don Carlo).

Otras bellas sopranos estarán presentes también como Maria José Siri, Hui He, Maria Agreta e incluso Sonya Yoncheva que, con ocasión de un concierto, desgrana las grandes arias de Verdi. Hay también una Traviata muy esperada, la de Olga Preretyatko.

 

El repertorio de la temporada 2017-2018 de la Ópera de Berlín es muy equilibrado entre las obras en italiano y en alemán, contando por supuesto con óperas en francés (Carmen, El Profeta, L’amour des trois oranges y Fausto) y en ruso (Lady Macbeth, de Mtzenk). Verdi es sin duda el mejor servido con grandes éxitos populares como Aida, Nabucco, Rigoletto y El Trovador o La Traviata ya mencionada. Wagner no está de menos, con El holandés errante, Lohengrin y Tannhaüser aunque el que representa la síntesis europea perfecta es evidentemente Mozart con La flauta mágica, Las bodas de Fígaro, Cosí fan tutte y Don Giovanni, ¡todas ellas obras maestras!

 

Hay que mencionar igualmente el ballet ya que, con el Staatsballet de Berlín, la Ópera de Berlín ofrece espectáculos de excepcional calidad. Los grandes clásicos como El lago de los cisnes, Cascanueces y la Bella durmiente se codean con obras más contemporáneas de coreógrafos como Benjamin Millepied o Jean-Christophe Maillot. Una preciosa temporada que confirma la plaza de Berlín en el ranquin de las grandes ciudades de la música clásica y la ópera.  

Reserva entradas para Concierto, Ópera, Ballet : Deutsche Oper

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    Deutsche Oper
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    Nabucco Verdi


    Deutsche Oper Berlin, Alemania

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  • Concierto
    Gheorghiu
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    Verdi Opera Arias & Duets


    Deutsche Oper Berlin, Alemania

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    Die-Zauberflote-©Bettina-Stöß
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    Die Zauberflöte Mozart


    Deutsche Oper Berlin, Alemania

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  • Ópera
    Harteros
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    Don Carlo Verdi


    Deutsche Oper Berlin, Alemania

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    De 53€ hasta 169€ + Info / Entradas
  • Ópera
    Damrau
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    Maria Stuarda Donizetti


    Deutsche Oper Berlin, Alemania

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    De 53€ hasta 169€ + Info / Entradas
  • Ópera
    Deutsche Oper
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    Die Fledermaus Strauss J.


    Deutsche Oper Berlin, Alemania

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    De 43€ hasta 126€ + Info / Entradas
  • Ópera
    Deutsche Oper
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    Carmen Bizet


    Deutsche Oper Berlin, Alemania

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    De 43€ hasta 169€ + 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".