Berlins most modern opera house with its elegant retro-design

Sober and cool, but also monumental and impressive – that’s how the facade of the Deutsche Oper Berlin presents itself since it was built in 1961 at Bismarckstrasse in Berlin-Charlottenburg. The 88 slabs of washed-out concrete chosen by Architect Fritz Bornemann to design the main facade evoke no memory of the previous classic column portico of the former „Deutsches Opernhaus”, which was destroyed during World War II. And thus they caused controversies in the contest’s jury even before construction began: The facade was, in the view of its opponents, lacking artistic formation.

But exactly this implemented wall symbolizes Bornemann’s theoretical attitude towards architecture. It conceals and protects the actual philosophy of the building. When passing through the entrance and the ground floor lobby, taking the staircase (a sculpture itself) and eventually reaching the main foyer, the clear beauty of Bornemann’s architecture reveals itself. In the foyer, visitors experience an open, simple and reduced elegance which is unique among Berlin’s other cultural buildings.

The foyer on the first floor stretches windowless parallel to Bismarckstrasse. Looking inside out, only some of the opera’s immediate surroundings and some parts of the city are visible through huge glass windows on either side. These windows stretch all the way up from the ground to the top of the building. Breaking with traditional images of theatres that open up towards public space with a glass front, Bornemann put all his faith in introvert structures and closeness. He wanted the audience to concentrate on the performance inside.

The original concept from 1953 even envisaged a foyer without any windows at all. Any outside disturbance of the audience, any distraction by typical foyer functions such as snack bars, toilets and emergency exits were to be avoided. In a modified concept two years later Bornemann abandoned total isolation from the environment in favour of an interesting interaction of closed and open areas. Foyer functions were cleverly banished into the side wings. The foyers on the first and second floor could retain their architectural clarity and the audience’s concentration would still be on the performance.

No feeling for continuous space can emerge. It is being prevented by different materials such as dark tinted olive wall panels that reach up to the ceiling in the main foyer, a fine single coloured velour carpet and varied light concepts on all three floors. Boundaries between areas are accentuated by thresholds and discreet change of materials. The meagre décor modestly steps back in favour of the characteristical expression and the functionality of the building.

The auditorium presents itself in the same symbiosis of highest functionality, sober architectural language and very peculiar aesthetic charisma. Like Richard Wagner, Bornemann understood the auditorium as a „serving receptacle“ with unlimited sight from all seats. No obstacles prevent the audience from observing closely what’s happening on stage. The emphasis is not on collective savouring of art, but on the individual sensation of an opera evening. Every seat - including the carriage-like side boxes - faces the stage strictly radial. Interaction of the audience – possible and common in classical theatre’s tiers and boxes – is impossible inside the auditorium.

The auditorium’s aesthetics are a reminder of sound-optimised record studios of the 50’s. It provides the same excellent acoustic qualities. High-class wall panelling with zebrano wood, straight, minimized and tasteful colouring and precise illumination emphasize the importance of the performance in the Deutsche Oper Berlin – and not the social occasion.