Iannis Xenakis, Open-Air in the Parkhaus Deutsche Oper // Conductor: Moritz Gnann; Stage-Director: David Hermann; With Michael Hofmeister, Seth Carico et al.
Tue 9. September 2014 / 20:00h / read more
27,00 - 15,00 € / buy ticket
tickethotline: 030.343 84 343
Matthew Herbert: The Recording
The Tischlerei will become an Open Space for listening, exchange and creation. Matthew Herbert is thinking about the following settings: a lecture, a bar, a playground, a pure academic exploration, an engineering master-class, a hacker meeting, a concert, and a nightclub. Matthew Herbert invites the audience to take an active part in this special creation and celebrate with him and his band when it is finished with The Recording Record-Release-Party.
Thu 18. September 2014 / 16:30h / read more
5,00 * € / buy ticket
tickethotline: 030.343 84 343
Pictures / Videos
David Hermann on tackling “Oresteia”
From 9th September 2014 the multi-storey car park of the Deutsche Oper Berlin will serve as the backdrop to Iannis Xenak...
David Hermann on tackling “Oresteia”
David Herman © Pascal Bünning
From 9th September 2014 the multi-storey car park of the Deutsche Oper Berlin will serve as the backdrop to Iannis Xenakis’ work of musical theatre, “Oresteia”, a powerful piece with a distinctive musical language centring on percussion and rhythmic elements and alluding, with its lengthy narrative expositions and choral sections, to the theatre tradition of old. Xenakis spotlights selected moments from the ancient tale of the Atreidae, as immortalised in Aeschylus’ trilogy of tragedies, and probes core themes of human guilt, personal responsibility, ritual and religion. The work is being staged by David Hermann, who caused a stir at the Deutsche Oper Berlin in 2012 with Lachenmann’s “The Little Match Girl”. Interview by Uwe Friedrich.
Taking on “Oresteia” by Iannis Xenakis was a particular desire of yours. The gory tale of the Atreidae family has been brought to the opera stage many times before. The most celebrated version is Richard Strauss’ “Elektra”. Why did you opt for this largely unknown version?
The nice thing about the piece is that it’s not a classical opera but rather has its own fascinating form composed of chorus, spoken dialogue, song solos and instrumental stretches. We’ve got sixty minutes of music, which means the story is really pared down and a lot of the action has been cut, but the big turning points are narrated with a lot of emotion by the chorus, singers, dancers and actors. This compressed approach lends itself very well to “Oresteia”; the work has been performed in Berlin a lot and in uncut versions, too, so most of the people attending are at least broadly familiar with the story and it’s a good idea for a director to take a different approach occasionally. But on the other hand I also see it as my mission to familiarise people with the story who haven’t yet met it.
”Oresteia” is one of the ancient world’s classic pieces of literary material and has lost none of its magnetism with the passage of time. What’s this family saga about exactly?
It gets to grips with the big issues. The father and ruler arrives back home after the war to find the country languishing in a power vacuum. The father wants to take up the reigns of power again and is killed by his wife. There’s a strange soothsayer woman, who gets a long. drawn-out scene in Xenakis’ production. Then there’s the energy between the siblings, who start toying with the idea of killing the mother. In this version there is also the violent intercession of the Erinyes and the story ends with the establishment – and imposition - of a new state. Xenakis uses a range of music styles to bind the threads of the story together. He uses high brass in his search for an archaic sound and there are also echoes of the Beijing opera and African rhythms, supplemented by background sound effects that reflect the composer’s memories of crowd noise during demonstrations in Greece. In Cassandra’s great monologue scene he goes over into contemporary music, but it’s all utterly unacademic and very emotional.
You’re mounting the work not in the opera house itself but in the multi-storey car park – in the backyard of the Deutsche Oper Berlin, as it were.
I’ve wanted to put on a production of the work for at least a decade now, but I didn’t really know where. Then the option came up for doing it with the ensemble of the Deutsche Oper Berlin, but not in the building itself, because there were modifications going on. We’d already found another venue, but at the last moment it occurred to me that the piece couldn’t be tamed within a standard theatre building. Then the idea of the multi-storey car park came to me, a spacious yard with high walls and a somewhat faded, peeling charm that does fine service as the grandiose interior courtyard of the ruler’s palace. Now we’re hoping for good weather, because September can pose serious problems. The orchestra is under cover but the audience has no protection from the elements. I’m curious about how the space will function as a venue for theatre.
How do you see your job as director?
For me, theatre means toying with perception. It runs deeper than the visuals, deeper than the stage set. In the best-case scenario you’re accessing a level of perception that can’t be consciously influenced. The director Hans Neuenfels talks of what he calls the ‘conjuring’. You’ll be bringing all your wits and craft to bear on a particular piece, but there’ll always be a magical element, something that’s beyond explanation. It’s not something you can control. It’s to do with the circumstances in which the work is being staged and the singers you’re working with. They, too, have a feel for this level of perception, and you go forward together, probing for something new and exciting. And when you find it, the questions suddenly fall away and there are the solutions. It’s an amazing moment, even if it doesn’t arrive that often. To get to that moment you need a bunch of people around you. A director alone can’t make it happen.
Iannis Xenakis: “Oresteia”
Musical Director Moritz Gnann Director David Hermann featuring Michael Hofmeister, Seth Carico, Andrew Harris, Björn Matthiessen, Georg Glasl and many more Chorus, Children’s chorus and Orchestra of the Deutsche Oper Berlin
9th, 12th, 13th, 15th, 16th September 2014 / Parkhaus Deutsche Oper
“Oresteia” / Open Air
The ORESTEIA in the open air: During the remodelling of the main stage the Deutsche Oper Berlin will be mounting a major...
“Oresteia” / Open Air
deck of the car park © Bernd Uhlig
The ORESTEIA in the open air: During the remodelling of the main stage the Deutsche Oper Berlin will be mounting a major 20th-century work of musical theatre in the rather unusual setting of the upper deck of its multi-storey car park. Iannis Xenakis’ composition for Aeschylus’ Oresteia trilogy is conceived as an out-doors spectacle, and the world premiere took place on the baseball field of an American town – a powerful work with a singular musical language that is radically different from other scores of the period. Few works of contemporary musical theatre place such emphasis on percussion and rhythm. In presenting the ancient tale of the Atreidae, Xenakis borrows from Ancient Greek theatre, using a narrator, extended chorus sections and two monologues. These elements highlight a number of aspects of Aeschylus’ trilogy and pose the core questions relating to guilt, ritual and religion, to personal responsibility – in short, to the most agreeable system of social organisation.
The elevated car park of the Deutsche Oper Berlin – a landscape of different architectural forms and materials featuring windows, balconies and gantries that lend themselves to performance – is at once a functional urban space and an artificial setting whose very nature and appearance raise issues of the process of social civilisation, of protection and shelter, of uncertainty and disconcertedness. The staging of this extraordinary work of opera lies in the hands of director David Hermann and set designer Christof Hetzer, both of whom attracted attention in 2012 with their production of Helmut Lachenmann’s THE LITTLE MATCH GIRL at the Deutsche Oper Berlin.
Iannis Xenakis: Oresteia
Conductor Moritz Gnann Stage Director David Hermann Starring Michael Hofmeister, Seth Carico, Andrew Harris et al. Psalterion Georg Glasl Solo-Percussion Björn Matthiessen Chorus, Children's Chorus and Orchestra of the Deutsche Oper Berlin
9., 12., 13., 15., 16. September, 2014
Season Preview 2014/2015
Season Preview 2014/2015
The Premieres 2014/2015 (Videos by Chris and the Fatsox)
Billy Budd: The Making of
Following on from the successful production of PETER GRIMES in January 2013, also by director David Alden and set designer Paul Steinberg, BILLY BUDD is another visually powerful and musically complex opera by Benjamin Britten to be presented by the Deutsche Oper Berlin. The title character provides the young baritone John Chest, a new addition to the ensemble, with his maiden role. Burkhard Ulrich sings Edward Fairfax Vere and Gidon Saks the armourer Claggart. At the stand is General Music Director Donald Runnicles, for whom the staging of this musically and dramatically demanding opera is a matter of keen personal concern.
The second of Benjamin Britten´s “maritime” operas revolves around the dramatic events on board the warship “Indomitable”. As with PETER GRIMES before it, this story, too, has no truck with oceanic idylls and the image of the jolly sailor. Life at sea is tough, the code of conduct in the male environment unbending. The constant menace posed by skirmishes and the natural environment hardens the souls of individuals and leaves no room for love and affection except in perverted form. Even though Captain Vere, master of the “Indomitable”, makes no bones of his fondness for the young seaman, Billy Budd, he does not come to his aid when the boy is condemned to hang for mutiny after killing Claggart, the sadistic armourer, in a fit of passion.
The Elixir of Love
The story recounted by Donizetti and his librettist Felice Romani is a simple one: Adina and Nemorino are in love, yet neither can pluck up the courage to confess their love for the other person. Not until he recalls a single tear in Adina\'s eye, the famous “furtiva lagrima”, does Nemorino realise that his love is requited, triggering one of the most famous tenor arias in the history of opera.
The Elixir of Love: The Making of
This production of ELIXIR OF LOVE at the Deutsche Oper Berlin is in the capable hands of a director who has repeatedly served notice of her proficiency in mounting operatic and theatrical works based on more lightweight material: Irina Brook. Irina Brook and Maestro Roberto Rizzi Brignoli about THE ELIXIR OF LOVE.
La Damnation de Faust
And this complexity is also a reflection of the title character himself. The world of Berlioz´ Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz´ DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut.
La Damnation de Faust: The Making of
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz´ musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers´ songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous.
Hoffmann: The Making of
Phantasmagoria loosely based on Offenbach.
Musical adaptation and new compositions by Anne Champert.
The boundaries between reality and fiction are blurred in Hoffmann´s musical narratives. The poet conjures up in his mind three women, all of them representing radiant facets of one and the same beloved lady. The three are Olympia, a doll, Antonia, a woman suffering from a pulmonary illness, and Giulietta, a courtesan. The identity of the poet himself is as shaky as the contours of the world around him. Premiered at the Tischlerei on 18. September, 2013. With Jakop Ahlbom, Anne Champert und Seth Carico
The dramatic tale of Israelite subjugation under the Babylonian yoke of King Nebuchadnezzar remains one of Verdi\'s best-known operas and was last staged at the Deutsche Oper Berlin by Hans Neuenfels 13 years ago. In Verdi´s anniversary year the material is now being rendered by Keith Warner, one of the big names in international opera. Warner´s NABUCCO focuses on the opposing natures of two nations – the modern Hebrews, whose culture is informed by a script and by education as a democratic ideal, and the militaristic Babylonians, whose concept of a state is founded in autocratic rule.
Nabucco: The Making of
Art-Director Keith Warner and Chorus-Master William Spaulding about Verdi´s dramatic tale of Israelite subjugation under the Babylonian yoke of King Nebuchadnezzar.
NABUCCO, premiered at the Deutsche Oper Berlin on 8. September, 2013
Gilgamesh Must Die!
One third human, two thirds god, Gilgamesh, King of Mesopotamia, is a totalitarian egomaniac whose power and excesses know no bounds. Until, that is, the gods cause his best friend Enkidu to succumb to a painful death before his very eyes. Spurred on by fear, Gilgamesh embarks on a quest for the key to immortality. He is destined to discover the secret, but not in the way he expected... Using the original tablets as a guide, the Basel pop group “The bianca Story” has written eleven songs based on the eleven stages of the epic. Performed by a company of children and teens from Berlin and a number of professional singers, GILGAMESH MUST DIE! becomes a wild and jolly journey to the depths of mankind\'s most basic fears in striving for immortality.
Society repeatedly equates a Falstaff encounter with an open season for lies and masquerades. The story presents us with a pretend rendezvous, a husband disguised as a spy and a collective ghost staged in a park at night. Falstaff is the individualistic outsider stirring up the comfortable status quo with his otherness and inducing the bourgeoisie to act, to produce theatre, to be anarchical. Conductor: Donald Runnicles; Stage Director: Christof Loy; With Noel Bouley, Michael Nagy, Joel Prieto, Thomas Blondelle, Gideon Poppe, Marko Mimica, Barbara Haveman, Elena Tsallagova, Dana Beth Miller, Jana Kurucová et al.
Kannst du pfeifen, Johanna - The Making of
Ulf has a grandpa; Berra doesn\'t, but he wishes he had one like Ulf\'s – a grandpa who likes pork knuckle, drinks coffee and eats cake with his grandchildren. And then Ulf gets an idea and off they go to the old people\'s home, looking for a granddad for Berra. There they meet Nils – old, lonely, no grandchildren ..the perfect grandpa for Berra. Nils doesn\'t like pork knuckle but knows how to make a kite, and he can whistle – something Berra has always wanted to do.
Productions performed at “outsourced” lo...
Productions performed at “outsourced” locations
The Deutsche Oper Berlin is gearing up for the future. To ensure that we continue to offer our patrons opera productions of the very best technical quality, we are renewing the over-stage rigging of the opera house. As we will be unable to use the main stage for the duration of refurbishment, we have sought out alternative venues across the city where we can put on musical-theatre productions. On 23rd August 2014 the Berlin season will open with THE MAGIC FLUTE at the city’s loveliest open-air stage, the Waldbühne. The season’s string of premieres will begin with ORESTEIA, Xenakis’ masterpiece for chamber orchestra, chorus and baritone; the work will be mounted on the upper deck of the Deutsche Oper multi-storey car park, an unusual backdrop for the team centring on director David Hermann. Other premieres will be held in the Philharmonie, which will host Meyerbeer’s DINORAH, the first work in a cycle of Meyerbeer pieces being aired at the Deutsche Oper Berlin over the next few seasons. The Philharmonie will also provide the venue for a production of ARIADNE ON NAXOS with Anja Harteros, to mark Richard Strauss’ sesquicentenary, followed by ROBERTO DEVEREUX in November, with Edita Gruberová in one of her celebrated roles as Elisabetta I. We are likewise delighted to have booked the Béjart Ballet Lausanne for a guest performance in the Tempodrom, which will provide the backdrop for Béjart’s “Ce que l’amour me dit”, “Le Sacre du printemps” and “Bolero”. Finally, from 14th November onwards, we will be presenting Britten’s THE RAPE OF LUCRETIA in the Haus der Berliner Festspiele.
You are cordially invited to join us in the Waldbühne, the Haus der Berliner Festspiele, the Tempodrom and the Philharmonie and to discover for yourselves venues such as our Tischlerei and the Deutsche Oper multi-storey car park. In the column opposite you will find an overview of our productions performed at “outsourced” locations. From 27th November 2014 the Deutsche Oper Berlin will again have at its disposal one of the most modern stages in Europe. We look forward to seeing you!
- Spanish Night / Open-Air at Schloss BothmerWorks by Rossini, Mozart, Rodrigo / read more
16. August 2014The Magic Flute / Open Air at the WaldbühneWolfgang Amadeus Mozart (1756 – 1791) / read more
23. August 2014Between playfulness and chaos / Tischlerei1st concert in the Tischlerei / read more
1. September 2014Oresteia / Open-Air at the ParkhausIannis Xenakis (1922 – 2001) / read more
9., 12., 13., 15., 16. September 2014Special Concert – A concert of Musikfest Berlin / at the PhilharmonieWorks by Reimann, von Webern, Brahms / read more
14. September 2014The Recording / TischlereiMatthew Herbert and Band / read more
18., 19., 20., 21., 22., 23., 24., 25. (Record-Release-Party) September 2014Europa war sein Bayreuth / TischlereiA Symposion about Giacomo Meyerbeer's life and work / read more
29., 30. September, 1. October 2014Dinorah / Concert version at the PhilharmonieGiacomo Meyerbeer (1791 – 1864) / read more
1. October 2014Signs of a kingly art / Tischlerei2nd concert in the Tischlerei / read more
12. October 2014Ariadne auf Naxos / Concert version at the PhilharmonieRichard Strauss (1864 – 1949) / read more
14. October 2014Guest Performance: Béjart Ballet Lausanne / TempodromMaurice Béjart (1927 – 2007) / read more
17., 18., 19. October 2014Manon Lescaut / Royal Opera House, MaskatGiacomo Puccini (1858 – 1924) / read more
23., 26. October 2014Roberto Devereux / Concert version at the PhilharmonieGaetano Donizetti (1797 – 1848) / read more
5., 11. November 2014In Transit / TischlereiEva-Maria Abelein, Mischa Tangian et al. / read more
6., 8., 9., 17., 18., 19. November 2014Spotlights / Tischlerei3rd concert in the Tischlerei / read more
7. November 2014The Rape of Lucretia / Haus der Berliner FestspieleBenjamin Britten (1913 – 1976) / read more
14., 16. November 2014
The season’s string of premieres will begin with ORESTEIA, Xenakis’ masterpiece for chamber orchestra, chorus and baritone; the work will be mounted on the upper deck of the Deutsche Oper multi-storey car park, an unusual backdrop for the team centring on director David Hermann. Other premieres will be held in the Philharmonie, which will host Meyerbeer’s DINORAH, the first work in a cycle of Meyerbeer pieces being aired at the Deutsche Oper Berlin over the next few seasons. The Philharmonie will also provide the venue for a production of ARIADNE ON NAXOS with Anja Harteros, to mark Richard Strauss’ sesquicentenary, followed by ROBERTO DEVEREUX in November, with Edita Gruberová in one of her celebrated roles as Elisabetta I. Finally, from 14th November onwards, we will be presenting Fiona Shaw’s production of Britten’s THE RAPE OF LUCRETIA in the Haus der Berliner Festspiele.
On 27th November 2014 the stage of the Deutsche Oper Berlin in the Bismarckstraße will re-open for performances. In the course of the season four key works in the opera’s repertoire will celebrate their premieres, marking areas of focus that are also a feature of the overall programme. The repertoire of Russian works is being extended with Ole Anders Tandberg’s production of Shostakovich’s LADY MACBETH OF MZENSK; French opera is represented by a Sasha Waltz production of ROMEO AND JULIET and Philipp Stölzl’s staging of Gounod’s FAUST; and in March 2015 we present a Puccini retrospective whose crowning event will doubtless be the premiere of Rolando Villazón’s production of LA RONDINE [THE SWALLOW].
- Oresteia / ParkhausIannis Xenakis (1922 – 2001) / read more
9. September 2014Dinorah / Concert version / PhilharmonieGiacomo Meyerbeer (1791 – 1864) / read more
1. October 2014Ariadne auf Naxos / Concert version / PhilharmonieRichard Strauss (1864 – 1949) / read more
14. October 2014Roberto Devereux / Concert version / PhilharmonieGaetano Donizetti (1797 – 1848) / read more
5. November 2014The Rape of Lucretia / Haus der Berliner FestspieleBenjamin Britten (1913 – 1976) / read more
14. November 2014Lady Macbeth of the Mtsensk DistrictDmitrij Schostakowitsch (1906 – 1975) / read more
25. January 2015The SwallowGiacomo Puccini (1858 – 1924) / read more
8. March 2015Roméo et JulietteHector Berlioz (1803 – 1869) / read more
18. April 2015FaustCharles Gounod (1818 – 1893) / read more
19. June 2015
- The RecordingMatthew Herbert and Band / read more
18., 19., 20., 21., 22., 23., 24., 25. Sep. 2014Tryout / A cooperation with HfM „Hanns Eisler“MusicTheatre for kids and teens /
Autumn 2014In Transit / PremiereAn experimental work by Eva-Maria Abelein, Mischa Tangian / read more
6., 8., 9., 17., 18., 19. Nov. 2014Gold / PremiereLeonard Evers (*1985) / read more
5., 7., 9., 10., 11., 12., 21., 22. Dec. 2014; 9., 10., 11. Feb.; 6., 7., 8. Mar. 2015Give-A-Way / PremiereA Sound experiment / read more
24., 27., 28., 29. Jan. 2015Kannst du pfeifen, JohannaGordon Kampe (*1976) / read more
20., 21., 22., 24., 25., 26. Feb. 2015New Scenes IIInternational composition competition / read more
10., 11., 14., 15. Apr. 2015Augenblick mal! / FestivalA Theatre Festival for Young Audience /
21. – 26. Apr. 2015HoffmannPhantasmagoria loosely based on Jacques Offenbach / read more
6., 7., 8. May 2015Comfort Ye / Guest performanceAn Umcolo opera project / read more
30., 31. May 2015Sounds for a while / PremiereAn installation of musical theatre by Anselm Dalferth / read more
25., 27., 28., 29., 30. Jun. 2015; 2. Jul. 2015