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    Iannis Xenakis: Oresteia

    Conductor: Moritz Gnann; Stage-Director: David Hermann; With Michael Hofmeister, Seth Carico et al. / Open-Air in the Parkhaus Deutsche Oper

    next performance

    Tue 16. September 2014 / 20:00h / read more

    27,00 - 15,00 € / buy ticket

    tickethotline: 030.343 84 343

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    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.

    next performance

    Thu 18. September 2014 / 16:30h / read more

    5,00 * € / buy ticket

    tickethotline: 030.343 84 343

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    Dinorah oder Die Wallfahrt nach Ploërmel (konzertant)

    With Patrizia Ciofi, Etienne Dupuis, Philippe Talbot; Conductor: Enrique Mazzola (photo) // Berlin Philharmonie

    next performance

    Wed 1. October 2014 / 20:00h / read more

    C-Prices: € 90,– / 72,– / 50,– / 29,– / buy ticket

    tickethotline: 030.343 84 343

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    „Europa war sein Bayreuth“

    Symposium on the life and work of Giacomo Meyerbeer / 29th September – 1st October, 2014

    next performance

    Mon 29. September 2014 / 10:30h / read more

    Eintritt frei / Vergabe von Zählkarten

    tickethotline: 030.343 84 343

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    Ariadne auf Naxos (konzertant)

    With Anja Harteros (photo), Stefan Vinke, Franz Mazura, Daniela Sindram, Susanne Elmark et al.; Conductor: Ulf Schirmer / Berlin Philharmonie

    next performance

    Tue 14. October 2014 / 20:00h / read more

    C-Prices: € 90,– / 72,– / 50,– / 29,– / buy ticket

    tickethotline: 030.343 84 343



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Pictures / Videos

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  • next highlights

    Iannis Xenakis: Oresteia

    Conductor: Moritz Gnann; Stage-Director: David Hermann; With Michael Hofmeister, Seth Carico et al. / Open-Air in the Parkhaus Deutsche Oper

    next performance

    Tue 16. September 2014 / 20:00h / read more

    27,00 - 15,00 € / buy ticket

    tickethotline: 030.343 84 343




News

Tue, 2. Sep.
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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...

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David Hermann on tackling “Oresteia”

David Herman © Pascal Bünning

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

Tue, 9. Sep.
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Photos: “Oresteia”

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Wed, 20. Aug
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“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...

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“Oresteia” / Open Air

deck of the car park © Bernd Uhlig

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

Fri, 7. Mar
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Season Preview 2014/2015

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Season Preview 2014/2015

Expand our Season Book 2014/2015
All about our opera premieres, the opera and ballet repertoire, the concerts and chamber music et al.

or available for download as [pdf-document]

or as a hard copy from the opera house
Please be as kind as to send an E-mail to info@deutscheoperberlin.de


Next performances

Tue, 16. Sep

Oresteia

Parkhaus / / 20:00h / read more / Buy ticket

Thu, 18. Sep

The Recording

Tischlerei / 16:30h / read more / Buy ticket

Fri, 19. Sep

The Recording

Tischlerei / 16:30h / read more / Buy ticket


Videos by Chris and the Fatsox



Further News

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Productions performed at “outsourced” lo...

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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 Bothmer
    Works by Rossini, Mozart, Rodrigo / read more
    16. August 2014
    The Magic Flute / Open Air at the Waldbühne
    Wolfgang Amadeus Mozart (1756 – 1791) / read more
    23. August 2014
    Between playfulness and chaos / Tischlerei
    1st concert in the Tischlerei / read more
    1. September 2014
    Oresteia / Open-Air at the Parkhaus
    Iannis Xenakis (1922 – 2001) / read more
    9., 12., 13., 15., 16. September 2014
    Special Concert – A concert of Musikfest Berlin / at the Philharmonie
    Works by Reimann, von Webern, Brahms / read more
    14. September 2014
    The Recording / Tischlerei
    Matthew Herbert and Band / read more
    18., 19., 20., 21., 22., 23., 24., 25. (Record-Release-Party) September 2014
    Europa war sein Bayreuth / Tischlerei
    A Symposion about Giacomo Meyerbeer's life and work / read more
    29., 30. September, 1. October 2014
    Dinorah / Concert version at the Philharmonie
    Giacomo Meyerbeer (1791 – 1864) / read more
    1. October 2014
    Signs of a kingly art / Tischlerei
    2nd concert in the Tischlerei / read more
    12. October 2014
    Ariadne auf Naxos / Concert version at the Philharmonie
    Richard Strauss (1864 – 1949) / read more
    14. October 2014
    Guest Performance: Béjart Ballet Lausanne / Tempodrom
    Maurice Béjart (1927 – 2007) / read more
    17., 18., 19. October 2014
    Manon Lescaut / Royal Opera House, Maskat
    Giacomo Puccini (1858 – 1924) / read more
    23., 26. October 2014
    Roberto Devereux / Concert version at the Philharmonie
    Gaetano Donizetti (1797 – 1848) / read more
    5., 11. November 2014
    In Transit / Tischlerei
    Eva-Maria Abelein, Mischa Tangian et al. / read more
    6., 8., 9., 17., 18., 19. November 2014
    Spotlights / Tischlerei
    3rd concert in the Tischlerei / read more
    7. November 2014
    The Rape of Lucretia / Haus der Berliner Festspiele
    Benjamin Britten (1913 – 1976) / read more
    14., 16. November 2014

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Opera Premieres

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Opera Premieres

  • 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 / Parkhaus
    Iannis Xenakis (1922 – 2001) / read more
    9. September 2014
    Dinorah / Concert version / Philharmonie
    Giacomo Meyerbeer (1791 – 1864) / read more
    1. October 2014
    Ariadne auf Naxos / Concert version / Philharmonie
    Richard Strauss (1864 – 1949) / read more
    14. October 2014
    Roberto Devereux / Concert version / Philharmonie
    Gaetano Donizetti (1797 – 1848) / read more
    5. November 2014
    The Rape of Lucretia / Haus der Berliner Festspiele
    Benjamin Britten (1913 – 1976) / read more
    14. November 2014
    Lady Macbeth of the Mtsensk District
    Dmitrij Schostakowitsch (1906 – 1975) / read more
    25. January 2015
    The Swallow
    Giacomo Puccini (1858 – 1924) / read more
    8. March 2015
    Roméo et Juliette
    Hector Berlioz (1803 – 1869) / read more
    18. April 2015
    Faust
    Charles Gounod (1818 – 1893) / read more
    19. June 2015

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Tischlerei 2014/2015

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Tischlerei 2014/2015


  • The Recording
    Matthew Herbert and Band / read more
    18., 19., 20., 21., 22., 23., 24., 25. Sep. 2014
    Tryout / A cooperation with HfM „Hanns Eisler“
    MusicTheatre for kids and teens /
    Autumn 2014
    In Transit / Premiere
    An experimental work by Eva-Maria Abelein, Mischa Tangian / read more
    6., 8., 9., 17., 18., 19. Nov. 2014
    Gold / Premiere
    Leonard Evers (*1985) / read more
    5., 7., 9., 10., 11., 12., 21., 22. Dec. 2014; 9., 10., 11. Feb.; 6., 7., 8. Mar. 2015
    Give-A-Way / Premiere
    A Sound experiment / read more
    24., 27., 28., 29. Jan. 2015
    Kannst du pfeifen, Johanna
    Gordon Kampe (*1976) / read more
    20., 21., 22., 24., 25., 26. Feb. 2015
    New Scenes II
    International composition competition / read more
    10., 11., 14., 15. Apr. 2015
    Augenblick mal! / Festival
    A Theatre Festival for Young Audience /
    21. – 26. Apr. 2015
    Hoffmann
    Phantasmagoria loosely based on Jacques Offenbach / read more
    6., 7., 8. May 2015
    Comfort Ye / Guest performance
    An Umcolo opera project / read more
    30., 31. May 2015
    Sounds for a while / Premiere
    An installation of musical theatre by Anselm Dalferth / read more
    25., 27., 28., 29., 30. Jun. 2015; 2. Jul. 2015

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Sascha Weidner – Season's Photography 14/15

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