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Georges Bizet (1838 – 1875)

Informationen Zum Werk

Opéra comique in four acts by Georges Bizet
Libretto by Meilhac and Ludovic Halévy,
based on a novella by Prosper Mérimée
First performed on 3rd March 1875, in Paris
Premiered at the Deutsche Oper Berlin on 20th January 2018

In French with German and English surtitles

3 hrs / 1 interval

Pre-performance lecture (in German): 45 minutes prior to each performance



Stephan Zilias
Jacques Lacombe (09.02.2019 | 17.02.2019 | 21.02.2019 | 19.06.2019 | 22.06.2019)

Stage direction

Ole Anders Tandberg

Set design

Erlend Birkeland

Costume design

Maria Geber

Light design

Ellen Ruge

Chorus Master

Jeremy Bines

Children’s choir

Christian Lindhorst


Silke Sense


Irene Roberts
Ramona Zaharia (19.06.2019 | 22.06.2019)


Meechot Marrero
Cornelia Kim (21.02.2019 | 19.06.2019 | 22.06.2019)


Amber Fasquelle
Rebecca Jo Loeb (21.02.2019)


Heidi Stober
Siobhan Stagg (09.02.2019 | 17.02.2019 | 21.02.2019)
Meechot Marrero (19.06.2019 | 22.06.2019)

Don José

Migran Agadzhanyan
Charles Castronovo (09.02.2019)
Robert Watson (17.02.2019 | 21.02.2019)
Joseph Calleja (19.06.2019 | 22.06.2019)


Bryan Murray
Philipp Jekal (19.06.2019 | 22.06.2019)


Noel Bouley
Byung Gil Kim (21.02.2019 | 19.06.2019 | 22.06.2019)


Samuel Dale Johnson
Dong-Hwan Lee (09.02.2019 | 17.02.2019 | 21.02.2019)


Andrew Dickinson
Ya-Chung Huang (09.02.2019 | 17.02.2019 | 21.02.2019)


Thomas Lehman

About the performance

Georges Bizet’s CARMEN was a deliberate and direct affront to the Romantic operatic tradition. The fiercely independent spirit of the eponymous heroine was the polar opposite of the passive suffering of the female characters that had populated the opera stage up to that point. Yet CARMEN is anti-Romantic in a larger sense: Bizet’s opera presents a world in which love as a feeling between two people is out of place and has long been supplanted by sex and violence. Carmen and Escamillo, the torero, are emblematic of this new society, where survival of the fittest is the only law that counts, a world where Don José, with his bourgeois ideal of love, remains an oddity, doomed to fail. With his clear-eyed view of the bleakness of the human condition Bizet lines up with novelist Emile Zola. In a rejection of the stereotypical image peddled by many productions, Bizet’s Spain casts the ugliness of poverty in a true light.

Our Sponsors

Kindly supported by Förderkreis der Deutschen Oper Berlin e. V.
The Children’s Chorus is ponsored by Dobolino e.V. [the support association for the Children’s Chorus of the Deutsche Oper Berlin] and Berliner Volksbank