Ehrenmitglied des Orchesters

Vicco von Bülow (Loriot)

Orchestervorstand

Vorsitzende Claudia Schönemann

Stellvertretender Vorsitzender Juan Pechuan Ramirez

Weitere Mitglieder Kaja Beringer — Rainer Döll — Bernd Terver

1. Violinen

1. Konzertmeister Reinhold Wolf** — N. N. — N. N.

Stellvertretende Konzertmeisterin Indira Koch — Elisabeth Glass — Sara Etelävuori

1. Violine / Vorspielerin Tina Kim

1. Violinen Walter Martin Brünig* — Michael Winker* — Claudia Schönemann* — Stephan Joppien*  — Dietmar Häring* — Piotr Prysiaznik* — Annette Read-Becker* — Martina Greiner*  — Franziska Genetzke — Keiko Kido-Lerch — Darja Jerabek — Yukari Aotani-Riehl — Céline Corbach — Elisa Turri — Hannah Müller

2. Violinen

Stimmführerin Monia Rizkallah

Stimmführer Ikki Opitz

Stellvertretender Stimmführer Kai Franzke* — Daniel Draganov

Vorspielerin Anne Schinz — Magdalena Makowska

2. Violine Friedrich-Burkhard Steininger* — Thomas Berg* — Thomas Grote* — Annegret Schulze* — Rainer Döll* — Kaja Beringer* — Ivonne Hermann — Chié Peters — Iris Menzel* — Kurara Tsujimoto — Esther Feustel — Gabriele Mollicone

Bratschen

Solobratscher Andrei Gridchuk*

Stellvertretende Solobratschistin Kirsikka de Leval Jezierski — Öykü Canpolat

Vorspielerin Yi-Te Yang

Bratschen Irmgard Donderer-Simon* — Axel Goerke*  — Lothar Weiche* — Liviu Condriuc* — Juan Lucas Aisemberg* — Alexander Mey — Sebastian Sokol — Manon Gerhardt — Mariana Vozovik

Violoncelli

Solocellist Arthur Hornig — Arne-Christian Pelz

Stellvertretender Solocellist Johannes Mirow*

Stellvertretende Solocellistin Maria Pstrokonska-Mödig

Vorspieler Johannes Petersen*

Violoncello Birke Mey* — Georg Roither* — Ulrike Seifert — Claudio Corbach — Margarethe Niebuhr — Stephan Buchmiller

Kontrabässe

Solo-Kontrabassist Christoph Langhammer*

Stellvertretender Solo-Kontrabassist Florian Heidenreich*

Kontrabass Alexander Adelmann* — Bernd Terver — Sebastian Molsen — Martin Schaal — Katri-Maria Leponiemi

Flöten

1. Solo-Flötist Eric Kirchhoff — Robert Lerch

Stellvertretender Solo-Flötist Jochen Hoffmann

1. Solo-Piccoloflötist und Flötist Wolfgang Dasbach

Flötistin Tina Bäcker

1. Solo-Piccoloflötistin und Flötistin Akiko Asai

Oboen

1. Solo-Oboistin Dina Heidinger

1. Solo-Oboist Juan Pechuan Ramirez

Stellvertretender Solo-Oboist Holger Burke

Oboist / Englisch-Hornist Rafael Munoz Contel

Solo-Englischhornistin / Oboistin Iveta Hylasova Bachmannova — Chloé Payot

Klarinetten

1. Solo-Klarinettist Matthias Höfele — Sebastian Lehne

Klarinettist Reinhard Schönemann*

Klarinettist / Bassklarinettist Rainer Greis* 

Bassklarinettist / Klarinettist Dieter Velte*

Fagotte

Solo-Fagottist Selim Aykal 

Stellvertretender Solo-Fagottist Paul-Gregor Straka

Fagottist Holger Simon* 

Solo-Kontrafagottist / Fagottist Thomas Kollikowski* 

Hörner

1. Solo-Hornist Daniel Adam — Pierre Azzuro — Norbert Pförtsch-Eckels

2. Hornist Hans Jürgen Zschäbitz* — David Brox

3. Hornist Roland Wußler*

4. Hornist Hirotatsu Ishikawa — Gail Wiest*

Trompeten

1. Solo-Trompeter Martin Wagemann — Bertold Stecher

Stellvertretender Solo-Trompeter Thomas Schleicher

Trompeter Yael Fiuza Souto — Joachim Weigert* — Ulrich Riehl

Posaunen

1. Solo-Posaunist Guntram Halder — Jamie Williams

Stellvertretender Solo-Posaunist Rúben Tomé

Posaunist / Bassposaunist Jan Donner

Bassposaunist Bernd Mazelka*

Kontrabassposaunist / Bassposaunist Thomas Richter

Tuben

Tubisten Ulrich Wittke-Hußmann* — Vikentios Gionanidis

Pauken und Schlagzeug

1. Solo-Pauker Benedikt Leithner — Bart Jansen

Stellvertretender Solo-Pauker / Schlagzeuger Ralf Gröling*

1. Schlagzeuger Björn Matthiessen — Rüdiger Ruppert*

Schlagzeuger Thomas Hoffmann* — Thomas Döringer*

Harfen

1. Solo-Harfenistinnen Maria Smirnova* — Virginie Gout-Zschäbitz*

Orchesteradministration

Orchesterdirektor Axel Schlicksupp

Orchesterbüro Julia Lawrenz — Wiebke Fuhrmann-Klemmer — Romana Koch

Bibliothek Elisabeth Herpin — Philipp Lawton

Buchbinderin Ute Wegener

Orchesterwarte Gerriet Ludwig — Klaus Brandes — Dongsu Schick — Sierk Ludwig — Dennis Patalas — Hanns Lupp  — Thomas Schenk — Thomas Kohler

*   Kammermusiker/in
** Kammermusiker/in und Kammervirtuose/in

Donald Runnicles, a Scotsman by birth, has held the position of General Music Director of the Deutsche Oper Berlin since 2009. Since 2006 he has headed the Grand Teton Music Festival and been Principal Guest Conductor of the Atlanta Symphony Orchestra. He was also Principal Conductor of the BBC Scottish Symphony Orchestra from 2009 to 2016, when he assumed the role of “Conductor Emeritus”.

He made his debut at the Deutsche Oper Berlin in 1989 with Verdi’s IL TROVATORE. In 2007 he created waves with his tour-de-force rendition of two cycles of DER RING DES NIBELUNGEN. Since taking up his post he has presided over the premieres of LES TROYENS, TRISTAN UND ISOLDE, DON CARLO, JENUFA, LOHENGRIN, PARSIFAL, PETER GRIMES, FALSTAFF, BILLY BUDD, LA DAMNATION DE FAUST, LADY MACBETH OF MTSENSK DISTRICT, ROMEO AND JULIET, THE MAKROPULOS AFFAIR, DIE ENTFÜHRUNG AUS DEM SERAIL, COSI FAN TUTTE, DEATH IN VENICE, DER FLIEGENDE HOLLÄNDER and the world premiere of L’INVISIBLE. He has also conducted performances of HÄNSEL AND GRETEL, MANON LESCAUT, DER ROSENKAVALIER, OTELLO, TANNHÄUSER, PELLEAS ET MELISANDE, DON GIOVANNI, TOSCA, DIE MEISTERSINGER VON NÜRNBERG, DER RING DES NIBELUNGEN and other works.

Runnicles studied in Edinburgh and Cambridge but began his career in Germany, working at a variety of posts that included general music director in Freiburg. His 1988 debut in the USA, when he took over the baton of a production of LULU at the New York Met at very short notice, was a sensation. Two years later he was officiating for DER RING DES NIBELUNGEN at the San Francisco Opera, which led to his installation there as Music Director, a position he held from 1992 to 2009. During his time in San Francisco he conducted over 60 productions, among them world premieres of Adams’s DOCTOR ATOMIC, Susa’s THE DANGEROUS LIAISONS and Wallace’s HARVEY MILK.

He is a regular guest at leading opera houses of international repute and is widely considered one of the world’s major conductors of both symphonies and opera. He has conducted at the festivals of Bayreuth, Glyndebourne and Salzburg, at the Metropolitan Opera New York, the Opéra National de Paris, La Scala in Milan, the Staatsoper Unter den Linden, the Oper Köln, the Bayerische Staatsoper in Munich, the Hamburgische Staatsoper, the Königliche Oper in Copenhagen, the Oper Zürich and the Netherlands Opera. He maintains particularly strong links to the Wiener Staatsoper, where he conducts DER RING DES NIBELUNGEN on a regular basis. His other Vienna premieres have been LADY MACBETH OF THE MTSENSK DISTRICT, PARSIFAL, BILLY BUDD and DIE TOTE STADT at the Wiener Staatsoper and THE FIERY ANGEL and DEATH IN VENICE at the Theater an der Wien.

Runnicles collaborates regularly with the Sächsische Staatskapelle Dresden, the Tonhalle Orchester Zürich, the Royal Concertgebouw Orchestra, the Chicago Symphony Orchestra, the Philadelphia Orchestra, the Cleveland Orchestra, the Sydney Symphony Orchestra and the Berliner and Wiener Philharmoniker.

He has been involved in many live recordings. These include full-scale recordings of HÄNSEL AND GRETEL, ORPHEE ET EURIDICE, BILLY BUDD and TRISTAN UND ISOLDE. In 2013 his CD of Wagner arias featuring Jonas Kaufmann and the orchestra of the Deutsche Oper Berlin was rated Vocal Recording of the Year by Gramophone Magazine. The DVD recording of JENUFA with the orchestra and chorus of the Deutsche Oper Berlin was nominated for a “Best Opera Recording” Grammy in 2015. May 2018 will see the release by Oehms Classics of a recording of the world premiere of Aribert Reimann’s L’INVISIBLE with the orchestra of the Deutsche Oper Berlin, conducted by Donald Runnicles.

Parallel to his activities as a conductor, Donald Runnicles is also a sought-after pianist and appears in chamber concerts and as an accompanist.

For services to music Donald Runnicles has been awarded honorary doctorates by Edinburgh University, the San Francisco Conservatory of Music and the Royal Scottish Academy of Music and Drama and is a holder of the Royal Medal of the Royal Society of Edinburgh. In 2004 Queen Elizabeth II appointed him to the Order of the British Empire (OBE).

2012 marked the 100^th anniversary of the Deutsche Oper Berlin and with it the opera house’s renowned orchestra. The remarkable history of this orchestra is closely linked to the city’s own tale. When a group of Berliners founded their own opera over a century ago - a house that, dispensing with private boxes and offering unimpeded views of the stage regardless of seat position, was the embodiment of a “democratic” ideal - their act was tantamount to a minor revolution. In the 1920s famous personages such as Wilhelm Furtwängler and Bruno Walter were regular guest conductors at the Deutsche Oper Berlin and the first gramophone recordings date back to that period. The opera house fell victim to aerial bombardment in the Second World War and the company spent many years performing at substitute venues before the opera house reopened in 1961 in the Bismarckstraße, its current premises. Since then the Deutsche Oper Berlin has not only been the city’s largest opera venue, with 1860 seats, outstanding acoustics and excellent overall views of the stage, but has also enjoyed a reputation as one of the prime addresses for world opera.

A sparkling array of conductors has graced the orchestra podium, either as guests or as principle conductors. They range from Lorin Maazel and Herbert von Karajan to Giuseppe Sinopoli and Christian Thielemann, the latter serving as General Music Director from 1997 to 2004. Since 2009 the Orchestra of the Deutsche Oper Berlin has had a principal conductor of international standing in the form of Donald Runnicles. The great relationship between the orchestra and Runnicles is set to continue until 2018 following the early renewal of his contract.

One of the key areas of focus of the Deutsche Oper Berlin concerns the works of Richard Wagner and Richard Strauss. The orchestra’s Wagner tradition has resulted in many of its musicians performing as members of the Bayreuth Festival Orchestra. Another major characteristic of the orchestra is its ongoing interest in contemporary music. Numerous composers have worked closely with the orchestra. The most recent example is Helmut Lachenmann, who collaborated intensively in the run-up to performances of his opera, DAS MÄDCHEN MIT DEN SCHWEFELHÖLZERN. In the autumn of 2017 the opera house hosted the premiere of L’INVISIBLE, the fruit of its latest collaboration with Aribert Reimann, who has an extensive record of premieres performed by the orchestra of the Deutsche Oper Berlin. Preparations for the new opera by Detlev Glanert, OCEANE, are scheduled for the 2018/19 season.

Aside from its opera productions the orchestra of the Deutsche Oper Berlin presents leading soloists in its regular symphony concerts both in the Bismarckstraße and at the Berlin Philharmonie. Parallel to this main fare the programme is peppered with concerts performed by a variety of ensembles comprising members of the orchestra – from string quartets to big-band ensembles. The orchestra’s discography extends to almost 200 titles, including numerous outstanding recordings. In its most recent venture into the recording studio the orchestra of the Deutsche Oper Berlin provided the accompaniment for tenor Jonas Kaufmann in a Wagner recital. The CD resulted in a shower of awards, including the “Echo Klassik” prize for Jonas Kaufmann. The DVD of Leoš Janáček’s JENUFA, featuring the orchestra and chorus of the Deutsche Oper Berlin under the baton of Donald Runnicles, was nominated in 2015 for the “Best Opera Recording” Grammy. The recording of Aribert Reimann’s L’INVISIBLE will be followed by Erich Wolfgang Korngold’s DAS WUNDER DER HELIANE [HELIANE’S MIRACLE].

Back in the 1983/1984 season, when Götz Friedrich and the board of the Deutsche Oper Berlin orchestra had the idea of training young prospective members of the orchestra in an academy, the practice of using an operatic orchestra to foster talent was quite new.

Young musicians who are currently receiving college training that is of high quality but usually geared to the soloist’s repertoire are given the chance, in the Deutsche Oper Berlin orchestra, to learn the key works of the opera’s repertoire and experience the daily life of a professional at first hand. In one-to-one instruction and in group orchestra work they are monitored and assisted by tutors, mostly by the orchestra concertmasters and principals. The trainees are able to take part in rehearsals, concerts and opera performances if they have become fully familiar with the works with their tutors beforehand.

Much attention is also paid to the nurturing of chamber music, which is why Academy trainees are given their own chamber concert slot in the chamber music schedule within any given season’s programme. Each new year sees gifted young students from German music colleges auditioning for a place in the Orchestra Academy of the Deutsche Oper Berlin. Only a few are accepted.

Training usually last a year and is partly funded by a grant. An important element of the programme is devoted to preparing trainees for the process of auditioning for a future place on an orchestra. For this reason, since the 2011/12 season the Orchestra Academy of the Deutsche Oper Berlin has also been offering special audition coaching and mock auditions.

And the young trainees are not the only people to benefit from this extraordinary tutoring; the Orchestra itself benefits. This is because beyond a level of instrumental proficiency and a high degree of musicality the budding professionals must also show that they have an idea of sound and tonality that gels with this orchestra and justifies their induction into it. This allows gifted individuals to be developed at the Academy into professionals who can perpetuate the tonal tradition of the orchestra of the Deutsche Oper Berlin. Around a fifth of current orchestra members are former trainees at the Orchestra Academy.

In the 2019/2020 season the Deutsche Oper Berlin welcomed the following trainees to the Orchestra Academy:

Frans van Schoonhoven, Naoki Yamaguchi, Emily Mücke, Charlotte Veihelmann, Raphaëlle Zavattero, Giulia Sofia Scilla (violin), Lina-Marie Däunert (viola), Xinchi Wang, Anne-Claire Dani (violoncello), Kevin Zenteno (double bass), Silvia Rozas Ramallal (flute), Pedro Silva (horn), Maria Lantos (trumpet), Marie Zimmer (harp), Lukas Zeuner (percussions).

Trainees must attend 10 times per month. The monthly allowance is currently set at € 900.00. Auditions for the Academy normally take place in May and June.

Applications should be made in writing to: Stiftung Oper in Berlin, Deutsche Oper Berlin / Orchesterdirektion, Postfach 100280, 10562 Berlin.

For information on the Academy please contact: Kaja Beringer (Orchestra Board)

1. Konzertmeister*in
(Sondervertrag)
Pflichtstücke: ein Mozart-Konzert und ein großes romantisches Konzert nach Wahl
Probespieltermin wird noch bekannt gegeben

Stellvertretende*r Konzertmeister*in 50%
Pflichtstücke: ein Mozart-Konzert und ein großes romantisches Konzert nach Wahl
Probespieltermin wird noch bekannt gegeben

2. Violine (tutti)
Pflichtstücke: ein Mozart-Konzert und ein großes romantisches Konzert nach Wahl
Probespieltermine am 19. und 20. Mai 2020

Bratsche (tutti)
Pflichtstücke: Hoffmeister oder Stamitz, Bartók oder Walton
Probespieltermine am 4. und 5. März 2020

Solo-Kontrabass
Pflichtstücke: Dittersdorf-Konzert und ein Konzert nach Wahl
Probespieltermin wird noch bekannt gegeben

Stellv. Solo-Kontrabass
Pflichtstücke: Dittersdorf-Konzert und ein Konzert nach Wahl
Probespieltermin wird noch bekannt gegeben

Klarinette 50% 
mit Verpflichtung zur Es-Klarinette
Pflichtstücke: Mozart-Konzert und Molter-Konzert Nr. 1 in A Dur
Probespieltermin wird noch bekannt gegeben

Die Vergütung erfolgt nach TVK (A/F1) plus HTV-Zulage € 670,00;
Endgrundvergütung nach bestandenem Probejahr.

Bewerbungen (bitte nur Kopien) erbeten an die
Stiftung Oper in Berlin
Deutsche Oper Berlin – Orchesterdirektion –
Postfach 10 02 80 – 10562 Berlin

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