Deutsche Oper Berlin

On stage, Christa Ludwig's Leonore puts all others in the shade. In this role, she achieves something rare: a perfect unity of stage character and singer. Her male disguise is believable; this Fidelio is a slender, lanky young man with whom it is easy to imagine the silly Marzelline falling in love.

Staged by Sellner, conducted by Maazel with costumes by Sanjust and performed by the six soloists with consummate vocal elegance, Cimarosa's "Secret Marriage" offers unadulterated pleasure and triggers a kind of ecstasy with its combination of delicacy and opulence as well as its sophisticated humor. It brings Cimarosa's musical mastery to the fore - but also the visual impact of the opera. The stage is no longer a place of intellectual barrenness, but once again a playground, a sparkling showcase of wit and intellect.

Franz Schreker’s career was cut short by the events of 1933 in Germany but he achieved real fame with his operas, and the huge success of Der Schatzgräber (‘The Treasure Hunter’) in the 1920s was the high point of his career. In a complex and ultimately tragic tale of destructive greed, desire and toxic social hierarchy, the innkeeper’s daughter Els is forced to confront the consequences of her murderous intent in what conductor Marc Albrecht considers ‘a work of exceptional quality, concentration and significance’. Following the huge success of Korngold’s Das Wunder der Heliane (Naxos DVD 2.110584–85 / Blu-ray NBD0083V), director Christof Loy continues his exploration of strong female characters and neglected 20th-century masterpieces with this highly acclaimed Deutsche Oper Berlin production.

This 2021 Deutsche Oper Berlin performance is directed by Christof Loy and stars soprano Sara Jakubiak in the title role. Riccardo Zandonai’s Francesca da Rimini is a four-act opera set during the Renaissance period. The plot concerns an arranged marriage between Francesca and Giovanni, also known as Gianciotto, who is impersonated by his handsome brother Paolo, and with whom Francesca falls passionately in love.

The production by Deutsche Oper Berlin achieves a beautiful balance between the stage drama and the music. It proves that there are still singers who can perform Verdi's melodies at the highest level and that it is also possible to bring them together into an ensemble. The production fulfills all one's expectations of the modern city of Berlin in terms of stylishness and performance.

At first glance, Hofmannsthal's libretto ARABELLA is a comedy of mistaken identity which, had it been composed by Rossini, could have been a snappy buffo opera. But the music of Richard Strauss, who pulls out all the stops of his orchestral art, from the late romantic intoxication to the most modern discord, creates a subtle, colorful panorama of a society in transition, whose late-bourgeois values ​​are crumbling. One's own identity and interpersonal relationships have to be tested from scratch. Central is – even more than the title character, who oscillates between romance and rebellion – Arabella's younger sister Zdenka, who, disguised as a man by her parents for lack of money for girls' clothes befitting their status, has to struggle all the more desperately with her/his role as an outsider.

Jonathan Tetelman and Vida Miknevičiūtė lead the cast in the Deutsche Oper's highly anticipated new production of Giordano's Fedora – a verismo gem that mixes elements of international espionage and intrigue with grand romance, all set to music of irresistible melodic power. Continuing his series of acclaimed stagings of early 20th-century Italian operas at Deutsche Oper, Christof Loy promises to bring a characteristic mixture of intelligence and style to Giordano's work, while the world-class cast – conducted by John Fiore – guarantees a feast for lovers of great singing. A gripping operatic treat for aficionados and newcomers alike.

Of the five premieres produced during a four-month period, Mozart's "Don Giovanni" on the first night attracted an illustrious audience. In addition to the President of the Federal Republic of Germany and a selection of diplomats and politicians, high-ranking guests included theatrical directors from West Germany and other Western European countries, composers, conductors, actors, writers, painters and sculptors, not to mention rectors and lecturers from Berlin's universities and the world's leading music critics. [...] The success was commensurate with the significance of the occasion. All involved in the performance received countless ovations in front of the magnificent yellow curtain. The new building - and the new stage with its state-of-the-art technology - had shown itself to be more than capable of handling Mozart's most demanding work.