Actor

The Dutchman is a cursed man, an outsider, a driven individual. Richard Wagner came upon the character of the famous drifter via Heinrich Heine, who lent the Romantic material his typically ironic touch. Wagner’s interest was tweaked not by Heine’s packaging of the story, which relegated the Dutchman-based action to the margins, but by the tale of the enigmatic mariner, which led to him writing his first opera about the man’s quest for a woman who could offer him redemption. The Dutchman, restlessly plying the borderlands between life and death, encounters Senta, who appears equally ill-at-ease and rootless and yearns for a masculine character, the Dutchman, a figment of her imagination.

Der fliegende Holländer

Deutsche Oper Berlin

“Blame it on the champagne, tra la la la la !” That’s the half-truth that the protagonists in Johann Strauss’s THE BAT sign up to at the end of a drink-fuelled night of mistaken identities and erotic escapades. But alcohol is only partly to blame; the confusion is largely due to the wiles of the humiliated Dr Falke, who was once exposed to small-town ridicule dressed in the costume of a bat and is now seizing his chance to avenge himself on his ‘good pal’, bon vivant Gabriel von Eisenstein. And so it is that the maid disguises herself as an actress, the wife as a Hungarian countess and Eisenstein himself as a French marquess and off they trot to Prince Orlofsky’s masked ball. That they end up bewailing their fate in jail early the next morning is less down to champagne than to the natural course of events. In THE BAT Johann Strauss pulled off a work that proved to be the prototypical Viennese operetta, bursting with waltzes and polkas and oozing wicked irony. Inspired by Offenbach’s opéras buffes from Paris, Strauss’s work was merciless in the way it held up a mirror to the bourgeois salon-going public - and many audience members recognised themselves in the absurd antics onstage.

Die Fledermaus

Figaro and Susanna, servants at the court of Count Almaviva, are soon to marry and are furnishing the lodgings that they’ve been allotted in the Count’s castle. Figaro is gleefully taking measurements for the conjugal bed, but Susanna is worried: the Count’s passion for his wife has long since cooled, meaning that he might invoke his “right to the first night”. Figaro is determined that it won’t come to that, but another issue is plaguing him too: before lending him a sum of money, Marcellina, the Count’s housekeeper had wrung from him a pledge to marry her if he defaulted, and that time has now come. To complicate matters, in the Countess’s chambers Susanna is asked by the Count’s page, Cherubino, to put in a word for him because he’s been fired for a dalliance with Barbarina, the Count’s gardener’s daughter. The Count enters suddenly and tries to negotiate a tryst with Susanna, forcing Cherubino to hide, whereupon Basilio the music teacher arrives, and finally Figaro. The situation heats up and the only person to keep a handle on things is Susanna.

Le nozze di Figaro

How terrible must life be if you can’t laugh? Sergei Prokofiev’s opera The Love for Three Oranges is about a king who wishes to help his sick son. But only one thing can cure the malady of the heir to the throne: laughter. While the doctors are trying their luck, Truffaldino and Fata Morgana get into a fight, during which the latter is knocked over.

The Love for Three Oranges

Semperoper Dresden

It’s the most performed opera in the German-speaking region, an unusual – and masterly – blend of Viennese folk theatre and fairy tale, mythology and freemasonry mystique: Mozart’s THE MAGIC FLUTE remains a puzzle to this day. Did Mozart and his librettist Schikaneder switch horses from the Queen of the Night to Sarastro half way through? Is the message not one of distrust towards a supposedly infallible priesthood and its simplistic good-versus-evil ideology? Are some Mozart experts right when they talk of a disconnect between text and music? Whatever the answer, it’s the music that allows us to relate to the story’s contradictions. Far from denouncing the characters, it confers an existentiality on their conflicts.

The Magic Flute

Calaf has solved Princess Turandot's riddles. But Turandot categorically refuses to marry the stranger, so Calaf offers her a way out. If she knows his name by the next day, he will kill himself and she will remain unmarried. And so an entire country sets out in search of this one name, and no one is allowed to sleep that night: ‘Nessun dorma’. In this act, you will experience how love can still blossom from this situation.

What's coming up? ... Turandot, Act 3

King Henry I, “the Fowler”, is in Brabant to hold the Assizes and assert the nobles’ duty to provide militias to assist in military campaigns. Since the death of the Duke of Brabant, however, the succession has been a source of conflict. His children, Gottfried and Elsa, are wards of Count Telramund, but Gottfried has vanished and Telramund suspects Elsa of having killed him. A duel between her accuser and Elsa’s champion is organised to decide the issue. At the last moment a knight appears in a boat drawn by a swan, ready to defend Elsa’s honour. He is also prepared to take her as his wife on condition that she never ask him his name or where he hails from. Elsa agrees and the knight defeats Telramund.

Lohengrin

EMERSION concludes the two-part Hinterhalt series of the 2024/25 season at the Tischlerei. Thematically following on from IMMERSION (September 2024), director Ariane Kareev looks for connecting elements and parallels between the new productions of the entire season and continues the themes raised from today's perspective. The result is a transdisciplinary evening with contemporary artistry, real-time visuals and techno.

Emersion

What would I give my life for? How can I stand up for love and freedom? In Beethoven's opera, Leonore has to face existential questions. Her husband Florestan has openly spoken out about social injustice and disappeared into prison. Leonore dares everything and - disguised as Fidelio - sets out to free him. The role has been sung many times by the exceptional singer Evelyn Herlitzius. In Wiesbaden she directed the production for the first time and tells the story of the political prisoner Florestan and his liberator Leonore as a question about the people behind the heroism.

Fidelio

Hessisches Staatstheater Wiesbaden

The Antichrist makes his entrance into a godless world. Sent by Lucifer into the world, he adopts many guises. Mankind is tested and tempted by pride, lust, lies, despondency and hatred in an “all-against-all altercation”. Langgaard’s opera is suffused with fin de siècle atmosphere and pessimism, warning of catastrophe and denouncing the vices of the modern age: egotism, arrogance, frivolity. Langgaard, though, was also an optimist, convinced of the transformative, transcendental power of art and the importance of music as a thread connecting people to the godhead. So it is that the world is freed of all evil and sorrow in the culminating chorus scene in ANTIKRIST.

Antichrist

Classical art songs and modern poetry – lieder recital meets poetry reading in this series of events organised jointly with the Haus für Poesie Berlin. Each of the four evening events held in the foyer of the Deutsche Oper Berlin will feature a poet reading original works whose themes complement the songs on the programme.

Songs and Poets: Drink soul! Drink loneliness!

Johann Strauss’s »Die Fledermaus« from 1874 is a masterpiece of Viennese operetta: In order to take revenge on his friend Eisenstein, Dr. Falke (alias Die Fledermaus) stages a game of mistaken identities at Prince Orlofsky’s ball, where the guests include a Marquis and a Chevalier, a Hungarian countess and budding artists. However, nobody is who they claim to be. The masquerade and trickery end with the entire group of partygoers in prison. When the masks finally fall and extramarital shenanigans come to light, Falke’s revenge is complete. This production by Günter Krämer has been delighting Semperoper audiences since 2003 with classic numbers such as the Watch Duet, the Czárdás or Adele’s »Mein Herr Marquis« as well as the witty dialogue, updated with some amusing contemporary references. With diamond-sharp irony amidst the champagne glasses, »Die Fledermaus« is a great evening’s entertainment… and not just at the New Year!

How terrible must life be if you can’t laugh? Sergei Prokofiev’s opera The Love for Three Oranges is about a king who wishes to help his sick son. But only one thing can cure the malady of the heir to the throne: laughter. While the doctors are trying their luck, Truffaldino and Fata Morgana get into a fight, during which the latter is knocked over. When her mishap causes the Prince to laugh, she quickly places a curse on him: he is destined to fall in love with three oranges. The Prince and Truffaldino immediately set off on a hair-raising journey that finally takes them to a desert – a trip that can be seen as a balancing act between fantasy and reality. Here parody is tinged with tragedy and a touch of the grotesque.

In their second collaboration after LE NOZZE DI FIGARO Wolfgang Amadeus Mozart and Lorenzo da Ponte drew on the Spanish legend of Don Juan. Earlier popularity aside, the protagonist only attained the mythical dimensions of a heroic archetype in Mozart’s operatic version, which went on to inspire countless reimaginings of the material and philosophical readings by E. T. A. Hoffmann, Søren Kierkegaard et al. A raft of musical pieces from DON GIOVANNI, ranging from arias and the famous overture to duets, trios and ensembles, have seared themselves into our collective awareness.

Don Giovanni

After a day full of opera, backstage experiences, children's programmes, stage shows and more, arias and ensembles from premieres and revivals will be performed. You can look forward to our orchestra, the chorus, and many soloists who will get you in the mood for an exciting and musical season 24/25.

Season Opening Concert 24/25

In a courtyard of the Mycenaean palace servant girls speak disparagingly about Elektra. Elektra has not got over the murder of her father, Agamemnon, and the idea of revenge dominates her thoughts. Only one of the maidservants shows sympathy for her and is punished as a result. Elektra is yearning for the moment when vengeance will be hers and fully believes that it will come about by the actions of her brother, Orest, who was brought up in a distant region. Her sister, Chrysothemis, finds Elektra’s existence hard to bear and attempts to protect her from their mother, who has evil intentions. Chrysothemis wants to leave that awful place along with her sister so that they can live in freedom. Their mother Clytemnestra, who has been plagued by nightmares since she killed her husband, asks her daughter Elektra for help and while their conversation lasts it seems as if the two women might be reconciled. But Elektra’s hatred flares up again when Clytemnestra lies to her daughter over the whereabouts of her son, Orest. Elektra replies ambiguously to Clytemnestra’s question about the remedy for her anguish and fear, telling her mother that once the proper animal has been sacrificed under the axe her bad dreams will cease. Two strangers arrive and report the death of Orest. Elektra expresses her desire to ally with Chrysothemis in committing the deed, but her sister cannot contemplate such a thing. Determined to avenge herself, Elektra resolves: “Fine, then, I’ll do it alone!” One of the strangers moves closer to Elektra; shaken at the sight of her physical and emotional state, he allows her to see who he is: Orest. He exits to do the deed and presently Clytemnestra’s screams can be heard as she dies. Whereupon Elektra lures Aegisthus into the palace and he is killed by Orest as well. Agamemnon has been avenged. Nonetheless, Elektra stays in the palace feeling no sense of relief; she dances herself to death.

Elektra

Salome lives at the decadent court of her mother Herodias and her stepfather Herod, surrounded by intrigue and moral decay. She projects her sensual and erotic desires onto the imprisoned, ascetic prophet Jochanaan – but when he rejects her in disgust, her obsession escalates to monstrous proportions. She demands Jochanaan's head from Herod on a silver platter, thereby sealing her own downfall...

Actor

Flurina Stucki

Events

Upcoming events

Sep 27, 2025 - Jun 14, 2026

The Magic Flute · Deutsche Oper Berlin

21 - 27 Feb, 2026

Elektra · Deutsche Oper Berlin

May 2 - Jun 7, 2026

Salome · Landestheater Coburg

Past events

18 - 28 Jan, 2026

Der fliegende Holländer · Deutsche Oper Berlin

Dec 20, 2025 - Jan 3, 2026

Die Fledermaus · Deutsche Oper Berlin

Future and recently performed repertoire

Singer in Sechs Lieder by Strauss

Deutsche Oper Berlin

Turandot in Turandot by Puccini

Deutsche Oper Berlin

Rosaline in Die Fledermaus by Strauss

Semperoper Dresden

Singer in Four Last Songs by Strauss

Deutsche Oper Berlin

Singer in Seven Early Songs by Berg

Deutsche Oper Berlin

Fata Morgana in The Love for Three Oranges by Prokofiev

Semperoper Dresden

1st lady in The Magic Flute by Mozart

Deutsche Oper Berlin

Elsa in Lohengrin by Wagner

Deutsche Oper Berlin

Senta in Der fliegende Holländer by Wagner

Deutsche Oper Berlin

Salome in Salome by Strauss

Landestheater Coburg

Chrysothemis in Elektra by Strauss

Deutsche Oper Berlin

Donna Anna in Don Giovanni by Mozart

Deutsche Oper Berlin

Rosalinde, Eisenstein's wife in Die Fledermaus by Strauss

Deutsche Oper Berlin

Leonore in Fidelio by Beethoven

Staatstheater Wiesbaden

Duchess Almaviva in Le nozze di Figaro by Mozart

Deutsche Oper Berlin

The Great Whore in Antikrist by Langgaard

Deutsche Oper Berlin

Singer in Nachtstücke by Reimann

Deutsche Oper Berlin

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