Singer

Lieutenant Pinkerton has fallen in love with the geisha Cio-Cio-San, known as Madama Butterfly, and wants to marry her according to Japanese custom without entering into a permanent relationship. But Butterfly truly loves Pinkerton and has a child by him. For years she waits in vain for the lieutenant to return. When Pinkerton does return, he arrives with his new American wife to pick up the child, and Butterfly stabs herself with a dagger.

Madama Butterfly

Bebelplatz

Jacques Offenbach composed more than 100 operas and operettas, most of them with unique wit and biting satire, original and inspired. At the end of his illustrious career in Paris, which stretched over five decades, he turned to his most ambitious operatic work Les Contes d’Hoffmann (The Tales of Hoffmann), an opéra fantastique based on a play that premiered in 1881.

Les Contes d’Hoffmann

The setting is Carthage, in ancient times: the hero Aeneas flees from burning Troy and arrives in North Africa via the Mediterranean Sea with his fleet of ships, where he meets the beautiful queen Dido. They are lovestruck – and yet fail to bond because of fate’s intervention. Aeneas continues on his journey to form a new kingdom in Italy, while the abandoned Dido is left no alternative but to stay.

Dido & Aeneas

The Norn’s rope of destiny breaks, the world falls apart and the gods idly watch their own demise. People fight to claim power. Brünnhilde and Siegfried are drawn into these power struggles, essentially initiated by Hagen, the son of the ring’s first owner, Alberich. Siegfried dies: however, his death is the harbinger of a catastrophe from which hope for something new can arise.

Götterdäm­merung

The Nibelung dwarf Alberich robs the Rhinemaidens of the Rhinegold to forge a ring that confers "endless power". Meanwhile, Wotan, the father of the gods, is forced into action. To reward the giants Fasolt and Fafner for building the castle Valhalla, he steals the Nibelungs’ treasure with the help of Loge, the cunning fire god. Alberich curses the ring and all its future owners – the tragedy takes its course.

Das Rheingold

Violetta Valéry is a noble courtesan in Paris who has "strayed from the path of virtue" and leads a life that oscillates between splendour and misery. For her everything is a game – even love – until Alfredo Germont awakens true feelings in her. But this rare happiness only lasts fleetingly for Violetta, who suffers from tuberculosis, and who is first publicly humiliated before passing away.

La traviata

Several times a year, the Apollo Hall is transformed into a Lied Salon and a performance space for choral music. Soloists from the State Opera ensemble and members of the International Opera Studio cultivate the genre of art song in all its richness and diversity, while the various choral ensembles based at the opera house develop and perform their own programs.

EPSG:4326

Song recital Evelin Novak & Natalia Skrycka

Apollosaal

At his local Prague bar, the landlord Brouček has a reputation for being a petty philistine. He himself is tired of dealing with insolvent renters and dreams of getting away from all the daily hassle. When one night he has had one beer too many, his wish comes true in a miraculous way with two fantastic excursions: first, Brouček lands on the moon inhabited by a strange, overly intellectual society of artists. Then he finds himself in medieval Prague, stuck between the fronts of a battle between the confessions, and is about to go to war on the side of the Hussites.

The Excursions of Mr. Brouček

Anknüpfend an die Premiere von György Kurtágs Oper Fin de partie (nach dem Drama von Samuel Beckett), die im Januar 2025 in der Staatsoper Unter den Linden stattfindet, widmen sich Dirigent Finnegan Downie Dear und die Staatskapelle einem weiteren Werk dieses bedeutenden ungarischen Komponisten. In What is the word wird der gesamte Pierre Boulez Saal zur Spielfläche für diese faszinierende Komposition mit Worten Samuel Becketts von 1990/91. Eingerahmt wird das Werk mit Musik von Béla Bartók und Franz Schubert, die in besonderer Weise klassische Formen reflektieren. Schuberts 5. Sinfonie knüpft an die große Tradition der Wiener Klassik an.

Konzert im Pierre Boulez Saal

Pierre Boulez Saal

Like a call issuing from a mythical distant past, Richard Strauss’ Elektra summons the magic of eerie gloom and archaic brutality. An almost inevitable 'tremendous increase to the very end' (Strauss) in musical tension plunges the listener deep into Electra’s world, which is shaped by grief, pain, and thirst for vengeance. Humiliated and tormented by her family, Electra, the daughter of the king of Mycenae, devotes her life to a single obsessive goal: day in and day out, she invokes the memory of her father, who was murdered treacherously by her mother Clytemnestra and Clytemnestra’s lover Aegisthus, and she waits for the return of her brother Orestes, who is supposed to avenge his father’s murder. The deed must be paid back in kind. Vacillating between hatred, hysteria, weakness, hubris, deep sadness, obsession and sarcasm, Electra has lost every connection to the people around her. She is unkempt and has rejected her femininity.

Elektra

It is one of the classics in the Staatsoper’s repertoire: August Everding’s production of Wolfgang Amadeus Mozart’s The Magic Flute. The production is unique for its reconstruction of Karl Friedrich Schinkel’s 1816 set design for what was then the Berlin Court Opera on Unter den Linden – including the legendary starry sky for the Queen of the Night, which has become an icon of scenography and continues to enchant audiences.

Die Zauberflöte (Everding)

With his poetic opera The Cunning Little Vixen, Leoš Janáček brought nothing less than the eternal cycle of becoming and passing to the stage. It tells the life story of the young, rebellious vixen Bystrouška, or Sharp Ears, who is captured by the forester and starts a revolution at his homestead before she succeeds in escaping. Back in the freedom of the forest, she founds a family with a fox and is then shot by a poacher. The seemingly so civilized human world looks wistfully at wild nature, which follows its own laws of life and love.

Mezzo-soprano

Natalia Skrycka

Events

Upcoming events

Nov 16, 2025 - Mar 22, 2026

Les Contes d’Hoffmann · Staatsoper Berlin

Nov 30, 2025 - Apr 30, 2026

Madama Butterfly · Staatsoper Berlin

Dec 13, 2025 - May 24, 2026

Die Zauberflöte (Everding) · Staatsoper Berlin

Feb 28 - Mar 15, 2026

Das schlaue Füchslein · Staatsoper Berlin

Past events

Nov 30, 2025 - Apr 30, 2026

Madama Butterfly · Staatsoper Berlin

Nov 16, 2025 - Mar 22, 2026

Les Contes d’Hoffmann · Staatsoper Berlin

Future and recently performed repertoire

Three ladies in Die Zauberflöte by Mozart

Staatsoper Berlin

Wellgunde in Götterdämmerung by Wagner

Staatsoper Berlin

Suzuki in Madama Butterfly by Puccini

Staatsoper Berlin

Wellgunde in Das Rheingold by Wagner

Staatsoper Berlin

Dido in Dido and Aeneas by Purcell

Staatsoper Berlin

Die Försterin, Eule in The Cunning Little Vixen by Janáček

Staatsoper Berlin

Stimme von Antonias Mutter in Les Contes d’Hoffmann by Offenbach

Staatsoper Berlin

About

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