Singer

Tonight, the Residentie Orkest will soar with mezzo-soprano Maria Warenberg. This Dutch opera star will bring her radiant voice to delightful arias by eighteenth-century masters: Haydn's Scena di Berenice and Rossini's Una voce poco fa from 'Il barbiere di Siviglia'. Get ready for an evening filled with musical fireworks!

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A Night at the Opera

Amare

«Free she was born, free she will die»: To preserve her freedom, Carmen even accepts her own death. With her uncompromising will to autonomy, she shattered the moral conventions of her time. This sets her apart from the many passive, self-sacrificing female characters of 19th-century opera – once a scandalous figure, later a figure of identification, always a large screen onto which audiences project their own feelings. Director Ole Anders Tandberg takes up these ambivalences and works with iconic images: the bright red flamenco dress, the torero costume and the bullring. But these symbols are not left uncommented upon; instead, they are exaggerated to the point of the grotesque and the macabre. An emotional rollercoaster ride with catchy tunes like the Habanera and the Toreador Song that will linger long in memory. Argentinian conductor Alejo Pérez, General Music Director of Teatro Colón in Buenos Aires, makes his debut at Deutsche Oper Berlin. Gaëlle Arquez brings charm and sophistication to the French Carmen, and later our new ensemble member Kristina Stanek introduces herself as the new Berlin Carmen.

Carmen

Deutsche Oper Berlin

Three men who make a bet. Two women who are the objects of this bet. Don Alfonso has thought up a perfidious game to test the faithfulness of these women: Fernando and Guglielmo are convinced that Fiordiligi and Dorabella would never betray them. They pretend to go off to war and return in disguise to seduce their respective beloved as a supposed stranger: If they succeed, they have lost the bet and Don Alfonso is triumphant. This is the setup for Mozart’s Così fan tutte. A contemporary operatic subject? It is primarily Mozart's music that secures this opera its place in the repertoire to this day, for it looks deep into the characters’ hearts without condemning them. When what began as a light-hearted game develops into a cruel experiment that ultimately pulls the rug out from under everyone involved, the music lays bare the characters’ emotions in all their complexity and contradiction; it plumbs the existential depths of love, which we all experience in the same way regardless of gender – today as in 1790, when Mozart's opera premiered. The Belgian directing collective FC Bergman, which won the Silver Lion at the Venice Biennale and recently celebrated a resounding success at the Ruhrtriennale, is inclined towards visually powerful surrealism in its theatrical language and tells – for the first time in Berlin and in only its third opera production – Così fan tutte as a story about young people of today who are playfully searching for answers to the questions of life: What does love mean to us? What roles do we play in life? Who manipulates whom? Is reality truly always more sustainable than fantasy? Riccardo Minasi, one of the most interesting conductors in the field of historical performance practice, is working with the Deutsche Oper Berlin orchestra for the first time. A young ensemble of soloists led by Elsa Dreisig as Fiordiligi explores the psychological facets of this many-layered game of love.

Così fan tutte

This oratorio tells the story of the last days in the life of Jesus Christ. Exactly three hundred years ago, Johann Sebastian Bach set the Gospel text to music: The premiere was held on Good Friday in 1727. Benedikt von Peter’s production takes the inherent tradition of the Stations of the Cross seriously: Bach’s double-choir masterpiece unfolds as an acoustic crucifix; the audience sits amidst the musical action, exposing their own bodies to this Passion and its unsettling beauty. Betrayal, mortal agony, sacrifice and forgiveness do not appear as a distant event of salvation, but as a sober question for our present: What are the sins for which the Son must be sacrificed year after year? Not the Evangelist, but children bring the parable to life. They shoulder the cross, prevent Judas’s suicide with an embrace, and put the value system of a Christian society up for discussion. Marc Minkowski, a renowned specialist in Baroque vocal music and a guest at the Deutsche Oper for the first time, conducts this special revival exactly on the 300th anniversary of the work!

St Matthew Passion

Oscar Wilde’s drama about the biblical princess who has the prophet Jochanaan beheaded so she can kiss his dead mouth unfolds a tableau of human depravity: From murder and necrophilia to sexualised violence, one shocking moment follows another. But it was not only these themes that made Strauss’s Salome a scandal, but also its radically modern, overwhelming music, which was far ahead of its time. The «Faust» Prize winner Claus Guth incorporates insights from psychoanalysis, which emerged around the time of the 1905 premiere, into his production and delves into Salome’s subconscious: Younger versions of her Self accompany Salome like shadows of past wounds, together struggling to cope with childhood traumas. In a stage design that maintains the illusion of a flawless facade, reality, dream and memory begin to blur – the path from victim to perpetrator seems inevitable. Marc Albrecht conducts, and Elisabeth Strid will be performing Barrie Kosky’s new London Brünnhilde as Salome for the first time.

Salome

Anyone in Seville who needs help goes to Figaro – the barber has a solution for every problem, because he knows everyone in the city, is well-informed about all the gossip and many owe him a favour. This time, he is to help Count Almaviva free Rosina, who has been imprisoned by her guardian, and win her heart. The then 23-year-old Gioachino Rossini is said to have composed Il barbiere di Siviglia in just three weeks – an opera full of rousing bel canto arias, fast-paced ensembles and dizzying situational comedy. Director Katharina Thalbach skilfully captures the humour of the original work: She relocates the action to a seaside resort where one morning a theatre wagon arrives, carrying characters from the Commedia dell’Arte. Tourists become the audience of a spectacle that blurs the lines between large and small stages, offers many surprising twists and turns and, thanks to Guido Maria Kretschmer's costumes, delights the funny bone and the eyes. Our young Italian conductor, Giovanni Conti, takes to the podium, accompanied by numerous new virtuoso ensemble members.

Mezzo-soprano

Maria Warenberg

Events

Upcoming events

Oct 4, 2026 - Mar 12, 2027

Carmen · Deutsche Oper Berlin

Feb 28 - Mar 15, 2027

Così fan tutte · Deutsche Oper Berlin

Mar 25 - Apr 4, 2027

St Matthew Passion · Deutsche Oper Berlin

Apr 17 - May 4, 2027

Salome · Deutsche Oper Berlin

May 23 - Jun 4, 2027

Il barbiere di Siviglia · Deutsche Oper Berlin

Past events

Oct 3, 2025

A Night at the Opera · Residentie Orkest Den Haag

Future and recently performed repertoire

Dorabella in Così fan tutte by Mozart

Deutsche Oper Berlin

A Bellboy in Salome by Strauss

Deutsche Oper Berlin

Mercédès in Carmen by Bizet

Deutsche Oper Berlin

Rosina in Il barbiere di Siviglia by Rossini

Deutsche Oper Berlin

Witness / Maid in St Matthew Passion by Bach

Deutsche Oper Berlin

About

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