Name: Children' s ballet - The Nutcracker
Start: 2025-05-24T11:00:00
Location: Deutsche Oper Berlin

The Deutsche Oper Berlin is set to captivate audiences with a riveting lineup of events, from timeless opera classics like 'Carmen' and 'The Magic Flute' to the joyous ballet 'The Nutcracker' and a special jazz night celebrating Blue Note Records. This season, patrons will be transported through a rich tapestry of storytelling and music, with performances by world-class artists bringing iconic roles and melodies to life. It's a celebration of diverse genres and themes that promise to resonate with audiences in profound ways.

Deutsche Oper Berlin: A Diverse Showcase of Opera, Ballet, and Jazz

In the heart of Berlin, Deutsche Oper Berlin presents a tantalizing array of musical performances spanning opera's rich legacy and dynamic modern jazz. From the seductive allure of Bizet's 'Carmen' to the innovative echoes of Blue Note Records, each production is an exploration of narrative depth and artistic mastery. This season, audiences are invited to engage with timeless tales and revolutionary sounds, promising an unforgettable cultural experience.

A Symphony of Storytelling: Exploring Deutsche Oper Berlin's Diverse Musical Offerings

The Deutsche Oper Berlin is set to present a dazzling array of operatic and musical theater performances in the 2024/25 season, drawing audiences into a world of timeless music and compelling storytelling. Featuring iconic productions like 'Carmen,' 'The Magic Flute,' 'La Traviata,' and more, this season promises a rich tapestry of genres and narratives. With a talented ensemble of artists and an emphasis on both classical and contemporary themes, the Deutsche Oper Berlin continues to be a beacon of cultural excellence and innovation.

Opera Highlights at Deutsche Oper Berlin: A Season of Diverse Narratives

Step into the world of Deutsche Oper Berlin, where timeless tales and musical masterpieces converge in a spectacular series of events. From the passionate allure of Carmen to the enigmatic realms of The Magic Flute, these performances promise to captivate audiences with their rich narratives and exceptional artistry. Join us as we delve into the highlights of this operatic season, celebrating the creative genius of composers and performers alike within the historic walls of this Berlin opera house.

A Symphony of Stories: Exploring Iconic Operas and Ballets at Deutsche Oper Berlin

The Deutsche Oper Berlin's 2024/25 season promises a rich tapestry of performances that explore the depths of human emotion and societal themes through opera and ballet. From Bizet's captivating 'Carmen' to Mozart's enigmatic 'The Magic Flute', the season showcases timeless classics interpreted by talented artists. Highlights include Verdi's 'La traviata', Wagner's 'Tannhäuser', and the delightful chaos of Rossini's 'The Barber of Seville'. Adding to the mix are the magical 'The Nutcracker' ballet and a jazz-infused New Year's gala 'Swingin' 25'. Join us in exploring these vibrant events and their cultural significance.

Opera Odyssey: Unveiling the Heart of Deutsche Oper Berlin's 2024/25 Season

The 2024/25 season at Deutsche Oper Berlin promises an array of diverse performances that are bound to capture the imaginations and hearts of audiences. Set in the heart of Berlin, this season offers a blend of timeless operas, insightful lectures, and engaging ballets, featuring works by Bizet, Mozart, Verdi, and more. With a lineup including 'Carmen', 'The Magic Flute', 'La traviata', and other remarkable events, the season is a celebration of music, culture, and artistic expression. Join us as we delve into the performances, explore the talents of world-renowned artists, and immerse ourselves in the vibrant atmosphere of Deutsche Oper Berlin.

Discover the Musical Wonders at Deutsche Oper Berlin: A Season of Enriching Performances

David Simic

Laureline Dabbadie

Ariane Leonie Stamatescu

Steffen Hoppe

Deutsche Oper Berlin

A nation is cowed by its princess. Turandot, beautiful and fascinating representative of a royal dynasty, presides over a gruesome ritual: only her marriage to a suitor will bring an end to the violence, but no would-be bridegroom has yet managed to solve the riddles. The same old spectacle plays out, ending in yet another execution, until Calaf, the son of a deposed ruler from a foreign land, unexpectedly answers the riddles correctly. He then turns the tables on Turandot, forcing her to answer his own question if she wants to steal out of her obligation. Puccini’s times are changing rapidly, the art world is going through drastic transformation and new, abstract forms are being coined to reflect modern-day experience. And the composer, in his early 60s, is again trying to break new ground.

Turandot

Moral outrage one moment, coquettish expediency the next. The intrigues of the powerful interwoven with the desperation of hapless refugees. When it comes to the gamut of human emotion and modes of behaviour, few operas of the baroque period can touch Handel’s GIULIO CESARE IN EGITTO, which premiered in London in 1724. This tale of the love affair between the ageing Roman general Julius Caesar and the young pharaoh Cleopatra was one of Handel’s greatest triumphs within his lifetime and remains his most performed opera. That is not just down to the base material – one of the best-known historically attested love stories, which has been given treatments ranging from Shakespeare to Liz Taylor and Richard Burton and “Asterix und Cleopatra” – but also to a sophisticated libretto that provided the inspiration for a string of great arias and memorable character studies, for aside from the Roman-Egyptian pairing of Caesar and Cleopatra GIULIO CESARE IN EGITTO features another pair who are busy not with flirting but with the serious business of staying alive: Cornelia, the widow of Pompeius, a murdered rival of Caesar, and her son Sesto. Both have sought refuge in Egypt but have become pawns in the scheming between Cleopatra and her brother Tolomeo.

Giulio Cesare in Egitto

Few works have slipped from the programmes of German-language opera houses to the extent experienced by the operas of Albert Lortzing. Where works such as THE POACHER, THE ARMOURER and UNDINE were still fixtures in the repertoire only thirty years ago, they have now all but vanished from the calendars of theatre venues. Not even Lortzing’s greatest triumph, his comedy of errors CSAR AND CARPENTER (1837), has escaped the neglect – and this despite old chestnuts like the “Clog Dance” and the aria “Lebe wohl, mein flandrisch Mädchen.” Doubly surprising if you consider that this tale of Tsar Peter the Great, who strikes up a friendship with an army deserter with the exact same name while acquiring the skills of a carpenter incognito in a Dutch shipyard, was arguably one of the best musical comedies of its time, with Lortzing’s protagonists retaining all their relatable flaws and yearnings in the face of all their ups and downs. The young deserter, who just wants a quiet life, the feisty Marie, who’s determined to decide her own path, the Tsar with his thinly veiled leanings to violent domination, and van Bett as the mayor and a loveable caricature of a German bigwig… all these characters confer a timeless humanity on the comedy.

Csar and Carpenter

A garret in Paris on a cold winter’s day around Christmas. Rodolfo, a writer, and Marcello, a painter, are working on their masterpieces. They have no money to buy food, pay the rent or fuel the stove. Colline, a philosopher, returns from the pawn shop empty handed, having failed to get rid of some books. Only Schaunard, a musician, has managed to come up with some victuals, kindling, cigars and cash, so off they go to Café Momus - without Rodolfo, who’s trying to work. Mimì, the embroiderer from next door, arrives to ask for a match to light her candle with. She collapses and loses her key; cue for Rodolfo to fall in love with Mimì, who is terminally ill with TB, although he dumps her two months later because the prospect of her ailment getting steadily worse in her freezing home is too much for him. Six months go by. Musetta, Marcello’s ex, arrives with Mimì, whose condition is grave. Musetta sells some earrings with a view to buying medicine; Colline gives up his coat. Gratitude and happiness for a short while. Rodolfo thinks Mimì is sleeping and her body regenerating, …but in fact she’s dead.

La bohème

Taking a peek at the Staatsballett Berlin dancers during morning class is a rare opportunity. However, the Staatsballett’s most popular event series, Ballet Class Up Close makes it possible: on the stages of the opera houses, you can catch a glimpse at the everyday life of a ballet dancer. Find out what they do on a daily basis to prepare for rehearsals and performances, working on the essential foundation of their art which they master so skilfully. What seems light and airy on stage requires hard work and relentless discipline. Therein lies the fascination which never seizes to capture the audience.

Ballet Class Up Close

Named after the Palacio de la Zarzuela near Madrid, the early form of Spanish musical theatre emerged as early as the 17th century, parallel to Italian opera. Related to vaudeville, farce and operetta, hundreds of these entertaining and effective works were written within a few decades. The genre was increasingly forgotten and only experienced a revival in the mid-19th century. However, it is still neglected on theatre programmes today. Star director Christof Loy, who has been a strong advocate of the zarzuela for many years, is staging an evening at the Deutsche Oper Berlin.

Gran Gala de Zarzuela

Who are we when no one is watching, who do we want to be? How can we become what we claim to be? «Heroes, (if) just for one day»? In a captivating dance performance, a journey through strange worlds unfolds—and one‘s own self. A group of travelers moves between worlds, between identities, between truth and deception. With every movement they transform, lose and reinvent themselves. What remains when masks fall and roles break? Put your helmets on and explore the planet of one‘s own self with us. But where does the illusion end—where does the true self begin? Inspired by David Bowie‘s legendary songs, a story unfolds about identity, longing and the freedom to reinvent oneself again and again. You can see the stories and thoughts of around 100 children and young people from four different schools in Berlin who worked with the dance educators of the Staatsballett for a school year, as well as 30 adult hobby dancers from the dance course Never too late. Young and old negotiate their questions of identity and roles together—a journey that people go through throughout their lives.

Tanz ist KLASSE! On Stage

This time, the Wilde Jazzorchester and its conductor Martin Auer transform the stories of 1001 Nights into jazz fairy tales. They will be presenting their latest narrative concert live on these two dates, following on from ‘The Ghost of Canterville,’ ‘The Ballad of Robin Hood’ and ‘The Jungle Book.’

Jazz & Lyrics IV: Sheherazade

On the Late Nights, the stage becomes a dance floor, voices mix together, the foyers become open floors. We connect with partners from the Berlin club scene and question the opera from the perspective of the night: What does it mean to be together when the order shifts? The night is open, come out and dance! Before the party, there is a musical theatre intervention: Students from the Musikhochschule Hanns Eisler form a rapid response team and search for answers to the question of how opera can respond to our breathless present.

Late Night

Curated by Rirkrit Tiravanija – Saturday at 12:00 p.m. through Sunday at 6:00 p.m. at and around the Deutsche Oper Berlin

Opening weekend

With The Magic Flute, Mozart wanted to write a piece for everyone – the blend of Viennese folk theater, Singspiel, and Italian opera makes it a favourite with audiences to this day. There's something for every taste, from catchy songs and arias to humorous spoken dialogue and fairytale elements. Günter Krämer’s production creates two contrasting worlds: the realm of the Queen of the Night and the temple of the Sun King. Between them travels Prince Tamino, accompanied by the bird catcher Papageno. On their adventurous journey, they traverse primeval forests inhabited by lions, rhinoceroses and snakes. Mozart’s opera imaginatively invites reflection on good and evil, dreams, fears and love. The lovingly crafted, partly mechanical set design creates stage magic. Renowned Mozart interpreter Tomáš Netopil conducts the Deutsche Oper Berlin orchestra. Our ensemble of soloists will enchant with their joy in acting and singing.

The Magic Flute

Long before the cinematic popularity of Downton Abbey or the Jane Austen craze, the ruthless inner world of the British landed gentry became the setting for Italian opera. With his 1835 setting of Walter Scott's successful novel The Bride of Lammermoor, Gaetano Donizetti created a lyrical drama that remains the epitome of Italian Romanticism. Set in Scotland around 1700, the tragedy is also the most famous example of the transformation of the virtuosic bel canto style into a highly expressive stylisation of extreme emotional states and contains what is arguably the most famous scene of madness in Italian opera. Filippo Sanjust’s production, with its painted scenery and spotlights, evokes the atmosphere of an operatic evening from the work’s original era. Michele Spotti, Principal Guest Conductor of Deutsche Oper Berlin, conducts the company’s ensembles for the first time in his new role. As Lucia we encounter the virtuoso Nina Minasyan, and one of the most brilliant bel canto tenors, Xabier Anduaga, returns to our stage as Edgardo.

Lucia di Lammermoor

It's Christmas Eve. After the wonderful festivities, little Klara falls into a deep sleep. She dreams of a fantastic journey to the fairytale sugar country, accompanied by the nutcracker, her most beautiful gift.

Children' s ballet - The Nutcracker

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