Name: Nixon in China
Start: 2025-03-05T19:30:00
Location: Deutsche Oper Berlin

Heidi Stober

Thomas Lehman

Elissa  Pfaender

Angela Brown

Daniel Carter

Davia Bouley

Padraic Rowan

Hye-Young Moon

Karis Tucker

Alfred Kim

Gina-Lisa Maiwald

Thorbjörn Björnsson

Jean Chaize

Brigitte Cuvelier

Julia Lwowski

Yassu Yabara

Christina Schmitt

Arne Vierck

Henning Streck

Franziska Kronfoth

Chorus of the Deutsche Oper Berlin

Deutsche Oper Berlin

Orchestra of the Deutsche Oper Berlin

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

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

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

What is worth living and dying for – love, art, freedom? This question lies at the heart of Tosca, uniquely blending musical brilliance with a gripping plot and historical events with archetypes of the operatic stage. Throughout a single fateful night, the audience follows the story of the singer Floria Tosca, the painter Mario Cavaradossi and the unscrupulous police chief Scarpia, a night that ends fatally for all three. The greatest stars of opera history have graced Boleslaw Barlog’s historically accurate production for over 50 years. Joining this chronicle for the first time in this season’s initial run are, among others, Aleksandra Kurzak, who has already sung Tosca at the Metropolitan Opera in New York and the Royal Opera in London, and Roberto Alagna, who showcases his exceptional tenor in another role at Deutsche Oper Berlin. Antonino Fogliani, one of the most gifted Puccini conductors of our time, will be appearing at Deutsche Oper Berlin for the first time.

Tosca

In the context of Mittwoch aus Licht, Titus Engel, for his first concert as conductor-in-residence, connects the musical worlds of Stockhausen and Wagner. Both composers not only shaped the music of their time, but they also polarised opinion, both aesthetically and socially. A mystical aura still surrounds both; religion of art and classical heroic epic are the central elements of their two late works. A few days before the premiere of Mittwoch, the second act of Donnerstag offers insights into another day of the week-long opera cycle. As a purely instrumental section, Michael’s journey around the world traces a hero’s path culminating in his ascension to Heaven. The parallels to Parsifal’s journey, profoundly influenced by Wagner’s affinity for religious spirituality, are evident. John Cage's piece 4′33″ serves as a link and prelude to the quasi-sacred atmosphere, having revolutionised listening through the establishment of the musical pause as a sonic space. The concert marks the opening of the thematic focus on Stockhausen and Cage, co-curated by Titus Engel.

Symphony Concert: Light on Parsifal

How is a production created? Find out in the workshop! After attending a stage orchestra rehearsal in the large house, you will have the opportunity to talk to those involved in the production.

Workshop: Wednesday from Light

On the occasion of the new directorship, Deutsche Oper Berlin is venturing to show a project that crashes through boundaries and opens up new spaces: Karlheinz Stockhausen’s Mittwoch aus Licht will be shown as a scenic opera production in the German-speaking world for the first time. Stockhausen, visionary of sound, crafted nothing less than a cosmic theatrum mundi about man and woman, good and evil, birth and death with his monumental cycle LICHT. Die sieben Tage der Woche. While other portions of the cycle centre around the struggle between competing forces, the polarity of which reshapes our lives every day, Mittwoch celebrates the utopia of love and the spiritual connection in the spirit of music, as well as the belief that community and solidarity are possible. Stockhausen was uncompromising in his search for a new type of music; he is considered one of the most innovative and yet most controversial composers of the 20th century. A pioneer of electronic music, he also inspired pop music across all genres, including Kraftwerk and Björk. The spectacular centrepiece of Mittwoch aus Licht is the helicopter string quartet, in which Stockhausen expands the musical space beyond the theatre itself: The members of a string quartet sit in four helicopters circling high above the audience. Sounds of strings meld with the helicopter blades, floating down to the audience from above. For our production, the quartet will be performed live as a one-of-a-kind event for the whole city, with film recordings of the quartet becoming part of the production. Award-winning duo Susanne Kennedy and Markus Selg, who caused a sensation with Einstein on the Beach at Theater Basel and Parsifal at Opera Antwerpen, will transform their first opera production in Berlin into an immersive ritual. Maxime Pascal, Principal Guest Conductor under the new directorship, is an expert and passionate connoisseur of Stockhausen and has performed every piece of the LICHT cycle except for Mittwoch.

Wednesday from Light

Survivors of the sea, refugees, exiles come together on an island. They create a new society from scratch without the old rules of origin or power. Is it possible to have a community built on love? The hosts for this evening are two intergalactic collaborators: Sun Ra, pioneer of Afrofuturism in response to omnipresent racism, and Karlheinz Stockhausen, who sought to flee the constriction of the art world. Both are fascinated by interplanetary vibrations, read the same spiritual book about love in the 1970s and set the cosmos free.

Sunville

Gustave Flaubert’s novel Madame Bovary is considered a masterpiece of French realism and a pioneering work of literary modernity. Flaubert devoted five years to writing this work, which was published in 1856 and caused a scandal due to its unflinching portrayal of adultery and forbidden desires. With his precise, distantly observing style, Flaubert created a new form of storytelling that rendered inner states and social constraints with striking clarity.

Bovary

FUTURA DANZA is a new ongoing dance course for pregnant women and young mothers and fathers with babies up to 12 months. The course invites participants to experience motherhood and early parenthood as a time of change, arrival, and new-beginnings – through the body, movement, and shared exchange. Under the guidance of Vanessa Cokaric, dance teacher and certified pre- and postnatal yoga instructor, the sessions combine gentle bodywork, dance, play, and movement with the baby in a safe atmosphere. The body is strengthened, posture is realigned, and the return to physical activity is gently supported. At the same time, moving together promotes the bond between parents and child as well as the sensory and motor development of babies.

Futura Danza

To kick off the new season at the Deutsche Oper Berlin, Susanne Kennedy is staging Stockhausen’s Mittwoch aus Licht (Wednesday from Light) — an opera that turns consciousness itself into a stage. For her film selection in the At the Movies series, she has chosen David Lynch’s Inland Empire.

At the Movies with Susanne Kennedy

Delphi LUX

Two of the world’s most powerful men shake hands – as the world looks on. With their opera about the state visit by US President Nixon to China in 1972 composer John Adams and librettist Alice Goodman rendered a recent historical event in operatic form. They envisioned a »heroic opera« telling of modern myths and the power of images. This rapprochement between the two great powers gave rise to one of the most prodigious media spectacles of the 20th century. Nixon himself put the event on a par with the moon landing. The opera, whose composition was pushed for by Peter Sellars, the director of the eventual premiere, is a depiction of both the details of the visit and the coverage by the media. Alice Goodman’s libretto reflects the tradition of 19th-century opera, with larger-than-life characters interacting and the protagonists dealing with both affairs of state and their private lives. Staged in the style of an excessively satirical documentary, the minimal-music opera sticks close to protocols from the state visit, depicting the larger-than-life protagonists swerving between exhibitionism, helplessness and the desire to reach a mutual understanding.