Name: Aida
Start: 2026-03-26T19:30:00
Location: Deutsche Oper Berlin

Deutsche Oper Berlin's 2025/26 season is set to be a cultural extravaganza, featuring a rich tapestry of operas and dance performances. From Verdi's iconic 'Aida' and 'Rigoletto' to Mozart's 'The Magic Flute', the season promises a diverse selection of operatic classics. Adding to the variety, performances such as Ohad Naharin's 'Minus 16' and Detlev Glanert's original 'The Three Riddles' showcase the transformative power of dance and contemporary opera. As the curtain rises on a season of storytelling through music and movement, audiences can look forward to an unforgettable journey.

Opera and Dance Converge at Deutsche Oper Berlin: A Spectacular 2025/26 Season

The Deutsche Oper Berlin's 2025/26 season offers an enthralling lineup of operatic classics and innovative performances. From the timeless tragedies of Verdi's 'Aida' and 'Rigoletto' to Mozart's enigmatic 'The Magic Flute' and Puccini's poignant 'Madame Butterfly', the season promises a rich tapestry of narrative and musical artistry. Adding to the diversity are the zany adventures in 'The Three Riddles' and the passionate tale of 'Carmen'. With renowned artists gracing the stage, this season captures the essence of operatic brilliance.

Unveiling Operatic Masterpieces: Deutsche Oper Berlin's 2025/26 Season

Deutsche Oper Berlin's upcoming season promises a captivating blend of opera and ballet, featuring timeless masterpieces and intriguing discussions. From Verdi's Aida to Mozart's The Magic Flute, and Puccini's Turandot, audiences will be treated to a feast of performances. The season also includes insightful talks and a focus on dance's role in societal issues, ensuring a multifaceted and enriching experience for all attendees. With a host of talented performers and directors, this season is set to be an unforgettable celebration of the arts.

Opera Splendor at Deutsche Oper Berlin: A Season to Remember

Carlo Montanaro

Thomas Cilluffo

Patrick Guetti

Alexandra Oomens

Yulia Matochkina

Michael Bachtadze

Alfred Kim

Volodymyr Morozov

Gloria Jieun Choi

Katrin Wittig

Jeremy Bines

Lene Schwind

Benedikt von Peter

Deutsche Oper Berlin

“Amore, sommissione, dolcezza” – the traits that Giuseppe Verdi gave his eponymous heroine, Aida, who embodies pure love, tenderness and submissiveness. And these characteristics put her firmly in the tradition of 19th-century female protagonists who were not so much fully rounded personalities as sex objects and a focus for male fantasies, women whose inevitable fate was to die of a broken heart. And Aida is no different.

Aida

As in all operas by Puccini, TOSCA is an illustration of how human attentiveness and pleasures of the palate can be mutually dependent if the composer’s artistic intentions become a benchmark for directorial interpretation. Puccini’s humane attentiveness is essentially dependent on an outcry and/or a sense of resignation. The pity inherent in his music does not content itself with abstract gestures; it wants to unsettle, to bring about change. Out of the “small things” named by Puccini as the source of his inspiration and the focus of his music “big things” grow – as long as we want them. Puccini’s choice of material owes something, directly or indirectly, to the spirit of Zola, Gorki and Hauptmann, and the link between that material and his compositional style places him likewise as a direct descendant of Verdi and an exponent of verismo. He was also known as an admirer of Wagner, although a Wagner imitator he assuredly was not.

Tosca

Discover the world of dance from a different perspective! In the Forum discussion series, Dramaturge Katja Wiegand delves into pressing societal questions and their connections to dance. Together with experts from other artistic disciplines, academia, and practice, the 2025/26 season once again fosters interdisciplinary exchange. Using pieces from the current repertoire as examples, the series highlights the intersection of dance with cultural and social themes. This season’s focus is on the captivating world of collections, archives, and artistic styles in dance.

Forum

It’s a rambunctious tale: an old curmudgeon is set on marrying his own ward of court with a view to snapping up her considerable inheritance. He leaves no stone unturned in his efforts to keep the fair Rosina cloistered from the outside world and thus from any potential young suitors. A pity, then, that Count Almaviva has fallen head over heels for her. Assisted by Figaro, an enterprising barber, he plans to outwit the old man, win over Rosina – and ensure that it’s love that attracts her to him rather than his rank and wealth. Not an easy job for Figaro, seeing as the opposite camp is scheming with equal tenacity … Love wins out in the end, and it turns out that all precautions were useless!

The Barber of Seville

It is common knowledge that Giuseppe Verdi, by nature a critical man, not only found much to disapprove of in the trends of his day but also subjected his own work to a continuous process of editing and revision.

Don Carlo

Following on from Puccini’s LA RONDINE and Johann Strauss’s DIE FLEDERMAUS, Rolando Villazón returns to the Deutsche Oper Berlin to tackle one of the great comedies of the bel canto genre and demonstrate that he can do humour. L’ITALIANA IN ALGERI remains one of the most popular works by Gioacchino Rossini, who is said to have dashed the piece off in less than a month and was a tender 21 years of age when the opera premiered at Venice’s Teatro San Benedetto in 1813. It’s a testament to Rossini’s boldness that he chose material that had been set to music only a few years before by his more experienced colleague Luigi Mosca. His audacity paid off, with the subsequent triumph bringing him immediate fame across Italy and widespread popularity soon afterwards throughout Europe.

L’Italiana in Algeri

The multi-award-winning ballet Nureyev, staged by visionary director Kirill Serebrennikov, premiered in December 2017 at Moscow’s world-renowned Bolshoi Theatre, attracting international attention even before its debut. Now, the Staatsballett Berlin brings this extraordinary production to the stage for the first time outside Russia. With music composed by Ilya Demutsky and choreography by Yuri Possokhov, this grand-scale production blends ballet, opera, and drama, incorporating a large ensemble to create a powerful tribute to the life and career of Rudolf Nureyev, one of the greatest dancers of the 20th century. Renowned for his artistic brilliance and his bold defiance of societal and political boundaries, Nureyev became an icon in both the ballet world and the broader arts scene.

Nureyev

Walking barefoot, enjoying the sun, playing outside in the evening ... not yet. Not quite yet. But very soon. Winter really will soon be over at the end of March. Let's see if we can speed things up a bit with the right music. The small chorus of the children's chorus and the generational chorus invite you to a spring sing-along in the Tischlerei, where everyone will have the opportunity to sing along.

Springtime Singing

Two musicians guide the audience through the world of sounds produced by the instruments they have brought with them: voice, double bass, tuba, trombone and whatever else might surprise you as an instrument. The musical styles range from baroque recitative to jazz and pop. Through playful interaction, the instruments can also be experienced physically by the young audience.

Concert for Kids

Drawing loosely on motifs from Christianity, Buddhism, assorted legends and Schopenhauer’s philosophy, Richard Wagner eventually completed a myth of his own, PARSIFAL. The work that he dubbed a “stage-hallowing play” tells the story of a “pure fool” who is blissfully unaware of his own nature and calling. Parsifal sallies forth into the ascetic brotherhood of the Knights of the Grail and into another very different world, that of Klingsor’s erotically charged garden, where a kiss from Kundry infuses him with an enlightenment that leads him to release Amfortas, the King of the Grail, from his suffering and redeem the brotherhood.

Parsifal

No other work reflects Puccini's search for new forms of musical theatre like his three-act trilogy IL TRITTICO, which premiered in 1918. In three pieces with different colours and temperatures, he once again brought to the stage what Italian opera could be in those years. In a condensed version, the second and third parts of the triptych now return to the stage of the Deutsche Oper in Karabulut's colourful production: SUOR ANGELICA, a piece with an all-female cast, is unique in opera history and revolves around questions of life and death and the possibilities in between. In her feminist interpretation, Karabulut explores the possibilities of (female) self-determination within a closed system. GIANNI SCHICCHI, on the other hand, follows the tradition of commedia dell'arte, placing humans at the centre as players and greedy deceivers. With her keen sense of timing and a captivating ensemble, Karabulut reveals the bizarre depths of a hypocritical family gathering once again around the deathbed of their patriarch.

Suor Angelica / Gianni Schicchi

In its new series of jazz events in the Tischlerei the Big Band of the Deutsche Oper Berlin presents six themed concerts featuring smaller formations of the Big Band and guests. The concerts focus on a particular subject or composer, amalgamating music and poetry. Texts, biographical information, poetry and background information on the evening’s unifying theme combine to produce a unique experience for the audience.

Aida

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