Name: The Barber of Seville
Start: 2026-03-27T19:30:00
Location: Deutsche Oper Berlin

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

Navasard Hakobyan

Patrick Guetti

Maria Vasilevskaya

Misha Kiria

Dean Murphy

Kieran Carrel

Clara-Lisette Kesselmann

Carlo Goldstein

Aleksandra Meteleva

Paul Minhyung Roh

Guido Maria Kretschmer

Katharina Thalbach

Momme Röhrbein

Thomas Richter

Deutsche Oper Berlin

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

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

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

Articles & News