Name: Csar and Carpenter
Start: 2026-07-11T17:00:00
Location: Deutsche Oper Berlin

Jared Werlein

Antonello Manacorda

Stephanie Wake-Edwards

Padraic Rowan

Nadja Mchantaf

Kieran Carrel

Artur Garbas

Patrick Zielke

Philipp Kapeller

Esther Bialas

Marie-Christine Zeisset

Martin G. Berger

Sarah-Katharina Karl

Sascha Zauner

Deutsche Oper Berlin

It’s the most performed opera in the German-speaking region, an unusual – and masterly – blend of Viennese folk theatre and fairy tale, mythology and freemasonry mystique: Mozart’s THE MAGIC FLUTE remains a puzzle to this day. Did Mozart and his librettist Schikaneder switch horses from the Queen of the Night to Sarastro half way through? Is the message not one of distrust towards a supposedly infallible priesthood and its simplistic good-versus-evil ideology? Are some Mozart experts right when they talk of a disconnect between text and music? Whatever the answer, it’s the music that allows us to relate to the story’s contradictions. Far from denouncing the characters, it confers an existentiality on their conflicts.

The Magic Flute

A collective media meditation: coloured foam is gently sliced into disks, a dirty carpet gets a thorough deep clean, a hydraulic press crushes a variety of objects. Pointless processes, absurd repetitions, one-size-fits-all automations: they all trigger a sense of contentment and wellbeing in us as a counterpoint to an increasingly complex reality. “Oddly Satisfying” is the name given to an internet phenomenon that forms the focus of SATISFACTIONACTION, an installation that has attracted millions of views on multiple platforms. Most of us are familiar with the odd sense of comfort afforded by day-to-day routine actions. Suddenly everything jells, luggage fits snugly into the car boot, the train is caught calmly with a minute to spare, the blackhead is discreetly squeezed. What is it that gives us that warm feeling and what lengths are we prepared to go to to bring it about? Do these hard-to-define mechanisms function only on an innocent neuronal level or is there a social element at play involving norms of behaviour, success and failure, belonging and exclusion? And are these deep-seated needs not also met by our schadenfreude at the plight of an irritating colleague or by our membership of a group, which automatically implies the exclusion of others?

Satisfactionaction

Ohad Naharin is a world-renowned Israeli choreographer and the inventor of the Gaga movement language, which, originating from the Batsheva Dance Company in Tel Aviv, has now spread globally and is taught worldwide. To allow dancers to form a personal and emotional connection with the material and the moment of the performance beyond the choreography itself, the Gaga method works towards complete emotional openness.

Minus 16

Lasso didn’t choose to have the childhood he had, being brought up by Popa, a frazzled single mother who not only has her son to take care of but also a rowdy pub to manage. Which is why Lasso leaves home to seek his fortune. Along the way he hears about Princess Scharada and her three riddles. A man can ask her three questions: if she fails to answer them correctly, he gets to marry her and rule the realm; if she solves the riddles, he is put to death. But whatever happens, Lasso will not only have travelled the world and crossed paths with robbers, wild boars, astrologers, clairvoyants, scheming politicians and stern ladies-in-waiting – he’ll also have found a great friend and companion. In his THE THREE RIDDLES, an erratic blend of fairytale, social drama, road movie and full-scale opera, composer Detlev Glanert presents a witty, zany and slightly scary story of two very different children, who team up to hold their own in the big, wide world and find their own way.

The Three Riddles

Lieutenant Pinkerton is attached to an American ship currently moored in Nagasaki harbour. He has been courting a 15-year-old geisha girl named Cio-Cio-san, known as Butterfly, who is from a poor but genteel family and takes love very seriously. Pinkerton wants to enter into a “time-limited marriage” – not uncommon between European men and geishas at the time – and is even being helped by Goro, the marriage agent, to find a cottage in which they can spend their honeymoon. The US consul, Sharpless, warns him against such a step, but Pinkerton brushes him off and even toasts the day when he will take an American to be his “real” wife.

Madame Butterfly

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

The Dutchman is a cursed man, an outsider, a driven individual. Richard Wagner came upon the character of the famous drifter via Heinrich Heine, who lent the Romantic material his typically ironic touch. Wagner’s interest was tweaked not by Heine’s packaging of the story, which relegated the Dutchman-based action to the margins, but by the tale of the enigmatic mariner, which led to him writing his first opera about the man’s quest for a woman who could offer him redemption. The Dutchman, restlessly plying the borderlands between life and death, encounters Senta, who appears equally ill-at-ease and rootless and yearns for a masculine character, the Dutchman, a figment of her imagination.

Der fliegende Holländer

With the world premiere of his one-act opera, VIOLANTA, the 18-year-old Erich Wolfgang Korngold shifted overnight from child prodigy to one of the leading opera composers of his generation. For VIOLANTA not only heralded the arrival of a young maestro who was as independent as he was variegated in his musical palette, who had an unerring feel for how to render his vision on stage, and who could write melodies that were both expressive and catchy to boot; the 75-minute work to a libretto by Hans Müller, later to be known for co-writing THE WHITE HORSE INN, also served notice that Korngold had caught a contemporary Viennese mood that encapsulated Art Nouveau, psychoanalysis and an end-of-days atmosphere, a quintessence framed by Freud, Klimt and Schnitzler – all mirrored perfectly in the storyline: Violanta, the wife of Venice’s governor, plots during Carnival to avenge, through assassination, her sister, who committed suicide after being seduced by Prince Alfonso. When the moment comes, however, she acknowledges her true motive: to snuff out her own desire to abandon herself to passion. She sacrifices herself to free herself from “lust and guilt”.

Violanta

Director Christof Loy has already helped four little-known operas from the early 20th century make a successful comeback at the Deutsche Oper Berlin: Erich Wolfgang Korngold's DAS WUNDER DER HELIANE and Riccardo Zandonai's FRANCESCA DA RIMINI were followed by other long-forgotten operatic treasures: Franz Schreker's DER SCHATZGRÄBER in 2022 and finally Ottorino Respighi's LA FIAMMA in 2024.

The Treasure Hunter (Der Schatzgräber)

It began as a song cycle for two voices and piano accompaniment and became a choral symphonic mammoth work: Arnold Schoenberg's ‘Gurrelieder’ tell the story of the love between Tove and King Waldemar, based on poems by the Danish writer Jens Peter Jacobsen. In the ‘Gurrelieder’, Schönberg, in the tradition of Richard Wagner, Gustav Mahler and Richard Strauss, combines all the musical influences of late Romanticism into an almost two-hour monumental work that is a high point of that artistic epoch – and at the same time a turning point: In fact, Schönberg had already taken the step towards atonality during the years of the completion and world premiere of ‘Gurrelieder’.

Gurrelieder

Berliner Philharmonie

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

In a courtyard of the Mycenaean palace servant girls speak disparagingly about Elektra. Elektra has not got over the murder of her father, Agamemnon, and the idea of revenge dominates her thoughts. Only one of the maidservants shows sympathy for her and is punished as a result. Elektra is yearning for the moment when vengeance will be hers and fully believes that it will come about by the actions of her brother, Orest, who was brought up in a distant region. Her sister, Chrysothemis, finds Elektra’s existence hard to bear and attempts to protect her from their mother, who has evil intentions. Chrysothemis wants to leave that awful place along with her sister so that they can live in freedom. Their mother Clytemnestra, who has been plagued by nightmares since she killed her husband, asks her daughter Elektra for help and while their conversation lasts it seems as if the two women might be reconciled. But Elektra’s hatred flares up again when Clytemnestra lies to her daughter over the whereabouts of her son, Orest. Elektra replies ambiguously to Clytemnestra’s question about the remedy for her anguish and fear, telling her mother that once the proper animal has been sacrificed under the axe her bad dreams will cease. Two strangers arrive and report the death of Orest. Elektra expresses her desire to ally with Chrysothemis in committing the deed, but her sister cannot contemplate such a thing. Determined to avenge herself, Elektra resolves: “Fine, then, I’ll do it alone!” One of the strangers moves closer to Elektra; shaken at the sight of her physical and emotional state, he allows her to see who he is: Orest. He exits to do the deed and presently Clytemnestra’s screams can be heard as she dies. Whereupon Elektra lures Aegisthus into the palace and he is killed by Orest as well. Agamemnon has been avenged. Nonetheless, Elektra stays in the palace feeling no sense of relief; she dances herself to death.

Elektra

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.