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  Abonnementkonzert VI

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  [...] Franz Liszt’s symphonic poems opened a new chapter in music history and left a lasting legacy. One of them explores the myth of Orpheus, a singer renowned for working miracles with his music. Concurrently, near the midpoint of the nineteenth century, Robert Schumann was composing his violin concerto, which would first be performed decades later. [...]

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  Monteverdi a solo

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  • 15.11.26 11.00 AM - Apollosaal

  [...] Werke von Claudio Monteverdi, Giovanni Paolo Cima,  Dario Castello u. a. [...]

• Artist

  u. a.

  Next dates:

  • Staatskapelle Berlin: Opern-Gastspiel in Shanghai - 08.11.26 - Shanghai Grand Opera House
  • Staatskapelle Berlin: Opern-Gastspiel in Shanghai - 10.11.26 - Shanghai Grand Opera House
  • Staatskapelle Berlin: Opern-Gastspiel in Shanghai - 12.11.26 - Shanghai Grand Opera House

• Artist

  Donald Holder

  Next dates:

  • Rigoletto - 05.09.26 7.30 PM - Staatsoper Unter den Linden
  • Rigoletto - 11.09.26 7.30 PM - Staatsoper Unter den Linden
  • Rigoletto - 17.09.26 7.30 PM - Staatsoper Unter den Linden

  [...] Donald Holder gestaltete das Lichtdesign für über 60 Broadway-Produktionen, darunter Ragtime, Tootsie, Kiss Me, Kate, My Fair Lady, Anastasia, Oslo, Madama Butterfly, She Loves Me, Fiddler on the Roof, The King and I, On the Twentieth Century, The Bridges of Madison County, Golden Boy, Spiderman, Movin’ Out, The Boy from Oz und Thoroughly Modern Millie. [...]

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  Welcome, Filip Dames!

  [...] As part of the agenda, Filip Dames was unanimously elected as a new member of the board. Filip Dames is not only an opera fan of the highest calibre, but also a successful entrepreneur and founder. He is an asset to the team and we love to have him in our ranks. Filip: “Supporting the Staatsoper is a huge privilege for me - world-class opera belongs to Berlin like the Currywurst and I’m thrilled to be working alongside this fantastic team! [...]

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  Fidelio

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  [...] Disguised as a man, Leonore finds work in a prison near Seville, where she suspects her husband Florestan is being held. Ludwig van Beethoven’s only opera was inspired by a French libretto Leonore ou L’amour by Jean Nicolas, written in the late 18th century and based on a true story. (...) Florestan has been incarcerated in the dungeon of a state prison near Seville now for two years for daring to uncover the crimes of Don Pizarro, the governor of the prison. She fervently hopes to find him and liberate him. Dressed as a man, she has entered the service of the prison guard Rocco and taken on the name Fidelio. Act OneMarzelline, Rocco’s daughter, is in love with Fidelio, who has proven to be a reliable helper. [...]

• Artist

  Aletta Collins

  [...] Zu ihren Tanz- und Theaterchoreographien zählen »The days run away like horses«, »Bloom« und »Awakenings« für die Rambert Dance Company (London), »The Twilight Zone« für das Almeida Theatre (London), »The Hairy Ape« für das Old Vic Theatre (London) und die Park Avenue Armory (New York), »If you kiss me, kiss me« für das The Young Vic (London) und »Sweet Charity« für das Royal Exchange Theatre (Manchester). [...]

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  Fanny! - Wer will mir wehren zu singen?

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  [...] »No one gives a hoot about me and no one dances to my tune«, as Fanny Mendelssohn once wrote about her own music. How does it feel not to be able to follow your passion because you are a girl? Using the biography of the composer Fanny Mendelssohn as a starting point, 30 children, soloists of the Staatsoper and members of the Staatskapelle perform an evening of music theatre about a little-known artist.The award-winning Kinderopernhaus Lichtenberg, supported by the Caritasverband für das Erzbistum Berlin e.V, enables children aged between 8 and 12 to bring music theatre to the stage. [...]

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  »Take a seat«

  [...] This passion moves and unites us. Turn your enthusiasm for the Staatsoper into a lasting memory: Sponsor a seat. To express our gratitude for your contribution, a plate inscripted with your name will be affixed to your selected seat in the opera house Unter den Linden. We invite you to take a seat now – by sponsoring one of the seats, which are authentic replicas of the originals, at Staatsoper Unter den Linden. [...]

• Artist

  Gregor A. Mayrhofer

  [...] Der in München geborene Gregor A. Mayrhofer studierte an der New Yorker Julliard School und wurde 2017 von Simon Rattle als Assistent zu den Berliner Philharmonikern geholt. Als Dirigent arbeitet Mayrhofer u. a. mit dem Orchester der Bayerischen Staatsoper, dem SWR Symphonieorchester, dem Lucerne Festival Academy Orchestra, der Belgrade Philharmonic und dem Münchner Kammerorchester. [...]

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  A Monteverdi Project

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  [...] In a variety of aesthetic and scientific formats, the Israeli director and choreographer Saar Magal addresses love, eroticism and human relationships, exploring their potential developments in a future shaped by the influence of new technologies, post-humanism and the Anthropocene era. In the Anthropocene, human history converges with geological and biological processes as humanity becomes a significant factor influencing the earth and its own physical alteration. How can this convergence be assimilated by bodily subjects? [...]

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  Like a Rainbow - Kinderchor

  Next dates:

  • 23.02.27 6.00 PM - Staatsoper Unter den Linden

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  Andi A. Müller

  [...] Andi A. Müller, geboren 1960 in Basel, Schweiz, studierte in der Videoklasse der Schule für Gestaltung in Basel. Dort entwarf er Live-Videos für Matthias Hartmann und Videos u. a. für Thomas Koerfer, Samir Jamal Aldin, Stefan Kaegi von Rimini Protokoll, Lola Arias, Barbara Frey, Stefan Pucher, Daniela Löffner, Heike M. [...]

• Artist

  Olaf A. Schmitt

  Next dates:

  • La Vestale - 26.09.26 6.00 PM - Staatsoper Unter den Linden
  • La Vestale - 30.09.26 7.00 PM - Staatsoper Unter den Linden
  • La Vestale - 03.10.26 6.00 PM - Staatsoper Unter den Linden

  [...] Olaf A. Schmitt studierte Theater-, Film- und Medienwissenschaft sowie Musikwissenschaft in Frankfurt am Main. Eine intensive Zusammenarbeit verbindet ihn mit den Regisseuren Martin Kušej, Johannes Erath, Barrie Kosky, Philipp Stölzl, Nikolaus Habjan sowie dem Komponisten Miroslav Srnka, zudem arbeitete er u. a. mit Stefan Herheim, Elisabeth Stöppler, Saar Magal, Mariame Clément und Lydia Steier.2014-2024 unterrichtete er an der Staatlichen Akademie der Bildenden Künste Stuttgart, seit 2022 an der Weißensee Kunsthochschule Berlin; weitere Lehraufträge führten ihn an die Bayerische Theaterakademie München sowie Universität Zürich.Er war Mitarbeiter am Heiner Müller Handbuch, seine Texte erschienen in unterschiedlichen Publikationen, darunter Die Musik in Geschichte und Gegenwart sowie Handbuch der Oper. [...]

• Artist

  A. J. Weissbard

  [...] Engagements führten ihn an Opernhäuser, Theater und zu Festival, darunter das Lincoln Center New York, die LA Opera, das Teatro alla Scala di Milano, La Monnaie in Brüssel, Teatro Real in Madrid, Teatro Municipal in São Paolo, die Opéra national de Paris, Deutsche Oper Berlin, die Guggenheim-Museen in New York und Bilbao, in das Musée du Louvre in Paris, zur Triennale Milano, in das Shanghai Art Museum und zur Biennale in Venedig. Zu seinen jüngsten Arbeiten gehören Letter to a Man von Robert Wilson und Mikhail Baryshikov, Carmen an der Opéra National de Montpellier, Don Quijote am Teatro dell’Opera di Roma sowie Slaughterhouse-Five von Vladimir Rannevs in Europäischen Zentrum der Künste Hellerau. Für seine Arbeiten wurde er u. a. mit der Golden Maske Russlands für Lichtdesign, den ersten IFSArts-Preis und den lettischen Great Music Award für die beste musikalische Inszenierung ausgezeichnet. [...]

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  »Take a seat«

  [...] By sponsoring a seat you help promote all the things that set the Staatsoper apart: spectacular new productions, the Staatskapelle Berlin and the Junge Staatsoper. [...]

• Event

  Tristan und Isolde

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  [...] Although Tristan secretly reciprocates Isolde’s love, he is now accompanying her to carry out her forced marriage with King Marke simply out of a sense of duty. Deeply humiliated, she wants to put an end to her life as well as his. Because he wants to escape his feelings for Isolde, they both voluntarily drink a supposed death potion. Near death, they both confess their forbidden love for each other. But then, tormented by unfulfilled longing and desire for each other, both are forced to carry on living, wishing more than ever for unity in death... (...) Synopsisby Dmitri Tcherniakov The Prior StoryTristan, a close confidant of Cornwall’s King Marke, kills Morold in battle, a representative of Ireland, Cornwall’s enemy. Isolde feels ignominiously betrayed by Tristan and asks her confidant Brangäne to ask Tristan for a meeting. Tristan evades. His trusting friend Kurwenal gives an insulting reply: a man like Tristan has nothing to say to the woman he is bringing as a trophy wife to his king.Isolde admits to Brangäne that Tristan is the same Tantris who once killed her fiancé Morold and against whom she almost avenged herself, but that in a moment of pity she saved his life and healed his life-threatening wound. [...]

• Artist

  Tamisha A. Guy

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• Artist

  Samantha Britt

  [...] An der Staatsoper Unter den Linden debütierte Sie 2019 in »Babylon« von Jörg Widmann und war in der Spielzeit 2021/22 Teil des Vokal-Trios in »Sleepless« von Peter Eötvös. 2019 sang sie die dänische Frau in »Tod in Venedig» (Britten) an der Deutschen Oper Berlin. Die Sopranistin gastierte darüber hinaus u. a. als Königin der Nacht (»Die Zauberflöte«) in der Tonhalle Düsseldorf, Frasquita in »Carmen« an der Kammeroper Schloss Rheinsberg, Nella in »Gianni Schicchi«, Lucy in »The Telephone« von Gian Carlo Menotti und in der Titelpartie in »Kiss Me Kate« an der Opera Incognita in München. [...]

• Artist

  Rebecca Howell

  [...] Die Choreographin Rebecca Howell ist Absolventin des London Studio Centre und begann ihre Karriere als Performerin, bevor sie sich dem Choreographieren zuwandte. Sie arbeitete u. a. mit Peter Darling, Arlene Philips, Adam Cooper, Robert Carsen, Terry Johnson, Trevor Nunn, Michael Mayer sowie Lonny Price zusammen und assistierte viele Jahre der Choreographin Lynne Page.Rebecca Howell ist den Bereichen Theater, Oper, Mode, Fernsehen und Musikindustrie tätig. Haffman (Ustinov Studio), The Third Man, Barnum, She Loves Me (Menier Chocolate Factory), Cabaret (GöteborgsOperan), Lady in the Dark (Opera Zuid), The Secret Diary of Adrian Mole Aged 13¾ (West End, Menier Chocolate Factory), Man of La Mancha (ENO, London Coliseum), Mamma Mia! [...]

• Event

  Orbit – A War Series

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  [...] The title Orbit: A War Series is a reference to the New York artist Nancy Spero: deeply moved by the photographs of the Vietnam War that were circulating in the media, Spero investigated the links between sexuality, violence, and power in The War Series (1966–70). The musical spaces of violence, protection, escape, or exhibition form the acoustic habitat of the voices that their bodies left behind to form vocal clones and immortal warriors of a posthuman and techno-futuristic chorus that proclaims an opera of the future that is as sensorial as it is political. [...]

• Artist

  Marlene Blumert

  [...] Darüber hinaus zeichnete sie 2021 für die Livekamera und das Kamerakonzept bei Zauberberg (Regie: Sebastian Hartmann) am Deutschen Theater Berlin, 2019 für Hamlet und 2022 für Queen Lear, jeweils in der Regie von Christian Weise am Gorki Theater Berlin, sowie 2021 für Die Gewehre der Frau Kathrin Angerer und 2023 für Fantômas (Regie: René Pollesch) an der Volksbühne Berlin verantwortlich. 2021 hatte Marlene Blumert die Künstlerische Leitung, führte Regie und entwickelte das Konzept und den Text für das Theaterprojekt Are you flirting with me? im Prinzessinnengarten Berlin. [...]

• Artist

  Katrina Lindsay

  [...] Zudem wirkte sie in der Produktion »wonder.land« des National Theatre mit, die auch auf dem Manchester International Festival aufgeführt wurde, und war für das Kostümbild von »Hamlet« am Barbican Theatre und »American Psycho« am Almeida Theatre, das auch am Broadway zu sehen war, verantwortlich.Im Rahmen ihrer Arbeit am National Theatre entwarf sie zusätzlich zu den Kostümen die Bühnenbilder zu »My Country: a work in progress«, »Lost Without Words«, »Behind the Beautiful Forevers«, sowie »Dara« und »London Road«. Ihre Arbeit in dieser Doppelfunktion führte sie an weitere wichtige Spielstätten wie das Young Vic Theatre (»See Me Now«), zur Royal Shakespeare Company mit »All’s Well That Ends Well«, an das Birmingham Royal Ballet (»The Kind Dances«) und wiederum zum West End Theatre für die Produktion »Cabaret«, die auf Tour durch Großbritannien ging.Das Stück »London Road« wurde 2015 für den Film adaptiert (BBC/Cuba Pictures), für dessen Produktionsdesign sie verantwortlich war. [...]

• Event

  Ti vedo, ti sento, mi perdo

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  [...] His new work has all the features of his distinctive style: crystal-clear, fragile yet urgent music. In addition, he has produced a highly artificial, nuanced text treatment with references to past chapters of music history, now set in a contemporary context.The subtitle of »Ti vedo, ti sento, mi perdo« (»To see you, to feel you, to lose me«) is »Waiting for Stradella«. The work is set in the home of the aristocratic family Colonna in baroque Rome, where a singer, a writer, a musician, a choir and an instrumental ensemble are on stage awaiting the arrival of the composer.. (...) ACT ONERome, during the age of the High Baroque: in a hall of a grand palazzo, a performance is in preparation. A stage is built; the musicians, including a singer, several chorus members and instrumentalists, rehearse the cantata that is to be performed on this occasion. They are waiting for the famous composer Alessandro Stradella, who leads a life riddled with scandal, the “new Orpheus” who promised a new aria as the highlight of the performance. [...]

• Artist

  Franco Bridarolli

  [...] Die bei der Plattform entstandene gemeinschaftliche Arbeit »Sonhos que me esquecí de sonhar até ao fim« wurde im November 2015 im Ciclo de Conciertos de Música Contemporánea del Teatro General San Martín aufgeführt. [...]

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  Stravinsky

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  [...] »I consider that music is, by its very nature, essentially powerless to express anything at all, whether a feeling, an attitude of mind, or psychological mood, a phenomenon of nature, etc….Expression has never been an inherent property of music. The renowned choreographer's angle was to focus on the characters' psychology: »For me, dance is a matter of the soul beyond pure movements,« says Goecke in regards to Petrushka. His sympathies lie with the outsider he discovers in the central character of the Russian Balagan. [...]

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  A Sunday for the Staatsoper

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  Love, you son of a bitch

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  [...] Alessandro Scarlatti settles a score with love and its pitfalls in one of his cantatas, in which he calls love the »brutto figlio de pottana« (ugly son of a bitch). With »Love, you son of a bitch« Letizia Renzini is showing her first work at the Staatsoper Unter den Linden. (...) A SCARLATTI PROJECT MUSIC THEATRE PERFORMANCE by Letizia Renzini with music by Alessandro and Domenico Scarlatti (...) A Scarlatti Project Music theatre performance by Letizia Renzini [...]

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  Between surrealism and romanticism

  [...] ‘It took me a while to get into the piece at first,’ admits Lydia Steier, referring to its recent reception history. "I find the concept incredibly compelling. It has opened up a whole new perspective on the piece for me, because it's not just about Hoffmann as an artist, but a reflection on his entire life. [...]

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  Sacre

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  [...] A three-part ballet evening with music by three composers who counted among the avant-garde artists of their day: Hector Berlioz, Claude Debussy und Igor Stravinsky. Debussy is represented with his Prelude to the Afternoon of a Faun, about which Pierre Boulez said, "the flute of the faun brought new breath to the art of music". (...) "Never before has Debussy’s piece seemed so entertaining to me as in this stimulating interpretation. In front of an abstract mosaic glowing in various colors, dancers appear in geometrically styled costumes—color particles in a kinetic image that at times tells of animalistic forces and claws, at other times of spirits and dreams—and sometimes of erotic desires." "The German premiere of the Sasha Waltz choreography turns into a roaring triumph."(Berliner Morgenpost) [...]

• Artist

  Luc Dunberry

  [...] Luc Dunberry, in Kanada geboren, studierte Musik am Collège de Sherbrooke, Theater an der UQAM (Université du Québec à Montréal) und Tanz bei LADMMI (Les Ateliers de Danse Moderne de Montréal Inc.). Als Mitglied der Groupe de la Place Royale arbeitete er mit verschiedenen Choreographen, u.a. mit Sasha Waltz, die ihn 1996 als Tänzer ihrer Compagnie engagierte. Festival Internacional de Buenos Aires, Tanzplattform Deutschland 2004 in Düsseldorf). 2004 drehte er seinen ersten Film »(Left) between us«, der auf dem Videodance-Festival in Griechenland und dem Reeldance Film Festival in Australien gezeigt wurde. 2005 brachte er die Choreographie »Don’t we« zur Uraufführung. 2007 wurde sein Film »just me may be« im Radialsystem V Berlin und auf dem Videodance-Festival in Griechenland gezeigt. Im gleichen Jahr war er Choreographie-Assistent von Sasha Waltz bei »Roméo et Juliette« für das Ballet de l’Opéra National de Paris. 2008 choreographierte Luc Dunberry das Duett »Mi-un ni d’eux» für die Tanzcompagnie PPS Dance (Montreal) sowie »Mond…Days» für das Tanztheater Osnabrück. [...]

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  E. T. A. Hoffmanns romantisches Berlin

  [...] Ein historischer Stadtspaziergang Berlin gehörte zu den wichtigsten Schauplätzen im Leben und Wirken von E. T. A. Hoffmann. Insgesamt drei Anläufe brauchte der Dichter, Komponist, Maler und Jurist Hoffmann, um sich in der preußischen Kulturmetropole zu etablieren – beim dritten Mal fasste er schließlich Fuß.  Redaktion: Luis FriedrichMitarbeit: Christoph Lang / Dramaturgie der Staatsoper Unter den LindenAudioproduktion: Bernhard JägerSprecher:innen: Steffi Blumenthal, Luis Friedrich, Detlef Giese, Christoph Lang, Elisabeth Kühne, Olaf A. Schmitt [...]

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  Tierisch on tour - a road opera

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• Artist

  Antonio Ruz

  [...] Momentan lebt Antonio Ruz in Madrid, wo seine Karriere als Choreograph, Tänzer und Tanzlehrer weiter voranschreitet und er seine eigene Compagnie leitet, deren letzte Stücke die Titel »No Drama«, »Ignoto« und »Ojo« tragen, sowie »Libera Me!«, eine Zusammenarbeit mit dem deutschen Chor Vocalconsort Berlin. Seine neustes Stück »Vaivén« entwickelte er gemeinsam mit dem Tänzerchoreographen Juan Kruz Diaz de Garaio Esnaola – es kam im November 2014 in Sevilla zur Uraufführung. [...]

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  Médée

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  [...] Much can be learned about the art of composition, the interaction of text and music, and the visualisation of a multifaceted tragic event, whose magnitude and power touches the audience. Charpentier’s opera is unique in its combination of French classicism and Italian melodic beauty, and exceptional in its richness of expression and timbre. Every character is sharply drawn, as is the drama itself, staged by Peter Sellars. A bridge is built from mythical times to the present, underlining once again the relevance and continuing impact of ancient Greek mythology in the present day. (...) A brief dance of melancholy and national mourning is followed by a fun explosion of sexual liberation. Medea is capable of terrible retribution. But Jason is tired of being a hero. ‘What has Glory done for me?’ he asks himself. The public is anxious about the impending war. [...]

• Artist

  Martha Argerich

  [...] Her large repertoire includes Bach and Bartók, Beethoven and Messiaen, as well as Chopin, Schumann, Liszt, Debussy, Ravel, Franck, Prokofiev, Stravinski, Shostakovitch, Tchaikovski.Though she is permanently invited by the most prestigious orchestras, conductors and music festivals in Europe, Japan and America, chamber music takes a significant part of her musical life. She regularly plays and records with Nelson Freire, Ivry Gitlis, Mischa Maisky, Gidon Kremer and Daniel Barenboim: “This harmony within a group of people gives me a strong and peaceful feeling.”Martha Argerich has recorded for EMI, Sony, Philips, Teldec, DGG and many of her performances were broadcasted on television worldwide. Last recordings include Mozart Concertos K466 and K503 with Orchestra Mozart and Claudio Abbado and a Duo Recital with Daniel Barenboim (Deutsche Grammophon).Since 1998 she is the Artistic Director of the Beppu Festival in Japan. [...]

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  Liedrecital Renée Fleming

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  [...] Georg Friedrich Händel »Bel piacere« from the opera Agrippina HWV 6»O Sleep, why dost thou leave me?« from the oratorio Semele HWV 58»Endless pleasure« from the oratorio Semele HWV 58 Nico Muhly Endless Space Gabriel Fauré Rêve d’amour op. 5/2Prison op. 83/1Les berceaux op. 23/1Au bord de l’eau op. 8/1 Jules Massenet »O Messager de Dieu« from the opera Thaïs Kevin Puts Evening Edvard Grieg Lauf der Welt op. 48/3Zur Rosenzeit op. 48/5Ein Traum op. 48/6 Erich Wolfgang Korngold Marietta’s Song from the opera Die tote Stadt op. 12 Richard Strauss MuttertändeleiCäcilie (...) Mr Höll plays on a model E grand piano from the Bayreuth piano manufacturer Steingraeber & Söhne. [...]

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  Jakob Lenz

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  [...] SCENE 1 Lenz comes scrambling through the mountains, harried by voices. “You, spirit who lives within me! Whence do you come, that you hasten so? … Your shell cannot keep pace; its every sinew trembles. … No higher! He takes his failure as a sign that God has forsaken him. SCENE 11 “From now on the sun in mourning, / From now on dark the day!” [...]

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  Berliner Atonale III - Die Kriminellen der Frau A.

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  [...] Teilinszeniertes Konzert mit der Uraufführung des kompletten Zyklus »Die Kriminellen der Frau A.« nach Texten von Tanja Langer und Kompositionen von Rainer Rubbert, Gabriel Iranyi, Samuel Tramin, Martin Daske, Susanne Stelzenbach, Charlotte Seither, Laurie Schwartz, Stefan Lienenkämper, Mayako Kubo, Helmut Zapf, Thomas Hennig, Eres Holz, Péter Köszeghy (...) IRINI AMARGIANAKI»Tunk die Feder in die Tinte« - Lied für Barbara Suckfüll (2016)für Bariton und SchlagzeugZyklus »Die Kriminellen der Frau A.«inspiriert von den Bildern der Künstlerin Ina Abuschenko-MatwejewaTHOMAS HENNIG»Wer fragte Isaak?« (2016)für Bariton und PercussionGABRIEL IRANYI»Feuerkopf« (2016)für Sopran und sprechende Violoncellistin (Uraufführung)SAMUEL TRAMIN»Tigermann« (2016)für Mezzosopran und KlavierSzenen aus der »Oper Ovartaci - crazy, queer & loveable«RAINER RUBBERT»Ovartaci als Heizer im Frachtdampfer hört Stimmen« (2016)für Bariton, Percussion und Klavier (Uraufführung)PauseERES HOLZ»Der Gang des Psychiaters durch den Klinikflur / Transmigration« (2006)für ElektronikGABRIEL IRANYI»Er ist zweifelsohne unser interessantester Patient« (2016)für Mezzosopran und Violoncello (Uraufführung)MARTIN DASKE»Get it over - Smoking with the Chinese Man« (2016)für Bariton, zwei Sängerinnen, Klavier, Violoncello und Elektronik (Uraufführung)(Dirigat: Thomas Hennig)MAYAKO KUBO»Puma, Blume, Schmetterling / 64 times I was born« (2016)für Bariton, zwei Sängerinnen und Percussion (Uraufführung)CHARLOTTE SEITHER»Wanting to fly I« für Sopran und Violoncello (2016)HELMUT ZAPF»Heiß ist das Blut, kalt ist der Stahl« (2016)für Bariton, Violoncello und Klavier (Uraufführung)SUSANNE STELZENBACH»Liebe« (2016)für Bariton, Sopran, Klavier und Percussion (Uraufführung)STEFAN LIENENKÄMPER»Sleep well, my love - Ovartaci und seine ‚Pferdefrauen‘« (2016)für Bariton, zwei Sängerinnen, Steine und Elektronik (Uraufführung) [...]

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  Das schlaue Füchslein

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  [...] It tells the life story of the young, rebellious vixen Bystrouška, or Sharp Ears, who is captured by the forester and starts a revolution at his homestead before she succeeds in escaping. Back in the freedom of the forest, she founds a family with a fox and is then shot by a poacher. Inspired by an illustrated novella by Rudolf Těsnohlídek, for this opera, which premiered in 1924, Janáček created a highly sensual, impressionistic score that reflects the mutual interaction of humans and animals. This “Czech midsummer night’s dream” will be directed by Ted Huffman, making this his premiere at the Staatsoper: at the podium, the celebrated Janáček-expert Simon Rattle. (...) He falls asleep while the animals cavort around him. A fox cub tries to capture a frog. The forester, awaked by this, spots the little vixen and captures her. It is as a grand cycle has come to a close. (...) “What a wonderful experience!” (Frankfurter Allgemeine Zeitung) “The ensemble shines vocally at a high level.” (Berliner Morgenpost) [...]

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  Museum Concert V

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  [...] The Bode Museum is an eye-catching building, not only from the outside with its striking dome. Inside, too, it is a jewel in Berlin’s museum landscape. If you have seen neither the inside or out, we highly recommend a visit. And if you are a regular museum-goer, there is another reason to go: On ten Sundays throughout the year  you can combine a trip to the museum with a concert in the Gobelinsaal. (...) Charles KoechlinVIER KLEINE STÜCKE FOR VIOLINE, HORN AND PIANO OP. 32 (selection) Robert SchumannFANTASIESTÜCKE OP. 73 Clara Schumann ROMANZEB MINOR »LIEBENDES GEDENKEN« THREE ROMANCES OP. 22 for violine and piano György LigetiTRIO »HOMMAGE À BRAHMS« Avner Dorman»AFTER BRAHMS« – THREE INTERMEZZI FOR PIANO (selection) (...) Hommage à Brahms (...) Hommage à Brahms [...]

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  Become a Partner of the Staatsoper Unter den Linden

  [...] As a partner of the Staatsoper Unter den Linden, you are part of one of the largest opera houses in Europe. We sincerely thank our partners and sponsors for their support and commitment.Would you like to enjoy the full benefits of being a partner of the Staatsoper Unter den Linden?We look forward to talking to you in person. Contact Head of DevelopmentAnja Gossens T+49 (0)30 – 20 35 45 29E-mail a.gossens@staatsoper-berlin.de [...]

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  Die schweigsame Frau

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  [...] In the early 1930s, for Richard Strauss — approaching 70 — it was an auspicious moment when Stefan Zweig, a renowned author known for his artful, profound novels and plays, proposed writing a new libretto. In a mutually inspiring collaboration, they created a truly “comic opera” based on a play by Ben Jonson from the Shakespeare period filled not only with striking characters, tempo, and wit, but profound reflection as well. “The opera is a perfect, but perhaps for the twenty-first century,” according to Strauss himself, who in a difficult, dark time created a work of creative compositional virtuosity and a relaxed sense of humor, a story of people longing for rest or who lose themselves in busyness. (...) But Henry did not come alone, but with an entire theatre troupe, who then shows up in Morosusʼ apartment. Henry, who started a career as a singer, presents the members of the company, including his wife Aminta, who is also a member of the company. Aminta is to convince Morosus as a reticent, silent woman, he should then marry her in a fake ceremony, but after a brief period she should change her tune entirely and turn into a raging fury who does anything but provide Morosus with the comfortable life he was looking for, instead making it a living hell. (...) “A whirlwind of sound figures and fragments sweeps through the orchestra, whistling, flashing and crashing. [...]

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  Les pêcheurs de perles

  Next dates:

  • 02.04.27 7.30 PM - Staatsoper Unter den Linden
  • 04.04.27 6.00 PM - Staatsoper Unter den Linden
  • 07.04.27 7.30 PM - Staatsoper Unter den Linden

  [...] Set in a faraway island paradise, Georges Bizet tells the story of a love triangle complicated by true friendship. Inspired by a subject matter infused with the exoticism so popular at that time, he produced a score with colourful instrumentation, enchanting melodies and powerful theatre music, which finds expression both in large-scale choral tableaus and chamber-play-like scenes between the main characters. (...) Act one A beach along an isle inmidth the sea: as always, pearl diving season begins at this time of year, and the fishermen have gathered around their leader Zurga. Leïla trusts the old man and tells him how she once experienced a highly dangerous situation: risking her own life, she once saved the life of a refugee who then gave her a pearl necklace that she has worn since then. [...]

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  Il Giustino

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  [...] Here, not only can Byzantine heroines be heard but also bears, sea monsters and voices from beyond the grave. In the 1920s, a large number of operas composed by Vivaldi were rediscovered, including »Il Giustino«. These manuscripts shed new light on the composer’s work, who was primarily celebrated as a composer of Baroque era instrumental music at that time but whose operatic works were largely unknown. (...) He does not suspect that Flavia in reality is Vitaliano’s brother Andronico, who is in love with Leocasta and pretends to be a woman in order to be near to her.Vitaliano remains stubborn. He succeeds in taking Arianna prisoner. ACT TWOIn the meantime, with the support of Emperor Anastasio’s sister Leocasta, Giustino has transformed from a simple man of the land into a successful warrior. A storm breaks out. Anastasio and Giustino are shipwrecked and miraculously washed up on the very island where Arianna is crying out to be rescued from the monster. [...]

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  Chamber Concert Apollo-Saal I

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  [...] The ancestral line of artists who have played a significant role in the history of Berlin’s court and state operas, as well as its court and Staatskapelle orchestras, is impressive. Carl Heinrich Graun, Carl Philipp Emanuel Bach and Johann Friedrich Reichardt in the 18th century, Felix Mendelssohn Bartholdy, Giacomo Meyerbeer and Otto Nicolai in the 19th century, and then later Richard Strauss, Alban Berg, Paul Hindemith, Darius Milhaud, Otto Klemperer and Paul Dessau, are just a handful of the composers and conductors who have left an enduring legacy and given key world premieres.These roots are traced by members of the Staatskapelle Berlin over ten chamber concerts, every Monday evening at the Apollo Hall. (...) Friedrich II.SONATAS IN F MAJOR, G MINOR, A MINOR AND C MAJOR for flute and B.c. Johann Joachim QuantzDUET IN A MAJOR for two flutesSONATA IN G MAJOR for two flutes and B.c. (...) A king and his teacher (...) A king and his teacher [...]

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  Liedrecital Anna Samuil

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  [...] op. 6 Nr. 5 Johannes Brahms Von ewiger Liebe op. 43 Nr. 1 Pauline Viardot-García Цветок (The Flower)L’Oiselet Anton Rubinstein Moderato assai, aus 2 MÉLODIES OP. 3 for Piano solo Johannes Brahms Die Mainacht op. 43 Nr. 2 Pauline Viardot-García C’era una volta Frédéric Chopin Mazurka a-Moll op. 17 Nr. 4 for Piano solo Peter Tschaikowsky Нет, только тот, кто знал … (Only those who know the longing…) op. 6 Nr. 6Забыть так скоро (So quickly forget) Erast Agejewitsch Abasa Утро туманное (Foggy Morning) Pauline Viardot-García Старый муж, грозный муж (Old man, strict man) Maria Malibran Rataplan (...) »Hommage à Pauline Viardot« (...) »Hommage à Pauline Viardot« [...]

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  Im Nebel ein Licht

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  [...] Above all else stands the power of music, with its ability to dispel melancholy, as well as to comfort and express a range of emotions. Leoš Janáček’s music touches the core of human emotions in a rarely precise way, giving Strauss’ tragedy of »Saul« an added aesthetic dimension. (...) A Janáček-Strauß-Evening (2022) Music by Leoš Janáček Texts by Botho Strauß (...) A Janáček-Strauß-Evening [...]

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  Don Giovanni

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  [...] Sometimes as a cautionary tale of a wrongdoer who eventually gets his comeuppance, sometimes as an allegory of a freedom-loving, unconventional libertine who questions the moral and religious ideas of his day: The figure of the irresistibly attractive yet unscrupulous Don Juan (or Don Giovanni) is a modern myth, among whose numerous adaptations Mozart’s "dramma giocoso" stands out. At a rendezvous with the wealthy Donna Anna, the womanising Don Giovanni is apprehended by her outraged father, the Commendatore, who Giovanni kills in the ensuing duel. (...) Angry at these accusations, Giovanni is already thinking of his next conquest.When a female voice is heard complaining angrily about her husband’s infidelity, Giovanni is immediately willing to console the unhappy woman. Ottavio has now dispelled even his last doubts about Don Giovanni’s crimes, and he decides to ensure his punishment.Despite the betrayal she has suffered, Donna Elvira is worried about Don Giovanni – she senses that his end is near. Giovanni takes pleasure in telling Leporello how he met a woman who mistook him for Leporello. At that point, they hear a voice threatening to end Giovanni’s life. [...]

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  Chamber Concert Apollo-Saal VIII

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  [...] The ancestral line of artists who have played a significant role in the history of Berlin’s court and state operas, as well as its court and Staatskapelle orchestras, is impressive. Carl Heinrich Graun, Carl Philipp Emanuel Bach and Johann Friedrich Reichardt in the 18th century, Felix Mendelssohn Bartholdy, Giacomo Meyerbeer and Otto Nicolai in the 19th century, and then later Richard Strauss, Alban Berg, Paul Hindemith, Darius Milhaud, Otto Klemperer and Paul Dessau, are just a handful of the composers and conductors who have left an enduring legacy and given key world premieres.These roots are traced by members of the Staatskapelle Berlin over ten chamber concerts, every Monday evening at the Apollo Hall. (...) A forgotten Berliner Ensemble variazione (...) A forgotten Berliner Ensemble variazione [...]

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  Der betörende Gesang des Zaubervogels

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  [...] The 10th production to come out of the Kinderopernhaus Lichtenberg, »Der betörende Gesang des Zaubervogels« tells a fantastical story about the power of music, inspired by an African folktale. A mysterious bird is causing trouble for a village by stealing the harvest from its fields. Using the folktale as their starting point, the children worked on and shaped their roles to a large extent themselves and developed musical/rhythmic material through improvisation. The piece also features folk songs and well-known opera tunes. (...) Kinderopernhaus Lichtenberg A musical theatre production based on a Tanzanian folktale [...]

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  CHILDREN’S CHORUS OF STAATSOPER

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  [...] Franz Schubert Psalm 23 - Gott ist mein Hirt Johannes Brahms Die Meere Miklós Kocsár Jubilate Deo Thomás Luis de Victoria Duo Seraphim clamabant Gioachino Rossini La Carita(SOLO Ekaterina Mur) Levente Gyöngyösi Asperges me Wilhelm Berger Ein kleines Lied op. 60/3 Donald Patriquin J’entends le moulin Lorenzo Di Toro To make a prairie (Uraufführung)KONTRABASS Adalina Christel Blödorn, Piet Blödorn József Karai Ugrótánc Heinz Benker Meinungsverschiedenheit Stephen Schwartz When You Believe Darius Lim Thank You [...]

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  Ouropera

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  [...] A revue by and with young people (...) A revue by and with young people [...]

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  Im Wald von Toulouse

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  [...] The children worked on shaping the multifaceted personalities of the characters they play and developed musical/rhythmic material through improvisation.The piece tells the fantastical story of a band of very different children and the exciting adventures they experience on a journey through an enchanted forest. On the way, they learn how to deal with conflict and how to be strong as a group. (...) A musical theatre production by the Kinderopernhaus Marzahn (...) A musical theatre production by the Kinderopernhaus Marzahn [...]

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  Books, DVDs & CDs

  [...] To mark Daniel Barenboim's 80th birthday on November 15, 2022, this publication documents three decades of a formative and fulfilling collaboration with the Staatsoper Unter den Linden and the Staatskapelle Berlin. Each CD is dedicated to a conductor who shaped the unique sound of the Staatskapelle Berlin. Released by Deutsche Grammophon, 2020€ 39,00 (incl. [...]

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  Liedrectial Katharina Kammerloher

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  [...] Unfortunately the song recital for the 25th anniversary of Katharina Kammerloher at the Staatsoper Unter den Linden must be canceled due to a short-term illness. We will announce a replacement date in the next season in time. [...]

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  Reconstruction

  [...] He conceived the opera in the Palladian style. The King selected a fortress site near the Kronprinzenpalais where he lived. By placing it on the city’s main axis – the Unter den Linden boulevard – and not as would be usual within the palace complex, this created Europe’s first independent theatre building as a cultural expression of the Enlightenment.The building, which was conceived as a nave, comprises the Apollo Hall (banqueting hall, foyer), the Theatre Hall (auditorium, ballroom) and the Corinthian Hall (stage and concert hall). As a result, the building, which has been listed as a historic monument since 1979, has a multilayered richness that is unparalleled. [...]

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  Reconstruction

  [...] He conceived the opera in the Palladian style. The King selected a fortress site near the Kronprinzenpalais where he lived. By placing it on the city’s main axis – the Unter den Linden boulevard – and not as would be usual within the palace complex, this created Europe’s first independent theatre building as a cultural expression of the Enlightenment.The building, which was conceived as a nave, comprises the Apollo Hall (banqueting hall, foyer), the Theatre Hall (auditorium, ballroom) and the Corinthian Hall (stage and concert hall). As a result, the building, which has been listed as a historic monument since 1979, has a multilayered richness that is unparalleled. [...]

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  2016/17

  [...] 28 - 30 June 2017 | Trip to the Elbphilharmonie HamburgIn June, we accompanied the Staatskapelle Berlin with Maestro Daniel Barenboim to Hamburg, where they have played a fantastic concert with pieces from Wagner and Bruckner at the Elbphilharmonie. Additionally, we were able to visit a marvelous performance of Puccini’s »Madama Butterfly«, a production by Vincent Boussard with costumes from Christian Lacroix at the Staatsoper Hamburg. You can get to know a lot of interesting things about the experiences and challenges of working in one of the most renowned orchestras worldwide and talk with their mentors in a relaxing atmosphere. 11 November 2016 | »Take a seat« – reception at the Staatsoper Unter den Linden»Take a seat« – under this slogan, we offer opera and music lovers the opportunity to 'take a seat' by sponsoring one at Staatsoper Unter den Linden and to hereby show their appreciation for this opera house. [...]

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  The Turn of the Screw

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  [...] A young woman is given a job as a governess at a country house, Bly, where she will be looking after two orphan children, Flora and Miles. Each scene casts a different light on the events, which are viewed through the lens of the governess’s memories. They do not coalesce into a unified whole, but instead feel more like a puzzle with missing pieces. (...) Opera in a prologue and two acts (1954) Music by Benjamin Britten text by Myfanwy Piper after Henry James (...) Opera in a prologue and two acts by Benjamin Britten (...) Prologue A woman from a modest background, the daughter of a countryside vicar whose name we will never learn, is named governess at the country estate of Bly. At first, the closed off cosmos of Bly with the angelic children seems like a perfect idyll. And yet, gradually, the untarnished nature of this world is shaken to the core. A letter arrives; Miles has been expelled from school. [...]

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  L’incoronazione di Poppea

  Next dates:

  • 20.11.26 7.00 PM - Staatsoper Unter den Linden
  • 22.11.26 6.00 PM - Staatsoper Unter den Linden
  • 24.11.26 7.00 PM - Staatsoper Unter den Linden

  [...] In his last opera, Claudio Monteverdi drew for the first time on material with real historical figures, and thus created the first "sex-and-crime story" in operatic history. Like a political thriller, this early Baroque masterpiece tells a story of power and passion and of occasions where it is abused. Monteverdi manages the feat of exposing his partially caricatured figures, whose melodies are very differently characterized, in a sometimes humorous fashion while also creating empathy for them. His extremely expressive music, with sensual melodies, bold harmonies and astoundingly avant-garde style, tempts us to cheer on the adulterers, despite their scandalous behaviour. (...) Opera musicale in a prologue and three acts (1642) Music by Claudio Monteverdi Text by Giovanni Francesco Busenello (...) A day at Emperor Nero’s court in 62 A.D.A fight has broken out over whether virtue or fate enables a rise into the highest spheres, but this is rudely interrupted when love comes into play. Her old nurse suggests that the Empress should take on a lover as consolation.The philosopher and Emperor’s tutor Seneca advises the Empress to bear the abjection valiantly. [...]

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  2019/20

  [...] 23 August 2020 | Matinee with Andreas Schager, Lidia Baich and Klaus Saalmann This summer you were offered another special highlight: Our board of trustees member and long-standing association member Holger Röder and Sonja Fuhrmann invited you to a musical matinee in support of the Staatsoper Unter den Linden in Dreieich near Frankfurt am Main on August 23, 2020. With the annual evening in the Villa Jacobs, which has become a tradition in the meantime, Mrs. and Mr. Ludes have set a sign that music and art can and will continue despite Corona. [...]

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  Die schöne Müllerin

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  [...] Yet the story of the journeyman miller who is unhappily in love turns out to be a multi-layered one-person drama. In this staged version, bass-baritone Florian Boesch and director and puppeteer Nikolaus Habjan adopt a unique approach to the subject matter. With the Musicbanda Franui, who describe themselves as a “transformer station between classical music, folk music, jazz and contemporary chamber music”, they tell this well-known story in a new way. (...) A Musictheatre Evening (2023) After Franz Schubert By Musicbanda Franui [...]

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  La Calisto

  Next dates:

  • 08.11.26 6.00 PM - Staatsoper Unter den Linden
  • 13.11.26 7.00 PM - Staatsoper Unter den Linden
  • 15.11.26 6.00 PM - Staatsoper Unter den Linden

  [...] This opera is a masterpiece of the Venetian Baroque by one of its most prominent composers. Written and brought to the stage for the first time almost precisely in the middle of the seventeenth century, Francesco Cavalli’s La Calisto is characterized by its musical inventiveness, an extraordinarily focused rendering of the characters, and a sophisticated libretto filled with serious and comic situations as well as characters. Director Stefan Herheim will stage this colorful kaleidoscope of words and sounds using a kind of “baroque sci-fi aesthetic” with all the thematic variety and color that inheres in this opera, ending with a starry sky. (...) Dramma per musica in three acts and a prologue (1651) Music by Francesco Cavalli Text by Giovanni Faustini [...]

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  Le nozze di Figaro

  Next dates:

  • 02.10.26 7.00 PM - Staatsoper Unter den Linden
  • 07.10.26 7.00 PM - Staatsoper Unter den Linden
  • 13.10.26 7.00 PM - Staatsoper Unter den Linden

  [...] In a villa by the sea in a summer resort, where Figaro is on holiday, emotions run high, old grudges are settled, and intrigues spun. The trilogy of Da Ponte operas, written in the mid- to late 1780s based on texts by the eponymous Italian librettist, has achieved fame for a good reason. Figaro, which was already a success during Mozart’s lifetime, has become a prime example of a "musical comedy" – admired by many, and a favourite among directors, conductors, singers and audiences. (...) But Figaro wants to frustrate the count’s plans.But danger is lurking not only from the Count, but also from another side: Marcellina remembers a promise that Figaro once made her to marry in return for a loan, while the doctor Bartolo, still hurt over a story from the past, swears his vengeance. To pique the count’s jealousy, Figaro had an anonymous letter written to him mentioning a rendezvous the Countess had with a secret admirer.After singing a cavatina for the Countess and Susanna, Cherubino is dressed as a girl. (...) And humour is the sharpest weapon of the desperate. That is why it is a duty, indeed a must, to enjoy this Figaro by Jürgen Flimm at the Staatsoper to the full."(ARD Hörfunk) “What Flimm does with the ensemble is a joy to watch. It is rare to see opera singers with such vitality of movement and performance.”(Berliner Zeitung) [...]

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  La traviata

  Next dates:

  • 07.01.27 7.30 PM - Staatsoper Unter den Linden
  • 09.01.27 7.30 PM - Staatsoper Unter den Linden
  • 16.01.27 7.30 PM - Staatsoper Unter den Linden

  [...] Violetta Valéry is a noble courtesan in Paris who has "strayed from the path of virtue" and leads a life that oscillates between splendour and misery. Only once did Giuseppe Verdi turn his attention to a contemporary subject, Alexandre Dumas the Younger’s La dame aux camélias. As a novel and a play, Dumas based his story on true events. (...) Gastone, Vicomte de Letorières, introduces to her a new guest, Alfredo Germont, who has been her admirer for a year and offers her his love and a restful life. Violetta is forced to decide, between Baron Douphol, who has been paying her for a year, or Alfredo, whom she loves like no other before. In the early morning after her guests have departed, Violetta tries to decide what she wants: a serious love, or a life that is entirely dedicated to pleasure. (...) “Being close to the last things is a pretty good prerequisite to produce an exceptionally good La traviata. Dieter Dorn has succeeded in doing this - with the aforementioned artistically incomparable and energetic Geronto troupe, ravishing young singers and a cool set designer who centres the action on a 17th century still life.” “Verdi´s realistic drama was turned by Dorn into a universal, mythical tale – as a provisional title of his opera read – of `Love and Death`.”(Opera) [...]

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  Ariadne auf Naxos

  Next dates:

  • 08.04.27 7.30 PM - Staatsoper Unter den Linden
  • 17.04.27 7.30 PM - Staatsoper Unter den Linden
  • 22.04.27 7.30 PM - Staatsoper Unter den Linden

  [...] His heroic opera about Ariadne, tormented by lost love and yearning for death, must be performed at the same time as a piece by a burlesque troupe. In line with the patron’s wishes (and against the composer’s will), the carefree Zerbinetta and her suitors are inserted into the Ariadne opera. The result, as Richard Strauss’s librettist Hugo von Hofmannsthal described it, is a "juxtaposition between the woman who only loves once and the one who gives herself many times". Through the archetypal opera characters, a confrontation is staged between two different models of love and life that is sometimes humorous and playful, sometimes serious. (...) Opera in a prologue and one act (1916) Music by Richard Strauss Libretto by Hugo von Hofmannsthal [...]

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  Dido & Aeneas

  Next dates:

  • 25.11.26 7.30 PM - Staatsoper Unter den Linden
  • 27.11.26 7.30 PM - Staatsoper Unter den Linden

  [...] They are lovestruck – and yet fail to bond because of fate’s intervention. Aeneas continues on his journey to form a new kingdom in Italy, while the abandoned Dido is left no alternative but to stay. Henry Purcell composed his one "genuine" opera in 1689, a work that stood out for its musical ingenuity. Dido’s famous lament, with which she ends her life, and the opera draws to a close, and where an entire world is evoked in a few words, demonstrates Purcell’s extraordinary expressiveness. (...) Opera in a prologue and three acts (1689) Music by Henry Purcell Text by Nahum Tate based on Book IV of Virgil’s "Aeneid" (...) Zeus has commissioned him to sail to Italy and found a new Kingdom with his comrades. In the course of their passage through the Mediterranean, the Trojans land at Carthage, the city ruled by Queen Dido. A seer interrupts their mood, accouncing that this is a place of doom. Dido arrives, followed by Aeneas who has felled a mighty boar. [...]

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  Melencolia

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  [...] Starting with Albrecht Dürer’s engraving Melencolia I, numerous figures and themes are presented on the stage of Melencolia and set in relation to one another: visiting football stadiums and digital cemeteries from the video game “Second Life”, Austrian folk songs, virtuoso instrumental music and Japanese karaoke, AI voice clones and digital guests including the Iranian ney-anbān virtuoso Saeid Shanbehzadeh, Brigitta Muntendorf and Moritz Lobeck go in search of the liberating melancholic mood in a series of seven tableaux. Tailored for 14 musicians of the Ensemble Modern and accompanied by singers from the Apollo Choir, this work addresses the historical complexities of melancholy – perceived variously as an illness, as a way of overcoming earthly suffering or as the sister of genius. The puzzling polyhedron in Albrecht Dürer’s engraving has become a symbol for these contradictions amid the human desire for salvation. Melencolia combines classical performance with cutting-edge approaches at the intersection of art and technology and transcends the superficially spectacular. (...) A show against the indifference of the universe (2022) from Brigitta Muntendorf [...]

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  Tosca

  Next dates:

  • 25.10.26 6.00 PM - Staatsoper Unter den Linden
  • 28.10.26 7.30 PM - Staatsoper Unter den Linden
  • 31.10.26 6.00 PM - Staatsoper Unter den Linden

  [...] When the revolutionary and painter Mario Cavaradossi secretly attempts to help a political fugitive to escape the city of Rome, his lover, the famed singer Floria Tosca, believes he is cheating on her with another woman. In his version, the singers are embedded in a psychologically rich narrative. The plot is accompanied by a lavishly designed graphic novel created by stage and costume designer Kristīne Jurjāne. (...) Act oneInside the church of Sant’Andrea della ValleCesare Angelotti, a former consul of the Roman Republic and now a political prisoner on the run, has fled from the Castel Sant’Angelo to the church Sant’Andrea della Valle. His sister, the Marquesa Attavanti, had hidden a key to the family chapel for him, where women’s clothing is hidden to help him on his flight. Mario Cavaradossi, a young painter, is working in the church on a painting of Mary Magdalene. (...) "Alvis Hermanis has fantastically transformed Puccini's opera. His production has what it takes to become a longseller."(Berliner Morgenpost) “That Tosca, of all things, can be so delicate, remains a theatrical accomplishment of fascinating intelligence.”(Süddeutsche Zeitung) [...]

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  LENZ.LEBEN-LAUT.MALEN

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  [...] A staged reading with live recording and music based on Georg Büchner's »Lenz« (...) A staged reading with live recording and music based on Georg Büchner's »Lenz« [...]

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  Symphoniekonzert I

  Next dates:

  • 08.09.26 8.00 PM - Philharmonie Berlin - Großer Saal
  • 09.09.26 7.00 PM - Staatsoper Unter den Linden

  [...] The music of a Viennese classic and the music of a Viennese outsider: In their respective eras, Mozart and Bruckner created works that were innovative and thrilling, with a lasting impact. The Piano Concerto in C Major, K. 467, captivates with its rich orchestral texture as well as its abundant melodies—it is a work of radiant brilliance and cheerful character. With his Symphony No. 4, Anton Bruckner created a work that brings his highly individual style to the fore in a particularly striking way. [...]

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  Ballet Class Up Close

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  [...] 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. (...) The Staatsballett Berlin takes a class on the big stage [...]

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  200th anniversary of the Staatsopernchor

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  [...] It has been about two hundred years since a choir of professional singers first took part in performances at the Berlin Court Opera. With the premieres of Gaspare Spontini’s »Olimpia« at Unter den Linden in May and of Carl Maria von Weber’s »Der Freischütz« at Schinkel’s new Schauspielhaus on the Gendarmenmarkt in June 1821, today’s Staatsopernchor was born. This anniversary is cause for celebration, for the 80 or so members of the choir and their conductors as well as for the Staatsoper as a whole and also the audience. The choir will perform at the FESTIVE OPENING OF THE SEASON, at the STAATSOPER FÜR ALLE, and at several choral symphonic concerts together with the Staatskapelle Berlin with works by Bruckner, Schumann and Mozart. (...) Symposium on the history and present of the Staatsopernchor with lectures and a round table (...) Symposium on the history and present of the Staatsopernchor with lectures and a round table [...]

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  Die Liebe zu den drei Orangen

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  [...] »The Love for Three Oranges« is a lively, multilayered masque and fairytale, featuring kings and magicians, princesses, princes and many other fantastical characters. Children aged 8-12 years have developed their own version of the material, together with a team of artists and educators and will present this to music from Prokofiev’s tragicomic opera in which good triumphs in the end. (...) Kinderopernhaus Unter den Linden A musical theatre production based onSergei Prokofiev’s opera »The Love for Three Oranges« (...) A musical theatre production by the Kinderopernhaus Unter den Linden based on Sergei Prokofiev’s opera »The Love for Three Oranges« [...]

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  LEA DESANDRE & JUPITER

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  [...] Antonio Vivaldi VEDRÒ CON MIO DILETTO aus »Il Giustino« RV 717ARMATAE FACE ET ANGUIBUS aus »Juditha triumphans« RV 644TRIOSONATE C-DUR RV 82 für Laute, Violine und Basso continuoCUM DEDERIT aus »Nisi Dominus« RV 608VENI, VENI ME SEQUERE FIDA aus »Juditha triumphans« RV 644CONCERTO D-DUR RV 93 für Laute, 2 Violinen und Basso continuoGELIDO IN OGNI VENA aus »Farnace« RV 711GELOSIA, TU GIÀ RENDI L'ALMA MIA aus »Ottone in Villa« RV 729CONCERTO G-MOLL RV 416 für Violoncello, Streicher und Basso continuoONDE CHIARE CHE SUSSURRATE aus »Ercole su'l Termodonte« RV 710SCENDERÒ, VOLERÒ, GRIDERÒ aus »Ercole su'l Termodonte« RV 710 [...]

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  Pop-Up-Autokino: Staatsoper goes Wild West

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  [...] As part of #BMWOPERANEXT, the joint cooperation between the Staatsoper Unter den Linden and BMW, the premiere of Giacomo Puccini's »La fanciulla del West«, can be experienced as a live broadcast in Berlin's first opera pop-up drive-in cinema on the LED screen on the run-up of the former airport building (Site plan). You will find them here Test obligation: The official regulations for the event require a same-day negative corona test for participation. In order to reduce waiting times, we recommend having the rapid test carried out in advance at one of the official test centres. (...) Tickets can be booked online until 4 pm on the day of the event. As part of a cooperation with SHARE NOW, you can participate in the event with a rental car at reduced package prices. The rental packages can be booked in the form of a personalised voucher code directly with the ticket order. [...]

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  Les Contes d’Hoffmann

  Next dates:

  • 03.03.27 7.00 PM - Staatsoper Unter den Linden
  • 05.03.27 7.00 PM - Staatsoper Unter den Linden
  • 08.03.27 6.00 PM - Staatsoper Unter den Linden

  [...] At the end of his illustrious career in Paris, which stretched over five decades, he turned to his most ambitious operatic work Les Contes d’Hoffmann (The Tales of Hoffmann), an opéra fantastique based on a play that premiered in 1881. The audience is immersed in a world full of odd characters and situations, fantastic elements with several demonic, breathtaking moments and a vital, rich score. The title character, modelled on the complex Romantic writer E. T. A. Hoffmann, finds himself among his own stories, fascinated equally by art and by love, attracted by the female characters and duped by his rivals. (...) Act One (Prologue) The great poet Hoffmann is finished. Once a highly regarded artist, he is now a broken man, a wreck who finds his sole consolation in alcohol and his fantasy Stella, his idée fixe of a supernatural woman. Even before she is introduced to the eager public, Hoffmann succeeds in catching a glimpse of her, and is immediately enchanted. When Coppélius, who claims to be a friend of Spalanzani and deals with optical devices, sells him a pair of magical glasses, his fate is sealed: he falls in love and thinks he hears a declaration of love in each of her mechanical words. (...) "A grand magic-theater spectacle. And the cast of singers is fantastic."(Tagesspiegel) "What a magnificent opera evening!"(rbb 24 Inforadio) [...]

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  Madama Butterfly

  Next dates:

  • 10.10.26 7.00 PM - Staatsoper Unter den Linden
  • 16.10.26 7.00 PM - Staatsoper Unter den Linden
  • 18.10.26 6.00 PM - Staatsoper Unter den Linden

  [...] Lieutenant Pinkerton has fallen in love with the geisha Cio-Cio-San, known as Madama Butterfly, and wants to marry her according to Japanese custom without entering into a permanent relationship. But Butterfly truly loves Pinkerton and has a child by him. For years she waits in vain for the lieutenant to return. When Pinkerton does return, he arrives with his new American wife to pick up the child, and Butterfly stabs herself with a dagger. Madama Butterfly is based on a novella that is allegedly a true story. When American fleets forced the opening of Japanese ports in around the mid-19th century, Japanese culture started to influence the West, not just vice versa. (...) She is indignant that Suzuki, her maid, does not share her certainty. Sharpless visits Butterfly. He has received a letter from Pinkerton, who has asked him to prepare Butterfly for the fact that he will be returning to Japan but not to her, since he is now married. Butterfly wants to kill him. Suzuki stops her. – A cannon is fired, signalling the arrival of Pinkerton’s ship in the harbour. Butterfly and Suzuki decorate the house.Act three Butterfly has spent the entire night waiting in vain for Pinkerton. [...]

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  L’elisir d’amore

  Next dates:

  • 27.09.26 6.00 PM - Staatsoper Unter den Linden
  • 29.09.26 7.00 PM - Staatsoper Unter den Linden
  • 01.10.26 7.00 PM - Staatsoper Unter den Linden

  [...] When Nemorino meets Adina in a state of drunkenness – the intoxicating effect of the potion owing to its high-proof content – Adina turns away angrily and decides to marry the dashing soldier Belcore. With the delightful naivety of his characters, Donizetti and his librettist Felice Romani take superstition and credulity for a ride in a lovingly tender manner. The music, which is said to have been written in just three weeks, also allows the protagonists touching, intimate moments, not least in the famous aria "Una furtiva lagrima". (...) This gives Nemorino the idea of winning Adina’s love by means of a magic potion.The sergeant Belcore enters with his soldiers. He pays court to Adina, who is impressed. In desperation he allows Belcore to enlist him as a soldier. With the recruitment pay he buys a second bottle of Bordeaux from Dulcamara.Giannetta and the village girls discover that Nemorino has been bequeathed a fortune, although he is not yet aware of this himself. [...]

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  Post-Performance Tour

  Next dates:

  • 29.09.26 10.00 PM - Staatsoper Unter den Linden

  [...] How does a production find its way onto the stage? How many people and which professions are involved in creating a performance and giving you a special evening at the opera? Join us on a tour of discovery through the Staatsoper Unter den Linden and the new rehearsal centre. Learn more about the opera house's rich 275-year history and take a look behind the scenes. [...]

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  La Bohème

  Next dates:

  • 04.12.26 7.30 PM - Staatsoper Unter den Linden
  • 06.12.26 6.00 PM - Staatsoper Unter den Linden
  • 10.12.26 7.30 PM - Staatsoper Unter den Linden

  [...] But in the face of Mimì’s illness, the struggling artists are caught up in harsh reality. In a loose sequence of scenes, Puccini and his librettists not only tell a love story with a tragic ending, but also portray the subculture of bohemians in 19th-century Paris: their desire for freedom, both socially and artistically, their self-image as bogeymen of the bourgeoisie, and their everyday life that vacillates between excess and survival – a lifestyle that Puccini himself cultivated during his studies. In poetic images, Lindy Hume presents the work as a nostalgic retrospective of a carefree, all-too transient youth. (...) Act one Christmas Eve in a garret in Paris Rodolfo, a poet, and Marcello, a painter, are finding it difficult to work. It is cold in their garret. Rodolfo generously sacrifices his latest play to make a short-lived fire in the stove. Their friend Colline, a philosopher, joins them. He has just made a futile attempt to pawn his books on Christmas Eve. [...]

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  Der Freischütz für Kinder

  Next dates:

  • 16.12.26 11.00 AM - Staatsoper Unter den Linden
  • 17.12.26 11.00 AM - Staatsoper Unter den Linden
  • 18.12.26 11.00 AM - Staatsoper Unter den Linden

  [...] A schoolyard game: Max has no chance against Kilian and is tossed off the team. Now it will be hard to see Agathe, with whom he has fallen in love. The next day, it should help for the decisive match … Using the exciting and emotional music of Carl Maria von Weber’s famous opera, director Kai Anne Schuhmacher tells a modern version of the story. In collaboration with schools, several numbers are prepared in such a way to invite the young audience to participate from their seats. (...) A participatory opera for children aged 8 and over Music from Carl Maria von Weber Text from Friedrich Kind and Kai Anne Schuhmacher [...]

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  Dance workshop for everyone

  Next dates:

  • 20.09.26 12.00 PM - Apollosaal

  [...] We invite everyone to join us for a dance! We are opening the doors of the Staatsoper Unter den Linden and the Deutsche Oper for a spontaneous dance together. No registration, prior knowledge, or age restrictions are required. Everyone can try out dance steps and even do a little choreography themselves with dance teacher Stefan Witzel-Korolev. Participation is free of charge. [...]

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  Daniel Barenboim and Musicians of the Staatskapelle Berlin

  Next dates:

  No upcoming dates.

  [...] At the International Gartenausstellung Berlin - IGA 2017 in favor of a sound art project [...]

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  Wonder Women

  Next dates:

  • 17.11.26 8.00 PM - Apollosaal

  [...] Werke von Barbara Strozzi, Francesca Caccini, Francesco Cavalli, Claudio Monteverdi u. a. [...]

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  Das Gwächshaus

  Next dates:

  No upcoming dates.

  [...] In an old, decaying greenhouse, a group of teenagers has found a place to escape from the world. Among shards of glass, cigarette butts, and rusty metal, they have parties. One day two friends make a terrible discovery. This year’s youth club production is based on Jordan Tannahills play »Concord Floral«. (...) Youth club Operatiefer Eingriff A live musical audio drama after »Concord Floral« by Jordan Tannahill [...]

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  Giselle

  Next dates:

  • 12.09.26 7.30 PM - Staatsoper Unter den Linden
  • 18.09.26 7.30 PM - Staatsoper Unter den Linden
  • 20.09.26 3.00 PM - Staatsoper Unter den Linden

  [...] Giselle, originally titled Giselle, ou les Wilis, premiered at the Paris Opera on June 28, 1841 and stands as a pinnacle of the era in which dance became the embodiment of the supernatural. At its centre is a young peasant girl who loves to dance and falls in love with the nobleman Albrecht, unaware that he is concealing his true identity. In the second act, the «white» realm of Romantic ballet, Giselle meets Albrecht once more. Her movements become a language of compassion, dissolving the boundary between life and death. Giselle epitomises Romantic ballet and marks a turning point in dance history. [...]

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  Symphoniekonzert II

  Next dates:

  • 20.10.26 7.00 PM - Staatsoper Unter den Linden
  • 21.10.26 8.00 PM - Philharmonie Berlin - Großer Saal

  [...] Among his final compositions are the Vier letzten Lieder, completed in 1948, which revolve around the great themes of life and death, featuring a sensitively balanced relationship between text and music and a powerful impact; they are deeply personal and moving. With the Alpensymphonie, premiered in 1915, Strauss concluded his series of tone poems, through which he elevated both the art of program music and that of orchestration to a new level. The experience is a musical journey through the high mountains, from early morning into the night, featuring sunrise and the exhilaration of reaching the summit, but also perilous moments and a powerfully erupting thunderstorm. [...]

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  Die Entführung aus dem Serail

  Next dates:

  • 31.01.27 6.00 PM - Staatsoper Unter den Linden
  • 02.02.27 7.00 PM - Staatsoper Unter den Linden
  • 07.02.27 7.00 PM - Staatsoper Unter den Linden

  [...] Mozart brought his wealth of experience with Italian opera to this work, always with an eye for creating a lively, exciting opera experience, combining captivating melodies and vocal brilliance with deeply felt emotions and striking profiles for the characters with their different life worlds. (...) Together with Konstanze and her maid, the Englishwoman Blonde, Pedrillo has also been taken prisoner. Bassa Selim, a Spaniard who moved from Christian Europe to Turkey and converted to Islam, tried to seduce Konstanze, according to Pedrillo. Konstanze mourns her fate and the violent separation from her beloved Belmonte. Selim begins a new extortionary attempt at seduction. But his threats are in vain, since Konstanze fears neither violence nor death. (...) “By casting the comedian in Mozart’s *The Abduction from the Seraglio*, the theater on Unter den Linden has pulled off a coup.”(Tagesspiegel) “...this portrayal of Mozart is dazzling, lively, majestic, and yet as supple as a blade of grass in the wind.”(Tagesspiegel) [...]

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  Orfeo ed Euridice

  Next dates:

  • 12.11.26 7.30 PM - Staatsoper Unter den Linden
  • 14.11.26 7.30 PM - Staatsoper Unter den Linden

  [...] Few works have had such a profound influence on the development of opera as Christoph Willibald Gluck’s Orfeo ed Euridice, which premiered in Vienna in 1762. It exemplifies a whole host of contemporary operatic reforms. The traditional opera seria was challenged and to a certain extent superseded by Gluck’s azione teatrale, which emphasised natural, authentic expression by the characters. (...) Act oneAt the grave of Eurydice, Orpheus mourns the death of his beloved wife, while a group of mourners enacts the funeral rite. In despair, he turns to the gods and demands that they return Eurydice to him. Then Amor appears and calls Eurydice back to life as a reward for Orpheus’ fidelity. [...]

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  Idoménée

  Next dates:

  No upcoming dates.

  [...] The same source material that later inspired Mozart’s Italian opera seria »Idomeneo« – here, as a French tragédie lyrique. Neptune, the sea god, only agrees to let King Idoménée survive a storm unscathed when the king promises to show his gratitude by sacrificing the first person he encounters on his native shores. The gods Venus and Neptune, thirsty for vengeance, also deliver impressive performances and bring their victims – unlike in Mozart’s version – to a tragic end. With André Campra, a composer who is largely unknown in Germany takes the spotlight in the BAROCKTAGE 2021. (...) TRAGÉDIE EN MUSIQUE IN A PROLOGUE AND FIVE ACTS (1712/1731) Music by André Campra Text by Antoine Danchet (...) In addition, he admits his love for her, which she rejects in shock. The unified Cretans and Trojans sing a hymn to the power of freedom and love. An abrupt ending is put to the celebrations by Idamante’s confidant Arbas, who brings news that Idoménée’s ship has sunk in a storm. When she wants to board the ship with Idamante, a new storm suddenly brews up. Proteus announces that a sea monster will hinder departure and wreak devastation everywhere. [...]

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  Parsifal

  Next dates:

  No upcoming dates.

  [...] The Grail Knights are a brotherhood sworn to strict chastity. They guard two relics that promise salvation and eternal life: the Holy Grail and the Holy Spear. However, after their king Amfortas breaks his vow of chastity with the mysterious Kundry, the spear falls into the hands of Klingsor, a former knight expelled from the order, who uses it to inflict an unhealable wound on the king. According to prophecy, only a "pure fool made wise by compassion" can save Amfortas from eternal agony and retrieve the spear. (...) Bühnenweihfestspiel (A Festival Play for the Consecration of the Stage) in three acts (1882) music and text by Richard Wagner (...) A Festival Play for the Consecration of the Stage in three acts by Richard Wagner [...]

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  Rigoletto

  Next dates:

  • 05.09.26 7.30 PM - Staatsoper Unter den Linden
  • 11.09.26 7.30 PM - Staatsoper Unter den Linden
  • 17.09.26 7.30 PM - Staatsoper Unter den Linden

  [...] He is then cursed before the entire court by the distraught father of a woman he has dishonoured. Rigoletto, however, hides his daughter Gilda from the shameless goings-on. When Gilda succumbs to the Duke’s arts of seduction, Rigoletto plans a deadly revenge. In the end, however, it is not the Duke but Gilda who falls victim to the plot. The universally known tenor hit "La donna è mobile" becomes a cynical code for failure. (...) Act one At one of his lavish parties, the Duke tells the courtier Borsa of a beautiful stranger he has cast his eye upon. But first he dives into the festivities to seek companionship with Countess Ceprano, another object of his desire. In the meantime, Marullo tells the other courtiers about his discovery that Rigoletto has a secret love. To make his way free for the Countess, Rigoletto suggests that the Duke simply have Ceprano executed, a cynical suggestion that the Duke takes with humor, but Ceprano and the other courtiers demand punishment for Rigoletto. [...]

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  Staatliche Ballett- und Artistikschule

  Next dates:

  • 12.10.26 7.30 PM - Staatsoper Unter den Linden

  [...] It has been a tradition for decades that the students of the Staatliche Ballett- und Artistikschule Berlin present the results of their training work in a festive gala held every year on the stages of Berlin’s opera houses. From the youngest to the graduates, the school’s students are involved in a programme that shows the multifaceted nature of professional dance education, while challenging the adolescent artists to present what they can do and show how they are enjoying themselves in their unique vocation. [...]

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  Cassandra

  Next dates:

  No upcoming dates.

  [...] Opera in 13 scenes with a prologue (2023) Music from Bernard Foccroulle Text from Matthew Jocelyn [...]

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  Lohengrin!

  Next dates:

  No upcoming dates.

  [...] Wagner's musical saga A production of the Kinderopernhaus Unter den Linden from the age of 6 up [...]

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  Chamber Concert of the Orchestra Academy

  Next dates:

  No upcoming dates.

  [...] Georg Philipp TelemannSUITE A MINOR TWV 55:A Johannes BrahmsCLARINET QUINTET IN B MINOR OP. 115 [...]

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  Salome

  Next dates:

  • 10.01.27 6.00 PM - Staatsoper Unter den Linden
  • 14.01.27 7.30 PM - Staatsoper Unter den Linden
  • 17.01.27 6.00 PM - Staatsoper Unter den Linden

  [...] Since Herod promises to fulfil her every wish for the erotic "Dance of The Seven Veils", she demands Jochanaan’s head on a silver platter. In a frenzied delusion, she kisses his lifeless lips, fulfilling her sensual desire – until Herod gives the order to kill Salome.Richard Strauss had his first overwhelming success as an operatic composer with his adaptation of Oscar Wilde’s scandalous and shocking Décadence drama in 1905: it moves between a delicate psychogram and the depiction of intoxicating, unbridled wantonness. In exhilaratingly ecstatic musical visions, Strauss pours the charged emotions and deep psychological traumas of his eccentric female lead into a shimmering, occasionally also brusque score. In doing so, he captures not only Salome’s mental decline and seductive powers with the sweeping sounds of the orchestra, but also her emotional coldness and Jochanaan’s impassioned accusations in a thrilling and disturbing way. (...) The situation escalates. With Wilde present, a struggle of desire, resistance, attraction, the radical search for truth and ecstasy. Narraboth stabs himself to death. The scene is repeatedly interrupted by Jokanaan’s prophecies, to which Herodias reacts violently. A group of five Jews initiates a theological dispute over the concept of God and the possible appearance of the Messiah. [...]