Nov
24
7:30 PM19:30

L'enfant et les Sortilèges

Following the breath-taking success of the Magic Flute, which has set out from Berlin to take the whole world by storm, the British theatre group »1927« is returning to the Komische Oper Berlin – with two works which seem almost to have been written for the absolutely boundless imaginations of these image-conjurers and their astonishing combination of animation and live performances by actors ...

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Dec
18
7:30 PM19:30

Die Zauberflöte

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Jan
5
7:30 PM19:30

Die Zauberflöte

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Jan
12
7:30 PM19:30

Don Giovanni

Don Juan, the epitome of the seducer, inspired Mozart to one of his most influential operas – frivolous, witty and profound all at once. In his version of Don Giovanni,director Herbert Fritsch »abandons the formal, virtuoso arrangement of nonsense« and »thereby gives the audience freedom of interpretation« [FAZ]. In doing so, he draws on the core of Don Juan and brings him to new life as a malicious harlequin – a loser, audacious, side-splittingly funny and irresistible all at once, framed by the delicate, utterly dark pinnacle of Mozartean music. A »fascinating and intelligent interpretation removed from all platitudes« [klassik.com].

View Event →
Jan
14
2:00 PM14:00

Die Zauberflöte

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Jan
19
7:30 PM19:30

Don Giovanni

Don Juan, the epitome of the seducer, inspired Mozart to one of his most influential operas – frivolous, witty and profound all at once. In his version of Don Giovanni,director Herbert Fritsch »abandons the formal, virtuoso arrangement of nonsense« and »thereby gives the audience freedom of interpretation« [FAZ]. In doing so, he draws on the core of Don Juan and brings him to new life as a malicious harlequin – a loser, audacious, side-splittingly funny and irresistible all at once, framed by the delicate, utterly dark pinnacle of Mozartean music. A »fascinating and intelligent interpretation removed from all platitudes« [klassik.com].

View Event →
Jan
31
7:30 PM19:30

Die Perlen der Cleopatra

Julius Brammer and Alfred Grünwald have laced their libretto for the Viennese-born Oscar Strauss – who also enjoys success in Berlin – with sharp wit and cheeky double entendres. In the guise of light-hearted and frivolous entertainment, with music somewhere between cabaret, jazz, late romanticism and a dose of bliss courtesy of the Viennese waltz, The Pearls of Cleopatra is a witty satire on middle-class conservatism and a farsighted commentary on the then already impending political ills of the 1920s. 

View Event →
Feb
2
6:30 PM18:30

Don Giovanni

Don Juan, the epitome of the seducer, inspired Mozart to one of his most influential operas – frivolous, witty and profound all at once. In his version of Don Giovanni,director Herbert Fritsch »abandons the formal, virtuoso arrangement of nonsense« and »thereby gives the audience freedom of interpretation« [FAZ]. In doing so, he draws on the core of Don Juan and brings him to new life as a malicious harlequin – a loser, audacious, side-splittingly funny and irresistible all at once, framed by the delicate, utterly dark pinnacle of Mozartean music. A »fascinating and intelligent interpretation removed from all platitudes« [klassik.com].

View Event →
Feb
4
6:00 PM18:00

Die Perlen der Cleopatra

Julius Brammer and Alfred Grünwald have laced their libretto for the Viennese-born Oscar Strauss – who also enjoys success in Berlin – with sharp wit and cheeky double entendres. In the guise of light-hearted and frivolous entertainment, with music somewhere between cabaret, jazz, late romanticism and a dose of bliss courtesy of the Viennese waltz, The Pearls of Cleopatra is a witty satire on middle-class conservatism and a farsighted commentary on the then already impending political ills of the 1920s. 

View Event →
Feb
13
7:30 PM19:30

Die Perlen der Cleopatra

Julius Brammer and Alfred Grünwald have laced their libretto for the Viennese-born Oscar Strauss – who also enjoys success in Berlin – with sharp wit and cheeky double entendres. In the guise of light-hearted and frivolous entertainment, with music somewhere between cabaret, jazz, late romanticism and a dose of bliss courtesy of the Viennese waltz, The Pearls of Cleopatra is a witty satire on middle-class conservatism and a farsighted commentary on the then already impending political ills of the 1920s. 

View Event →
Feb
15
7:30 PM19:30

Die Perlen der Cleopatra

Julius Brammer and Alfred Grünwald have laced their libretto for the Viennese-born Oscar Strauss – who also enjoys success in Berlin – with sharp wit and cheeky double entendres. In the guise of light-hearted and frivolous entertainment, with music somewhere between cabaret, jazz, late romanticism and a dose of bliss courtesy of the Viennese waltz, The Pearls of Cleopatra is a witty satire on middle-class conservatism and a farsighted commentary on the then already impending political ills of the 1920s. 

View Event →
Feb
24
7:30 PM19:30

Die Perlen der Cleopatra

Julius Brammer and Alfred Grünwald have laced their libretto for the Viennese-born Oscar Strauss – who also enjoys success in Berlin – with sharp wit and cheeky double entendres. In the guise of light-hearted and frivolous entertainment, with music somewhere between cabaret, jazz, late romanticism and a dose of bliss courtesy of the Viennese waltz, The Pearls of Cleopatra is a witty satire on middle-class conservatism and a farsighted commentary on the then already impending political ills of the 1920s. 

View Event →
Mar
10
7:30 PM19:30

Die Perlen der Cleopatra

Julius Brammer and Alfred Grünwald have laced their libretto for the Viennese-born Oscar Strauss – who also enjoys success in Berlin – with sharp wit and cheeky double entendres. In the guise of light-hearted and frivolous entertainment, with music somewhere between cabaret, jazz, late romanticism and a dose of bliss courtesy of the Viennese waltz, The Pearls of Cleopatra is a witty satire on middle-class conservatism and a farsighted commentary on the then already impending political ills of the 1920s. 

View Event →
Mar
17
7:00 PM19:00

Premiere! Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
Mar
21
7:30 PM19:30

Die Perlen der Cleopatra

Julius Brammer and Alfred Grünwald have laced their libretto for the Viennese-born Oscar Strauss – who also enjoys success in Berlin – with sharp wit and cheeky double entendres. In the guise of light-hearted and frivolous entertainment, with music somewhere between cabaret, jazz, late romanticism and a dose of bliss courtesy of the Viennese waltz, The Pearls of Cleopatra is a witty satire on middle-class conservatism and a farsighted commentary on the then already impending political ills of the 1920s. 

View Event →
Mar
24
7:30 PM19:30

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
Mar
25
7:30 PM19:30

Die Perlen der Cleopatra

Julius Brammer and Alfred Grünwald have laced their libretto for the Viennese-born Oscar Strauss – who also enjoys success in Berlin – with sharp wit and cheeky double entendres. In the guise of light-hearted and frivolous entertainment, with music somewhere between cabaret, jazz, late romanticism and a dose of bliss courtesy of the Viennese waltz, The Pearls of Cleopatra is a witty satire on middle-class conservatism and a farsighted commentary on the then already impending political ills of the 1920s. 

View Event →
Mar
30
7:30 PM19:30

Die Perlen der Cleopatra

Julius Brammer and Alfred Grünwald have laced their libretto for the Viennese-born Oscar Strauss – who also enjoys success in Berlin – with sharp wit and cheeky double entendres. In the guise of light-hearted and frivolous entertainment, with music somewhere between cabaret, jazz, late romanticism and a dose of bliss courtesy of the Viennese waltz, The Pearls of Cleopatra is a witty satire on middle-class conservatism and a farsighted commentary on the then already impending political ills of the 1920s. 

View Event →
Mar
31
7:30 PM19:30

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
Apr
7
7:30 PM19:30

Die Zauberflöte in Japan

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Apr
8
7:30 PM19:30

Die Zauberflöte in Japan

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Apr
11
7:30 PM19:30

Die Zauberflöte in Japan

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Apr
14
7:30 PM19:30

Die Zauberflöte in Japan

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Apr
22
7:30 PM19:30

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
Apr
27
7:30 PM19:30

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
May
10
6:00 PM18:00

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
May
13
7:00 PM19:00

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
May
20
7:00 PM19:00

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
May
25
7:30 PM19:30

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
Jun
10
7:00 PM19:00

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
Jul
1
7:00 PM19:00

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →
Jul
13
7:30 PM19:30

Blaubart

The Barbe-bleue (Bluebeard) of this fairytale can be etymologically traced to the old French word Barbeu (werewolf), who might in turn reveal himself as a sheep in wolf’s clothing. The success of Bluebeard in decadent Paris during the dawning of the second imperial era is rooted in precisely this interplay between horror and comedy – one laughs at one’s own inadequacy as if one had already internalised Karl Kraus’ dictum: »Love and art do not embrace what is beautiful but what is made beautiful by this embrace.«

View Event →

Nov
19
4:00 PM16:00

L'enfant et les Sortilèges

Following the breath-taking success of the Magic Flute, which has set out from Berlin to take the whole world by storm, the British theatre group »1927« is returning to the Komische Oper Berlin – with two works which seem almost to have been written for the absolutely boundless imaginations of these image-conjurers and their astonishing combination of animation and live performances by actors ...

View Event →
Oct
30
7:30 PM19:30

L'enfant et les Sortilèges

Following the breath-taking success of the Magic Flute, which has set out from Berlin to take the whole world by storm, the British theatre group »1927« is returning to the Komische Oper Berlin – with two works which seem almost to have been written for the absolutely boundless imaginations of these image-conjurers and their astonishing combination of animation and live performances by actors ...

View Event →
Oct
25
7:30 PM19:30

Die Zauberflöte in South Korea

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Oct
24
7:30 PM19:30

Die Zauberflöte in South Korea

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Oct
21
7:30 PM19:30

Die Zauberflöte in South Korea

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Oct
20
7:30 PM19:30

Die Zauberflöte in Gwangju, South Korea

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

View Event →
Sep
30
8:00 PM20:00

L'enfant et les sortilèges

Following the breath-taking success of the Magic Flute, which has set out from Berlin to take the whole world by storm, the British theatre group »1927« is returning to the Komische Oper Berlin – with two works which seem almost to have been written for the absolutely boundless imaginations of these image-conjurers and their astonishing combination of animation and live performances by actors...

View Event →
Sep
16
7:30 PM19:30

L'enfant et les Sortilèges

Following the breath-taking success of the Magic Flute, which has set out from Berlin to take the whole world by storm, the British theatre group »1927« is returning to the Komische Oper Berlin – with two works which seem almost to have been written for the absolutely boundless imaginations of these image-conjurers and their astonishing combination of animation and live performances by actors...

View Event →
Sep
10
6:00 PM18:00

L'enfant et les sortilèges

Following the breath-taking success of the Magic Flute, which has set out from Berlin to take the whole world by storm, the British theatre group »1927« is returning to the Komische Oper Berlin – with two works which seem almost to have been written for the absolutely boundless imaginations of these image-conjurers and their astonishing combination of animation and live performances by actors...

View Event →
Jul
23
7:30 PM19:30

Die Zauberflöte in Beijing

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!«

View Event →
Jul
22
7:30 PM19:30

Die Zauberflöte in Beijing

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!«

View Event →
Jul
21
7:30 PM19:30

Die Zauberflöte in Beijing

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!«

View Event →
Jul
12
7:30 PM19:30

Die Perlen der Cleopatra by Oscar Strauss (Operetta)

Julius Brammer and Alfred Grünwald have laced their libretto for the Viennese-born Oscar Strauss – who also enjoys success in Berlin – with sharp wit and cheeky double entendres. In the guise of light-hearted and frivolous entertainment, with music somewhere between cabaret, jazz, late romanticism and a dose of bliss courtesy of the Viennese waltz, The Pearls of Cleopatra is a witty satire on middle-class conservatism and a farsighted commentary on the then already impending political ills of the 1920s. 

View Event →
Jul
9
7:00 PM19:00

Orpheus

“A performance of such rapturous, fantastic, colourful vitality that it snatches away the fog from your ears and eyes, and you experience nothing less than the birth of theatre.” [Die Zeit] Barrie Kosky’s powerful and colourful staging of Orpheus – one of our most popular productions – begins as a boisterous festival of music and love in an Arcadian paradise. It goes on to tell the story of Orpheus' journey through the underworld as a voyage into himself. The unusual new instrumentation by the Uzbekistan composer Elena Kats-Chernin is also a colourful touch. “An unreal, magic world, artificial and enchanting at the same time – Dionysian.” [Berliner Zeitung]

View Event →
Jul
3
7:30 PM19:30

Orpheus

“A performance of such rapturous, fantastic, colourful vitality that it snatches away the fog from your ears and eyes, and you experience nothing less than the birth of theatre.” [Die Zeit] Barrie Kosky’s powerful and colourful staging of Orpheus – one of our most popular productions – begins as a boisterous festival of music and love in an Arcadian paradise. It goes on to tell the story of Orpheus' journey through the underworld as a voyage into himself. The unusual new instrumentation by the Uzbekistan composer Elena Kats-Chernin is also a colourful touch. “An unreal, magic world, artificial and enchanting at the same time – Dionysian.” [Berliner Zeitung]

View Event →
Jul
1
7:30 PM19:30

Orpheus

“A performance of such rapturous, fantastic, colourful vitality that it snatches away the fog from your ears and eyes, and you experience nothing less than the birth of theatre.” [Die Zeit] Barrie Kosky’s powerful and colourful staging of Orpheus – one of our most popular productions – begins as a boisterous festival of music and love in an Arcadian paradise. It goes on to tell the story of Orpheus' journey through the underworld as a voyage into himself. The unusual new instrumentation by the Uzbekistan composer Elena Kats-Chernin is also a colourful touch. “An unreal, magic world, artificial and enchanting at the same time – Dionysian.” [Berliner Zeitung]

View Event →
Jun
26
8:00 PM20:00

Orpheus

“A performance of such rapturous, fantastic, colourful vitality that it snatches away the fog from your ears and eyes, and you experience nothing less than the birth of theatre.” [Die Zeit] Barrie Kosky’s powerful and colourful staging of Orpheus – one of our most popular productions – begins as a boisterous festival of music and love in an Arcadian paradise. It goes on to tell the story of Orpheus' journey through the underworld as a voyage into himself. The unusual new instrumentation by the Uzbekistan composer Elena Kats-Chernin is also a colourful touch. “An unreal, magic world, artificial and enchanting at the same time – Dionysian.” [Berliner Zeitung]
 

View Event →
Jun
23
7:30 PM19:30

Orpheus

“A performance of such rapturous, fantastic, colourful vitality that it snatches away the fog from your ears and eyes, and you experience nothing less than the birth of theatre.” [Die Zeit] Barrie Kosky’s powerful and colourful staging of Orpheus – one of our most popular productions – begins as a boisterous festival of music and love in an Arcadian paradise. It goes on to tell the story of Orpheus' journey through the underworld as a voyage into himself. The unusual new instrumentation by the Uzbekistan composer Elena Kats-Chernin is also a colourful touch. “An unreal, magic world, artificial and enchanting at the same time – Dionysian.” [Berliner Zeitung]

View Event →
Jun
17
to Jun 18

Carmen

Carmen is everything: femme fatale, mage, political activist, harbinger of death and priestess of love. The entanglements of the soldier Don José, who lets himself be carried through the hurricane of love with body, soul and jealousy, are staged by Sebastian Baumgarten as a crime thriller in the ruins of a contemporary world, characterised by poverty, crisis and death – and yet laced with an indomitable spirit:  "... strange and shrill – at times comically over the top, at others melodramatically serious. Sebastian Baumgarten has achieved a production of Carmen which is truly unique." [NDR]

View Event →
Jun
3
7:00 PM19:00

Poppea

In Monteverdi’s political thriller, full of eroticism, murder, and intrigue, it is the very amour fou of the two main protagonists that threatens to destabilise the balance of political power....

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Jun
2
7:30 PM19:30

Carmen

Carmen is everything: femme fatale, mage, political activist, harbinger of death and priestess of love. The entanglements of the soldier Don José, who lets himself be carried through the hurricane of love with body, soul and jealousy, are staged by Sebastian Baumgarten as a crime thriller in the ruins of a contemporary world, characterised by poverty, crisis and death – and yet laced with an indomitable spirit:  "... strange and shrill – at times comically over the top, at others melodramatically serious. Sebastian Baumgarten has achieved a production of Carmen which is truly unique." [NDR]

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May
26
7:30 PM19:30

Poppea

In Monteverdi’s political thriller, full of eroticism, murder, and intrigue, it is the very amour fou of the two main protagonists that threatens to destabilise the balance of political power...

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May
20
7:30 PM19:30

Carmen

Carmen is everything: femme fatale, mage, political activist, harbinger of death and priestess of love. The entanglements of the soldier Don José, who lets himself be carried through the hurricane of love with body, soul and jealousy, are staged by Sebastian Baumgarten as a crime thriller in the ruins of a contemporary world, characterised by poverty, crisis and death – and yet laced with an indomitable spirit:  "... strange and shrill – at times comically over the top, at others melodramatically serious. Sebastian Baumgarten has achieved a production of Carmen which is truly unique." [NDR]

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May
19
7:00 PM19:00

Poppea

In Monteverdi’s political thriller, full of eroticism, murder, and intrigue, it is the very amour fou of the two main protagonists that threatens to destabilise the balance of political power....

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May
14
7:00 PM19:00

Die Zauberflöte

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!« [taz]

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May
12
8:00 PM20:00

Carmen

Carmen is everything: femme fatale, mage, political activist, harbinger of death and priestess of love. The entanglements of the soldier Don José, who lets himself be carried through the hurricane of love with body, soul and jealousy, are staged by Sebastian Baumgarten as a crime thriller in the ruins of a contemporary world, characterised by poverty, crisis and death – and yet laced with an indomitable spirit:  "... strange and shrill – at times comically over the top, at others melodramatically serious. Sebastian Baumgarten has achieved a production of Carmen which is truly unique." [NDR]

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May
6
7:00 PM19:00

Poppea

In Monteverdi’s political thriller, full of eroticism, murder, and intrigue, it is the very amour fou of the two main protagonists that threatens to destabilise the balance of political power....

View Event →
Apr
29
7:00 PM19:00

Poppea

In Monteverdi’s political thriller, full of eroticism, murder, and intrigue, it is the very amour fou of the two main protagonists that threatens to destabilise the balance of political power...

View Event →
Apr
20
7:30 PM19:30

Die Zauberflöte in Budapest

The Komische Oper Berlin's production of The Magic Flute, »a deliciously absurd mixture of silent film and cartoon« [Berliner Morgenpost], has caused a furore, and not just in Berlin: in Los Angeles, Minneapolis and at the Deutsche Oper am Rhein, it received euphoric acclaim both from audiences and the press. »Barrie Kosky has transformed The Magic Flute into a stunning live-action cartoon, so bewitching as to silence every criticism.« [Los Angeles Times] »You are amazed by the perfection, you laugh in appreciation of the virtuoso design behind each of these scenes ... Breath-taking!«

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