First of all: why "Komisch"? With the name "Komische Oper", founding father Walter Felsenstein draws on the immediacy and closeness to the people of the French Opéra comique, but also on the Berlin Komische Oper in Friedrichstraße at Weidendammer Brücke, which was destroyed in the war and whose artistic director Hans Gregor was inspired by similar ideas in 1905-1911 and called for an "art without convention, prejudice and artistic vanity".
Felsenstein in the programme of the opening premiere of the Komische Oper: »Komische Oper is indeed the literal translation of Opéra comique , but - taken literally - it leads to a meaning that does not quite do justice to the genre of musical theatre unmistakably designated by the French name. What is generally called Singspiel, Buffo-Opera, Operette, Spieloper in Germany is partly true for the genre meant here, but also falls short of it to a large extent in terms of musical and intellectual demands. The Komische Oper has set itself the task of cultivating the most artistically exquisite and at the same time most popular works of international music theatre from the past, present and future in its changing repertoire. And it does so with equal emphasis on both parts of the word music theatre. For music that does not grow out of the represented process has nothing to do with theatre, and a representation that does not identify itself precisely and artistically validly with the music had better do without music.«