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October 2021
19:30
Rise and Fall of the City of Mahagonny
One of the most radical and well-known musical theatre works of the 20th century returns to the stage of the Komische Oper Berlin in a new production by Barrie Kosky, under the musical direction of General Music Director Ainārs Rubiķis—with star tenor Allan Clayton as Jim Mahoney, and audience favourite Nadja Mchantaf as Jenny Hill.
11:00
The Magic Melodica
Pamina is sick of cleaning up after Tamino's dragons; The Queen of the Night has a beard; The universally unpopular melodica serves as the magical instrument, and the no less unpopular Monostatos turns out to be the real hero.—With wit, humour and a hint of fun, renowned Finnish jazz pianist Iiro Rantala and Finnish bestselling author Minna Lindgren have written a sequel to The Magic Flute. No previous knowledge of the original is necessary!
19:30
The Magic Flute
Tamino in the belly of the dragon, the Queen of the Night as a giant spider, dancing constellations and flying butterfly boys – the fascination The Magic Flute exerts over both young and old audience members at the Komische Oper Berlin seems endless.
18:00
The Nose
Revival
In a mix of nightmare and zany, over-the-top satire, director Barrie Kosky stages tap-dancing noses, moving rickshaw tables and cartoonishly hyperbolic protagonists with gaudy costumes, somewhere between folklore and historicism, in a cool space that feels claustrophobic, despite its size
November 2021
17:00
Coded Emotions
Game Jam
In der Oper dreht sich alles um große Gefühle, wie Liebe, Hass, Freude oder Trauer. Das “Kraftwerk der Gefühle” produziert am laufenden Band Emotionen, und auch in den großen Dramen spielen sie eine zentrale Rolle. Bertolt Brecht, Gründer des Berliner Ensembles, wollte hingegen den Vorgang der Einfühlung aus dem Theatersaal verbannen und die Mechaniken der Illusions- und Emotionsproduktion offenlegen, anstatt dass die Schauspieler*innen oder das Publikum ihnen erliegen. Und wie sieht es beim Gaming aus? Lassen sich Gefühle in Games programmieren? Lassen die Spieler*innen das (gerne) mit sich machen und – merken sie es? Welche Rolle spielen Gefühle für die Geschichten, die erzählt werden?
19:30
The Nose
In a mix of nightmare and zany, over-the-top satire, director Barrie Kosky stages tap-dancing noses, moving rickshaw tables and cartoonishly hyperbolic protagonists with gaudy costumes, somewhere between folklore and historicism, in a cool space that feels claustrophobic, despite its size
10:00
Coded Emotions
Game Jam
In der Oper dreht sich alles um große Gefühle, wie Liebe, Hass, Freude oder Trauer. Das “Kraftwerk der Gefühle” produziert am laufenden Band Emotionen, und auch in den großen Dramen spielen sie eine zentrale Rolle. Bertolt Brecht, Gründer des Berliner Ensembles, wollte hingegen den Vorgang der Einfühlung aus dem Theatersaal verbannen und die Mechaniken der Illusions- und Emotionsproduktion offenlegen, anstatt dass die Schauspieler*innen oder das Publikum ihnen erliegen. Und wie sieht es beim Gaming aus? Lassen sich Gefühle in Games programmieren? Lassen die Spieler*innen das (gerne) mit sich machen und – merken sie es? Welche Rolle spielen Gefühle für die Geschichten, die erzählt werden?
19:00
Anatevka
(Fiddler on the Roof)
Revival
In the East European shtetl of Anatevka, Jewish traditions are strictly observed! The milkman Tevje is struggling with precisely that. And with his God and the selfish loves of his three oldest daughters. In the end, the town is forced to flee from the anti-Jewish pogroms …Barrie Kosky’s celebrated production brings together the pains and joys of life, touching audiences with its humor and humanity. »You can really let yourself go and revel in this mightily entertaining production. There is wild dancing to the vigorous klezmers struck up by the orchestra of the Komische Oper under the conductorship of Koen Schoots.« [FAZ]
10:00
Coded Emotions
Game Jam
In der Oper dreht sich alles um große Gefühle, wie Liebe, Hass, Freude oder Trauer. Das “Kraftwerk der Gefühle” produziert am laufenden Band Emotionen, und auch in den großen Dramen spielen sie eine zentrale Rolle. Bertolt Brecht, Gründer des Berliner Ensembles, wollte hingegen den Vorgang der Einfühlung aus dem Theatersaal verbannen und die Mechaniken der Illusions- und Emotionsproduktion offenlegen, anstatt dass die Schauspieler*innen oder das Publikum ihnen erliegen. Und wie sieht es beim Gaming aus? Lassen sich Gefühle in Games programmieren? Lassen die Spieler*innen das (gerne) mit sich machen und – merken sie es? Welche Rolle spielen Gefühle für die Geschichten, die erzählt werden?
16:00
Rise and Fall of the City of Mahagonny
One of the most radical and well-known musical theatre works of the 20th century returns to the stage of the Komische Oper Berlin in a new production by Barrie Kosky, under the musical direction of General Music Director Ainārs Rubiķis—with star tenor Allan Clayton as Jim Mahoney, and audience favourite Nadja Mchantaf as Jenny Hill.
11:00
The Magic Melodica
Pamina is sick of cleaning up after Tamino's dragons; The Queen of the Night has a beard; The universally unpopular melodica serves as the magical instrument, and the no less unpopular Monostatos turns out to be the real hero.—With wit, humour and a hint of fun, renowned Finnish jazz pianist Iiro Rantala and Finnish bestselling author Minna Lindgren have written a sequel to The Magic Flute. No previous knowledge of the original is necessary!
19:30
Salon of the Komische Oper Berlin and the Ernst Schering Stiftung
Grenzen und Grenzenlosigkeit
Theory meets Entertainment; Art meets Scholarship. Whether in the foyer of the Komische Oper Berlin or on the web via Zoom and YouTube, these evening salon talks have become a permanent feature of our programme. Together with the Ernst Schering Foundation and supported by the Gegenbauer Group, in the 2021/22 season the Komische Oper Berlin will once again host four evening salon talks with renowned scholars on points of interest in both the academic world and the world of opera. As always, the varying dramaturgy of the discussions and thematically coordinated artistic interventions contribute to a playful, intimate atmosphere reminiscent of the salons of the 19th century.
11:00
The Magic Melodica
Pamina is sick of cleaning up after Tamino's dragons; The Queen of the Night has a beard; The universally unpopular melodica serves as the magical instrument, and the no less unpopular Monostatos turns out to be the real hero.—With wit, humour and a hint of fun, renowned Finnish jazz pianist Iiro Rantala and Finnish bestselling author Minna Lindgren have written a sequel to The Magic Flute. No previous knowledge of the original is necessary!
19:00
Rise and Fall of the City of Mahagonny
One of the most radical and well-known musical theatre works of the 20th century returns to the stage of the Komische Oper Berlin in a new production by Barrie Kosky, under the musical direction of General Music Director Ainārs Rubiķis—with star tenor Allan Clayton as Jim Mahoney, and audience favourite Nadja Mchantaf as Jenny Hill.
16:00
Anatevka
(Fiddler on the Roof)
In the East European shtetl of Anatevka, Jewish traditions are strictly observed! The milkman Tevje is struggling with precisely that. And with his God and the selfish loves of his three oldest daughters. In the end, the town is forced to flee from the anti-Jewish pogroms …Barrie Kosky’s celebrated production brings together the pains and joys of life, touching audiences with its humor and humanity. »You can really let yourself go and revel in this mightily entertaining production. There is wild dancing to the vigorous klezmers struck up by the orchestra of the Komische Oper under the conductorship of Koen Schoots.« [FAZ]
19:30
Anatevka
(Fiddler on the Roof)
In the East European shtetl of Anatevka, Jewish traditions are strictly observed! The milkman Tevje is struggling with precisely that. And with his God and the selfish loves of his three oldest daughters. In the end, the town is forced to flee from the anti-Jewish pogroms …Barrie Kosky’s celebrated production brings together the pains and joys of life, touching audiences with its humor and humanity. »You can really let yourself go and revel in this mightily entertaining production. There is wild dancing to the vigorous klezmers struck up by the orchestra of the Komische Oper under the conductorship of Koen Schoots.« [FAZ]
19:30
The Nose
In a mix of nightmare and zany, over-the-top satire, director Barrie Kosky stages tap-dancing noses, moving rickshaw tables and cartoonishly hyperbolic protagonists with gaudy costumes, somewhere between folklore and historicism, in a cool space that feels claustrophobic, despite its size
19:00
The Magic Flute
Tamino in the belly of the dragon, the Queen of the Night as a giant spider, dancing constellations and flying butterfly boys – the fascination The Magic Flute exerts over both young and old audience members at the Komische Oper Berlin seems endless.
19:30
The Nose
In a mix of nightmare and zany, over-the-top satire, director Barrie Kosky stages tap-dancing noses, moving rickshaw tables and cartoonishly hyperbolic protagonists with gaudy costumes, somewhere between folklore and historicism, in a cool space that feels claustrophobic, despite its size
19:00
Káťa Kabanová
(Káťa Kabanová)
Premiere
Internationally renowned soprano Annette Dasch interprets Leoš Janáček's masterful, claustrophobic portrait of a young woman in revolt against her circumstances. At the conductor’s podium, a rising star leads the production: Lithuanian conductor Giedrė Šlekytė. Director Jetske Mijnssen is a welcome returnee as well, taking a fresh look at the tragedy of an extraordinary female figure.
18:00
Anatevka
(Fiddler on the Roof)
In the East European shtetl of Anatevka, Jewish traditions are strictly observed! The milkman Tevje is struggling with precisely that. And with his God and the selfish loves of his three oldest daughters. In the end, the town is forced to flee from the anti-Jewish pogroms …Barrie Kosky’s celebrated production brings together the pains and joys of life, touching audiences with its humor and humanity. »You can really let yourself go and revel in this mightily entertaining production. There is wild dancing to the vigorous klezmers struck up by the orchestra of the Komische Oper under the conductorship of Koen Schoots.« [FAZ]