Jerry Bock


(Fiddler on the Roof)
Musical based on the Sholem Aleichem Stories [1964]
3h 15min incl. interval
12 – 94 € 12 – 74 € 12 – 94 € 12 – 94 € 12 – 94 € 12 – 94 € 12 – 94 € 12 – 94 €
Feb 2021
Mar 2021
Apr 2021
May 2021
Jun 2021
12 – 94 € 12 – 74 € 12 – 94 € 12 – 94 € 12 – 94 € 12 – 94 € 12 – 94 € 12 – 94 €
18:00 - 21:20
19:30 - 22:50
19:30 - 22:50
18:00 - 21:20
19:30 - 22:50
19:30 - 22:50
19:00 - 22:20
19:00 - 22:20
19:30 - 22:50
19:30 - 22:50
»This is quite possibly the most convincing — and least embarrassingly cliché-ridden — Fiddler imaginable.« [The New York Times] 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]
The book for Anatevka, titled Fiddler on the Roof in the original English version, was written by Joseph Stein using motifs from the famous Yiddish tales by Sholem Aleichem, which were penned between 1894 and 1916 under the title Tewje, the Milkman. With over 3,000 performances on Broadway alone, Jerry Brock created one of the genre’s most successful yet also tragic masterpieces. Anatevka tells the story of the humour and suffering of heart-rending characters caught between catastrophe and the joy of survival, in what is probably the twentieth century’s most life-affirming tragi-comedy about the complications of love, life and marriage.
By Special Permission of Arnold Perl


German Translation by Rolf Merz and Gerhard Hagen

Produced on the New York Stage by Harold Prince

Original New York Stage Production directed and choreographed by Jerome Robbins
Sun., 25. April 2021, 19:00


Musical direction
Stage design
Co-Stage design
Jan Freese
Sebastian Lipski, Simon Böttler


Tevje, milkman
Golde, his wife
Zeitel, his eldest daughter
Hodel, second daughter
Chava, third daughter
Sprintze, fourth daughter
Antonia Papendell
Bielke, fifth daughter
Agathe Bollag
Lazar Wolf, butcher
Mottl Kamzoil, tailor
Jente, marriage broker
Fruma-Sarah, Lazar Wolf’s first wife / Grandma Zeitel, Goldes Grandmother
Fedja, a young russian
Mendel, the Rabbis son
Nikita Voronchenko
Motschach, barkeeper
Awram, bookseller
Nachum, beggar
Tim Dietrich
Schandel, Mottels mother
Saskia Krispin
Fiddler on the roof
Maxim Bergeron
Davide de Biasi, Damian Czarnecki
Shane Dickson, Zoltan Fekete, Michael Fernandez, Paul Gerritsen, Csaba Nagy, Hunter Jaques, Christoph Jonas, Daniel Ojeda, Marcell Prét, Lorenzo Soragni
Es spielt das Orchester der Komischen Oper Berlin.
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Mark Janicello, 04.03.2018
Hands Down, the best production I've seen in Europe
»Last night, at the Comic Opera of Berlin I was gobsmacked. Their production of Fiddler on the Roof was hands down, the single best performance I have ever witnessed in my 24 years living and working in continental Europe. Nothing else I have ever seen, anywhere on the continent, even comes close. … Gentle readers, walk, crawl, run, beg, borrow or steal... do what you must do, but get a ticket to see Fiddler on the Roof at the Comic Opera in Berlin. 20 years from now, people will still be talking about this legendary production. «
New York Times
A. J. Goldmann, 06.12.2017
Fiddler on the Roof
»Mr. Kosky understands that the best traditions are the ones that can constantly reinvent themselves. Bringing back “Fiddler” after nearly three decades, he has removed the mothballs and nostalgia. The set designers, Rufus Didwiszus and Jan Freese, have built the shtetl Anatevka as a massive rotating assemblage of antique wardrobes ... Against this backdrop, Otto Pichler’s choreography is a jolt of pure theatrical energy.  … Performed in German by a largely non-Jewish cast, this is quite possibly the most convincing — and least embarrassingly cliché-ridden — “Fiddler” imaginable.«

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