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by Luca

Wolfgang Amadeus Mozart (1756 – 1791)

Die Zauberflöte


October 10 – 14 – 23 – 24 2020

November 1° – 7 – 18 – 19 – 29 2020

December 9 – 10 – 19 – 25 2020

January 2 – 29 2021

February 7 – 14 – 18 – 25 2021

March 5 – 12 2021

May 1° – 2 – 13 – 23 2021

June 8 – 13 – 16 – 27 2021

“Tamino in the belly of the dragon, Papageno riding a flying elephant, the Queen of the Night as a giant spider, dancing constellations and flying butterfly boys – The Magic Flute at the Komische Oper Berlin seems to cast a spell over audience members both young and old. And not only in Berlin: over 600,000 people in 23 countries on four continents have seen this critically and commercially acclaimed production by the British theatre group »1927« and Barrie Kosky, with its stunning mixture of live performance and film animation. Now the production is returning for Berlin audiences in a modified, but no less enchanting form.

Performed over 400 times since its premiere, the production has been newly adapted by Barrie Kosky. Dancers and extras perform on stage; from alongside and behind the stage, singers provide the voices; the three boys magically appear in animated drawings; the voices of the chorus resound from high up in the audience chamber. This internationally acclaimed production of the most frequently performed German-language opera continues to promise – even adapted to the given circumstances – fun for young and old alike!

Libretto von Emanuel Schikaneder.”

Jean-Philippe Rameau (1683 – 1764)

Les Boréades


March 27 -31 2021

April 4 2021

May 28 2021

June 22 2021

July 3 2021

“A tempestuous love against all odds! Jean-Philippe Rameau’s baroque masterpiece and last opera, which premiered only posthumously, enchants with a deeply human sensibility. Highly praised by audiences and the press, and awarded the Grand Prix de la Critique for the best European co-production in 2019, this rarely performed work is now being shown in Berlin for the first time.

Alphise, Queen of Bactria, is faced with a dilemma: according to the law she is forced to choose a husband from the House of Boreade – the family of the God of the North Wind, Boreas. But her heart yearns neither for Borilée nor for Calisis — the two sons of Boreas who she blithely sends to the wind — but solely for Abaris, the simple servant of Apollo. She would forfeit her love for Abaris for nothing in the world; she would rather renounce her crown than marry one of the Boreades. His honor insulted, the father and wind god Boreas cannot let this stand, and blows towards revenge.

One year before his death, Jean-Philippe Rameau, free of all expectations and dogmas, composed The Boreades, perhaps his most revolutionary work, which still challenges musicians today with its technical demands.

As in his production of Castor et Pollux, in Katrin Lea Tag’s mysteriously abstract stage space Barrie Kosky unabashedly reveals the nuances of interpersonal dynamics in Rameau’s love drama and takes the audience up close to the deepest feelings of the characters. The baroque specialist Konrad Junghänel conducts them on the podium.”