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Performer: Komische Oper Berlin

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BerlinDer Zauberer von Oz (The Wizard of Oz)New production

Christoph Späth (Scarecrow), Tom Erik Lie (Tin Man), Alma Sadé and Carsten Sabrowski (Lion) © Jaro Suffner
Valtinoni: Der Zauberer von Oz (The Wizard of Oz)
Ivo Hentschel; Felix Seiler; Komische Oper Berlin; Nikolaus Webern; Linda Schnabel; Alma Sadé; Christoph Späth

BerlinCendrillon (Cinderella)

© Monika Rittershaus
Massenet: Cendrillon
Ainārs Rubiķis; Damiano Michieletto; Komische Oper Berlin; Sabine Franz; Chor der Komischen Oper Berlin; Orchester der Komischen Oper Berlin

BerlinAnatevka (Fiddler on the Roof)

© Iko Freese | drama-berlin.de
Bock: Fiddler on the Roof
Koen Schoots; Barrie Kosky; Komische Oper Berlin; Otto Pichler; Chor der Komischen Oper Berlin; Orchester der Komischen Oper Berlin

BerlinCandideNew production

Allan Clayton (Candide) © Monika Rittershaus
Bernstein: Candide
Jordan De Souza; Barrie Kosky; Komische Oper Berlin; Rebecca Ringst; Klaus Bruns; Nicole Chevalier; Allan Clayton

BerlinThe Pearls of Cleopatra

© Iko Freese | drama-berlin.de
Straus: The Pearls of Cleopatra
Adam Benzwi; Barrie Kosky; Komische Oper Berlin; Otto Pichler
Latest reviewsSee more...

Voltaire à la Kosky: a magical Candide at Komische Oper

Allan Clayton (Candide) © Monika Rittershaus
Serious farce, warm-hearted sarcasm, operatic Broadway: Barrie Kosky and Komische Oper turn Bernstein's problem child into a show that thrills from start to finish.
*****
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The Wizard of Oz arrives at Komische Oper

Christoph Späth (Scarecrow), Tom Erik Lie (Tin Man), Alma Sadé and Carsten Sabrowski (Lion) © Jaro Suffner
Pierangelo Valtinoni’s take on the classic story is a charming introduction to opera for children. 
****1
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Fleeting happiness: Robert Carsen's Tote Stadt at the Komische Oper

Sara Jakubiak (Marietta) © Iko Freese | drama-berlin.de
The Komische Oper's new staging of Korngold's opera doesn't quite offer the necessary scale or atmosphere. 
***11
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Pelléas et Mélisande: Kosky's sleep-talking, nightmare

Pelléas et Mélisande © Monika Rittershaus
There’s no doubt that Mélisande endeavours to escape past troubles when she first appears in Barrie Kosky’s production of Debussy’s opera, yet Nadja Mchantaf is no reticent, wispy maiden. Every vocal and physical gesture – always precise and penetrating – displays an atypically forthright quest for vitality, something that Arkel’s chauvinistic world does not readily offer.
*****
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Penetrating Schreker’s kaleidoscopic score

Die Gezeichneten © Iko Freese | drama-berlin.de
Franz Schreker’s Die Gezeichneten (The Branded One) is an unsettling work given the storyline’s background of abduction and clandestine sexual abuse. Calixto Bieito, as expected, eschews ambiguity regarding what goes on behind the scenes, and casts even the titular cripple Alviano Salvago in a damning light.
****1
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