Freitag 19 Dezember 2025 | 19:00 |
Montag 22 Dezember 2025 | 19:00 |
Donnerstag 25 Dezember 2025 | 16:00 |
Freitag 02 Januar 2026 | 19:00 |
Samstag 10 Januar 2026 | 19:00 |
Sonntag 18 Januar 2026 | 18:00 |
Mozart, Wolfgang Amadeus (1756-1791) | Don Giovanni | Libretto von Lorenzo Da Ponte |
Mozart, Wolfgang Amadeus (1756-1791) | Requiem in d-Moll, KV626 |
Komische Oper Berlin | |||
Sasha Yankevych | Musikalische Leitung | ||
Kirill Serebrennikov | Regie, Bühnenbild, Kostüme | ||
Olga Pavlyuk | Bühnenbild | ||
Tatyana Dolmatovskaya | Kostüme | ||
Olaf Freese | Licht | ||
Orchester der Komischen Oper Berlin | |||
Chorsolisten der Komischen Oper Berlin | |||
Sophia Jira | Dramaturgie | ||
Ilya Shagalov | Video | ||
David Cavelius | Chorleitung | ||
Evgeny Kulagin | Choreographie | ||
Virginie Verrez | Mezzosopran | ||
Susan Zarrabi | Mezzosopran | ||
Kyle Miller | Bariton | Don Giovanni | Dez 19, 22, 25, 2026 Jan 02, 10 |
Hubert Zapiór | Bariton | Don Giovanni | 2026 Jan 18 |
Kseniia Proshina | Sopran | Donna Anna | |
Tommaso Barea | Bassbariton | Leporello | |
Bruno de Sá | Countertenor | Donna Elvira | |
Penny Sofroniadou | Sopran | Zerlina | |
Andrew Harris | Bass | Komtur | |
Agustín Gómez | Tenor | Don Ottavio | |
Philipp Meierhöfer | Bass | Masetto |
Don Giovanni knows what he wants, how to get it and how to throw an outrageously decadent party. Servant Leporello groans under the seductive arts of his master, as he has to pay for everything afterwards. When Don Giovanni murders the Commendatore in a duel for the honor of his daughter Donna Anna, Leporello has had enough. Don Giovanni likes to seduce, trick and gamble for his life, until he suddenly has to face death young and wild ...
Sex, drugs and Viennese classical music - that was the motto of the congenial duo Mozart and Da Ponte. Similar to his hot-blooded opera hero, the young wild Mozart also met an early feverish death: he died at the age of 35 while working on his Requiem.
At the Schillertheater, Kirill Serebrennikov completes his Mozart-Da Ponte cycle with what is probably the most abysmal of the three comic operas. In his fearless approach to the masterpiece, Serebrennikov depicts the bon vivant's offbeat amusements as preparations for the afterlife and follows Don Giovanni's journey to hell with Mozart's requiem mass.
