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Guide to Komische Oper Berlin

août 2019
« ...with its 1947 re-opening the Komische Oper established a tradition for itself that all opera performances in the house would be sung in the German language. This policy was created in order to bring opera directly to the German 'Volk'. Australian Director Barrie Kosky has subtly broken with this tradition in his tenure [but] no one seems to mind. Sold out performances are quite common these days at the Komische Oper, Eugene Onegin being no exception. Many hopeful people were standing in line to purchase an unclaimed ticket Saturday night. »
Karen Hunter Bachtrack, February 2016
Spectacles à venirEn voir plus...


© Monika Rittershaus
Bernstein: Candide
Jordan De Souza; Barrie Kosky; Komische Oper Berlin; Otto Pichler; Chor der Komischen Oper Berlin; Orchester der Komischen Oper Berlin

BerlinRoxy und ihr Wunderteam

Roxy und ihr Wunderteam
Abraham: Roxy und ihr Wunderteam
Kai Tietje; Stefan Huber; Komische Oper Berlin; Stephan Prattes; Heike Seidler; Danny Costello

BerlinEugen Onegin

Eugen Onegin
Tchaïkovski: Eugène Onéguine
Ainārs Rubiķis; Barrie Kosky; Komische Oper Berlin

BerlinThe Pearls of Cleopatra

The Pearls of Cleopatra
Straus: The Pearls of Cleopatra
Adam Benzwi; Barrie Kosky; Komische Oper Berlin; Otto Pichler

BerlinWest Side Story

West Side Story
Bernstein: West Side Story
Koen Schoots; Barrie Kosky; Komische Oper Berlin; Otto Pichler

BerlinDie BassaridenNew production

Die Bassariden
Henze: The Bassarids
Vladimir Jurowski; Barrie Kosky; Komische Oper Berlin; Katrin Lea Tag; Ulrich Lenz; David Cavelius
Critiques récentesEn voir plus...

Caustique Blaubart au Komische Oper de Berlin

© Iko Freese |
Dans le cadre de sa programmation estivale, l'opéra comique de Berlin proposait une nouvelle production de Barbe-Bleue de Jacques Offenbach.

À l’Opéra Comique, La Flûte Enchantée fait un carto(o)n

© Iko Freese
Cette Flûte Enchantée, aussi visuelle que musicale, est un spectacle pour tous, idéal pour initier à l’opéra les petits comme les grands.

Asmik Grigorian wows as Tatyana in Komische Oper Eugene Onegin

Asmik Grigorian (Tatyana) © Ryan Buchanan

Barrie Kosky’s visually stunning and very finely sung Eugene Onegin from Komische Oper reaches Edinburgh, a triumphant showcase for soprano Asmik Grigorian.

Korngold's Dead City is not so dead in Berlin

Sara Jakubiak (Marietta) and Aleš Briscein (Paul) © Iko Freese |
In Robert Carsen's staging, the “dead city” is absent: the scenery showing a bourgeois room that one imagines overlooking a bright avenue in Vienna or Berlin rather than a dark alley in Bruges.

M: a murderer hiding in plain sight at Komische Oper

M – Eine Stadt sucht einen Mörder © Monika Rittershaus
M – a city searches for a murderer, by Moritz Eggert and Barrie Kosky, receives its world premiere at the Komische Oper Berlin.

Handel in the British Raj: Harry Kupfer returns to Komische Oper

Ruzan Mantashyan (Mahamaya) and Eric Jurenas (Sir Alexander) © Monika Rittershaus
Loyalty and misdeeds in the jungle of emotions in Handel's Poro, re dell'Indie.

Since the construction of the venue in Behrenstraße (which opened as the “Theater Unter den Linden” in 1892, re-operning as the “Metropol-Theater” in 1898 after bankruptcy), the Komische Oper Berlin has at various times been a consistent international trend-setter in the world of musical theatre. As the leading theatre for operettas and revues in the 1920s, it fundamentally shaped the Berlin, and hence international, entertainment scene. Following the Second World War, Walter Felsenstein’s concept of musical theatre revolutionised European opera, and to this day it remains an important point of reference for the great majority of musical theatre directors seeking to be contemporary in their work. This inspirational international influence as a trend-setter in innovative musical theatre is reflected in the many artistic careers which began at the Komische Oper Berlin – including those of the directors Götz Friedrich and Harry Kupfer as well as the conductors Otto Klemperer, Kurt Masur, Yakov Kreizberg, and Kirill Petrenko.

In 2012, Barrie Kosky took over from Andreas Homoki as the Artistic Director of the Komische Oper Berlin. He was joined by Henrik Nánási, the new General Music Director. The Komische Oper Berlin is versatile and flexible to a degree which is unusual for an opera house. This and the fixed ensemble of singer-performers are key characteristics of the Komische Oper Berlin under Kosky’s directorship. Kosky’s conceptual approach draws not only on the tradition set by Felsenstein, but also on the venue’s pre-war traditions, which were strongly shaped by Jewish actors and have hitherto received less attention. Felsenstein’s vision of opera as a form of musical theatre in which music and action are equally important components of a production is combined by Kosky with the demand that musical theatre should provide an experience which appeals to all the senses and which encompasses musical drama in all its forms, from the classic Mozart repertoire through to genre-defying projects.