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BerlinZar und Zimmermann (Tsar and Carpenter)New production

Lortzing: Zar und Zimmermann (Tsar and Carpenter)
Antonello Manacorda; Martin G Berger; Deutsche Oper Berlin; Sarah-Katharina Karl; Esther Bialas; Sascha Zauner; Orchester der Deutschen Oper Berlin
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Max Hopp falls short with Die Banditen at Komische Oper
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The last of Jacques Offenbach's great buffo operettas provides an opportunity for topical satire but Max Hopp’s attempts at updating it fall short of the mark.
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A coherent, modern version of the Orpheus myth from the Italian director at the Komische Oper Berlin.
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The new version of La bohème at the Komische Oper Berlin follows a hard Verismo-beat.
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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.
Kosky's compelling Onegin returns to the Komische Ope
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Tchaikovsky's opera packs a powerful emotional punch in the Komische Oper's concentrated and dreamlike production.
La Fenice's superb new Widow is always Merry, even without sequins and ostrich feathers
Damiano Michieletto's new production in Venice sets the operetta in the 1950s.
