© Andy Phillipson
Weekend Tips: What to Do This Weekend in Berlin
November 15 - 17, 2024: Events, concerts, exhibitions and more things to do for your perfect weekend in Berlin. more
Current language: English
Die Frau ohne Schatten
Date details
- Date Sunday, 02/February/2025 17:00 (5 more dates)
- Venue Deutsche Oper Berlin
- Address Bismarckstraße 35, 10627 Berlin-Charlottenburg
- Price from €32.10
Book tickets for this date
Public transportation
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Underground
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U Deutsche Oper
- U2
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U Bismarckstr.
- U2
- U7
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U Richard-Wagner-Platz
- U7
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U Wilmersdorfer Str.
- U7
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U Deutsche Oper
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Bus
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U Deutsche Oper
- N2
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U Bismarckstr.
- N2
- N7
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Bismarckstr./Leibnizstr.
- 101
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Warburgzeile
- M45
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Bismarckstr./Kaiser-Friedrich-Str.
- 109
- N7
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Otto-Suhr-Allee/Leibnizstr.
- 101
- M45
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Berlin, Goethestr.
- 101
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U Richard-Wagner-Platz
- N7
- M45
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U Wilmersdorfer Str.
- 309
- M49
- X34
- X49
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Haubachstr.
- 109
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Berlin, Kaiser-Friedrich-Str./Kantstr.
- M49
- X34
- 309
- X49
- 109
- N7
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U Wilmersdorfer Str./S Charlottenburg
- X49
- S7
- S9
- 309
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Berlin, Kantstr./Leibnizstr.
- M49
- X34
- 101
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Eosanderstr.
- M45
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Zillestr.
- 309
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U Sophie-Charlotte-Platz
- 309
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U Deutsche Oper
Part of:
Die Frau ohne Schatten
Die Frau ohne Schatten – Stan Hema
© Stan Hema
Hofmannsthal wrote to Strauss in 1911 that the new opera was to ZAUBERFLÖTE as the ROSENKAVALIER was to FIGARO. And indeed, much in this work is reminiscent of Mozart's "grand opera": the encounter between different social classes, the fairytale-like plot charged with high symbolic value, but above all the awareness of an elementary turning point in time that calls the previous order into question. And here, as there, realisation is only achieved through difficult trials ... Conductor: Sir Donald Runnicles; Director: Tobias Kratzer; With David Butt Philip, Jane Archibald, Marina Prudenskaya, Jordan Shanahan, Catherine Foster and others.
About the workAccording to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up.
About the productionTobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.
About the workAccording to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up.
About the productionTobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.
Artists/Collaborators: Sir Donald Runnicles (Musikalische Leitung), Tobias Kratzer (Inszenierung), Rainer Sellmaier (Bühne, Kostüme), Olaf Winter (Licht), Jonas Dahl (Video), Manuel Braun (Video), Jörg Königsdorf (Dramaturgie), Christian Lindhorst (Kinderchor), Jeremy Bines (Chöre), David Butt Philip (Der Kaiser), Jane Archibald (Die Kaiserin), Marina Prudenskaya (Die Amme), Patrick Guetti (Der Geisterbote), Hye-Young Moon (Ein Hüter der Schwelle des Tempels), Chance Jonas-O'Toole (Erscheinung eines Jünglings), Nina Solodovnikova (Die Stimme des Falken), Stephanie Wake-Edwards (Eine Stimme von oben), Jordan Shanahan (Barak, der Färber), Catherine Foster (Sein Weib), Philipp Jekal (Der Einäugige), Padraic Rowan (Der Einarmige), Thomas Cilluffo (Der Bucklige), Hye-Young Moon (1. Dienerin), Alexandra Oomens (2. Dienerin), Arianna Manganello (3. Dienerin), Hye-Young Moon (Kinderstimmen / Stimmen der Ungeborenen), Alexandra Oomens (Kinderstimmen / Stimmen der Ungeborenen), Lilit Davtyan (Kinderstimmen / Stimmen der Ungeborenen), Stephanie Wake-Edwards (Kinderstimmen / Stimmen der Ungeborenen), Martina Baroni (Kinderstimmen / Stimmen der Ungeborenen), Arianna Manganello (Kinderstimmen / Stimmen der Ungeborenen), Stephen Marsh (Stimmen der Wächter der Stadt), Kyle Miller (Stimmen der Wächter der Stadt), Geon Kim (Stimmen der Wächter der Stadt), Kinderchor der Deutschen Oper Berlin (Kinderchor), Chor der Deutschen Oper Berlin (Chor), Orchester der Deutschen Oper Berlin (Orchester)
Runtime: Sun, 26/01/2025 to Tue, 11/02/2025
Introduction in German language - 45 mins before beginning
Alternative events
©andrys lukowski - stock.adobe.com
Hänsel und Gretel - Oper von Engelbert Humperdinck
- Date:
- Sunday, 02/February/2025 16:00 (5 more dates)
- Venue:
- Schiller Theater
- Address:
- Bismarckstraße 110, 10625 Berlin
- Price:
- from €49.75
© Flaka Haliti, I See a Face. Do You See a Face. #2, 2014
Fin de partie
Endgame, game over. With four characters. Hamm and his servants Clov. Hamm’s parents Nagg and Nell. A play with rules, rituals, memories, and words. Words that are sung, which has only been rarely done with Samuel Beckett’s texts. György Kurtág’s opera... moreabout: Fin de partie
- Date:
- Sunday, 02/February/2025 18:00
- Venue:
- Staatsoper Unter den Linden
- Address:
- Unter den Linden 7, 10117 Berlin-Mitte
- Price:
- from €13.20
© Eventim
The Cast - Oper à la carte
Das Leben ist manchmal eben doch ein Wunschkonzert, insbesondere bei diesem Showformat der Opernband The Cast. Und die Berliner Fans wissen es längst: Wenn die virtuosen Vokalartisten von The Cast die Bühne betreten, ist pure Lebenslust, Spielfreude... moreabout: The Cast - Oper à la carte
- Date:
- Thursday, 06/February/2025 20:00
- Venue:
- BKA Theater
- Address:
- Mehringdamm 34, 10961 Berlin-Kreuzberg
- Price:
- from €37.10
© Monika Rittershaus
Elektra
Like a call issuing from a mythical distant past, Richard Strauss’ »Elektra« summons the magic of eerie gloom and archaic brutality. moreabout: Elektra
- Date:
- Friday, 07/February/2025 19:30 (2 more dates)
- Venue:
- Staatsoper Unter den Linden
- Address:
- Unter den Linden 7, 10117 Berlin-Mitte
- Price:
- from €13.20
© Quelle: Reservix-System
Traum-Melodien der Operette
Mit einer kräftigen Portion "Wiener Schmäh", schönen Kostümen und großer Begeisterung intonieren die namhaften Vokalisten dann bekannte Werke wie „Wer uns getraut“, „Komm in die Gondel“, „Ich bin die Christel von der Post“, „Brüderlein und Schwesterlein“,... moreabout: Traum-Melodien der Operette
- Next date:
- dargeboten von einem Orchester, Ballett und Solisten
- Date:
- Sunday, 09/February/2025 16:00
- Venue:
- Kultur- und Festspielhaus Wittenberge (Großer Saal)
- Address:
- Paul-Lincke-Platz 1, 19322 Wittenberge
- Price:
- from €19.00
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