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La Boheme
Date details
- Date Wednesday, 11/December/2024 19:30 (4 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
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U Bismarckstr.
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U Richard-Wagner-Platz
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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.
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- N7
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Bismarckstr./Leibnizstr.
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Warburgzeile
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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.
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- X49
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U Wilmersdorfer Str./S Charlottenburg
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Berlin, Kantstr./Leibnizstr.
- M49
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Eosanderstr.
- M45
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Zillestr.
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U Sophie-Charlotte-Platz
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U Deutsche Oper
Part of:
La bohème
La Bohème – Joseph Calleja als Rodolfo, Adriana Ferfecka als Mimì Bettina Stöß
© Bettina Stöß
![Giacomo Puccini: La Bohème – Ruth Tromboukis]()
Giacomo Puccini: La Bohème – Ruth Tromboukis
© Ruth Tromboukis
![La Bohème – The Making-Of – I like visuals]()
La Bohème – The Making-Of – I like visuals
© I like visuals
![La Bohème – Joseph Calleja als Rodolfo, Markus Brück als Marcello Bettina Stöß]()
La Bohème – Joseph Calleja als Rodolfo, Markus Brück als Marcello Bettina Stöß
© Bettina Stöß
![La Bohème – Joseph Calleja als Rodolfo, Joel Allison als Schaunard, Markus Brück als Marcello, Byung Gil Kim als Colline, Jörg Schörner als Benoit Bettina Stöß]()
La Bohème – Joseph Calleja als Rodolfo, Joel Allison als Schaunard, Markus Brück als Marcello, Byung Gil Kim als Colline, Jörg Schörner als Benoit Bettina Stöß
© Bettina Stöß
![La Bohème – Joseph Calleja als Rodolfo, Adriana Ferfecka als Mimì Bettina Stöß]()
La Bohème – Joseph Calleja als Rodolfo, Adriana Ferfecka als Mimì Bettina Stöß
© Bettina Stöß
![La Bohème – Bettina Stöß]()
La Bohème – Bettina Stöß
© Bettina Stöß
![La Bohème – Bettina Stöß]()
La Bohème – Bettina Stöß
© Bettina Stöß
![La Bohème – Meechot Marrero als Musetta, Burkhard Ulrich als Alcindoro Bettina Stöß]()
La Bohème – Meechot Marrero als Musetta, Burkhard Ulrich als Alcindoro Bettina Stöß
© Bettina Stöß
![La Bohème – Ulrich Niepel]()
La Bohème – Ulrich Niepel
© Ulrich Niepel
![La Bohème – Joseph Calleja als Rodolfo, Adriana Ferfecka als Mimì Bettina Stöß]()
La Bohème – Joseph Calleja als Rodolfo, Adriana Ferfecka als Mimì Bettina Stöß
© Bettina Stöß
![La Bohème – Joseph Calleja als Rodolfo, Adriana Ferfecka als Mimì, Markus Brück als Marcello, Samueol Park als Sergeant der Zollwache Bettina Stöß]()
La Bohème – Joseph Calleja als Rodolfo, Adriana Ferfecka als Mimì, Markus Brück als Marcello, Samueol Park als Sergeant der Zollwache Bettina Stöß
© Bettina Stöß
![La Bohème – Joseph Calleja als Rodolfo, Joel Allison als Schaunard, Markus Brück als Marcello, Byung Gil Kim als Colline Bettina Stöß]()
La Bohème – Joseph Calleja als Rodolfo, Joel Allison als Schaunard, Markus Brück als Marcello, Byung Gil Kim als Colline Bettina Stöß
© Bettina Stöß
![La Bohème – Joseph Calleja als Rodolfo, Adriana Ferfecka als Mimì Bettina Stöß]()
La Bohème – Joseph Calleja als Rodolfo, Adriana Ferfecka als Mimì Bettina Stöß
© Bettina Stöß
Puccini’s rendition in opera form of »Scenes of Bohemian Life« is the best-known opera portraying the lives of artists and at the same time a depiction of a group of young people drifting through life with no consideration of the consequences. Götz Friedrich’s opulent production reflects the gleam and grime of Belle Époque Paris … Conductor: Sir Donald Runnicles / Friedrich Praetorius; Director: Götz Friedrich; With Andrei Danilov / Attilio Glaser, Kyle Miller / Philipp Jekal, Dean Murphy / Geon Kim, Patrick Guetti / Byung Gil Kim, Aida Pascu / Elena Tsallagova, Alexandra Oomens / Nina Solodovnikova a.o.
About the workA garret in Paris on a cold winter’s day around Christmas. Rodolfo, a writer, and Marcello, a painter, are working on their masterpieces. They have no money to buy food, pay the rent or fuel the stove. Colline, a philosopher, returns from the pawn shop empty handed, having failed to get rid of some books. Only Schaunard, a musician, has managed to come up with some victuals, kindling, cigars and cash, so off they go to Café Momus - without Rodolfo, who’s trying to work. Mimì, the embroiderer from next door, arrives to ask for a match to light her candle with. She collapses and loses her key; cue for Rodolfo to fall in love with Mimì, who is terminally ill with TB, although he dumps her two months later because the prospect of her ailment getting steadily worse in her freezing home is too much for him. Six months go by. Musetta, Marcello’s ex, arrives with Mimì, whose condition is grave. Musetta sells some earrings with a view to buying medicine; Colline gives up his coat. Gratitude and happiness for a short while. Rodolfo thinks Mimì is sleeping and her body regenerating, …but in fact she’s dead.
With his EDGAR [1889] and MANON LESCAUT Puccini had already made his name as a maestro of musical colour, but it was not until LA BOHÈME that he achieved the marriage of material and score that moved Claude Debussy to raptures: »No one in my mind has captured the essence of Paris so well as Puccini in LA BOHÈME«. Puccini’s impressionistic style is a blend of subjective feeling and objective tonal painting. From the very beginning the music is working its charm, be it through the sound painting, atmospheric touches or local colour conveyed by the score: Rodolfo and Marcello burning the script; the poet flicking water on Mimì’s unconscious brow to cool her down; in Act 2 the chorus representing the crowd in contrast to the orchestra embodying the military parade; in Act 3 the restrained, austere music conveying the atmosphere of a chilly winter’s morning.
About the productionGötz Friedrich’s production from 1988 transposes the action from 1840s Paris to the end of that century, i.e. to Puccini’s own present day. His version of the work, with its colourful depictions of Belle Époque Paris and the outsized stage sets, continue to captivate audiences 35 years later.
About the workA garret in Paris on a cold winter’s day around Christmas. Rodolfo, a writer, and Marcello, a painter, are working on their masterpieces. They have no money to buy food, pay the rent or fuel the stove. Colline, a philosopher, returns from the pawn shop empty handed, having failed to get rid of some books. Only Schaunard, a musician, has managed to come up with some victuals, kindling, cigars and cash, so off they go to Café Momus - without Rodolfo, who’s trying to work. Mimì, the embroiderer from next door, arrives to ask for a match to light her candle with. She collapses and loses her key; cue for Rodolfo to fall in love with Mimì, who is terminally ill with TB, although he dumps her two months later because the prospect of her ailment getting steadily worse in her freezing home is too much for him. Six months go by. Musetta, Marcello’s ex, arrives with Mimì, whose condition is grave. Musetta sells some earrings with a view to buying medicine; Colline gives up his coat. Gratitude and happiness for a short while. Rodolfo thinks Mimì is sleeping and her body regenerating, …but in fact she’s dead.
With his EDGAR [1889] and MANON LESCAUT Puccini had already made his name as a maestro of musical colour, but it was not until LA BOHÈME that he achieved the marriage of material and score that moved Claude Debussy to raptures: »No one in my mind has captured the essence of Paris so well as Puccini in LA BOHÈME«. Puccini’s impressionistic style is a blend of subjective feeling and objective tonal painting. From the very beginning the music is working its charm, be it through the sound painting, atmospheric touches or local colour conveyed by the score: Rodolfo and Marcello burning the script; the poet flicking water on Mimì’s unconscious brow to cool her down; in Act 2 the chorus representing the crowd in contrast to the orchestra embodying the military parade; in Act 3 the restrained, austere music conveying the atmosphere of a chilly winter’s morning.
About the productionGötz Friedrich’s production from 1988 transposes the action from 1840s Paris to the end of that century, i.e. to Puccini’s own present day. His version of the work, with its colourful depictions of Belle Époque Paris and the outsized stage sets, continue to captivate audiences 35 years later.
Artists/Collaborators: Sir Donald Runnicles (Musikalische Leitung), Götz Friedrich (Inszenierung), Peter Sykora (Bühne, Kostüme), Thomas Richter (Chöre), Christian Lindhorst (Kinderchor), Stephen Watson (Licht), Andrei Danilov (Rodolfo), Kyle Miller (Schaunard), Dean Murphy (Marcello), Patrick Guetti (Colline), Jörg Schörner (Benoit), Aida Pascu (Mimì), Alexandra Oomens (Musetta), Thomas Cilluffo (Parpignol), Burkhard Ulrich (Alcindoro), Stephen Marsh (Sergeant der Zollwache), N. N. (Zöllner), Chor der Deutschen Oper Berlin (Chöre), Kinderchor der Deutschen Oper Berlin (Chöre), Orchester der Deutschen Oper Berlin (Orchester)
Runtime: Fri, 06/12/2024 to Tue, 31/12/2024
Pre-performance lecture (in German): 45 minutes prior to each performance
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©andrys lukowski - stock.adobe.com
Wiener G'schichten - Staatstheater Cottbus
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- Date:
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© Eventim
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© Monika Rittershaus
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© Quelle: Reservix-System
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© Ruth Tromboukis
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