Arabella

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  Arabella – Russell Braun als Mandryka, Elena Tsallagova als Zdenka, Sara Jakubiak als Arabella Thomas Aurin

• Richard Strauss: Arabella – Ruth Tromboukis

• Arabella – The Making-Of – Ruth Tromboukis

• Arabella: Publikumsstimmen zur Premiere – Ruth Tromboukis

• Arabella – Elena Tsallagova als Zdenka, Robert Watson als Matteo Thomas Aurin

• Arabella – Doris Soffel als Adelaide, Elena Tsallagova als Zdenka, Gabriela Scherer als Arabella Thomas Aurin

• Arabella – Albert Pesendorfer als Graf Waldner, Russell Braun als Mandryka Thomas Aurin

• Arabella – Elena Tsallagova als Zdenka, Sara Jakubiak als Arabella Thomas Aurin

• Arabella – Thomas Aurin

• Arabella – Russell Braun als Mandryka Thomas Aurin

• Arabella – Thomas Aurin

• Arabella – Elena Tsallagova als Zdenka, Albert Pesendorfer als Graf Waldner, Russell Braun als Mandryka, Sara Jakubiak als Arabella, Robert Watson als Matteo Thomas Aurin

• Arabella – Elena Tsallagova als Zdenka, Doris Soffel als Adelaide, Russell Braun als Mandryka, Sara Jakubiak als Arabella, Albert Pesendorfer als Waldner, Robert Watson als Matteo Thomas Aurin

• Arabella – Elena Tsallagova als Zdenka, Robert Watson als Matteo Thomas Aurin

• Arabella – Russell Braun als Mandryka, Sara Jakubiak als Arabella Thomas Aurin

ARABELLA is the last collaboration between the acclaimed duo Hugo von Hofmannsthal and Richard Strauss. Adopting the tone of an operetta, the work portrays the existential hardships, obsessions and dreams of a society bereft of its traditional solidity. Gambling addiction has driven the family of cavalry officer Waldner into financial ruin. The only hope for salvation lies in marrying off the daughter Arabella into a wealthy family ... Conductor: Sir Donald Runnicles; Director: Tobias Kratzer; With Albert Pesendorfer, Doris Soffel, Jennifer Davis, Heidi Stober, Thomas J. Mayer, Daniel O'Hearn a. o.
About the workVienna, circa 1860. The financially strapped Count Waldner is lodging with his family in a Viennese hotel. His only path to solvency is for him to secure an advantageous marriage for one of his two daughters – and the family can only afford to present Arabella, the eldest, in the upper circles of society. To conceal the family’s indigence, the parents have raised Zdenka as a boy, dressing her accordingly. Arabella is not short of suitors but has resolved to wait for ‘Mr Right’. When Mandryka, an aristocrat from a distant region, arrives, he and Arabella are instantly smitten. Arabella only asks to be able to bid farewell to her friends and suitors at the Fasching ball that evening.

At the ball, Arabella says goodbye to her admirers. There is also the young officer Matteo, with whom Zdenka is secretly in love and with whom she has formed a friendship under the guise of her disguise as a boy. Matteo, however, desires Arabella and is distraught when he realises the hopelessness of his love. Zdenka devises a plan: she fakes a letter from Arabella in which she promises Matteo a night of love together. But instead she wants to wait for him herself in the darkness of the hotel room. Mandryka learns of Arabella's alleged infidelity and goes to the hotel with the ball guests to surprise Arabella in flagrante delicto.

Arabella, innocent of this, is initially shocked and saddened by Mandryka’s suspicions but forgives him when the mix-up is revealed for what it is. The two agree to marry, as do Zdenka and Matteo.

About the productionRichard Strauss’s orchestral richness and opulence coupled with the period Viennese setting of the work led to ARABELLA being falsely pigeonholed as a light-hearted comedy of errors from its 1933 premiere onwards. In the estimation of Tobias Kratzer, however, who triumphed at the Deutsche Oper with his production of Alexander von Zemlinsky’s THE DWARF, this final collaboration between Strauss and Hugo von Hofmannsthal marks a collision of two world views: the traditional roles of men and women on the one hand – as expressed in Arabella’s famous solo “Und du sollst mein Gebieter sein” – and a modern idea of social interaction on the other – as illustrated by Zdenka with her questioning of gender-based identities. Here, Kratzer turns the spotlight on this disunity between the various character portrayals in ARABELLA and explores these role-specific tensions on a continuum stretching from 19th-century Vienna to the present day.

Artists/Collaborators: Sir Donald Runnicles (Musikalische Leitung), Tobias Kratzer (Inszenierung), Rainer Sellmaier (Bühne, Kostüme), Clara Luisa Hertel (Kostümmitarbeiterin), Jeroen Verbruggen (Choreografie), Stefan Woinke (Licht), Jonas Dahl (Video), Jeremy Bines (Chöre), Manuel Braun (Video), Bettina Bartz (Dramaturgie), Albert Pesendorfer (Graf Waldner), Doris Soffel (Adelaide), Jennifer Davis (Arabella), Heidi Stober (Zdenka), Thomas Johannes Mayer (Mandryka), Daniel O'Hearn (Matteo), Thomas Cilluffo (Graf Elemer), Kyle Miller (Graf Dominik), Gerard Farreras (Graf Lamoral), Hye-Young Moon (Fiakermilli), Martina Baroni (Eine Kartenaufschlägerin), Jörg Schörner (Welko), Michael Jamak (Djura), Robert Hebenstreit (Jankel), N. N. (Ein Zimmerkellner), Chor der Deutschen Oper Berlin (Chöre), Orchester der Deutschen Oper Berlin (Orchester)

Pre-performance lecture (in German): 45 minutes prior to each performance

Next date:

• Date Friday, 07/March/2025 19:00 (2 more dates)
• Venue Deutsche Oper Berlin
• Address Bismarckstraße 35, 10627 Berlin-Charlottenburg