Die tote Stadt

In 1920s Germany, Erich Korngold’s work was considered “degenerate” and banned. Eventually, in 1934, he left for Hollywood. There, he made a name for himself as a film composer and only rarely wrote great works for the stage. Many of his quite successful operas, composed between 1913 and 1927, stopped being performed after World War II. Among these was his perhaps most significant work, Die tote Stadt (“The Dead City”), which was performed again for the first time after a long hiatus in 1955 in Munich. Further productions followed. Nevertheless, Götz Friedrich’s version of 1983 for the Deutsche Oper Berlin was only the fifth new production of the opera after 1945. Thanks to it, the work became established in the repertoires of many other opera houses, if only as a curiosity.

In the production at the Deutsche Oper Berlin in 1983, James King, who debuted at the Deutsche Oper Berlin in 1961 and had a great interest in the role, starred as Paul; the internationally renowned singer Karan Armstrong as Marietta; and William Murray as Frank.

Preußisches Märchen

On the surface it is a comic version of the “Hauptmann von Köpenick” story in which it is not the petty thief Wilhelm Voigt who carries off the prank but a respected member of society, the clerk Wilhelm Fadenkreutz. He is not a factory owner like Diederich Heßling, but definitely has many of the characteristics of the hero of “Der Untertan”. Boris Blacher and Heinz von Cramer Cramer quickly realised that such a devastating critique of Germany’s past would not be easy to stage, and they toned down the satirical text before presenting it to the intendant of the Städtische Oper, Heinz Tietjen. Blacher also shortened the caricature of the German national anthem played on the tuba at the start of the piece to make it less recognisable. The authors cast about for a long time for a title for their work that would not conflict with Carl Zuckmayer’s “Der Hauptmann von Köpenick”. After considering “Herrliche Zeiten” (Glorious Times), they finally hit on the idea of combining the local and the fantastical by calling the work “Preußisches Märchen” (A Prussian Fairytale). The premiere on 23 September 1952 in the Theater des Westens, where the Deutsche Oper Berlin ensemble appeared under the title of “Städtische Oper” between 1945 and 1961, was acclaimed by audiences and critics alike.

Die Gespenstersonate

In September 1984, as part of the Berlin Festival Week, the Deutsche Oper Berlin staged the world premiere of German composer Aribert Reimann’s opera “Die Gespenstersonate”. Based on the drama by the Swedish writer August Strindberg, the chamber opera tells the story of a student, who muses about the inhabitants of a fancy-looking house. His crucial meeting with the Old Man pulls him into a world of intrigues, sickness, depression and murder. It plays in and around the presumably haunted house, which seems to drown its inhabitants in its sinister atmosphere. Better known for his operas “Lear” or “Medea”, Reimann established himself firmly as a stage composer from 1965 onwards. “Die Gespenstersonate”, being a modern chamber opera, was performed not on the great stage of the Deutsche Oper Berlin, but at the smaller Hebbel-Theater. Heinz Lukas-Kindermann’s stage direction sets the spectator under its gloomy spell, the exquisite cast performing the demanding score stars Hans Günter Nöcker as the “Old Man” and David Knutson as the Student, as well as well-loved Martha Mödl as the “Mummy”.

Triangle of the Squinches

The choreographer Alonzo King, acclaimed as “one of the few, true Ballet Masters of our times” by world-famous William Forsythe, works with his company The Alonzo King LINES Ballet in San Francisco. Before founding LINES Ballet in 1982 King has been working for companies around the world, including the Frankfurt Ballet, the Joffrey Ballet, the

Dance Theatre of Harlem, the Alvin Ailey American Dance Theatre, the Washington Ballet and the Hong Kong Ballet.

With ist global perspective on dance the LINES Ballet attracts worldwide attention combining modern dance and classical ballet. Alonzo King gives his dancers the chance to get involved into the creative process of the choreography. Critics often comment on the “new language” or

“re-invention of form” arising in King‘s choreographies.

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Alonzo King

“The choreographer Alonzo King, acclaimed as “one of the few, true Ballet Masters of our times” by world-famous William Forsythe, works with his company The Alonzo King LINES Ballet in San Francisco. Before founding LINES Ballet in 1982 King has been working for companies around the world, including the Frankfurt Ballet, the Joffrey Ballet, the

Dance Theatre of Harlem, the Alvin Ailey American Dance Theatre, the Washington Ballet and the Hong Kong Ballet.

With its global perspective on dance the LINES Ballet attracts worldwide attention combining modern dance and classical ballet. Alonzo King gives his dancers the chance to get involved into the creative process of the choreography. Critics often comment on the “new language” or

“re-invention of form” arising in King‘s choreographies.

“

George London – Between Gods and Demons

George London was one of the most impressive bass-baritones of the postwar era. He sang on the side of Maria Callas, Renata Tebaldi and Nicolai Gedda, to name only a few, and captured the audience’s hearts with his distinctive voice and his charismatic stage presence. Way too early he had to stop his singing career due to a vocal chord disease. The film portrays this exceptional artist in all its diversity, shows rare archive footage of his great performances as an opera singer but also as an interpreter of traditional spirituals and operetta. Another important element of the film are interviews with his widow Nora London, with former colleagues, experts and current stars of the opera scene as Neil Shicoff, Catherine Malfitano and Deborah Polaski, who have been taught by George London, supported in their career by the George London Foundation or see themselves as his followers.

Montezuma

Including: Preussisches Märchen // Montezuma // Die tote Stadt // Die Gespenstersonate / Oedipus

For ist 100th anniversary the Deutsche Oper Berlin is featured in a special edition of live recordings that were produced since the beginnings of television broadcasts from the opera house. Following the first DVD collection with recordings from the 1960s, this special edition box contains

operas from the 1970s and 1980s – treasures in colour featuring great opera singers, stage directors and contemporary composers.

Die heimliche Ehe

Staged by Gustav Rudolf Sellner, conducted by Lorin Maazel, with costumes by Filippo Sanjust and performed by the six soloists with consummate vocal elegance, Cimarosa’s “Die heimliche Ehe” (Il matrimonio segreto / The Secret Marriage) offers unalloyed pleasure, triggering a kind of ecstasy with ist combination of delicacy and opulence and ist refined humour. It brings out Cimarosa’s musical mastery – but also the visual impact of the opera. Sung in German.