Deutsche Oper Berlin
Macbeth at Deutsche Oper Berlin
The production doesn’t shy away from brutality in its portrayal of the Macbeths’ relentless climb to power: the violence is disturbingly visceral.
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Staatsballett Berlin
SAABA / Minus 16 by Staatsballett Berlin
In a very intimate moment, the ensemble's members introduce themselves to the audience one by one by sharing a fact–some basic, some quite moving, and some with great comical timing–about themselves.
Staatsoper Berlin
Excerpts from Tristan/Walküre at Staatsoper Berlin
Andreas Schager, Anja Kampe, and René Pape gave a POWERFUL performance which, while not fully staged, was emotionally entirely convincing.
Staatsoper Berlin
Roméo et Juliette at Staatsoper Berlin
Instead of having two aristocratic families pitted against each other, this story becomes one of class conflict between wealthy upper classers and fringe-of-society street punks.
Philharmonie Berlin
Mahler 2 at Philharmonie Berlin
Listening to a recording is always different to seeing a piece live, and similar to different productions of the same opera, there is some creative license to performing a symphonic concert.
Staatsoper Berlin
Die Zauberflöte (Everding) at Staatsoper Berlin
The production's amalgamation of historical anchor and modern context is very fitting for the Staatsoper, which is also no longer the house that it was when Schinkel‘s Zauberflöte was first staged there.
Babylon Berlin
Metropolis at Babylon Berlin
This experience at BABYLON really emphasizes the historical connection between classical music and cinema scores. After all, Huppertz was a contemporary of Strauss and Mahler!
Deutsche Oper Berlin
Tosca at Deutsche Oper Berlin
Tosca is a thriller in which an unsuspecting artist couple living in an increasingly authoritarian Rome is caught up in larger-than-life (geo)political machinations and becomes collateral damage at the hands of a politician abusing the powers of his office for personal gain.
Konzerthaus Berlin
Die Zauberflöte—freed from prejudice at Konzerthaus Berlin
In our lifetime, some of the operas we love and cherish will enter their 3rd or even 4th century of continuous production. So far, it has been artistic liberty in staging these operas which has kept them interesting.
Staatsoper Berlin
Die Frau ohne Schatten at Staatsoper Berlin
The production at Staatsoper Berlin is a Lars von Trier-esque fever dream fairytale: Think hyper realistic animal masks, dream-like dance sequences, emotional turmoil, haunted protagonists, and surreal asleep-or-awake ambivalence.
LaFiamma
La Fiamma at Deutsche Oper Berlin
Religious dominance is a driving motive in La Fiamma. Ultimately, we are reminded that historically, this has been the fate of tens of thousands of women who deviated from societal norm.
Deutsche Oper Berlin
Tannhäuser at Deutsche Oper Berlin
There are two conflicts at the core of the Tannhäuser plot: One between the ideas of purity, love, piousness vs. lust, sexuality, profanity. The other between societal norms and expectations to behavior vs. self-actualization and pursuing “interests” deemed as undesirable.