Berlin Opera - Program & Tickets

16
We 19:30
Carmen
With his CARMEN Georges Bizet wrote a challenge to the romantic opera: With her indomitable will to freedom embodies the title heroine the counterpart to the passive, suffering female figures who had previously dominated the opera stage. But CARMEN is even more antiromantic in a more comprehensive sense: Bizet's opera shows a world in which love, as an interpersonal feeling, no longer has a place and has long since been replaced by sex and violence.
Dirigent
Juraj Valcuha

Orchester
Orchester der Deutschen Oper Berlin
Puccini had already proved to be an ingenious musical colorist with EDGAR [1889] and with MANON LESCAUT, but it was only with LA BOHÈME that the correspondence between the material and its musical arrangement was reached, of which Claude Debussy raved: "I do not know anybody who knows Paris described this time as well as Puccini in LA BOHÈME «.
...
Puccini had already proved to be an ingenious musical colorist with EDGAR [1889] and with MANON LESCAUT, but it was only with LA BOHÈME that the correspondence between the material and its musical arrangement was reached, of which Claude Debussy raved: "I do not know anybody who knows Paris described this time as well as Puccini in LA BOHÈME «.
...
Puccini had already proved to be an ingenious musical colorist with EDGAR [1889] and with MANON LESCAUT, but it was only with LA BOHÈME that the correspondence between the material and its musical arrangement was reached, of which Claude Debussy raved: "I do not know anybody who knows Paris described this time as well as Puccini in LA BOHÈME «.
...
The muse emerges from a barrel. A wine barrel from which the poet Hoffmann can sing a song in Offenbach's last opera. From fateful intoxication, he spins three stories about his unfortunate love: the pupated artist Olympia, the young girl Antonia and the courtesan Giulietta.
With his CARMEN Georges Bizet wrote a challenge to the romantic opera: With her indomitable will to freedom embodies the title heroine the counterpart to the passive, suffering female figures who had previously dominated the opera stage.
...
Puccini had already proved to be an ingenious musical colorist with EDGAR [1889] and with MANON LESCAUT, but it was only with LA BOHÈME that the correspondence between the material and its musical arrangement was reached, of which Claude Debussy raved: "I do not know anybody who knows Paris described this time as well as Puccini in LA BOHÈME «.
...
The muse emerges from a barrel. A wine barrel from which the poet Hoffmann can sing a song in Offenbach's last opera. From fateful intoxication, he spins three stories about his unfortunate love: the pupated artist Olympia, the young girl Antonia and the courtesan Giulietta.