Tsar and Carpenter - Schedule, Program & Tickets
Tsar and Carpenter
Date:
Time:
Location:
25.06.2026 , Thursday
19:30
Deutsche Oper, Bismarckstraße 35, 10627 Berlin, Germany
Seating plan
Comic opera in three acts
Libretto by Albert Lortzing with a new spoken text by Martin G. Berger
World premiere on December 22, 1837, at the Stadttheater Leipzig
Premiere at the Deutsche Oper Berlin on June 20, 2026
2 hours 45 minutes / One intermission
Sung in German with German and English surtitles
45 minutes before the performance: Introduction in the right-hand foyer
Recommended for ages 12 and up
The disappearance of Albert Lortzing's operas from German-speaking stages is almost unprecedented: While works such as THE WILDSCHÜTZ, THE WEAPON SCHMIED, and UNDINE were still pillars of the repertoire thirty years ago, they have now almost completely disappeared from repertoires. This even applies to Lortzing's greatest success, the comedy of errors Tsar and Carpenter, premiered in 1837 – despite evergreens like the "Clog Dance" and the aria "Farewell, my Flemish girl." The story of Tsar Peter the Great, who, while incognito, acquires carpentry skills at a Dutch shipyard and befriends a deserter of the same name from his army, is undoubtedly one of the most successful musical comedies of its time. For despite all the turbulence, Lortzing's characters, in their weaknesses and longings, always remain close to everyday life. The young deserter who simply wants to live in peace, the bold Marie, who refuses to be patronized, the Tsar, whose incognito conceals the menace of a violent ruler, and Mayor van Bett, a lovable caricature of a German authority figure – all lend the comedy a timeless humanity.
At the Deutsche Oper Berlin, conductor Antonello Manacorda and director Martin G. Berger are now working to reawaken awareness of these qualities of Lortzing's masterpiece. As the long-time chief conductor of the Kammerakademie Potsdam, Manacorda brings knowledge of historical performance practice as well as experience with the timing of Rossini's comic operas, while Berlin director Martin G. Berger has established himself in recent years as one of the most successful crossover artists between opera, operetta, and musicals – often with his own refresher courses on the dialogue texts – qualities that will surely also benefit Tsar and Carpenter.
Spotlight
She has long been a household name among Berlin opera fans: For the past nine years, Nadja Mchantaf has been one of the brightest stars in the Komische Oper ensemble. From the great Mozart roles to Debussy's Mélisande to Puccini's Musetta and Mimì, she has embodied the major roles of the lyric soprano repertoire. She certainly benefited from being able to contribute not only her voice but also her dramatic agility: In addition to her vocal training, the Husum native had long pursued a successful career as a competitive dancer and, in her debut at the Behrenstraße in the title role of Massenet's Cendrillon, demonstrated that she even mastered classical pointe dancing. And who knows whether these qualities might also prove useful in the famous clog dance in Tsar and the Carpenter.
Subject to change.
Libretto by Albert Lortzing with a new spoken text by Martin G. Berger
World premiere on December 22, 1837, at the Stadttheater Leipzig
Premiere at the Deutsche Oper Berlin on June 20, 2026
2 hours 45 minutes / One intermission
Sung in German with German and English surtitles
45 minutes before the performance: Introduction in the right-hand foyer
Recommended for ages 12 and up
The disappearance of Albert Lortzing's operas from German-speaking stages is almost unprecedented: While works such as THE WILDSCHÜTZ, THE WEAPON SCHMIED, and UNDINE were still pillars of the repertoire thirty years ago, they have now almost completely disappeared from repertoires. This even applies to Lortzing's greatest success, the comedy of errors Tsar and Carpenter, premiered in 1837 – despite evergreens like the "Clog Dance" and the aria "Farewell, my Flemish girl." The story of Tsar Peter the Great, who, while incognito, acquires carpentry skills at a Dutch shipyard and befriends a deserter of the same name from his army, is undoubtedly one of the most successful musical comedies of its time. For despite all the turbulence, Lortzing's characters, in their weaknesses and longings, always remain close to everyday life. The young deserter who simply wants to live in peace, the bold Marie, who refuses to be patronized, the Tsar, whose incognito conceals the menace of a violent ruler, and Mayor van Bett, a lovable caricature of a German authority figure – all lend the comedy a timeless humanity.
At the Deutsche Oper Berlin, conductor Antonello Manacorda and director Martin G. Berger are now working to reawaken awareness of these qualities of Lortzing's masterpiece. As the long-time chief conductor of the Kammerakademie Potsdam, Manacorda brings knowledge of historical performance practice as well as experience with the timing of Rossini's comic operas, while Berlin director Martin G. Berger has established himself in recent years as one of the most successful crossover artists between opera, operetta, and musicals – often with his own refresher courses on the dialogue texts – qualities that will surely also benefit Tsar and Carpenter.
Spotlight
She has long been a household name among Berlin opera fans: For the past nine years, Nadja Mchantaf has been one of the brightest stars in the Komische Oper ensemble. From the great Mozart roles to Debussy's Mélisande to Puccini's Musetta and Mimì, she has embodied the major roles of the lyric soprano repertoire. She certainly benefited from being able to contribute not only her voice but also her dramatic agility: In addition to her vocal training, the Husum native had long pursued a successful career as a competitive dancer and, in her debut at the Behrenstraße in the title role of Massenet's Cendrillon, demonstrated that she even mastered classical pointe dancing. And who knows whether these qualities might also prove useful in the famous clog dance in Tsar and the Carpenter.
Subject to change.