zwei Preisträgerproduktionen des Berliner Opernpreis von GASAG und Neuköllner Oper
28. und 29. Mai
Post Nuclear Love
An apocalyptic musical comedy by Yuval Halpern (music), Svenja Viola Bungarten (text) and Anja Kerschkewicz (direction)
In a Norwegian granary, in a post-apocalyptic, very possible future: after the extinction of the human race, the two last – and first – human beings are growing up here: Adam and Eve, artificially bred in order to secure our continued existence. Will they become the dream couple of a greenhouse paradise? But what should they believe in when their world is made up of virtual set pieces and outside the eternal snow makes all life impossible?Eine apokalyptische Musikkomödie von Yuval Halpern (Musik), Svenja Viola Bungarten (Text) und Anja Kerschkewicz (Regie)
Cast: Pauline Jacob, Anneke Schwabe, Alexander Merbeth, Viola Bornmann, Philipp Neumann, Eyal Edelmann
(Wesendonck Songs Today)
A music theater performance by Het Geluid/Maastricht. Muisc by: Richard Wagner/Annelies van Parys
It doesn’t respond anymore but my telephone is starving for a sound, for a report, tell me what you’re dreaming of now that you’re no longer here…
What does romantic desire look like in the age of WhatsApp? The Dutch theater collective Het Geluid (Das Geräusch) and the Belgian composer Annelies van Parys have dedicated themselves to this question. By adding some texts and compositions, they have created a scenic performance that provides a contemporary answer to Richard Wagner’s Wesendonck Lieder, a song cycle that the master composer wrote in 1857/1858 on the basis of five poems written by Mathilde Wesendonck, with whom he shared an (unrealized) love.
Featuring: Katharina Morfa, Laila Claessen, Leonardo Reyna
Das blonde Gespenst vom Kürfürstendamm (The Blond Ghost of Kurfürstendamm)
A light opera by Wolfang Böhmer (music) and Peter Lund (text)
World Premiere 23. June. To 07. August 2016
Stella is 20 years old when Hitler decrees that Berlin is to be finally made “free from Jews”. Stella is blond and young and beautiful and wants to become a singer, over there, in the United States of America. Or a film star, like Marlene Dietrich. But the Goldschlag family does not receive a visa. Instead of her dream of a big career, Stella gets a yellow star. Stella hates this star as much as she hates being Jewish. And ultimately, Stella joins an underground movement. Like 8,000 other desperate Berlin Jews.
Stella is 35 years old when she stand trial in court for crimes against humanity in the new, young Federal Republic of Germany. She is charged with uncovering over 300 people in hiding while in the service of the Gestapo, sending them on their way to certain death. The German public went head over heels in its indignation over this “Jewish betrayer of the people” who delivered people of her own faith into the hands of the National Socialists. But no one knows what really happened. And Stella keeps her silence…
Stella Goldschlag had everything that was necessary to achieve a great career in the 20th century: blindingly good looks, the required talent and drive as well as that certain amount of ruthlessness that every true star has to have. But Stella Goldschlag was Jewish. And worse still: She claimed to not want to be Jewish. Ultimately, Stella’s wish for fame came true in the most horrible way imaginable.
All of Berlin knows the most efficient catcher of the Gestapo, the infamous “blond ghost of Kurfürstendamm”! Stella Goldschlag’s biography is a very German career. STELLA is thus also a very German piece of music theater, which serves itself from our musical past in a gleefully evil manner. The soundtrack of this UFA film that was never filmed ranges from late Romanticism to chanson, from Arnold Schönberg to 1930s pop.
With a book by Peter Lund, congenially set to music by Wolfgang Böhmer and terrifically staged for the first time at Neuköllner Oper by Martin G. Berger. And lest we forget: Frederike Haas in the title role, who started her career at Neuköllner Oper as Marika Rökk and, after a detour to London’s West End, has returned, after BabyTalk, to hopefully successfully launch another German musical.
Stage Director: Martin G. Berger | Musical Director: Hans-Peter Kirchberg, Tobias Bartholmeß | Stage Design/Costumes: Sarah-Katharina Karl | Dramaturgy: Carola Cohen-Friedlaender | Choreografie: Marie-Christin Zeisset | Video: Roman Reor
Featuring: Jörn-Felix Alt, Frederike Haas, Isabella Köpke, Victor Petitjean, Markus Schöttl, David Schroeder, Samuel Schürmann
23.06. 2016 – 20.00
26.06. 2016 – 20.00
29.06. 2016 – 20.00
02.07. 2016 – 20.00
03.07. 2016 – 20.00
08.07. 2016 – 20.00
09.07. 2016 – 20.00
14.07. 2016 – 20.00
15.07. 2016 – 20.00
16.07. 2016 – 20.00
17.07. 2016 – 20.00
21.07. 2016 – 20.00
22.07. 2016 – 20.00
23.07. 2016 – 20.00
24.07. 2016 – 20.00
28.07. 2016 – 20.00
29.07. 2016 – 20.00
30.07. 2016 – 20.00
31.07. 2016 – 20.00
04.08. 2016 – 20.00
05.08. 2016 – 20.00
06.08. 2016 – 20.00
07.08. 2016 – 20.00
16 – 25 / reduced 9 Euro
Tel 030 688907 77
is unique in the diverse cultural scene of the capital. Who else could look back on a productivity of 160 world premieres and debut performances in all genres in only 38 years? The NO is market leader and trademark for a vital, committed, and “deviced” musical theatre – opera is more than new productions of a known and limited repertory to which a few new commissioned works are occasionally added. The NO is living proof that musical theatre can and needs to be self-made in order to bring our own life experience and subject-matters onto the stage, thus making mutual experience and exchange possible.
As mentioned above, a theatre of that kind is a unique trendsetter in the operatic landscape of Berlin and Germany that is rich with forms, institutions, and subsidy.
And what’s behind the “Neuköllner Oper”?
Neuköllner Oper is a private theatre, supported by the so-called conceptual grant of the Berlin Senate. Individual projects may be supported by GASAG, the Cultural Fund for the Capital (Hauptstadtkulturfonds), the German Federal Cultural Foundation, and other supporters.
A Japanese opera by Pietro Mascagni, newly discovered
How is it possible that this fantastic opera is largely unknown? In 1898, six years before the Madama Butterfly written by his friend Puccini, Pietro Mascangi (Cavalleria rusticana) wrote the first great, no, sensational Japanese opera of verismo. He tells the story of the girl Iris, who is taken from a bordello in a large city by a john who tries to force her to have sex with him. But Iris does not let herself be forced, even if she cannot escape a tragic end…we present this master work to you in a new, condensed version. Premiere April 14, 2016
Music theater for everyone ages 8 and up
Ratte Rudi, the last rat aboard, has a problem. The boat he lives on is on dry land and there are only canned beans to eat. Then Kobold Konstantin crashes in on his loneliness in an outrageously good mood and tells Rudi his dream: to ride just once on a whale’s spout! And Rudi has a dream, too: To be able to really pig out on all of the food left over at a restaurant for once in his life! But Rudi has never been on land and Konstantin has never been at sea… A musical about fears and dreams and how friendship can close the gap between them.
Premiere May 8, 2016
GAME OVER, GO ON!
Two teams, one title. Using the motto GAME OVER, GO ON!, the Berlin theater makers Yuval Halpern/Svenja Viola Bungarten/Anja Kerschkewicz and the Dutch ensemble Het Geluid develop and perform two world premieres for the Berlin OPERA PRIZE of Neuköllner Oper and Gasag.
World Premiere May 25, 2016
They also existed here, the “Greifer”, or “catchers” – Jews in Berlin who worked for the Gestapo or who were forced to do so. One of them was Stella Goldschlag, made spectacular by her appearance, beauty and court case. Peter Lund, Carola Cohn-Friedlaender and Wolfgang Böhmer have written a music theater piece about STELLA.
World Premiere June 23, 2016
BÜRO FÜR POSTIDENTISCHES LEBEN (OFFICE FOR POST-IDENTIC LIFE)
A German-Spanish-Catalan team under the direction of Matthias Rebstock is opening an OFFICE FOR POST-IDENTIC LIFE in Barcelona (beginning on July 7) and Berlin (beginning on September 15): here, seven young creative people will develop surprising questions and answers to what keeps us together at our core: freedom, borders and identity.
In Berlin beginning on September 15, 2016
Das schwarze Wasser (The Black Water)
A music theater production by Roland Schimmelpfennig (text) with the music of Vivan and Keta Bhatti. World Premiere
On a summer night, two different groups of young people climb over the fence of a swimming pool and meet unexpectedly. Stars are reflected in the black water of the pool in which they get to know each other and fall in love over the course of the night… twenty years later, one of them, Frank, happens to meet his lover for that night, Leyla. What has happened during the years gone by? What paths have they taken, the German and Turkish young people? Roland Schimmelpfennig, whose work has been performed around the globe, looks at us in his play: the German “integration society”, as we know it not only in Neukölln and Berlin.
World Premiere January 21, 2016
An evening with music by Xenakis and others
Elektra demands justice. And revenge – for her murdered father, killed by her mother and her mother’s lover. The young director Julia Lwowski (Schwindel , Macbeth) approaches the character using the interpretation by Hugo von Hofmannsthal and newly imagines an archaic generational conflict with a rich visual language: are we forever damned to repeat the mistakes of our parents?
World Premiere February 10, 2016
A music theater coaching session by Matthias Messmer and Markus Voigt
World premiere production. 13 November 2015 – 10 January 2016
An international co-production by Balletto Civile (I), Fondazione Luzzati-Teatro delle Tosse (I), Musiktheatertage Wien (A), Neuköllner Oper (D)
2011. The buyer of a building in downtown Vienna tries everything to get rid of the existing tenants to be able to conduct luxury renovations and ultimately hires punks. However, the long-time Viennese and “trouble makers” become “best friends” and even open a pizzeria anarchìa, which soon become famous throughout the city. In 2014, 19 punks were removed by 1,700 police officers, armored vehicles, helicopters…The cost: 500,000 euros of taxpayer money. Pizzeria Anarchìa is a piece of international music/dance theater and a colorful production between a circus and an oratorio. World premiere production. 15 October – 6 November 2015
What Would Zappa Do?
The last hour of Radio WWZD. Performance by Sommer Ulrickson and Moritz Gagern
We are seeing and hearing the last broadcast of the pirate radio station WWZD. The power is going to be switched off at any minute. The radio station, which is essentially made up of two fanatics, owns everything that has to do with Zappa; there’s only one thing it don’t have: the money needed to pay the GEMA fee for the Zappa music. Regardless or maybe specifically because of this, the last broadcast is concerned with the question “What would Zappa do?” Pop or serious music? What allows more freedom? Where are the borders? This topic that Zappa pursued in the 1980s has even more political resonance today than it did then. How can these questions be answered? Which side has the more resistant movement?
World premiere production. 17 September – 28 October 2015
Your Text here
The Magic Flute
Celebrated by the audience during our “Move Op!” festival in 2013, we now present the Spanish Compagnie Die Furbi with an entire performance series: Mozart’s Magic Flute, masterly and artistically played and sung a capella by six young singers from Barcelona. A celebration of vital folk theatre from Catalonia.
Guest performance. 11 July-2 Aug 2015
Musical drama by Nicolae Bretan – in Germany for the first time
Completely unknown in Germany, Nicolae Bretan counts as one of Romania’s greatest composers. His opera The Golem, which premiered in 1924, relates the tragic story of the artificial, manmade homunculus, using an intoxicating score rich with cantable glazing and large sound as in Puccini, Tchaikovsky, and Rachmaninoff. In Germany for the first time.
German premiere. 11 June-5 July 2015
GRIMM – The real true story of Little Red Riding Hood and her Wolf
Coproduction with University of the Arts, Berlin
After “Cinderella passt was nicht”, Thomas Zaufke and Peter Lund travel to the land of fairy tales once again to lovingly/maliciously turn the Grimm cosmos upside down. Three famous and many not-so-well-known fairy tales inspired this new fable, reinterpreting that eternal story about good and evil peoples for our times. Because, honestly: Who, today, would be the bad guy? Or vice versa: Who isn‘t?
German Premiere. 19 March – 24 April 2015.
Reopening. 21 November 2015 – 3 January 2016
MACBETH. After Verdi
What makes man a murderer? What about that strong woman that stands behind every great man? And what happens when a marriage is clad in such wonderful music as in Verdi’s Macbeth? Young director Julia Lwowski and her team, together with three singers, go on a dream-quest rich in imagery.
World premiere. 26 February – 8 April 2015
Ja die Liebe ist ein wilder Vogel…. Bizet’s Carmen is the most famous opera of the world. Everybody knows its hits, even if they have never been inside an opera house. And isn’t it astounding how this piece tells its story of life in times of crisis and how “love”, mankind’s greatest promise, can neither provide any protection nor overcome the differences between us. Finally, Carmen the “gypsy” is murdered, right among the shadow citizens, the outlaws, the outclassed – because Bizet’s “Gypsies” and “Smugglers” would today, as Roma and Sinti, often be citizens from Europe’s shadow empire, like Romania and Bulgaria. Together with renowned director David Mouchtar-Samorai, we aim to confront this reality and retell Bizet’s dazzling music and story with a young, passionate ensemble.
Carmen as a pan-European opera project: what grand opera would depict Europe in times of crises better than Carmen? Initiated by Neuköllner Oper, theatre artists in southern Europe create their own view of the Carmen material. Therefore, at the same time as we build our own production, a project will allow four young playwrights and composers to bring their interpretation of Carmen to the stage in Barcelona, playing in Berlin on 6/7 November 2015.
Premiere 22.1.2015. Reopening 22.8. 2015
PRINZ PRIMEL HAS DISAPPEARED
A miraculous journey for the entire family: Once again welcoming the fairy tale medley with puppets, music, and the enthusiastic ensemble around Roscha A. Säidow.
From our repertory. 13 Dec 2014 – 18 Jan 2015
FOR A NEW DEFINITION OF OPERA
The Berliner Opernpreis (Berlin Opera Award) stands for an enhanced musical theatre concept: from scenic-musical pieces of opera, operetta, and crossover, to performance, in short: theatre with a focus on music. The competition is therefore open to diverse means of composition and instruments.
FOR COLLECTIVES AND INDIVIDUAL ARTISTS
Today, musical theatre is often developed in a collective creative process. We would like to support this aspect as a “social” one (meaning: created in a group). Hence, the Berliner Opernpreis seeks to address not only individual composers, but also collectives like performance groups, bands, and production teams.
FOR A PASSIONATE MUSICAL THEATRE
We would like to see opera reflect society again, as it used to. Today, an individual more than ever before experiences her or his helplessness in the face of global turbulences. Individual room for action and responsibility are more appealing to us than the deployment of large choirs, the authentic is more interesting to us than any formal extreme following merely esthetical interests.
FOR A MUSICAL THEATRE WITH HUMAN PROPORTIONS
A musical theatre of the small, socially committed form constitutes an artistic as well as a social alternative to the majority of the pieces and their performance rituals celebrated today. More than any other house in the German-speaking landscape, Neuköllner Oper represents this approach.
It aims at young artists with stage experience (35 years of age max.), endowing each award winner with a production grant of up to 10,000 EUR and an award sum as well as a performance series at Neuköllner Oper. It is open to all genres of a musical theatre.
The competition consists of three steps:
• STEP 1 – APPLICATION
a) a piece/musical theatre in the sense described above that you already created, or, if applicable, parts of it – in the form of concept papers, notes, sound and image recordings (best digitalised or as a link).
The submitted piece should allow for an estimation as to whether you are able to create a performable and interesting work for the stage within the framework provided for the competition.
Submission Deadline 4th May 2015
b) a detailed proposal for a piece in the sense described above of about 30 minutes about the topic Game over#Go on, which you yourself or members of your artist group shall perform or which shall be performed by artists of Neuköllner Oper. Teams may consist of up to seven people including the production team and performers/singers/musicians. Your work should focus on two aspects: live music (played or sung) as the central means of expression in a scenic work. Hence, exclusively electronic or pre-produced music as well as “static works” in the sense of sound installations are excluded.
c) On the basis of the contributions entered, the jury shall choose up to six concepts for presentation at Neuköllner Oper.
• STEP 2 – WORKSHOP
The selected teams decide on up to two representative who shall present their proposed projects (concept, music, and lyrics/text) to the jury in a comprehensive manner – from Powerpoint Presentation to performance. In addition, they shall receive in-depth insight into the working methods of Neuköllner Oper, its dramaturgy and preferences, and discuss the submitted concepts with the jury members.
Presentation/workshop at Neuköllner Oper are scheduled for the weekend of 2 – 4 October 2015.
• STEP 3 – REHEARSALS AND PERFORMANCES
From the presented works, the jury shall choose two award winners. These will be invited to complete their piece in a rehearsal process of about three weeks in Berlin. Neuköllner Oper will provide the technical infrastructure, competent and dramaturgical support as well as production management. Neuköllner Oper and the artists shall amicably agree upon the allocation of the production budget. The plays’ premiere will be presented in a special event (award winners’ gala). The following performances shall be at Neuköllner Oper as part of its season. For these performances, the artists shall receive additional compensation. Technical and artistic aspects that the ensemble is unable to manage themselves need to be clarified with Neuköllner Oper in a timely and amicable manner.
The premiere and awarding gala event as well as the performances shall prospectively be scheduled for May 2016.
Competition submissions must be entered in German or English language and need to be translated into German otherwise.
PLEASE SEND YOUR MATERIALS to:
Att. Berliner Opernpreis
Or via email:
Thomas Desi – Artistic director „Musiktheatertage Wien“
Arash Safaian – Composer, Munich
Mária Szilágy – Festival director, Budapest
Wiebke Roloff – Opernwelt
Andreas Altenhof – Directorate Neuköllner Oper, Berlin
Bernhard Glocksin – Artistic Director Neuköllner Oper, Berlin
Tue. – Fri. and playdays. 3 p.m. – 7 p.m..
(Direct debits possible)
Discounted tickets for € 9 for school children, students, trainees, military and community service , as well as those accompanying severely disabled with a valid ID.
Children up to 14 years in obtaining tickets to 5 €.
A € 3 ticket for holders of a social card in conjunction with the identity card (tickets only at the box office).
S 45/46 Neukölln
elevator for disabled persons .
Neuköllner Oper e.V.,
Phone: 030/688907 0
Fax: 030/688907 89
Andreas Altenhof, Benjamin Stein
The Neukölln Opera e.V. is recognized as a non-profit organization, registered with the District Court of Charlottenburg ‘s CEO (NR 5621 NZ . )
Board – Chairman: Eckhardt Barthel
Agentur für Werbung
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