Die Fledermaus (The Bat)

Eisenstein has to go to prison, but wants to indulge himself first at Prince Orlofsky’s orgy without the company of his wife, Rosalinde. When Rosalinde’s lover is arrested in place of Eisenstein, she ends up accepting an invitation to Orlofsky’s party from the family friend and S&M artist, Falke. Even Adele the chambermaid is able to take advantage of a false pretense to make it to the party where everyone will experience everything. That doesn’t matter very much, since everything is the Champagne’s fault anyway and prison is a merry place.
Strauss‘ lusty Die Fledermaus is a dazzling trip through outdated conventions, tasteless lies and our attempts to get around them. Everyone betrays everyone and the secrets of the erotic are decisively destroyed through domestic violence and patriarchal sadism. Even the wonderful happy ending cannot cover up the many desperate machinations of desire contained in this operetta.

We place a headlock on the fusty laughter and prudish voyeurs of the bourgeoisie and make them face themselves afterward during the sex happening of Prince Orlofsky. This pornographic lust has no exhaustion, no end. Neither do we.

Following the impressive productions of Schwindel, Macbeth and Elektra, director Julia Lwowski and her international fringe group, the trip Laccasax, now dedicate themselves to this classic of beautiful lust – admission guaranteed for ages 18 and up!

TICKETS

16-25 € / reduced 9 €
Tel: 030 688 907 77 or online:

23.02.2017
20:00
Fledermaus
Saal
24.02.2017
20:00
Fledermaus
Saal
25.02.2017
20:00
Fledermaus - ausverkauft
Saal
26.02.2017
20:00
Fledermaus - ausverkauft
Saal

RETTE UNS, OKICHI! (SAVE US, OKICHI!)

A Japanese national opera adapted from the work of Kosaku Yamada
European premiere on February 18, 2017 with additional performances through April 15, 2017
Okichi is supposed to save everything: the modern government, the old empire and, most of all, the entire country of Japan. Unfortunately, this girl neither wants to grant the government’s wish and serve as a geisha to the U.S. consul nor interest in dealing with the gaijin with a swift stab to the back, as Yoshida, a samurai loyal to the empire demands. What to do? The situation is tense, the United States is threatening a military attack if the Shogun’s government does not agree to open up the Japanese market. The old group loyal to the Emperor, however, forbid all contact with foreigners under the penalty of death: in their minds, this is the only way to ensure the integrity of the culture and the nation. Okichi refuses to serve, at first. But then, we are talking about an opera here, love enters the picture.
Kurofune (Black Ships) is deemed the first large-scale national opera of modern Japan and received its world premiere in Tokyo in 1940. Kosaku Yamada (1886-1965) began studying in composition with Max Bruch in Berlin in 1910. After returning to Japan, he went to create a comprehensive oeuvre of more than 1,500 works in all genres.
Completely unknown in Europe, we are presenting the work in a chamber version, providing a musical treasure in which the jewels of Italian verismo, German romanticism and Japanese folklore shine and which tells the story of the origins of a great power from the spirit of gunboat diplomacy.

Peter Lund – stage direction | Hans-Peter Kirchberg/Tobias Bartholmeß – musical direction | Neva Howard – Choreography| Ulrike Reinhard – stage design | Daria Kornysheva – costumes

Featuring: Adrian Burri, Jasmin Eberl, Markus Fetter, Jonathan Francke,  Linda Hartmann,  Lisa Hörl, Helge Lodder, Lisa Katharina Toh, Nico Went

TICKETS

17/21, reduced 9 €
Tel: 030 688 907 77 or online:

21.02.2017
20:00
RETTE UNS, OKICHI! - ausverkauft*
Studio
22.02.2017
20:00
RETTE UNS, OKICHI! - ausverkauft*
Studio
02.03.2017
20:00
RETTE UNS, OKICHI! - ausverkauft*
Studio
05.03.2017
20:00
RETTE UNS, OKICHI! - ausverkauft*
Studio
08.03.2017
20:00
RETTE UNS, OKICHI! - ausverkauft*
Studio
09.03.2017
20:00
RETTE UNS, OKICHI!
Studio
12.03.2017
20:00
RETTE UNS, OKICHI! - ausverkauft*
Studio
15.03.2017
20:00
RETTE UNS, OKICHI! - ausverkauft*
Studio
16.03.2017
20:00
RETTE UNS, OKICHI! - ausverkauft*
Studio
30.03.2017
20:00
RETTE UNS, OKICHI! - ausverkauft*
Studio
31.03.2017
20:00
RETTE UNS, OKICHI!
Studio
01.04.2017
20:00
RETTE UNS, OKICHI!
Studio
02.04.2017
20:00
RETTE UNS, OKICHI!
Studio
08.04.2017
20:00
RETTE UNS, OKICHI!
Studio
15.04.2017
20:00
RETTE UNS, OKICHI!
Studio

KOPFKINO (MENTAL MOVIES)

A musical film project. Or a filmic musical. By Peter Lund and Thomas Zaufke
World premiere on April 13, 2017 with additional performances through May 19, 2017
Lennard is 18 and can’t make up his mind. But, at least he’s done one thing: he’s moved into a shared apartment together with the totally chill Ben and the totally crazy Fine. But Lennard already has more than enough roommates. At least inside his own head. Boris, the macho heterosexual, his feminine side Helena, sensible Jutta, Lennard’s inner child, Theo, super cool Tess and, of course, Günter, the personification of all of Lennard’s fears. And all of them constantly share their opinion with Lennard, completely uninvited. It’s no wonder that Lennard needs so much time to make up his mind. Especially when it comes to the question of who Lennard could fall in love, the movie in his head goes full screen! And neither Fine nor Ben could have known exactly who they decided to share an apartment with. And most of all, how many people he already had living in his head!

Peter Lund – Stage Director | Hans-Peter Kirchberg/Tobias Bartholmeß – musical Director | Neva Howard – Choreography | Ulrike Reinhard – Stage Design | Daria Kornysheva – Costume Design

Featuring: Adrian Burri, Jasmin Eberl, Markus Fetter, Jonathan Francke, Linda Hartmann, Lisa Hörl, Friederike Kury, Helge Lodder, Lisa Katharina Toh, Nico Went

TICKETS

16/25 €, reduced 9 €
Tel: 030 688 907 77 or online:

13.04.2017
20:00
KOPFKINO - ausverkauft*
Saal
14.04.2017
20:00
KOPFKINO
Saal
17.04.2017
20:00
KOPFKINO
Saal
20.04.2017
20:00
KOPFKINO
Saal
21.04.2017
20:00
KOPFKINO
Saal
22.04.2017
20:00
KOPFKINO
Saal
23.04.2017
20:00
KOPFKINO
Saal
27.04.2017
20:00
KOPFKINO
Saal
28.04.2017
20:00
KOPFKINO
Saal
29.04.2017
20:00
KOPFKINO
Saal
30.04.2017
20:00
KOPFKINO
Saal
02.05.2017
20:00
KOPFKINO
Saal
05.05.2017
20:00
KOPFKINO
Saal
06.05.2017
20:00
KOPFKINO
Saal
07.05.2017
20:00
KOPFKINO
Saal
09.05.2017
20:00
KOPFKINO
Saal
12.05.2017
20:00
KOPFKINO
Saal
13.05.2017
20:00
KOPFKINO
Saal
14.05.2017
20:00
KOPFKINO - Derniere
Saal

SCHEDULE.

FEBRUARY 17.

Do | 02. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Fr | 03. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Sa | 04. | 20.00 | Theatre Hall – DIE FLEDERMAUS

So | 05. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Do | 09. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Fr | 10. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Sa | 11. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Mi | 15. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Do | 16. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Fr | 17. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Sa | 18. | 20.00 | Studio – RETTE UNS, OKICHI! – Europ. Premiere

So | 19. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Di | 21. | 20.00 | Studio – RETTE UNS, OKICHI!

Mi | 22. | 20.00 | Studio – RETTE UNS, OKICHI!

Do | 23. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Fr | 24. | 20.00 | Theatre Hall – DIE FLEDERMAUS

Sa | 25. | 20.00 | Theatre Hall – DIE FLEDERMAUS

So | 26. | 20.00 | Theatre Hall – DIE FLEDERMAUS  – Derniere

* Remaining tickets at ticket counter.

MARCH 17.

Do | 02. | 20.00 | Studio – RETTE UNS, OKICHI!

So | 05. | 20.00 | Studio – RETTE UNS, OKICHI!

Di | 07. | 20.00 | Alte Feuerwache Kreuzberg – PUCCINI CAPPUCCINI

Mi | 08. | 20.00 | Alte Feuerwache Kreuzberg – PUCCINI CAPPUCCINI

Mi | 08. | 20.00 | Studio – RETTE UNS, OKICHI!

Do | 09. | 20.00 | Studio – RETTE UNS, OKICHI!

Do | 16. | 20.00 | Studio – RETTE UNS, OKICHI!

So | 12. | 20.00 | Studio – RETTE UNS, OKICHI!

Mi | 15. | 20.00 | Studio – RETTE UNS, OKICHI!

Do | 16. | 20.00 | Studio – RETTE UNS, OKICHI!

Fr | 24. | 20.00 | Theatre Hall – COMBATTIMENTO –
Premiere

Sa | 25. | 20.00 | Theatre Hall – COMBATTIMENTO

So | 26. | 20.00 | Theatre Hall – COMBATTIMENTO

Fr | 31. | 20.00 | Studio – RETTE UNS, OKICHI!

Do | 30. | 20.00 | Studio – RETTE UNS, OKICHI!

APRIL 17.

Sa | 01. | 20.00 | Studio – RETTE UNS, OKICHI!

So | 02. | 20.00 | Studio – RETTE UNS, OKICHI!

Sa | 08. | 20.00 | Studio – RETTE UNS, OKICHI!

Do | 13. | 20.00 | Theatre Hall – KOPFKINO – World Premiere

Fr | 14. | 20.00 | Theatre Hall – KOPFKINO

Sa | 15. | 20.00 | Studio – RETTE UNS, OKICHI! – Derniere

Mo | 17. | 20.00 | Theatre Hall – KOPFKINO

Do | 20. | 20.00 | Theatre Hall – KOPFKINO

Fr | 21. | 20.00 | Theatre Hall – KOPFKINO

Sa | 22. | 20.00 | Theatre Hall – KOPFKINO

So | 23. | 20.00 | Theatre Hall – KOPFKINO

Do | 27. | 20.00 | Theatre Hall – KOPFKINO

Fr | 28. | 20.00 | Theatre Hall – KOPFKINO

Sa | 29. | 20.00 | Theatre Hall – KOPFKINO

So | 30. | 20.00 | Theatre Hall – KOPFKINO

PRODUCTIONS.

OUR OPENINGS.

Die Fledermaus (The Bat)
Eisenstein has to go to prison, but wants to indulge himself first at Prince Orlofsky’s orgy without the company of his wife, Rosalinde. When Rosalinde’s lover is arrested in place of Eisenstein, she ends up accepting an invitation to Orlofsky’s party from the family friend and S&M artist, Falke. Even Adele the chambermaid is able to take advantage of a false pretense to make it to the party where everyone will experience everything. That doesn’t matter very much, since everything is the Champagne’s fault anyway and prison is a merry place.
Strauss‘ lusty Die Fledermaus is a dazzling trip through outdated conventions, tasteless lies and our attempts to get around them. Everyone betrays everyone and the secrets of the erotic are decisively destroyed through domestic violence and patriarchal sadism. Even the wonderful happy ending cannot cover up the many desperate machinations of desire contained in this operetta.
We place a headlock on the fusty laughter and prudish voyeurs of the bourgeoisie and make them face themselves afterward during the sex happening of Prince Orlofsky. This pornographic lust has no exhaustion, no end. Neither do we. From 26 January 17

 

RETTE UNS, OKICHI! (SAVE US, OKICHI!)
A Japanese national opera adapted from the work of Kosaku Yamada

Okichi is supposed to save everything: the modern government, the old empire and, most of all, the entire country of Japan. Unfortunately, this girl neither wants to grant the government’s wish and serve as a geisha to the U.S. consul nor interest in dealing with the gaijin with a swift stab to the back, as Yoshida, a samurai loyal to the empire demands. What to do? The situation is tense, the United States is threatening a military attack if the Shogun’s government does not agree to open up the Japanese market. The old group loyal to the Emperor, however, forbid all contact with foreigners under the penalty of death: in their minds, this is the only way to ensure the integrity of the culture and the nation. Okichi refuses to serve, at first. But then, we are talking about an opera here, love enters the picture. European premiere on February 18, 2017

KOPFKINO (MENTAL MOVIES)

A musical film project. Or a filmic musical. By Peter Lund and Thomas Zaufke
Lennard is 18 and can’t make up his mind. But, at least he’s done one thing: he’s moved into a shared apartment together with the totally chill Ben and the totally crazy Fine. But Lennard already has more than enough roommates. At least inside his own head. Boris, the macho heterosexual, his feminine side Helena, sensible Jutta, Lennard’s inner child, Theo, super cool Tess and, of course, Günter, the personification of all of Lennard’s fears. And all of them constantly share their opinion with Lennard, completely uninvited. It’s no wonder that Lennard needs so much time to make up his mind. Especially when it comes to the question of who Lennard could fall in love, the movie in his head goes full screen! And neither Fine nor Ben could have known exactly who they decided to share an apartment with. And most of all, how many people he already had living in his head! World premiere on April 13, 2017

 

STELLA.

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. WAgain from August 31, 2017

 

REVIEW.

High Potentials

A music theater coaching session by Matthias Messmer and Markus Voigt. Again from 18 November

 

APE.
A Trip
Black to blue, that is the dawn over Berlin in the already legendary lines of text by Peter Fox about the way back home through grubby streets after a night of excessive partying. For F., the hero of the piece, the blue of the day beginning turns back into black. He loses consciousness – and wakes up surrounded by the white colors of a clinic. F. has “lost his head“ and is trying to find it again. It’s not so easy, however, when everything is gone: cell phone, ID, memory. The search for the missing puzzle pieces of his past and identity leads F. ever-deeper into the heart of darkness of the city, or, what he deems it to be while in his condition. Here he encounters not only the city apes, enthroned over excesses, but also the beast in himself, his own second face. Will F. find his way back to what we call normal life? World Premiere 23 November.

 

TOSCA G8.
An opera performance with young singers and musicians: What can opera and the fiction of directing and theater accomplish when are forced to confront reality? We experience the Tosca rehearsals of an ambitious director who seeks to ultimately release the political content of Puccini’s worldwide success and address the fatal clashes with the police during the G8 summit in Genoa in 2001. We will invite special guests from the fields of politics and culture during the festival. World Premiere 5 October

 

DYING IN BEAUTY (IN SCHÖNHEIT STERBEN). Alternative Music Theater in Europe
Violence through terror, populism and demagoguery are getting nightmarishly closer to us as well. Violence does not halt in the face of theater and its audience. At the same time, traditional opera is highly specialized in this topic, although in the form of the most beautiful aesthetic refinement of intrigue, violence and death. Can music theater react to this and, if so, does it have to? If yes, how? We will present three selected international touring productions, successful work created by Berlin’s independent performing arts community, festival events as well as an in-house production that provides the impulse for the festival. Festival 20.-23.10.2016

 

OFFICE FOR POST-IDENTICAL LIVING. A Speculation about Freedom.

A German-Spanish-Catalan team under the direction of Matthias Rebstock is opening an OFFICE FOR POST-IDENTICAL LIVING 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.


ARMIDA.
After Christoph Willibald Gluck’s Opera .

The crusader Renaud has got out of control in search of his identity and has tripled. He only can hang on to a stubborn fanatism which has overcome any content over the centuries. When history becomes a patchwork of proclaimed but not reflected
ideologies Renaud will not be able to tell the difference between Tasso or Badhdadi, Buechner or Breivik.
Crusaders in a selfexperiment. A Feature. Premiere 1 September

 

STELLA.

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

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

 

IRIS BUTTERFLY

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

RATTE RUDI

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

 

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

 

ELEKTRA

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

PROFIL.

BERLIN’S FOURTH OPERA HOUSE

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. While the institutions commit themselves to answering the unchanging questions – meaning the interpretation of known works -, the NO goes the other way, asking new questions (inventing new pieces) and toying with possible answers.

AND WHAT’S BEHIND THE “NEUKÖLLNER OPER”?

– a team of theatre makers connected with the house and continuously working there
undogmatic musical theatre. As an author- and premiere-oriented venue, it produces musical theatre in all genres and also in between them: with an open, dynamic and creative musical concept, including and combining both educational and entertaining formats
– plays that are thematically and organisationally developped both regionally and internationally
-plays for a broad audience beyond trendy niches
-up to 12 productions per year (predominantly world premieres and debut performances) in around 250 performances: commissioned opera compositions, opera adaptations, musical world premieres, new genres, co-productions and/or student productions with universities as well as musical theatre for families and “little ones”.

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.

Berliner Opernpreis.

Hurray, we are heirs! A truly generous inheritance is just around the corner. The question is: who is actually up for which inheritance, who is seeking something out, who wants to receive something and who would rather prefer not to receive something during the reading of the will? The inheritance is enormous: over 400 years of music theater in Europe! What enriches and helps you as material in order to found and lead your company „NEW MUSIC THEATER“?

The BERLINER OPERNPREIS will provide the opportunity to produce a half-hour piece of music theater under the motto TAKE IT OR LEAVE IT! at the expenses of those presenting the prize with a world premiere production in Berlin.

To apply, you simply need to submit a concept for a new piece of music theater which combines your personal artistic signature with the coming to terms with the legacy you have decided upon which you will produce yourself or arrange to have produced in conjunction with the production conditions listed below.
The competition is open to composers and/or music theater teams based in Germany and the rest of Europe.

Neuköllner Oper stands for undogmatic music theater incorporating all genres, styles and cultures and looks forward to vital, cosmopolitan, skillful works open to all experiences with music as the central protagonist on stage.

Bid details

ARCHIVE.

BEYOND HERMANNPLATZ.

DIRECTIONS.

Neuköllner Oper
Karl-Marx-Straße 131 – 133
12043 Berlin

Metro U7
Karl-Marx-Straße

S-Bahn
S 41/42, 45/46/47 Neukölln

Bus 104
Rathaus Neukölln

Elevator for disabled persons.

TICKETS.

Ticket office
Neuköllner Oper
Karl-Marx-Str. 131
12043 Berlin
tickets@neukoellneroper.de

Opening Hours
Tuesday – Friday and performance dates  15 – 19 Uhr.

Reserve
Phone 030/68 89 07 77

Reserve online: please go to respective play information

Discounted Tickets

Discounted tickets for € 9 for school children, students, trainees, military and community service.

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).

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