© Jan Windszus Photography
Dear friends,
Before inviting you to come see our new season, we’d like to take a brief look back. During our second season at the Schiller Theatre, you once again joined us with plenty of enthusiasm and unwavering support. Your passion gives us strength for the coming years, and demonstrates how indispensable the Komische Oper is for Berlin’s cultural life.
That brings us to the topic that’s occupied all our thoughts since the summer of 2024: just when we thought the renovation train had long since left the station, the rebuilding of our home venue on Behrenstrasse was suddenly called into question. Culturally indifferent penny-pinchers were trying to block the much-needed renovation, proposing a permanent stay at the Schiller Theatre. Suddenly, cheap political potshots came raining down.
A permanent stay at the Schiller Theatre would have slowly bled out the Komische Oper, both artistically and financially. Furthermore, abandoning its past and the renowned spirit of its birthplace on Behrenstrasse would have blighted its future. Signed contracts couldn’t simply be ignored, and any delays or cancellations would have ultimately sent costs spiraling out of control. All these were arguments for the reconstruction project to continue, which had to be conveyed during the onerous wrangling with the politicians in charge. You, dear audience, supported us in many ways and with great vigour. These calls to maintain our unique institution and its extraordinary programming have made us proud and stiffened our resolve to keep up the fight. The derailed renovation train is now back on track and can continue in the right direction, although at a reduced speed—which is why the struggle must continue for every euro and every future year of construction. We must stay determined and vigilant, together!
That brings us to the topic that’s occupied all our thoughts since the summer of 2024: just when we thought the renovation train had long since left the station, the rebuilding of our home venue on Behrenstrasse was suddenly called into question. Culturally indifferent penny-pinchers were trying to block the much-needed renovation, proposing a permanent stay at the Schiller Theatre. Suddenly, cheap political potshots came raining down.
A permanent stay at the Schiller Theatre would have slowly bled out the Komische Oper, both artistically and financially. Furthermore, abandoning its past and the renowned spirit of its birthplace on Behrenstrasse would have blighted its future. Signed contracts couldn’t simply be ignored, and any delays or cancellations would have ultimately sent costs spiraling out of control. All these were arguments for the reconstruction project to continue, which had to be conveyed during the onerous wrangling with the politicians in charge. You, dear audience, supported us in many ways and with great vigour. These calls to maintain our unique institution and its extraordinary programming have made us proud and stiffened our resolve to keep up the fight. The derailed renovation train is now back on track and can continue in the right direction, although at a reduced speed—which is why the struggle must continue for every euro and every future year of construction. We must stay determined and vigilant, together!
We’ve also been busy with putting together the new programme for the 2025/26 season, which we’re thrilled to introduce in this preview guide. The kickoff will again be at Tempelhof Airport’s Hangar 4, which will see an opera for the first time: a rock opera! Andrew Lloyd Webber’s Jesus Christ Superstar will be running exclusively from 19 September to 5 October. Book your tickets early—this spectacular event, with a world-class cast and over 250 dancers, is not to be missed!
On 25 and 26 September, another major event awaits you in Hangar 4: together with the German Symphony Orchestra Berlin, Berlin Radio Choir, and Vocalconsort Berlin, we’re climbing the Mount Everest of the symphonic canon by presenting Gustav Mahler’s Symphony No. 8, under the baton of Music Director James Gaffigan.
At the Schiller Theatre, the season will begin with our new children’s opera Conrad: The Factory-Made Boy. It’ll be on 10 October that we mark our fourteenth world premiere in this vital genre, so important for igniting a love of opera in the next generation.
This is followed in late November by Richard Strauss’ Salome, brought to life by opera’s rising star Evgeny Titov, who began his directorial journey in music theatre just a few years ago with Œdipe at the Komische Oper Berlin. Conducting here is James Gaffigan, who will also take the podium at our subsequent new production, Dmitri Shostakovich’s Lady Macbeth of Mtsensk. The Year of Shostakovich is being marked in 2025, which is why we’re also bringing back The Nose, a gem from our repertoire, in the upcoming season. This revival and the new production are both by a director whose creative energy and exceptional talent have significantly shaped the artistic identity of the Komische Oper Berlin: Barrie Kosky!
Our journey through Handel’s oratorios continues with Belshazzar. In this production by Herbert Fritsch, renowned for his boldly exaggerated directorial style, the hubris and decadence of a self-obsessed ruler are laid bare. And then in May, we’re presenting the first German production of Olga Neuwirth’s Orlando, based on the novel by Virginia Woolf. In our version, this wild romp through time doesn’t end in 1928, the novel’s year of publication, but instead continues the story of Orlando into the present day. It will be Ewelina Marciniak’s directorial debut.
To top off the season, we’ve got another encounter with East Germany’s Heiteres Musiktheater (‘light-hearted music theatre’). Axel Ranisch has compiled for you a lively revue entitled Mocha Hits and Milk Bar Dreams: A Cauldron of Colours under Pressure. His crowd-pleasing production of Gisela, Hit of the Trade Fair has proven that, even for those without any East German nostalgia, this genre still holds great appeal for today’s audiences. Indeed for all kinds of people, who bring their own experiences, hopes, and dreams as they dive into another great evening of cutting-edge music theatre.
To all of you, we extend a hearty welcome!
Susanne Moser, Philip Bröking, and James Gaffigan
Co-Intendants and Music Director
© Jan Windszus Photography
You can now browse through the schedule and book your favourite productions from March 31. Insider tip: With the OperaCard 25 you can book your tickets exclusively from Tuesday, March 25 online, at the box office Unter den Linden or by phone!
Season
2025/26
Out into the city
We are renovating for you! Since September 2023, the Komische Oper complex on Behrenstrasse has been undergoing extensive renovation, modernization, and expansion. The show goes on... ...and how! During the renovations, performances will happen not only at the Schiller Theatre, but also at Tempelhof Airport and the old Kindl brewery site, the Neuköllner Oper, Konzerthaus Berlin and throughout Berlin’s many distinctive neighbourhoods.
© STUDIO.jetzt
© Jan Windszus Photography
Airport Tempelhof / Hangar 4
Columbiadamm 10
12101 Berlin
After The Raft of the Medusa and MESSIAS, this is the third time that the opening production of the Komische Oper Berlin at Tempelhof Tempelhof Airport. Built between 1936 and 1941, the airport was the largest building in the world at the time, with 307,000 square metres of building space and a roof that could hold up to 80,000 spectators for air shows. While the airport served as a monumental self-presentation during the Nazi era, it became a symbol of freedom in the post-war period with the airlift. Since its closure in 2008, the seven hangars have been home to refugees, social projects and cultural and sporting events, among other things.
Premiere
Symphony Concert
© Jan Windszus Photography
Schillertheater
Bismarckstraße 110
10625 Berlin
No Komische Oper Berlin without the Schiller Theatre! Opened in 1907, the Schillertheater was home to the second venue of the Prussian State Theatre Berlin from 1921. Walter Felsenstein staged productions here in the 1930s under director Heinrich George. Destroyed by bombs in 1944, the artists of the Schiller Theatre continued their work at the Hebbel Theatre. Felsenstein's legendary production of Jacques Offenbach's Parisian Life was also created there - the production that brought him the directorship of the former Metropol Theatre in Behrenstraße. There he founded the theatre that is considered the cradle of modern musical theatre - the Komische Oper Berlin. The Schillertheater was rebuilt in 1950/51 and has served as the Komische Oper Berlin's venue since the 2023/24 season.
Premieres
Repertoire
Symphony Concerts
© Jaro Suffner
Symbol darüber
Kindl-Areal
Berlin-Neukolln
Rollbergstraße 26
12053 Berlin
12053 Berlin
Schall&Rausch – the festival for brand new music theatre – is entering its fourth round. This season, we are once again on the road in Neukölln: in addition to the Neukölln Opera House, we are again performing at the Vollgutlager and the SchwuZ Queer Club on the former Kindl site. Founded in 1872 by a group of Rixdorf innkeepers, the Kindl brewery became one of the largest breweries at the beginning of the 20th century thanks to its export hit and namesake Kindl-Pilsener. Today, life pulsates here - with art, culture, parties and plenty of variety.
Festival
© Caterina Rancho
Neuköllner Oper
Berlin-Neukolln
Karl-Marx-Straße 131 / 133
12043 Berlin-Neukölln
Passage Neukölln, built between 1908 and 1910 under city architect Reinhold Kiehl, is Berlin's first open arcade building with a mix of culture, commerce and living that remains unchanged to this day. The ensemble of buildings is one of Neukölln's outstanding architectural monuments and is a cultural beacon of the changing Karl-Marx-Straße. The Neuköllner Oper - Berlin's production house for independent music theatre - has been located directly under the roof since 1988 and performs in the former ballroom of the entertainment complex. In contemporary productions, primarily premieres and first performances, the Neuköllner Oper takes up the discourses of this most vital of Berlin's neighbourhoods and brings them to the stage with a good dose of pop.
Festival
© Felix Loechner
Symbol darüber
Konzerthaus Berlin
Gendarmenmarkt 2
10117 Berlin
The Konzerthaus Berlin, designed by Karl Friedrich Schinkel, was opened in 1821 as a theatre. However, it was also here that Carl Maria von Weber's Der Freischütz premiered and Ludwig van Beethoven's 9th Symphony was performed for the first time in Berlin. Almost completely destroyed in the Second World War, the building was reopened as a theatre in 1984 and from 1994 it was used as the Konzerthaus Berlin. In the 2025/26 season, the orchestra of the Komische Oper Berlin will perform two symphony concerts at the Konzerthaus in Berlin-Mitte.
Symphony Concerts
© Jan Windszus Photography
... and all over Berlin!
Out to the city, into the neighbourhoods! The Komische Oper Berlin is the opera house for the entire urban community. For over ten years now, the Opera Dolmuş has been rolling into the neighbourhoods packed with musical theatre as part of the Selam Opera programme. The ‘Jung - für alle!’ music theatre education programme works together with schools and other institutions, from Spandau to Köpenick, from Reinickendorf to Zehlendorf. Keep your eyes and ears open, the Komische Oper Berlin is sure to be in your local area ...
Ready, steady, go for tickets!
On Tuesday, March 25, 2025 at 11 a.m., exclusive advance ticket sales will begin for OperaCard 25 holders, subscribers and sponsors. Tickets can be booked online, by telephone or directly at the opera box office (Unter den Linden) - one week before the general advance booking starts on March 31, 2025!