LAB2 (16.9.) abgesagt

Due to an illness in the team, today’s LAB 2 unfortunately has to be cancelled at short notice. We will keep you informed about the follow-up events in November and December on our website and in the newsletter, for which you can register here.
Thank you for your understanding!
Your Neuköllner Oper

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Premiere GIOVANNI. Eine Passion postponed

Due to illness of an ensemble member, the premiere of GIOVANNI. A Passion has been postponed to Saturday, August 28, 2021. Tickets already purchased for the original premiere date on August 26 can, of course, be exchanged and redeemed for one of the other performances. To do so, please contact our box office staff at Thank you for your understanding!
All dates of the performances of GIOVANNI. A Passion can be found here.

Photo: © Matthias Heyde

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Registration is open for the URBAN STORIES summer workshops! Everyone from the age of 13 is invited to try out the various disciplines of musical theater with artists over two weekends in August. Previous experience is not necessary!
All information about the workshop program can be found here.

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Fresh Air

The New St. Jacobi Cemetery on Hermannstrasse in Neukölln is one of those places that make Berlin so exciting: On the grounds of the cemetery, which is now only partially used, a new form of community garden is being created with the Prinzessinnengarten Kollektiv Berlin, where culture will have a big place. One more reason for us to enter into a sustainable cooperation with the collective and to look for a new form of coexistence between nature and people. We are looking forward to GIOVANNI. A Passion, the next Wunderkammer and looking forward to your visit!

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Price and Wonder

Congratulations! This award sets an example: Ulrike Schwab receives the MORTIER NEXT GENERATION award. No prize focuses so clearly on the vision of a different, perhaps new music theater as this internationally renowned award in memory of the great music theater mastermind and enabler Gerald Mortier. What a compelling choice!

The award ceremony will take place in Salzburg in August – in the midst of rehearsals for the new installation of her GIOVANNI production with the STEGREIF.orchestra in the Prinzessinnengärten. We are very happy with and for her – especially because this award honors an artistic position and handwriting that – in my eyes – is extraordinary. I think those who remember the many highly energetic evenings with Ulrike Schwab know what I mean. She came to our house 13 years ago as a singer in this furious production called MITLEID (after Parsifal). Where is there a singer who artistically deals with herself in such a radical, uncompromising and risk-taking way, with her voice and body as instruments of an immense will to perform, with a determination that affects everyone and everything? So unique was she in all subsequent productions, whether in SCHWINDEL, EXIT PARADISE and in Bretan’s GOLEM. And so is her directing style. Wasn’t the subsequent study of musical theater directing the logical consequence of this understanding of theater?

Already her first direction at our house: a (in my opinion) sensation. Still in the context of our study project with the HfM and little more than one scene, everything was there that constitutes her vision and precision, pictorial power and handwriting: three singing, speaking, making music men in the “women’s opera” ARMIDA, in the sense of Gluck, who revolutionized opera at that time, today retold, live and with players, an ingenious bridging of time levels, the historical and present dimension with its discourses… Rarely have I said too unreservedly Yes! Go ahead! to a play proposal when I invited her to direct in the hall, our “big stage,” and she suggested that I stage Humperdinck’s children’s and compulsory opera Hansel and Gretel, often soft-pedaled to the point of unbearability – only not at Christmas time and for adults. In short: WOLFSKINDER, which premiered in January 2018, made her poetics shine, a theater flowing between singers and musicians, suggestion and openness, historical material and present-day urgency, simply called “theater miracle” in the press. The following year, by the way, we had three productions by Ulrike Schwab on the schedule, in addition to WOLFSKINDERN her “Einsamkeitsstudie” and Frau Luna-Assoziation IST DIE WELT AUCH NOCH SO SCHÖN as well as the long prepared premiere of Mozart’s GIOVANNI. I had chosen and invited her and the STEGREIF.orchestra for this – in the hope that her directing style and the ensemble’s special, improvisational way of working would not only get along, but complement, inspire, and perhaps even potentiate each other. What happened? In their strengths and idiosyncrasies, both have elevated themselves to a new, highly expressive level: Compliments once again for what makes this production so unique!

These days we are in the approach to another adventure: to bring the GIOVANNI production into the originally intended place, into the open, natural surroundings of the New St. Jacobi Cemetery. And at the same time – if everything works out – to create an immersive film version for EuroArts.

Thirteen years, eight productions with Ulrike Schwab as singer and director lie behind us, a fruitful time in which she has developed her own unmistakable signature in the environment of the diverse border crossings and aesthetics of our so different teams and pieces. Years in which we have accompanied and supported her with commissions and the resources of the Neukölln Opera. I am looking forward to our appointment for next year: one of the most multi-layered of Richard Strauss’ operas. One that I love and that I think should finally be told “properly,” that is, “more deeply” and differently. I am looking forward to what will come to us with Ulrike.

Bernhard Glocksin, Artistic Director

Foto: privat

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All parties have announced their candidates…

… and we have ours too!  In Hohenpfaffenberg-Siegertsbrunn, the provincial small town from Eine Stimme für Deutschland, we follow the fierce fight of the Green Party’s Regula Hartmann-Hagenbeck against Alina Deutschmann, the top candidate of the local New Right.

The musical bill of Thomas Zaufke & Peter Lund brings the election campaign from the political to the musical theater stage – we are very happy to be able to welcome you to this finally again on site in our hall. Tickets are now available in our webshop!

Photo: Matthias Heyde


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Are you #kulturhungrig?

A year (almost) without theater. No acting, no singing, no dancing, no music. Silence in front of, on and behind the stage. Because culture is not a nice accessory in our society, but a staple, the Friends of the Berlin Theaters have started the initiative #kulturhungrig: All friends and the audience of the theaters, opera houses and concert halls to call, write, perform, and beam the expression of their anticipation of an imminent opening to the world …

… and let all artists and cultural workers know that they are anything but forgotten. Join in and share your personal testimonials and short clips on social media using #kulturhungrig! Here are some inspirations to complete:
– I miss…
– Without culture is like…
– I’m hungry for…
– I am looking forward to

The friends of various stages in Berlin and of course we are looking forward to your contributions!

#kulturhungrig is an initiative of the Friends of:
Berliner Ensemble
German Opera Berlin
German Theater Berlin
Comic Opera Berlin
Neukölln Opera
Radio Symphony Orchestra Berlin
Schaubühne at Lehniner Platz
State Ballet Berlin
Berlin State Opera

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Affordable housing, farewell?

We had a dream, it was small and modest, we thought… It was about affordable rents and the right to live. That dream seemed at least within reach in 2020, the year Felix Krakau and Yuval Halpern’s real estate infotainment OPERA FOR SALE premiered: “As of February 2020, rents for about 1.5 million […] apartments were frozen at June 2019 levels. Rents that were more than 20 percent above the ceilings [were] prohibited by law.” (Berliner Morgenpost, 16.4.21) Now the rent cap has been overturned by the Federal Constitutional Court in Karlsruhe, tenants* face great uncertainties – and we all face the next round in the concrete gold monopoly.

Learn more about real estate speculation and the struggle for decent housing in our web series Opera for Sale and on the Angel Dust Company site.

PS: Hope dies last. Because, Sebastian Scheel, Senator for Urban Development and Housing is not giving up: “In the Senate we […] will discuss the consequences of the ruling. The Senate [feels] obliged to develop socially acceptable solutions for tenants.” (Berlin Senate Department for Urban Development and Housing)

written by Änne-Marthe Kühn (dramaturgy)

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We say YES YES YES YES YES! The Dean is back

It was the year 2020, when we were about to roll out a purple carpet for the “Elvis of the GDR” for his new last show. Then came the first wave – then it was time to break off, pack props and hope, don’t give up!

On September 3rd, the time had come: Our show of IRON CURTAIN MAN actually went over the stage with a real audience, dancing and stormy applause. Then came the second wave… ok, we know, don’t give up, and don’t get anxious before the third. So: sheet music out, set rehearsals and start undeterred, “on sight”: on April 17, 2021 we would be back live and fully analog at the start and sing again “We say yes yes yes yes!”. The third wave came after all – for this the new online show was born, in which the audience can help answer the big question from home: Who will be The Dean of Germany?

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written by Bernhard Glocksin

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