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Tankred Dorst


Tankred Dorst was born on December 19, 1925, in Oberlind near Sonneberg in Thuringia, the son of a factory owner. “I was born in a village on the Thuringian Forest, on the Franconian side …”, he will say in an often quoted introduction speech for the German Academy for Language and Poetry (1978), thus hinting at a motif that repeatedly assumes a central role in his work. After returning from captivity in 1947, he initially studied German and theater. He found his way to the theater through a student puppet theater in Munich, for which he wrote his first plays.
There he also met his partner and later wife Ursula Ehler, with whom he worked closely artistically since the early 1970s and who also assisted him in all his directing projects – such as “Ich- Feuerbach” (1987) or at the Ring in Bayreuth (2006). Dorst’s long and fruitful collaboration with Peter Zadek began as early as 1960 and resulted in the filming of his early success “Die Kurve” (with Klaus Kinski and Helmut Qualtinger, among others) as well as other television films (“Rotmord”, “Der Pott” and others).
In his work, Dorst always resisted classification into fixed categories. He took up mythical or historical material, wrote fairy tale plays and parables, and reacted – in his own way – to current political developments. Among his best-known works, besides Merlin (1981), are the revolutionary drama Toller (1968), the trilogy Auf dem Chimborazo/Die Villa/Heinrich oder Die Schmerzen der Fantasie (1975-1985), and the plays Karlos (1990) and Herr Paul (1994).
In 1999, the play Große Szene am Fluss, written under the impression of the Bosnian war, was premiered in Munich. In February 2005, the playwright celebrated another success with the premiere of his drama Wüste in Dortmund. “I myself vacillate between optimism and pessimism,” Dorst once said. “Every person has a personal utopia of how life should be, and then experiences disappointment that it is not so.
The extent to which Dorst shaped the theater of the postwar and reinvention era of Germany can be seen in the artists who brought it to the world: Peter Palitzsch, Patrice Chéreau, Robert Wilson, Hans Neuenfels, Dieter Dorn, Jürgen Flimm, Wilfried Minks, also Harald Clemen, Jossi Wieler, David Mouchtar-Samorai and many others. On Zadek’s initiative, the aforementioned Merlin, his opus magnum, was created. The work about the loss of the great utopias, uncoated nine hours long, has been staged by more than 20 directors all over the world after the fall of the Berlin Wall.
Playwriting alone was not enough for the man honored with numerous prizes – most recently the FAUST Prize in 2012; in addition to films and libretti (among others, a setting of his Parsifal was premiered in Hanoi in 2011), he was also active as a play director, as mentioned above; at the age of 80, he made his debut as an opera director with Wagner’s Ring in Bayreuth. And he was a discoverer and promoter: on the initiative of Manfred Beilharz, Tankred Dorst and Ursula Ehler were travelers and curators for the “New Plays from Europe” for 22 years. Dorst was also repeatedly invited as a lecturer, including at the local UdK – which was always special for an author who said of himself throughout his life: “It is not the author who seeks the story, but the story that seeks the author.” Tankred Dorst died in 2017.


Tankred Dorst/Ursula Ehler (c) Heinz Hauser

Moritz Eggert

Moritz Eggert (*1965, Heidelberg) is considered one of the most versatile and adventurous voices in contemporary music. Born in Heidelberg and raised in Heidelberg, Mannheim and Frankfurt am Main, he began playing keyboards in various rock and jazz ensembles while still in school, followed by academic studies, first as a pianist, then as a composer. These studies later took him to London and Munich (where he now lives with his wife, the writer Andrea Heuser, and his two children). From the beginning he has worked in all musical genres – his catalog of works, now numbering more than 275, includes not only 16 full-length operas, but also several ballets and works for dance and musical theater, orchestral music, chamber and ensemble music, vocal and choral music (with a strong focus on song), church music, experimental and electronic music, instrumental concerts, music for children and young people, film and radio music, as well as radio plays and open-air performances. An experienced and much sought-after pianist of both classical and modern music, he has performed numerous world premieres of his own and other works both at home and abroad. In recent years he has also been increasingly working as a conductor, actor and singer with numerous appearances in operas and theater productions.

Together with Sandeep Bhagwati he founded the “ADEvantgarde-Festival” for young composers in Munich while still a student, which still exists today. He participates actively and critically in German cultural life and was on the board of the German Composers Association for 3 years. In addition to his many articles for national and international print and online media, he regularly writes for the “Bad Blog of Musick”, which he founded and is the most widely read contemporary music blog in Germany, for which he writes much-discussed satirical and provocative articles on a wide range of topics about contemporary culture and cultural politics. He is considered an advocate of a necessary change in new music and is regarded as a critic of ivory tower attitudes and worldliness. This also makes him a passionate supporter of the younger generation of composers, to whom he also devotes himself as a professor of composition at the Munich University of Music and Drama.

Moritz Eggert’s music is performed all over the world, and his cycle for piano solo “Hämmerklavier”, among others, is particularly well known and is one of the most performed piano works of the present day. His music has also often been the focus of media attention: he wrote a “soccer oratorio” as well as the music for the opening ceremony of the 2006 FIFA World Cup in Germany, which was watched by over a billion people. The German tabloid press labeled him a “porno composer” for his opera “The Snail,” and his opera “Freax” generated a staging scandal. An eccentric collage of all Mozart operas aroused tempers at the Salzburg Festival, as did the “Foot Ballet,” which was perceived by conservative audiences as a “desecration” of the Vienna Opera Ball (and was the first contemporary piece of music ever performed there). With his works, he always writes against the public image of the “well-behaved classical composer”, as well as through genre-bending concerts, such as with the electropop duo “2raumwohnung” or Harald Schmidt. Moritz Eggert is currently working on a major project for the Beethoven Orchestra Bonn for the Beethoven Year (together with Axel Brüggemann) as well as a new opera for Bonn. Furthermore, orchestral concerts for percussion (Konstantin Napolov) and violin/viola (Elisabeth Kufferath) are in planning. (as of January 2020)

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Foto: Katharina Dubno

Martin G. Berger

Martin G. Berger was born in Berlin in 1987 and grew up in Berlin, Istanbul and Munich.His work as a director, author and translator has taken him throughout the German-speaking world, including. to the Theater Basel, the Staatsoper Hannover, the Luzerner Theater, the Deutsche Oper Berlin (Tischlerei), the Theater Bremen, the Theater Trier, the Deutsche Nationaltheater Weimar, the Staatstheater Augsburg, the Theater Heidelberg, the Staatstheater Darmstadt, the Oper Dortmund, the Volksoper Wien (Kasino am Schwarzenbergplatz), the Staatsoperette Dresden, the Theater Oberhausen and the Neuköllner Oper. Martin G. Berger has received awards and nominations for his productions; he was nominated for the German theater prize FAUST in the category “Best Direction Musical Theater” in 2018 and 2020 and for the Götz Friedrich Prize in 2015. He won the Karan Armstrong Prize of the Götz Friedrich Foundation, the German Musical Theater Prize 2016″ for “Best Direction”, the “Trier Musical Award 2016” and the “Orpheus for Special Services to Operetta” 2018. His production “The Barber of Seville” was named “Best Production” in the NRW Critics’ Survey in 2019.Martin G. Berger is distinguished by his wide range. He works in opera, operetta, musical, but also in drama, in performance collectives and with puppeteers. He often adapts works in his own spirit and brings together performers from different genres for his productions.Berger also appears as an author and translator. His chamber opera “ELFIE” (music: Wolfgang Böhmer) premiered at the Neuköllner Oper in 2019, his musical “Aus Tradition anders” (with Jasper Sonne) at the Staatstheater Darmstadt in spring 2018. His translations of “Candide”, “Follies” and “Anyone Can Whistle” are published by “Musik und Bühne”.Martin G. Berger’s path into directing led him over several years as a permanent assistant at the Dortmund Opera and the Hanover State Opera. He assisted renowned directors such as Christine Mielitz, Sebastian Baumgarten and Benedikt von Peter.

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Marc Rosich

Marc Rosich is a Catalan librettist and director based in Barcelona. He is the artistic director of the “Òpera de Butxaca i Nova Creació”, an ensemble dedicated to chamber opera. His plays and adaptations have been awarded in Barcelona in theaters such as the “Teatre Nacional de Catalunya” or in the” Teatre Lliure”, and in Madrid in theaters such as “Centro Dramático Nacional”.
In recent months he has consistently written and directed the musical theater: Àries de reservat, ¿Qué fue de Andrés Villarrosa?, A tots els que heu vingut, Renard (Barcelona Critics’ Awards Best Play for Children 2017 / Butaca Award Best Play for Children 2017) and A mí no me escribió Tennessee Williams. As a librettist, he participated in collaborative projects such as Office of postidentical living (Neuköllner Opera). In the midst of his plays, he can also be found in productions such as LIMBO, La dona vinguda del futur (Butaca Award Best Play for Children 2014), Rive Gauche, Car Wash (Staatstheater Stuttgart / Teatre Romea), N&N, Party Line, Surabaya (Finalist Fundació Romea Award for New Plays) and Copi and Ocaña in Purgatory.
In collaboration with Calixto Bieito, he directed Büchner’s Leonce and Lena (Residenz Theater, Munich), Shakespeare’s Forests (Barbican, London), Tennessee Williams’ Camino Real (Goodman Theatre, Chicago), Calderón’s The Great Theater of the World (Theater Freiburg), Voices (Betty Nansen Treatret, Copenhagen), Don Carlos (Mannheim Schillertage), Tirant lo Blanc (HAU Hebbel am Ufer / Frankfurt / Teatre Romea, Barcelona Critics’ Award to Best Adaptation 2008), and Houellebecq’s Platform (Edinburgh Festival / Teatre Romea). His opera credits include The Song of the Women of the River (Carlus Padrissa, LA FURA DELS BAUS, Lucerne Theater, Switzerland / Köln Theater), Bazaar Cassandra (Neuköllner Oper), Java Suite (Theater Basel, Switzerland), Lord Byron (Staatstheater Darmstadt / Gran Teatre del Liceu), and La Cuzzoni (Staatstheater Darmstadt).
As a director he also staged Granado’s one-act zarzuelas Picarol & Gaziel (Palau de la Música), Shakespeare’s Merry Wives of Windsor (Parking Shakespeare) Büchner’s Woyzeck (Parking Shakespeare), the contemporary opera 4Carmen (Festival de Peralada, Neuköllner Oper), and Purcell’s Dido & Aeneas (Palau de la Música).

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Marc Rosich ©Isaias Fanlo

Christian Römer

Studied at New York University, Applied Theater Studies (B.F.A.). After first positions at the Bayrisches Staatschauspiel, at the stages of the city of Bonn and as production assistant for Fritz Rau (Tabaluga & Lili), he was responsible for the cultural programs of the German states in the German Pavilion as project manager at the World Exposition EXPO 2000 in Hanover.In 2001 he programmed the renowned festival “Park of the Senses” for the Dresden Center for Contemporary Music (DZzM). On behalf of the German-French Youth Office (DFJW) from 2002 to 2006 bi-national training of young artists in Bayreuth and Lyon. For the city of Mannheim, he curated the program “Theater im öffentlichen Raum” on the occasion of the city’s 400th anniversary, including original productions by Theater Titanick, Theater DEREVO and with Jürgen Kuttner and Tom Kühnel. From 2007 to 2011, managing director on the board of directors of the Neukölln Opera, co-responsible for the production of over 30 world premieres of Berlin’s “4th opera”. Since 2011 responsible for the areas of culture and new media at the Heinrich Böll Foundation, where he developed, among other things, the international workshop conference format “Mobilize”.

Robert Lehmeier

After training as an editor and studying theater studies, art history and philosophy in Munich, Robert Lehmeier completed a traineeship at the Komische Oper Berlin and worked in the following years as assistant to Harry Kupfer in Bayreuth (“Der Ring des Nibelungen”), among other places. As artistic production manager he supervised the musical “Elisabeth” at the Vereinigte Bühnen Wien for two years.
Since 1994 Robert Lehmeier has been working as a freelance director. His productions have been seen in Berlin, Munich, Hamburg, Vienna, Barcelona, the Netherlands, Braunschweig, Mainz, Schwerin, Osnabrück, Dresden and Wiesbaden.
In the field of opera, in addition to the classical repertoire of the 19th and 20th centuries (with an emphasis on the Slavic and French repertoire), he has staged numerous premieres and first performances. For example, during his time as head of the theater in Stralsund/Greifswald, he brought Aulis Sallinen’s “The Palace” (libretto by Irene Dische and Hans-Magnus Enzensberger) to its German premiere at the 1998 “Nordischer Klang” festival. In 2002, his world premiere production of Hans-Jürgen von Bose’s Kafka opera “K-Projekt 12/14” opened the Munich Opera Festival.
In Berlin, Robert Lehmeier regularly develops new opera material together with the Neuköllner Opera. Angela – a national opera” (Schwemmer / Frowin) about the chancellor candidate Angela Merkel received international attention. This was followed by “Friendly Fire” (Arp / Bisowski), “Moshammeroper” (Nellison / Hammerthaler), and “Fanny und Schraube” (Müller Wieland / von Baulitz) In cooperation with the Kurt-Weill-Fest Dessau he staged “Bordello Ballade” (Eggert / Franzobel).
His new version of “Cosi fan tutte” for ten men was invited to the Wiener Festwochen and shown in a new production at the Deutsches Schauspielhaus in Hamburg. This production made guest appearances in Switzerland and in Barcelona (Gran Teatre del Liceu).
Robert Lehmeier was nominated for his libretto adaptation of “Cosi fan tutte” in the annual poll of “Theater heute” in the category “best German-language play”, “Ariadne auf Naxos” and “Werther” in the critics’ poll of “Opernwelt” in the category “best production/direction” and Gurlitt’s “Wozzeck” in the category “best performance”. “The Czarevich” received an award from Bayerischer Rundfunk.
In the field of musicals and operetta, Lehmeier has staged Viennese and French operetta of the 19th century, in addition to the American repertoire (Bock, Rodgers and Hammerstein, Kander/Ebb, Bernstein). “Die Fledermaus” was seen in two productions (Nationale Reisopera Enschede and Mainz). Recently, he has been increasingly involved with Franz Lehar (“Giuditta,” “The Tsarevich,” “Count of Luxembourg”).
Since 2011, Lehmeier has been on the management team of Umculo/Cape Festival, which aims to reposition opera in South Africa (www.umculo.org). Purcell’s “King Arthur project” in 2011, which he worked on with soloists and 200 young people in townships of Cape Town, was followed by his production of Purcell’s “The Fairy Queen,” which premiered at the UJ Theatre Johannesburg and the Joseph Stone Theatre in Cape Town in spring 2012 and was revived in 2013. In spring 2015, “Comfort Ye” premiered at Artscape in Cape Town, a new opera with music by Handel and Cathy Milliken, for which Lehmeier also wrote the libretto. “The Marriage of Figaro” followed in 2016 in collaboration with North West University Potchefstroom. In September 2018, “Romeo’s Passion” premiered at the Hillbrow Theatre in Johannesburg, again with a libretto by Lehmeier (composition by Cathy Milliken).
“Comfort Ye” was awarded the Yam Award (Jeunesses Musicales/Reseo) in the category “Best opera for young audiences” in 2015. In 2019, the Milliken/Lehmeier team won the Yam Award for the second time with “Romeo’s Passion,” also in the “Best opera for young audiences” category.
“Umculo” is also the winner of the 2019 International Opera Award in the Outreach and Education category.

Lars Werner

Lars Werner studied media art in Leipzig, sculpture in
London and scenic writing at the UdK, Berlin. He was a fellow of the Contemporary Arts Alliance, Berlin. After his experiences as an operator of art and club spaces, as part of the artist collective Many People and as initiator of the scenic reading series Glanzoderharnisch, he opened the collectively run Berlin Ringtheater in 2017, which since 2019 has been funded by the Berlin Senate
since 2019. His play Weißer Raum received the Kleist-Förderpreis and has been staged many times in Germany and Luxembourg. In 2019, Lars Werner received the Alfred Döblin Fellowship from the Akademie der Künste Berlin.

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John von Düffel

was born in Göttingen in 1966 and grew up in Londonderry/Ireland, Vermillion, South Dakota/USA and various smaller German cities. He has worked as an author and dramaturge since 1991, and has been dramaturge at the Deutsches Theater Berlin since fall 2009. John von Düffel has published novels, essays, translations and adaptations and is the director of the Scenic Writing course at the UdK Berlin.

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Affe.

Affe.

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 passes out – and wakes up surrounded by the whiteness of a clinic…World Premiere 23.11.2016

Premiere on 09. June 2018.
To 18. July 2018.

9 Tage wach

9 Tage wach

He had a relationship with her for years after the first failed childhood love. Growing up at the gates of Dresden, Eric Stehfest came into contact with the party drug Crystal Meth at the age of 14 in Neustadt…

Premiere on 11. April 2019.
To 19. May 2019.

Bernhard Glocksin

Artistic director of Neuköllner Oper Berlin since 2004. Previously dramaturge and chief dramaturge for music theater, drama and dance theater at Staatsoper Hannover, Theater am Neumarkt Zürich, Salzburger Landestheater, Staatstheater Mainz. 1999-2002 chief dramaturge / deputy artistic director at the Deutsches Theater Göttingen. World premieres and author workshops with T. Dorst, F. Richter, R. Schimmelpfennig, J. von Düffel, L. Hübner a.o. At the Neuköllner Oper adaptations, productions and plays, festivals and international co-productions. Freelance juror, project maker, guest lecturer and teacher.

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Der Schuss 2.6.1967

Der Schuss 2.6.1967

June 2, 1967. An evening in Berlin. The city in uproar. A couple amidst the turmoil. He’s carrying a banner under his arm, she’s carrying a child in her belly. He wants to stay just a little while longer. She goes home and waits for her husband all night…World Premiere June 14, 2017

Premiere on 02. June 2017.
To 08. July 2017.

MOON MUSIC I: Abschied

MOON MUSIC I: Abschied

Music theater, meditation and new rituals: the first digital evening of the MOON MUSIC series with the STEGREIF.orchester and the Prinzessinnengarten Kollektiv.

Premiere on 17. January 2021.
To 18. January 2021.

Anna Catherin Loll

Anna Catherin Loll is a freelance investigative journalist and
researcher from Berlin. Since 2006 she has worked for
the ZEIT and the FAZ and publishes radio reports for the stations
SWR2, Deutschlandfunk Kultur and NDR Info. In terms of content
she concentrates on investigative research in the fields of national security
national security and terrorism, with a focus on financial
on financial interconnections. She is also interested in the hacker scene and
encryption are also of interest to her. Artistically, Anna
Loll is active as a librettist.

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Fuck the facts

Fuck the facts

Welcome to the age of self-empowerment. Just switch on your computer and twitter, post, troll, and hate away. Boss is base. Self-entitlement worldwide…World Premiere 13.09. 2017

Premiere on 13. September 2017.
To 20. October 2017.

Betterplazes

Betterplazes

What would the city be without a Google campus, and what would Kreuzberg be without a few people who have little sympathy for it?

Premiere on 14. February 2020.
To 19. May 2020.

Änne-Marthe Kühn

Änne-Marthe Kühn is a freelance dramaturg, librettist and producer. Her last engagements brought her to the Akademie der Künste Berlin, the Gare du Nord Basel and the Staatsoper Hannover, among others. As part of BTHVN2020, she published a compendium of contemporary choral works online and offline with the Chorakademie Dortmund. She currently works for the Neuköllner Oper Berlin, where she is responsible for program and play development and as an author for the production LILI.

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MOON MUSIC I: Abschied

MOON MUSIC I: Abschied

Music theater, meditation and new rituals: the first digital evening of the MOON MUSIC series with the STEGREIF.orchester and the Prinzessinnengarten Kollektiv.

Premiere on 17. January 2021.
To 18. January 2021.

MOON MUSIC III: Neubeginn

MOON MUSIC III: Neubeginn

We have let go of the old, we have changed within ourselves. The interactive-performative journey in digital format that we embarked on with MOON MUSIC is now coming to a close. And this conclusion will be a very special one, because it does not end anything. Instead, we venture a new beginning….

Premiere on 11. March 2021.
To 13. March 2021.

Juliane Stadelmann

Juliane Stadelmann (*1985 in Salzwedel) studied acting in Berlin and literary writing at the German Literature Institute in Leipzig from 2011 to 2015. In 2013, she was awarded 3rd place in the Münchner Förderpreis für deutschsprachige Dramatik for her play INGRID EX MACHINA. Her play NOCH EIN LIED VOM TOD premiered at Schauspielhaus Wien in 2015. From 2014 to 2016 she participated in the FORUM Text at the University of Graz. In 2016 she was a fellow at Künstlerdorf Schöppingen, and in 2017 she received the Alfred Döblin Fellowship from the Berlin Academy of the Arts. In the same year, her first novel Rübermachen was published – a novel from a bird’s eye view, which she wrote together with her brother Ingmar.

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