Organization

Direttore d'orchestra

Direttore d'orchestra (+1)

Donald Runnicles

Regia

Tobias Kratzer

Scenografia

Scenografia (+1)

Rainer Sellmaier

Costumi

Luci

Stefan Woinke

Video

Jonas Dahl

Regia (+1)

Manuel Braun

Direzione del coro

Direttore d'orchestra (+2)

Jeremy Bines

Drammaturgo

Drammaturgo (+3)

Bettina Bartz

Basso (+3)

Albert Pesendorfer

Conte Waldner

Mezzosoprano (+3)

Doris Soffel

Adelaide

Soprano (+1)

Elena Tsallagova

Zdenka

Baritono (+5)

Russell Braun

Mandryka

Tenore (+2)

Robert Watson

Matteo

Tenore (+5)

Thomas Blondelle

Conte Elemer

Soprano (+4)

Lexi Hutton

Una cartomante

Baritono (+3)

Kyle Miller

Conte Dominik

Soprano (+2)

Hye-Young Moon

La Fiakermilli

Coreografia

Coreografia (+2)

Jeroen Verbruggen

Tyler Zimmerman

Conte Lamoral

Jörg Schörner

Welko

Verbale

Michael Jamak

Djura

Tenore (+1)

Robert Hebenstreit

Jankel

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Chorus

Choir of the Deutsche Oper Berlin

Gabriela Scherer

Arabella

Heiner Boßmeyer

Un cameriere d'albergo

Tenore (+3)

Thaisen Rusch

Soprano

Sara Jakubiak

At first glance, Hofmannsthal's libretto ARABELLA is a comedy of mistaken identity which, had it been composed by Rossini, could have been a snappy buffo opera. But the music of Richard Strauss, who pulls out all the stops of his orchestral art, from the late romantic intoxication to the most modern discord, creates a subtle, colorful panorama of a society in transition, whose late-bourgeois values ​​are crumbling. One's own identity and interpersonal relationships have to be tested from scratch. Central is – even more than the title character, who oscillates between romance and rebellion – Arabella's younger sister Zdenka, who, disguised as a man by her parents for lack of money for girls' clothes befitting their status, has to struggle all the more desperately with her/his role as an outsider.

For the director Tobias scratches and his team, the ambivalences of the characters up to the last quirky supporting character are a welcome source of inspiration to think about historical role models and modern identity. The detailed staging, in which the real plot is repeatedly contrasted, supplemented and commented on with cinematic virtuality, should give the viewer the opportunity to experience the musical richness with an often surprising change of perspective between private emotional chaos and social norms. With ARABELLA, Tobias Kratzer continues the collaboration with Sir Donald Runnicles, which began in 2019 with the acclaimed production of Zemlinsky's DER ZWERG.

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