Organization

Conductor

Conductor (+1)

Donald Runnicles

Stage director

Tobias Kratzer

Set designer

Set designer (+1)

Rainer Sellmaier

Costume designer

Lighting designer

Stefan Woinke

Video

Jonas Dahl

Stage director (+1)

Manuel Braun

Chorusmaster

Conductor (+2)

Jeremy Bines

Dramaturge

Dramaturge (+3)

Bettina Bartz

Bass (+3)

Albert Pesendorfer

Count Waldner

Mezzo-soprano (+3)

Doris Soffel

Adelaide

Soprano (+1)

Elena Tsallagova

Zdenka

Baritone (+5)

Russell Braun

Mandryka

Tenor (+2)

Robert Watson

Matteo

Tenor (+5)

Thomas Blondelle

Count Elemer

Soprano (+4)

Lexi Hutton

A fortune-teller

Baritone (+3)

Kyle Miller

Count Dominik

Soprano (+2)

Hye-Young Moon

The Fiakermilli

Choreographer

Choreographer (+2)

Jeroen Verbruggen

Tyler Zimmerman

Count Lamoral

Jörg Schörner

Welko

Spoken

Michael Jamak

Djura

Tenor (+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

Hotel porter

Tenor (+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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