Deutsche Oper Berlin - Das Rheingold

Richard Wagner described THE RHEINGOLD as the `eve` of his stage play THE RING OF NIBELUNGEN - a name that certainly does not remind of the prologue of the baroque opera by accident. For here and there the gods have the word and create the basic conditions under which the fates of men will later decide. And just like the ancient deities of Monteverdi, their Nordic relatives are Wagner`s creatures in which the driving forces of human existence are embodied. Thus, in the nearly two and a half hours of RHEINGOLD, all the feelings, desires and thoughts that also determine our own existence appear. Starting with the innocent play instinct of the Rheintöchter, whom the Nibelung Alberich robs the gold, over the unbridled lust for power of this dwarf and the derisive nihilism of the fire God Loge up to the attempt of the god father Wotan, with his castle Walhall to create lasting values. And last but not least there is the gold itself as a dumb main actor.

With its world-defining aspiration as well as its sheer temporal extension, THE RING OF NIBELUNGEN is the biggest challenge for every opera director. At the Deutsche Oper Berlin, Stefan Herheim sets himself the task of translating the world of ideas of Wagner`s tetralogy into the 21st century. Awarded many prizes, the Norwegian is one of the most important directors of the present day. In his works he repeatedly reveals the historical context and the impact of the respective operas.

Place

On September 24, 1961 the Opernhaus that had been inaugurated in 1912 and destroyed during the War was reopened as Deutsche Oper Berlin. Ever since it has been Berlin´s largest and Germany´s second largest music theatre, featuring among the most modern institutions in Europe. The straightforward and elegant building that was realized by architect Fritz Bornemann (he also conceived the America Memorial Library and the Haus der Berliner Festspiele, a. o.) seats 1.859 and guarantees a maximum viewing and hearing experience for every visitor.