Picture: Video
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Paul Abraham

Ball at the Savoy

Operetta in two acts [1932]
Text by Alfred Grünwald and Fritz Löhner-Beda
Feb '17
Mar '17
Apr '17
Sunday, 16. April 2017
A captivating musical blend of Berlin jazz, Hungarian gypsy music, Viennese melodies and Yiddish klezmer, Ball at the Savoy tells a crazy story about a newly-married couple whose loyalty is put to the test. A sparkling spectacle – and right at the centre are three of the greatest operetta stars of our day: Dagmar Manzel, Katharine Mehrling and Helmut Baumann! »This evening will become a cult classic! (...) Everything comes together perfectly: the singing, the set, the costumes – a gripping, fast-moving production brought to us by the artistic director!« [FAZ]

In the repertoire since 9 Jun 2013
Duration: 3 hours, 15 minutes (one intermission)
Introduction 30 minutes before the beginning of the performance, Foyer
They spent one whole year travelling the world on honeymoon. Now Madeleine and Aristide de Faublas, blissfully in love, return to their home in Nice, where they are welcomed by friends as well as their domestics Bébé and Archibald. But no sooner is Aristide back at home than his gallivanting past catches up with him: he receives a telegram from a former lover, the tango dancer Tangolita, insisting that he come to the annual ball at the Savoy that very evening. With the help of his friend Mustafa Bey, attaché at the Turkish embassy and after six divorces an acknowledged expert when it comes to women, he finds a pretext enabling him to go to the ball and leave his wife at home. Madeleine sees through the ploy and decides to attend the ball herself, in disguise. She is supported by her friend Daisy Darlington, who has made a career as a jazz composer under the male pseudonym »José Pasodoble« and intends to reveal her true identity at the ball.

At the ball Aristide first flirts with an unknown woman – Madeleine in a mask – before disappearing with Tangolita into a chambre separée. Madeleine takes revenge: she sweeps the young lawyer Célestin Formant off his feet and invites him into the separée next door. At the climax of the ball Daisy reveals her identity and announces her engagement to Mustafa Bey, while Madeleine declares in front of everyone that she has just cheated on her husband. Divorce seems inevitable and Aristide summons his lawyer. It is Célestin who appears as the latter’s representative. He reveals no details about his evening with the mysterious lady. Daisy finally gets Madeleine to admit that nothing actually happened between her and Célestin. Marital bliss can start all over again ... 


Musical direction
Stage design / Lighting
Pavel B. Jiracek


Marquis Aristide de Faublas
Madeleine de Faublas, his wife
Mustafa Bey, attaché to the Turkish embassy in Paris
Daisy Darlington, jazz composer
Tangolita, Argentine dancer
Archibald, valet to Aristides/Pomerol, head waiter at the »Savoy«/Pierre, conférencier at the »Savoy«
Bébé, Madeleine's maid
Célestin Formant
Monsieur Albert
Frank Baer
Matthias Spenke

What is the »Opera-O-mat«? A question-and-answer tool designed to facilitate selection of a successful night at the opera.
A tenor, a soprano and three musicians travel around Europe on the Gastarbeiterroute –the road people who worked in Germany or Austria took to travel to their counties of origin during holidays. Berlin – Munich – Vienna – Belgrad – Sofia – Istanbul
In the Komische Oper Berlin, the birthplace of modern musical theatre, tradition has always meant innovation.
Barrie Kosky produce The Magic Flute in combination with the British theatre group “1927”.
Don Juan, the epitome of the seducer, inspired Mozart to one of his most influential operas. Frivolous, witty and profound all at once. The perfect opportunity for Herbert Fritsch, the master of theatrical folly, whose highly musical style of staging is tailor-made for this "light-hearted spectacle" about fatal passions.
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