Picture: Iko Freese | drama-berlin.de
Picture: Iko Freese | drama-berlin.de
Picture: Iko Freese | drama-berlin.de
Picture: Paul Barritt
Picture: Paul Barritt
Picture: Paul Barritt
Picture: Iko Freese | drama-berlin.de
Picture: Iko Freese | drama-berlin.de
Picture: Iko Freese | drama-berlin.de
Igor Strawinsky / Maurice Ravel

Petrushka / L’Enfant et les Sortilèges

Burlesque in four scenes [1947] | Fantaisie lyrique in two parts [1925]
Text »L'Enfant« by Colette | Sung in French
Jan '17
Feb '17
Mar '17
Jul '17
Friday, 10. March 2017
Following the breath-taking success of the Magic Flute, which has set out from Berlin to take the whole world by storm, the British theatre group »1927« is returning to the Komische Oper Berlin – with two works which seem almost to have been written for the absolutely boundless imaginations of these image-conjurers and their astonishing combination of animation and live performances by actors ...

In Stravinsky's ballet burlesque, three puppets are brought to life by their sadistic puppet-master – the delicate ballerina, the coarse but warm-hearted muscleman and the clumsy clown Petrushka. Continuously exhibited and tortured by his master, Petrushka finally manages to escape. Yet his long-yearned-for freedom does not last long ...
By contrast, the ill-mannered and destructive child in Ravel's surreal and fantastical fantaise lyrique experiences a living nightmare when the objects maltreated by him, such as an armchair, teapot and wallpaper, come to life and set about their tormentor.

In rapid, revue-like sequence, Ravel uses richly impressionistic colours to paint an array of different characters – from the Chinese cup and hectically ticking grandfather clock to the mourning fairytale princess. With rich, traditional sounds, Stravinsky describes the colourful goings-on at the fair, finds delicate notes for his ballerina, powerful sounds for the muscleman and mercurial, clown-like melodies for the freedom-loving Petrushka. Stage, sounds, singers and acrobats meld into an experience which intoxicates all the senses.


Suzanne Andrade, Esme Appleton
Stage design
Pia Leong
Children's choir


Petrushka [ПЕТРУШКА], the clown
Tiago Alexandre Neta Fonseca
Ptitschka [ПТИЧКА], the acrobat
Pauliina Räsänen
Patap [ПАТАП], the muscleman
Slava Volkov
The child
Mum / The cup / The dragonfly
The sun / The princess / The nightingale
The cat / The squirrel
A shepherdess / The Bat
The fauteuil / The Owl
The rocking chair / A tree
Dr. Maths / The teapot / The frog
The clock / The tomcat
The child stand-in
Barbara Stephenson
Vocalconsort Berlin

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
What is the »Opera-O-mat«? A question-and-answer tool designed to facilitate selection of a successful night at the opera.
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.
Director Barrie Kosky presents Offenbach's surreal and fantastical story as the disturbing nightmare of an artist who is in danger of losing ever more of his own self ... Watch the trailer here!
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