2026-27 Schedule
ROYAL
SWEDISH
OPERA
NOV - DEC 2026
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NOV 9, 12, 15, 17, 20, 23, 26, 28
DEC 1, 2026What starts as a wager spirals into a dangerous game that puts love and friendship at risk. The title, which is Italian for ‘Women are like that’, leads us into a story about testing the limits of fidelity. With an underlying seriousness, the comedy navigates its way between complicated situations. Director Clara Svärd places the action in a 1960s-evoking artist’s studio, where a charismatic philosopher subjects four young people to a psychological experiment that sends their emotions reeling. Two young couples have the opportunity to explore new sides of themselves, dipping their toes into the unknown. But how is love affected by the experiment? This is an opera that provokes, fascinates and entertains. Alan Gilbert conducts the cast. Kyle Miller sings the role of Guglielmo.
DEUTSCHE
OPER
BERLIN
DEC 2026 - MAY 2027
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DEC 11, 13, 15, 17, 20, 2026
MAY 18, 20, 22, 26, 2027At its premiere in Turin in 1896, La bohème was met with scepticism. Only after further performances in several Italian cities did it achieve the success that quickly brought Puccini and his librettist international fame. With their first collaboration, based on Henri Murger’s novel Scènes de la vie de bohème, the trio created the epitome of the romantic love story on the operatic stage. Puccini gave the story of a group of young people, their joys and tragically ending passions, a richly coloured score that includes some of the most famous arias and duets in music history. Götz Friedrich’s production, set against a timeless backdrop, spans from the intimate artist’s apartment to the expansive spectacle in the Latin Quarter. The perfect accompaniment to the festive season! With the very young Juliana Grigoryan and later the charismatic Corinne Winters, two of the most heartfelt Puccini singers appear in the role of Mimì. Don't forget your tissues! Kyle Miller will sing the role of Schaunard.
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JAN 10, 13, 23, 30, 2027
A contemporary and topical opera for our time: When US President Richard Nixon lands on Chinese soil one foggy February morning in 1972, the world holds its collective breath. After decades of silence, the rival powers are starting to come together. A momentous instant in diplomatic history and a superlative media spectacle unfolds as cameras and microphones follow Nixon and Mao Zedong constantly. American composer John Adams and librettist Alice Goodman have taken original, historical documents to create a poppy narration of modern myths and spectacular imagery politics. This minimalist music opera follows the protocol of the state visit like a satirically exaggerated TV documentary, and shows figures between larger-than-life self-presentation and boundless self-deception. Musical theatre collective Hauen und Stechen, known for its anarchic directorial bent, focuses amidst the rush of images on the propagandistic aspect of the summit and provides furious insight into the power plays of the 20th century. Kyle Miller sings the role of Chou En-Lai.
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FEB 28
MAR 3, 5, 8, 13, 15, 2027Three men who make a bet. Two women who are the objects of this bet. Don Alfonso has thought up a perfidious game to test the faithfulness of these women: Fernando and Guglielmo are convinced that Fiordiligi and Dorabella would never betray them. They pretend to go off to war and return in disguise to seduce their respective beloved as a supposed stranger: If they succeed, they have lost the bet and Don Alfonso is triumphant. This is the setup for Mozart’s Così fan tutte. A contemporary operatic subject? It is primarily Mozart's music that secures this opera its place in the repertoire to this day, for it looks deep into the characters’ hearts without condemning them. When what began as a light-hearted game develops into a cruel experiment that ultimately pulls the rug out from under everyone involved, the music lays bare the characters’ emotions in all their complexity and contradiction; it plumbs the existential depths of love, which we all experience in the same way regardless of gender – today as in 1790, when Mozart's opera premiered. The Belgian directing collective FC Bergman, which won the Silver Lion at the Venice Biennale and recently celebrated a resounding success at the Ruhrtriennale, is inclined towards visually powerful surrealism in its theatrical language and tells – for the first time in Berlin and in only its third opera production – Così fan tutte as a story about young people of today who are playfully searching for answers to the questions of life: What does love mean to us? What roles do we play in life? Who manipulates whom? Is reality truly always more sustainable than fantasy? Riccardo Minasi, one of the most interesting conductors in the field of historical performance practice, is working with the Deutsche Oper Berlin orchestra for the first time. A young ensemble of soloists led by Elsa Dreisig as Fiordiligi explores the psychological facets of this many-layered game of love. Kyle Miller sings the role of Guglielmo.
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APR 17, 27
MAY 4, 2027Oscar Wilde’s drama about the biblical princess who has the prophet Jochanaan beheaded so she can kiss his dead mouth unfolds a tableau of human depravity: From murder and necrophilia to sexualised violence, one shocking moment follows another. But it was not only these themes that made Strauss’s Salome a scandal, but also its radically modern, overwhelming music, which was far ahead of its time. The «Faust» Prize winner Claus Guth incorporates insights from psychoanalysis, which emerged around the time of the 1905 premiere, into his production and delves into Salome’s subconscious: Younger versions of her Self accompany Salome like shadows of past wounds, together struggling to cope with childhood traumas. In a stage design that maintains the illusion of a flawless facade, reality, dream and memory begin to blur – the path from victim to perpetrator seems inevitable. Marc Albrecht conducts, and Elisabeth Strid will be performing Barrie Kosky’s new London Brünnhilde as Salome for the first time. Kyle Miller sings the Second Nazarene.
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MAY 16, 21, 27, 2027
The surprise hit of Deutsche Oper Berlin for the past few seasons: Completed almost ten years before the Second World War, the only opera by Danish composer Rued Langgaard oracularly foreshadows an approaching apocalypse. Antikrist is a unique work in music history, in which powerful sounds kaleidoscopically intertwine with an enigmatic language. Only staged in 1999, almost 50 years after its creator's death, the work is an absolute rarity on international operatic stages. Ersan Mondtag's production brings Antikrist to the stage in unprecedented splendour. The director and exceptional interdisciplinary artist has received numerous awards for his monumental works and his impressive creative power; in this production, he has horrific figures appear amidst pop-cultural references and dance an infernal choreography around them. Langgaard's apocalyptic mystery is thus brought to life as an expressionistic moving image. With Martyn Brabbins, one of the most interesting conductors of 20th-century music returns to Deutsche Oper Berlin. Kyle Miller sings the role of Luzifer.
KOMISCHE
OPER
BERLIN
JUN - JUL 2027
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JUN 13, 16, 18, 20, 22, 25, 27, 30
JUL 2, 4, 2027Sondheim’s hit musical is staged by Barrie Kosky as a ‘children’s theatre nightmare collage’, blending revulsion and comedy with a fascination for horror. He mercilessly digs into the question of what humans are capable of when they follow the logic of revenge to the bitter end.
The barber Benjamin Barker is unjustly sentenced to a long prison term by Judge Turpin, who has his eye on Barker’s wife. Years later, Barker returns with only one thing on his mind: revenge. His wife has supposedly killed herself, according to the burnt-out but business-savvy baker of meat pies, Mrs Lovett. And so Benjamin Barker, alias Sweeney Todd, launches not only a grisly campaign of revenge but also, with his accomplice Mrs Lovett, a thriving joint venture in the meat-pie business. Kyle Miller sings the role of Anthony.