New production of Puccini’s Il Trittico at the Deutsche Oper Berlin


by OPERA Charm Team
September 13, 2023

Premiere: September 30th, 202 3

Furtherperformances: October 2nd, 6th, 8th, 13th, 17th and December 9th and 14th, 2023


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Two years ago, Deutsche Oper Berlin invited Pınar Karabulut, one of the most successful acting directors of the younger generation, to stage her first musical theatre production: for Mark Anthony Turnage’s GREEK on the building’s parking deck.

Now Pınar Karabulut returns to the Deutsche Oper Berlin and presents her first opera work on the big stage with Puccini’s IL TRITTICO, together with General Music Director Sir Donald Runnicles on the podium of the Deutsche Oper Berlin Orchestra.

Like no other work of Puccini, the three-act IL TRITTICO, which premiered in 1918, reflects a time of upheaval and the search for new forms: Puccini had already been working on a dramaturgical concept of a new work concept since 1900: the combination of three opera acts into a whole. The focus is no longer on a single, unified world narrative, but on its fragmentation. The totality of the closed work no longer serves as a mirror of the world; instead, different perspectives are shown: a combination of different stylistic elements and genres that contrast with each other. Puccini concentrates three different inks, three temperatures and colours, which once again bundle what Italian opera meant at the beginning of the 20th century: IL TABARRO presents a dark triangular story in the shipping milieu on the Seine in Paris. The action radius of the characters is extremely narrow, a closed world of hidden longings and suppressed dreams. Conflicts and psychological wounds break open and can only be resolved in an act of destruction: in a brutal murder out of jealousy. SUOR ANGELICA, with an all-female cast, is a solitaire in the history of opera, also revolving around the questions of life and death: the nun Angelica sees only suicide as the last possible act of liberation from a life determined by others. Finally, in the tradition of commedia dell’arte, GIANNI SCHICCHI is a grotesque and bitter comedy that focuses on man as a gambler and greedy cheat.

Pınar Karabulut traces the connecting motifs and questions of TRITTICO in her production and stages the three one-act plays as a large, colourful world theatre on a rotating revolving stage.

For Puccini’s TRITTICO, singers who have been closely associated with the Deutsche Oper Berlin for a long time will return: The roles of Michele in TABARRO and as the title character GIANNI SCHICCHI will be performed by the Georgian baritone Misha Kiria, who is highly regarded as a regular guest and in recent years as Sancho Panza (DON QUICHOTTE), Lord Sidney in IL VIAGGIO A REIMS and Don Alfonso COSI FAN TUTTE.

Jonathan Tetelman made a sensational debut with Paolo in FRANCESCA DA RIMINI at the Deutsche OperBerlinBerlin in 2021 and caused a furore this summer at the Salzburg Festival, Luigi in IL TABARRO.

Carmen Giannattasio is also closely connected to the Opera house: After great successes in roles such as Maria Stuarda, Tosca and Traviata, now she presents herself as Giorgetta in IL TABARRO.

The Armenian soprano Mané Galoyan was a member of the ensemble in the 2021/22 season and started a career from here that took her to the great houses of the world in a very short time. After recent successes at the Glyndebourne Festival, in Munich, Paris, Seattle and Atlanta, she returns to the Bismarckstraße as Lauretta (GIANNI SCHICCHI) and in the title role of SUOR ANGELICA.

Violeta Urmana, who has been associated with numerous roles at the Deutsche Oper Berlin for many years, will be seen in SUOR ANGELICA in the role of La Zia Principessa.

Stage director Pınar Karabulut has won several awards and was invited to the 2021 Berliner Theatertreffen with a production at the Münchener Kammerspiele. For her production Furcht und Ekel Das Privatleben glücklicher Leute (Fear and Disgust: The Private Lives of Happy People) by Dirk Laucke, she received the Nach Spiel Preis of the Heidelberg Stückemarkt. Multiple times her works have been invited to the Festival Radikal Jung. In recent years, she has directed productions at Schauspiel Köln, Theater Bremen, Volksbühne Berlin and the Munich Kammerspiele, where she was a member of the management team between 2020-2023.


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Alice Lechner

Alice Lechner comes from a music-loving family. Her first encounter with the opera universe was at the tender age of six. The grandeur of the stage productions and costumes, the backstage chatter, and last, but definitely not least, the music left her in awe, beginning with Mozart’s Don Giovanni. The overall feeling that opera awakens in anyone who gets a glimpse into this part of artistic eternity, that each and every day passes the test of time, was what drew her to stay and be a part of this world. The Opera House of Brașov became her second home, and the people who worked there were her second family.

Since then, Alice has devoted her spare time to maximising her musical knowledge through instrumental studies, studying both piano and violin for a short time. In the following years, her number one passion stepped out of the limelight and graciously gave way to Law Studies.
Since 2018 she has been studying Law at “Alexandru Ioan Cuza” University in Iași.

Her passion for opera, even if it is no longer her top professional priority in terms of career, it has most definitely become her priority during her free time. Wanting to experience the best of both worlds and extend her musical horizons, she regularly attends opera performances throughout Romania and abroad.
With OPERA Charm Magazine, Alice aims to nurture her creative side to help it flourish and bloom and to discover, alongside the magazine’s readers, the fascinatingly complex world of opera.

Currently, she is an LL.M. in Business Law at “Alexandru Ioan Cuza” University in Iași.

Oana Zamfir

Oana Zamfir is a second year MA student at the “George Enescu” National University of Arts, at the Department of Musicology.

She studied violin for 12 years at the “Stefan Luchian” High School of Art in Botosani, later focusing on the theoretical aspects of music. In 2019 she completed her bachelor studies in Musicology as a student of the National Academy of Music “Gheorghe Dima” in Cluj-Napoca. Her research during 2018-2019 brought to the forefront elements of the archaic ritual within works of composers who activated during the communist period, giving her the opportunity to start a research internship at the “Carl von Ossietzky” University in Germany. In this context, she recorded conversations with members of the Sophie Drinker Institute in Bremen, and had access to documents directly from the Myriam Marbé archive.

Since 2019 she has been a teacher of Music Education and Theoretical Music Studies, making full use of interactive methods in the musical training of students and working, at the same time, with the children’s choir founded in the first year of her activity.

Her interests include pursuing a degree in interior design in 2020.

Alexandru Suciu

Alexandru Suciu inherited his passion for art growing up in a family of several generations of musicians. He began his musical studies at the “Augustin Bena” School of Music in Cluj, where he studied piano and guitar. Even though his main study direction was philological, his passion for music prevailed. He began his academical journey at the Faculty of Letters of the “Babeș-Bolyai” University, studying Comparative literature and English. He continued by studying Opera Singing at the “Gheorghe Dima” National Music Academy. He also graduated the Musical Education section, followed by Artistic Directing at the Musical Performing Arts department.

His multidisciplinary education opened the doors towards research, which is seen both through his participation in national and international conferences and symposia, such as the Salzburg Easter School PhD-forum, organized by the Salzburg Universität or the Silesian Meeting of Young Scholars, organized by the Institute of English at the University of Silesia, as well as the collaboration with Opera Charm Magazine.

During his student years, he won several prizes, including the Grand Prize at the “Paul Constantinescu” National Musical Interpretation Competition, the Romanian Composers and Musicologists’ Union Prize at the same competition, the First Prize and the Schubert Prize at the “Ada Ulubeanu” Competition.

He further developed his artistic skills by specializing in courses and masterclasses held by personalities such as Vittorio Terranova, Giuseppe Sabbatini, Marian Pop, Ines Salazar, Riccardo Zanellato, Paolo Bosisio, Valentina Farcaș and Manuel Lange in contexts such as the Internationale Sommerakademie für Operngesang Deutschlandsberg, Corso Internazionale di Canto Lirico I.M.C. Licata or the Europäische Akademie für Musik und darstellende Kunst Montepulciano. Besides his activity on-stage, he currently teaches Opera Singing Didactics, and Pedagogical Practice within the Department for Teacher Education and Training at the “Gheorghe Dima” National Music Academy.

Cristina Fieraru

Cristina is a 24 year-old Romanian soprano & a student at the National University of Music Bucharest, where she pursues the MA program in Vocal Performance.

She made her debut in Pamina from “Die Zauberflöte” by Wolfgang Amadeus Mozart at only 19 years old at the Bucharest National Opera House, as a member of the Ludovic Spiess Experimental Opera Studio. Over the years she made her debut in roles such as Contessa d’Almaviva (Le nozze di Figaro), Mimì & Musetta (La Bohème), Alice Ford (Falstaff), Erste Dame (Die Zauberflöte) in her university’s opera productions.
Her passion and experience extends in the field of choral music, too.

She has been part of our dream team since the fall of 2021. For a good period of time she took care of OPERA Charm’s social media and took you on the monthly journey through the history of opera through our Legends rubric – and a few times through the Theaters around the World rubric.

Her little soul rubric – from 2021 to present – is definitely the Conductors of the Future, where, every month, she gives you the chance to meet a young star of the world of conducting and, of course, to find out what’s the most charming feature of opera in these artists’ views.


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