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  German Opera Berlin: Spaceship Surprise – Culture | Bit Updates
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German Opera Berlin: Spaceship Surprise – Culture

Sunday, December 24th, 2017 | bitcoin updates

Much, much has been written lately about the Staatsoper Unter den Linden. So much that you could almost think Berlin only has this one musical theater. Its structural preservation in its historical guise costs a great deal of money – and causes trouble. And there was a lot of talk about the Komische Oper, because it was her birthday, she had a lot of great productions, but she also needed a lot of renovation. And then there is, in the far west of the city, the largest of the metropolitan music theaters, a house that can offer all this in perfection, which remains problematic at the State Opera even after the 400 million euro retreading: a clear view of the stage as well from the cheap places. And in the foyers a lot of space to stroll. In addition, luxuriously wide staircases and a cloakroom, to which you do not have to go down to the cellar. The German Opera is thus a deeply democratic house. And yet is not liked by many classic fans. Because the velvet is missing, the stucco, the whole, with the noble rulers seats from the baroque period looked over decoration program, the historical Musiktempel offer. A festive opera evening, the argument goes, only comes when the trappings also exude the aura of the feudal.Waschbeton and rice paper balloons, quite courageousGenau, however, Fritz Bornemann wanted to avoid when he was in the mid-1950s, his design for the Deutsche Oper presented. Because when you visit a music-dramatic performance, the main thing is going on anyway in the dark. At least since Richard Wagner enforced that the light in the hall is turned off when the game begins. The time before and after the performance, in turn, as well as the break, is not there to show off his hereditary jewelery or blaspheme about what a gruesome couture creation Mrs. Sooso wears today again. But to exchange ideas, to discuss the experience. It does not matter if you are surrounded by gold-shining decor. Or a chandelier over the heads of the public prangt.Darum Fritz Bornemann hung in the foyer of the German Opera Japanese rice paper balloons – as the greatest possible contrast to the crystal chandeliers of the linden opera. And he has created that washed concrete fa├žade, which represents a special hate object since the opening of the house in 1961. The monolithic, windowless front on Bismarckstrasse is by no means intended as an affront to passers-by. But, on the contrary, as a shield for those who are inside. Because those are the interests of the architect. Here you will find a space that allows you to concentrate on the essentials. It's all about the hall, says the foyer. Front plays the music, says the hall. Fritz Bornemann died in 2007, at 95 years

This music theater is a home for people who are looking for music. You have to go into the German Opera. But then you will receive the most friendly. The dark entrance area with the low ceiling neutralises the everyday thoughts. The warm indirect light in the cloakroom area regulates the pulse, the room breathes calm. Over the broad stairways, which seem to float, the guest, long since immersed in another world, reaches the main foyer. A real lobby, high as a nave, held by invisible forces. The view sweeps unhindered around, limited only by the warm, dark wood paneling on the inside of the "defensive wall". On the narrow sides, on the other hand, glass walls create the connection to the outside world. Because this opera house is not an ivory tower. That there is an outside, is not concealed, side views on the reality are desirable. Fritz Bornemann died in 2007, the blessed age of 95 years. But he was also able to witness how Intendant Kirsten Harms has begun to lovingly restore the rather worn-out public areas of the building to their original state. Yes, the German Opera has also undergone a landmark revision. The walls have now returned to their original colors, what had been attached to additives over the decades, was cleared out, the foyers show again that Sixties elegance, which is just absolutely hip.Bornemann's philanthropic architecture opens up only gradually and whitewashed walls also space for contemporary art, currently for the pictures of the 1987 born photo artist Paul Hutchinson. And by the stairwell, there are poems on the walls, in large letters, also by Hutchinson, which are easy to read for anyone who moves up and down in a relaxed manner. The facade of the opera house planned by Fritz Bornemann on Bismarckstrasse in Berlin-Charlottenburg Within the Berliner Musiktheatertrias the German Opera is the big brother, always reasonable and a role model. The comic opera plays the role of the baby, who can afford anything. And the State Opera shines as a pretty sister, freshly dressed and swarmed by admirers. Everyone knows how to understand the well-known architectural language Unter den Linden. How philanthropic Fritz Bornemann's Bismarckstra├če building is conceived, what the architect here wanted to say and dare to do, can only be recognized bit by bit. But those who are prepared to get involved in the initially so sour-looking house will make a real friendship with the Deutsche Oper. One in which one understands oneself without many words. And that lasts forever.


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