The comic operator, like all repertoire companies about the uncomfortable relationship between the living and the dead, is on schedule to sell 92 percent of his tickets this season, an envious figure for every house. In 2024 it was named Opera House of the Year during the International Opera Awards in Munich.
But the state of Berlin, which is by far the largest financier of the house, has been reduced by the expenditure for culture and threatens the continuous renovation of the old home cinema and the annual operational budget.
This season, these cutbacks have already led to the cancellation of one premiere, of an East German Operetta adjustment of Oscar Wilde’s ‘the importance of Earnest’. In the production of Serebrennikov, Leporello holds a sign in the second act of “Don Giovanni” and noted that a Tenor’s Aria “was unfortunately cut because of Berlin’s budget.” During the opening evening, public members cheered and applauded.
“We are in no way safe, shape or shape,” said Gaffigan. “We fight for survival. We don’t know what will happen from year to year.” In an e -mail statement in German, Christopher Suss, a spokesperson for the Cultural Department of the City, said that “there will be no stopping of the construction of the renovation project of the house and emphasized that” the closure of this unique opera building is excluded. “
He would not comment on further cuts because the budget of the city is in the process be negotiated. On Friday, Berlin’s top culture politician, Joe Chialo, took a resignation; His letter of resignation imposed his opposition against upcoming planned cuts that he warned, “would lead to the approaching closure of nationally renowned cultural institutions.”
“I have never seen anything like that, where a company is doing so well, and we are terrified of our own existence,” said Gaffigan. “Just as well as we do, I thought the comic operation would always be there. And one evening you wake up and you realize:” Maybe not. “
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