Dear Mayor Wegner,
Dear Mr. Finance Senator Evers,
Dear Mr. Senator of Culture Chialo,
This open letter was not written to her by the former director of the Komische Oper in Berlin, but by – until now – a proud citizen of the city of Berlin. Since you don’t seem to be aware of the catastrophic artistic and financial consequences you are planning for stopping the construction of the Komische Oper in Berlin, I think it’s time to explain to you what significance the Komische Oper has for Berlin and its cultural history. , to warn you of the dangers of your plans.
They are about to inflict an act of cultural vandalism on themselves, on a building that houses one of the most important opera houses and musical theater institutions in the world. A theater that has witnessed and survived the last 130 years of Berlin’s history. A theater that survived the horrors of the 20th century. A theater that has brought immeasurable fame to the international reputation of this, your city, and revolutionized the art form of musical theater throughout the world.
I’m not referring to the countless artists who have already graced the stage of this theater, nor the genius of artists like Walter Felsenstein, who forever changed our view of the art form of opera – I’m talking about the building itself.
The house on Behrenstrasse is the theater I love more than any other theater in the world. Everyone who has stood on the stage of this house or sat in the audience knows that this theater is a magical place.
In this place the history of Berlin, the stories of Berlin and the dreams of Berlin float, dance and sing through space and time. Maybe you don’t understand this because, as far as I know, the three of you are not part of the regular audience at the Komische Oper on Behrenstrasse. Maybe you’ve never been to a show at this theater before. Unlike millions of other people. Millions of people have been enchanted, challenged, entertained and delighted by a show there.
In 1892, thousands of people were amazed by Fellner and Hellmer’s architecture after the house opened. Thousands of people arrived there after the First World War to escape poverty and daily misery and took refuge in the illusions and fantasies that danced on stage. Thousands of people gathered in this theater during the explosive years of the Weimar Republic to admire the open, cosmopolitan world that opened before their eyes on this stage. Thousands of people sat in this theater as Berlin’s Jews were rounded up and sent to concentration camps and the cultural landscape of this city changed forever.
Thousands of people celebrated the liberation of the city from Hitler’s nightmare here. Thousands of people sat in this theater in a divided city and witnessed the birth of modern musical theater under the direction of Walter Felsenstein, and thousands sat in this theater when the Wall fell and suddenly Berlin was no longer a divided city. This house has seen it all. All the joy, all the pain. So much death and destruction. But also all the magic of this place. This house is Berlin.
I say it clearly: no one believes that the renovation of the Komische Oper will actually be completed at the end of a temporary block of work lasting two or three years. Costs will skyrocket, the budget will be unsustainable, and eventually the entire renovation will be stopped. Then the Komische Oper will be forced to stay in the Schillertheater, a temporary solution which is not an opera house, has no storage capacity and 250 fewer seats than the main building and, moreover, has absolutely nothing to do with the history of the Komische Oper Opera. Comic opera is separated from its homeland, its ghosts, its history and its soul. Then he will die slowly but surely.
An opera house like the Komische Oper cannot survive if it is forcibly torn from its homeland. This work and its location on Behrenstrasse are inextricably linked. The house is the work and the work is the house. In doing so, they strip a plant from its nutrient-rich soil. The result: it withers, dies and rots.
The house largely owes its worldwide success to Jewish artists
As you may know, I strongly oppose the Bundestag’s horribly ill-conceived anti-Semitic clause. In my opinion, this is a very dangerous and problematic solution. One of its main themes is the need to remember and celebrate Jewish life in Germany and how it helped shape Berlin’s cultural landscape.
What does this have to do with comic opera, you ask? Do you know the Jewish history of this house? Did you know that producers Alfred and Fritz Rotter saved and preserved this theater and made it the most important operetta and revue theater in all of Germany during the Weimar Republic? Did you know that both were driven out of Berlin in 1933 and died in penniless exile? Did you know that the greatest Jewish operetta composers of the 20th century worked in this house? Leo Fall, Paul Abraham, Oscar Straus, Emmerich Kalman
The house on Behrenstrasse largely owes its worldwide success to Jewish artists. The house was, so to speak, the unofficial meeting place of Berlin’s Jewish showbiz world and an indispensable location for Jewish cultural life – a rare sign of what was possible in Germany and would be possible in the future. A place where Jewish and German hearts met and were able to create a shared coexistence. All this ended in 1933.
Perhaps you can understand my indignation that the Berlin government is considering closing a theater where such important Jewish history actually took place.
The Nazis attempted to erase the Jewish identity of this house, but it survived. Until now.
Is the resolution on anti-Semitism just empty talk or do you really not understand that a theater like the Komische Oper is a living example of that Jewish history that you so desperately want to preserve? Or is comic opera just a series of numbers under a budget calculation, superfluous and just a financially troublesome matter?
The co-director of the Komische Oper clearly explained to you the financial consequences of the suspension of work. They should not be the subject of this letter. My appeal concerns the building and its history. The building and its place in Berlin’s DNA.
I implore you to understand what you are doing and to recognize the enormous consequences that stopping work would have on this great house. I sincerely ask you to reconsider current decisions and allow the restructuring to continue.
Please protect our beloved Komische Oper on Behrenstrasse and do not finish what the Nazis started. Don’t let this be your legacy.
How does the history of the Komische Oper influence contemporary discussions about cultural heritage in Berlin?
Interview Title: ”Preserving Cultural Heritage: A Conversation on the Future of the Komische Oper”
Interviewer (Time.news Editor): Welcome to our discussion today. We’re diving into a topic that’s deeply rooted in Berlin’s cultural landscape—the fate of the Komische Oper, one of the city’s most iconic opera houses. Joining me is Dr. Anna Müller, a cultural historian and expert in Berlin’s artistic heritage. Thank you for being here, Anna.
Dr. Anna Müller: Thank you for having me. It’s crucial we discuss this matter, especially given the recent controversies surrounding the Komische Oper.
Editor: Let’s start with the open letter addressed to key city officials. The letter describes stopping the construction of the Komische Oper as an act of “cultural vandalism.” Can you elaborate on the significance of this institution in Berlin’s history?
Dr. Müller: Absolutely. The Komische Oper is not just an opera house; it is a living testament to Berlin’s tumultuous history over the last 130 years. It has been a place of refuge, joy, and artistic expression during some of the city’s darkest times. From the Weimar Republic to the fall of the Berlin Wall, this theater has been an integral part of the city’s narrative, representing both resilience and creativity.
Editor: The letter passionately defends the building itself as being the heart of the opera. What makes a venue like the Komische Oper irreplaceable in the context of its physical location?
Dr. Müller: The relationship between a theater and its location is profound. The Komische Oper, situated on Behrenstrasse, carries its own legacy, having been the stage for countless performances that resonated with the lives of those in Berlin. When you relocate an institution like this, you not only disrupt its operational function but also sever the deep, intrinsic ties it has with the community and its shared history. It’s akin to uprooting a tree; it may survive temporarily, but it’ll miss its vital connection to the soil that nurtured it.
Editor: The letter mentions the dangers of temporary relocations, emphasizing that the Komische Oper might face permanent decline if it’s forced to operate elsewhere. Why is this concern valid?
Dr. Müller: The concern is very valid. Temporary solutions often become permanent, especially in cultural institutions that rely heavily on audience engagement and legacy. The Schillertheater, while it may serve as a stand-in, lacks the historical context and resources that the Komische Oper offers. With reduced capacity and a disconnect from its heritage, the opera could struggle to maintain its identity and draw in its loyal audience, ultimately leading to its decline.
Editor: The role of Jewish artists in the history of the Komische Oper is also highlighted in the letter. Why is this history particularly significant in today’s socio-political climate?
Dr. Müller: Jewish artists played a crucial role in shaping the cultural landscape of Berlin, particularly in the realm of musical theater. Understanding and celebrating this history is essential, especially in light of the recent rise in anti-Semitism. The Komische Oper’s legacy cannot be divorced from the contributions of these artists, who are part of both its success and its poignant history. Recognizing their impact not only honors the past but also enriches our cultural understanding today.
Editor: With the threats to the Komische Oper’s future, what can citizens do to advocate for its preservation?
Dr. Müller: First and foremost, raising awareness about the opera’s significance is critical. Engaging with local arts organizations, attending performances, and participating in discussions can help gather community support. Additionally, writing to city officials and participating in public forums can convey to decision-makers just how vital this institution is to Berlin’s cultural identity.
Editor: In closing, Anna, what message do you hope resonates with the leaders and communities in Berlin regarding the future of the Komische Oper?
Dr. Müller: I hope they recognize that preserving the Komische Oper is about more than just safeguarding a building—it’s about protecting a piece of Berlin’s soul. Artistic institutions embody our collective histories, dreams, and struggles. By cherishing and investing in them, we honor not only the past but also lay the groundwork for a rich cultural future.
Editor: Thank you, Dr. Müller, for your insights. It’s imperative that we advocate for our cultural treasures, and the Komische Oper is undoubtedly one of them.
