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Weekend Tips: What to Do This Weekend in Berlin
April 24 to 26, 2026: Events, festivals, exhibitions and more things to do for your perfect weekend in Berlin. more
Belshazzar
Date details
- Date Friday, 08/May/2026 19:00 (1 more date)
- Venue Komische Oper Berlin: Schillertheater - Großer Saal
- Address Bismarckstraße 110, 10625 Berlin-Charlottenburg
Public transportation
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Train (S-Bahn)
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S Savignyplatz
- S3
- S5
- S7
- S9
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S Savignyplatz
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Underground
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Bus
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Marchstr.
- M45
- 245
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Bismarckstr./Leibnizstr.
- 101
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U Ernst-Reuter-Platz
- 245
- M45
- N2
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Otto-Suhr-Allee/Leibnizstr.
- 101
- M45
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Berlin, Goethestr.
- 101
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U Deutsche Oper
- N2
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Steinplatz
- 245
- M45
- N2
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Berlin, Schlüterstr.
- M49
- X34
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Guerickestr.
- 101
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Warburgzeile
- M45
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Berlin, Kantstr./Leibnizstr.
- M49
- X34
- 101
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Marchbrücke
- 245
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Berlin, Savignyplatz
- M49
- X34
- S7
- S9
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Dovebrücke
- 245
-
Marchstr.
Part of:
Belshazzar
– Jan Windszus Photography
© Jan Windszus Photography
The ruling strongman is back—the kind of man who wipes the slate clean, knocks things over, takes action, and grabs what he wants, all while feeling magnificent, youthful, and cheerfully destructive. King Belshazzar was one such figure, a despotic ruler from biblical times...
During a bacchanalian royal banquet, King Belshazzar taunts the Jewish god Jehovah and declares, ‘I am the King of Babylon!’ But at midnight, mysterious writing appears on the wall: MENE, MENE, TEKEL UPHARSIN. No one can interpret it. The wise Queen Mother wants to consult the Jewish prophet Daniel. Once summoned, he reveals the meaning. MENE: the God you’ve blasphemed has numbered your days and will bring them to an end. TEKEL: you’ve been weighed and found wanting. UPHARSIN: your kingdom will be divided between the Medes and the Persians. The oratorio ends with the prophecy fulfilled: the death of the tyrant king and the joyful deliverance of both Babylonians and Jews from his rule.It’s the perfect material for Herbert Fritsch, who’s happily back for another run. In his hands, the story of King Belshazzar is transformed, with Handel’s oratorio becoming a wild dance. His unrestrained theatrical vision propels its characters through a tumult of psychological states—bluster and joy, love and hate, hope and hubris, horror and panic. Every emotional space finds its echo in Handel’s music. It’s from the finely woven textures of this baroque masterpiece that Fritsch extracts the motifs for his grotesque corporeal compositions. ‘Everything must be brought into a raging order’ wrote Antonin Artaud, offering a mantra that could likewise apply to this evening of Handel and Fritsch at the Komische Oper. Everyone’s on the edge of their seats—Fritsch included!
3 hr incl. intermission
During a bacchanalian royal banquet, King Belshazzar taunts the Jewish god Jehovah and declares, ‘I am the King of Babylon!’ But at midnight, mysterious writing appears on the wall: MENE, MENE, TEKEL UPHARSIN. No one can interpret it. The wise Queen Mother wants to consult the Jewish prophet Daniel. Once summoned, he reveals the meaning. MENE: the God you’ve blasphemed has numbered your days and will bring them to an end. TEKEL: you’ve been weighed and found wanting. UPHARSIN: your kingdom will be divided between the Medes and the Persians. The oratorio ends with the prophecy fulfilled: the death of the tyrant king and the joyful deliverance of both Babylonians and Jews from his rule.It’s the perfect material for Herbert Fritsch, who’s happily back for another run. In his hands, the story of King Belshazzar is transformed, with Handel’s oratorio becoming a wild dance. His unrestrained theatrical vision propels its characters through a tumult of psychological states—bluster and joy, love and hate, hope and hubris, horror and panic. Every emotional space finds its echo in Handel’s music. It’s from the finely woven textures of this baroque masterpiece that Fritsch extracts the motifs for his grotesque corporeal compositions. ‘Everything must be brought into a raging order’ wrote Antonin Artaud, offering a mantra that could likewise apply to this evening of Handel and Fritsch at the Komische Oper. Everyone’s on the edge of their seats—Fritsch included!
3 hr incl. intermission
Artists/Collaborators: Wolfgang Behrens (Dramaturgie), David Cavelius (Chöre), Olaf Freese (Licht), Herbert Fritsch (Inszenierung, Bühnenbild und Kostüme), George Petrou (Musikalische Leitung), Olga Steiner (Mitarbeit Bühnenbild), Sascha-Alexander Todtner (Mitarbeit Kostüm), Robert Murray (Belshazzar), Soraya Mafi (Nitocris), Susan Zarrabi (Cyrus), Ray Chenez (Daniel), Philipp Meierhöfer (Gobrias), Taiki Miyashita (Arioch), Patricio Amaya (Arioch), Philipp Schreyer (Ein Bote), Myung Hoon Park (Ein Bote), Ambar Arias (Soli Perser), Sophia Linden (Soli Perser), Annette Hörle (Soli Perser), Dominika Koscielniak (Soli Perser), Simon Wallfisch (Soli Perser), Tim Dietrich (Soli Perser), Takahiro Namiki (Soli Perser), Chorsolisten der Komischen Oper Berlin (Babylonier, Juden, Perser und Meder), Vocalconsort Berlin (Babylonier, Juden, Perser und Meder), Orchester der Komischen Oper Berlin (Orchester)
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