© Nysos Vasilopoulos
Weekend Tips: What to Do This Weekend in Berlin
January 23 to 25, 2026: Events, festivals, exhibitions and more things to do for your perfect weekend in Berlin. more
L'italiana in Algeri
Date details
- Date Thursday, 02/April/2026 19:30 (5 more dates)
- Venue Deutsche Oper Berlin
- Address Bismarckstraße 35, 10627 Berlin-Charlottenburg
- Price from €32.10
Book tickets for this date
Public transportation
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Underground
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U Deutsche Oper
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U Bismarckstr.
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U Richard-Wagner-Platz
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U Wilmersdorfer Str.
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U Deutsche Oper
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Bus
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U Deutsche Oper
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U Bismarckstr.
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Warburgzeile
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Bismarckstr./Kaiser-Friedrich-Str.
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Berlin, Goethestr.
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U Richard-Wagner-Platz
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U Wilmersdorfer Str./S Charlottenburg
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Berlin, Kantstr./Leibnizstr.
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Eosanderstr.
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Zillestr.
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U Sophie-Charlotte-Platz
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U Deutsche Oper
Part of:
L’Italiana in Algeri
Motiv: L'Italiana in Algeri – Ruth Tromboukis, Sandra Kastl
© Ruth Tromboukis, Sandra Kastl
After LA RONDINE and DIE FLEDERMAUS, Rolando Villazón returns as director to demonstrate his comic talent with one of bel canto's great operatic comedies. The fact that L'ITALIANA continues to inspire enthusiasm today is undoubtedly due to the musical sophistication that makes Rossini the undisputed king of opera buffa... Conductor: Alessandro De Marchi; Director: Rolando Villazón; With, among others, Tommaso Barea, Jonah Hoskins, Nadezhda Karyazina, Misha Kiria
Following on from Puccini’s LA RONDINE and Johann Strauss’s DIE FLEDERMAUS, Rolando Villazón returns to the Deutsche Oper Berlin to tackle one of the great comedies of the bel canto genre and demonstrate that he can do humour. L’ITALIANA IN ALGERI remains one of the most popular works by Gioacchino Rossini, who is said to have dashed the piece off in less than a month and was a tender 21 years of age when the opera premiered at Venice’s Teatro San Benedetto in 1813. It’s a testament to Rossini’s boldness that he chose material that had been set to music only a few years before by his more experienced colleague Luigi Mosca. His audacity paid off, with the subsequent triumph bringing him immediate fame across Italy and widespread popularity soon afterwards throughout Europe.
Mustafa, the Bey of Algiers, has grown weary of his wife Elvira. This wry tale of his amorous extramarital aspirations and the schemes of the reunited lovers Lindora and Isabella to thwart him, coupled with the exotic setting, resonated strongly with audiences of the day. The rising fascination since the 18th century for non-European cultures was finding artistic expression and making inroads into the world of opera. That said, it is undoubtedly thanks to Rossini’s musical sophistication that L’ITALIANA continues to excite operagoers today and the maestro remains the undisputed king of opera buffa. Many of the solo numbers are straight out of the bel canto playbook – renditions such as Lindoro’s sweeping cavatina “Languir per una bella”, which pushes even the best tenor to the limit, and Isabella’s famous introductory aria “Cruda sorte” with its rich plunges and rousing coloraturas. So it was that Rossini found a style with L’ITALIANA which earns him the reverence of fans to this day.
Following on from Puccini’s LA RONDINE and Johann Strauss’s DIE FLEDERMAUS, Rolando Villazón returns to the Deutsche Oper Berlin to tackle one of the great comedies of the bel canto genre and demonstrate that he can do humour. L’ITALIANA IN ALGERI remains one of the most popular works by Gioacchino Rossini, who is said to have dashed the piece off in less than a month and was a tender 21 years of age when the opera premiered at Venice’s Teatro San Benedetto in 1813. It’s a testament to Rossini’s boldness that he chose material that had been set to music only a few years before by his more experienced colleague Luigi Mosca. His audacity paid off, with the subsequent triumph bringing him immediate fame across Italy and widespread popularity soon afterwards throughout Europe.
Mustafa, the Bey of Algiers, has grown weary of his wife Elvira. This wry tale of his amorous extramarital aspirations and the schemes of the reunited lovers Lindora and Isabella to thwart him, coupled with the exotic setting, resonated strongly with audiences of the day. The rising fascination since the 18th century for non-European cultures was finding artistic expression and making inroads into the world of opera. That said, it is undoubtedly thanks to Rossini’s musical sophistication that L’ITALIANA continues to excite operagoers today and the maestro remains the undisputed king of opera buffa. Many of the solo numbers are straight out of the bel canto playbook – renditions such as Lindoro’s sweeping cavatina “Languir per una bella”, which pushes even the best tenor to the limit, and Isabella’s famous introductory aria “Cruda sorte” with its rich plunges and rousing coloraturas. So it was that Rossini found a style with L’ITALIANA which earns him the reverence of fans to this day.
Artists/Collaborators: Alessandro De Marchi (Musikalische Leitung), Rolando Villazón (Inszenierung), Harald Thor (Bühne), Brigitte Reiffenstuel (Kostüme), Stefan Bolliger (Licht), Ramses Sigl (Choreografie), Ahmed Chaer (Wrestling-Einstudierung), Jeremy Bines (Chöre), Konstantin Parnian (Dramaturgie), Tommaso Barea (Mustafà), Hye-Young Moon (Elvira), Arianna Manganello (Zulma), Artur Garbas (Haly), Jonah Hoskins (Lindoro), Nadezhda Karyazina (Isabella), Misha Kiria (Taddeo), Chor der Deutschen Oper Berlin (Chöre), Orchester der Deutschen Oper Berlin (Orchester), Opernballett der Deutschen Oper Berlin (Tänzer*innen des)
Runtime: Sun, 08/03/2026 to Thu, 02/04/2026
45 minutes before beginning: Introduction (in German language)
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