Everything’s live and free tonight from Berlin

Everything’s live and free tonight from Berlin


norman lebrecht

March 12, 2020

From the Berlin Phil:

The Philharmonie Berlin will be closed until 19 April – as a measure to counteract the spread of the Corona virus. However, the Berliner Philharmoniker and Sir Simon Rattle have decided to give their concert anyway: without an audience, live and free of charge in the Digital Concert Hall (12 March) with repeats on 13 & 14 March. Watch here.


From the Staatsoper Unter den Linden:

If you can’t come to the opera, we bring the opera to you – together with rbbKultur. Tonight you can watch the CARMEN performance under the musical direction of Daniel Barenboim and with Anita Rachvelishvili in the title role online on the website of rbbKultur: bit.ly/2IEOF59 and on our website: www.staatsoper-berlin.de from 7pm!



  • Tim says:

    So clever. Brilliant publicity, and a great way to capitalise on the situation.

    • Trevor 46 says:

      Indeed it is brilliant!
      Not without it’s occasional glitches, but the DCH does offer a good comprehensive list of concerts. I wish more concert halls had similar media opportunities.

      • sam says:

        The BP is at best breaking even with its DCH.

        It’s expensive and barely has enough subscribers.

        If Berlin can’t make it profitable, no orchestra can. Maybe Vienna.

        • Saxon Broken says:

          “Berlin can’t make it profitable”

          However, if the digital concerts are driving regular ticket sales, then it may be worth doing and profitable in the wider sense.

  • kundry says:

    Rattle and Barenboim – two real stars , beacons of positive energy and leadership! I am sure they thought for about a minute and said ” I am not capitulating to the world’s fear and retreat – what can be a positive solution ? ” Respect and hats off, gentlemen!

  • sam says:

    thanks for the link NL!!

    Carmen with Rachvelishvili had a lot of radiant singing, from her, of course, and from Christiane Karg as Micaëla.

    An empty opera house does wonders for resonating acoustics!

    But Rachvelishvili was too…smooth, too slick, in her singing, in her acting, in her dialogue.

    Her French is fluent and she was showing off, dashing off lines nonchalantly, like this is how a Parisienne would say when shopping at the supermarket, when what she needed was to pace her dialogue more dramatically, give it personality, like what a Parisian mistress would say to her hapless married lover alone in their pied-à-terre.

    Alas, an empty opera house creates a cold, emotionally nonresponsive space.