Gripping Psychological Account of Korngold's "Violanta" at Deutsche Oper Berlin

A taut and compelling production probes the troubled psyche of the title character in this little-known 20th-century opera.

Published on Feb. 11, 2026

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A production of Erich Wolfgang Korngold's one-act opera "Violanta" at the Deutsche Oper Berlin, directed by David Hermann, offers a gripping psychological exploration of the title character's traumatized state of mind following the rape and suicide of her sister. The production uses innovative staging techniques, including a revolving helix of chambers, to delve into Violanta's inner turmoil and confront her past demons.

Why it matters

Korngold's "Violanta" is a relatively obscure 20th-century opera that deserves more attention. This production reveals the work's potential as a compelling music-drama that probes complex psychological themes of guilt, grief, and redemption. The innovative staging techniques employed by director David Hermann bring Violanta's troubled inner world to vivid life, making a strong case for this opera to be taken more seriously by opera companies.

The details

The production opens with a melancholic Dowland lute piece and the unsettled strains of Berg's "Three Pieces for Orchestra," setting the introspective mood. Violanta is depicted as a traumatized, isolated figure on a simple round dais, surrounded by ominous figures in military garb. The Venetian carnival scenes feature sinister, masked revelers who seem to taunt Violanta's fragile psyche. The centerpiece of the staging is a revolving helix of chambers that rise from below the stage, representing Violanta's psychological journey as she confronts a sequence of mannequin-like figures from her past, including her dead sister, a possibly maternal figure, and a peculiar, androgynous Virgin Mary. The production ultimately presents a modern tale of Violanta's redemption, rather than her demise as in the original libretto.

  • The opera is set in 15th-century Venice.
  • Korngold's opera "Violanta" premiered in 1916.

The players

Erich Wolfgang Korngold

The composer of the opera "Violanta", which premiered in 1916 when he was just 17 years old.

David Hermann

The director of the production of "Violanta" at the Deutsche Oper Berlin, known for his innovative and psychologically-probing interpretations.

Violanta

The title character, a woman traumatized by the rape and suicide of her sister, whose inner turmoil is the focus of the opera and this production.

Alfonso

The Neapolitan prince who raped Violanta's sister, and whose appearance triggers Violanta's psychological confrontation with her past.

Simone

Violanta's emotionally distant husband, who is tasked with killing Alfonso but ultimately becomes a therapist-like figure in this production.

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What they’re saying

“Not only does the grim recalling of figures from Violanta's past allude to Paul's obsessive hoarding of his dead partner's relics in Korngold's best-known opera, Die tote Stadt, the sequence of chambers undoubtedly also makes more than a nod to Bartók's Duke Bluebeard's Castle.”

— Curtis Rogers, Music Critic (operatoday.com)

“Unlike the latter, Hermann's production makes Korngold's opera a modern tale of redemption. Whereas Violanta dies in the original scenario [...] here she doesn't become yet another female victim of male desire but survives the attack by Simone.”

— Curtis Rogers, Music Critic (operatoday.com)

What’s next

The production's innovative approach to Korngold's rarely-performed opera has generated significant interest, and there are plans for it to tour to other major opera houses in Europe.

The takeaway

This production of "Violanta" at the Deutsche Oper Berlin demonstrates the continued relevance and dramatic potential of early 20th-century operas that have been overshadowed by more famous works. Director David Hermann's psychologically-probing interpretation brings Korngold's score to vivid life, making a compelling case for this opera to receive more attention and productions by opera companies.