It was during an air raid on the night of April 9, 1941, that RAF bombs shattered Berlin’s premier opera house.
There must have been something darkly poetic about it. A regime which embodied the worst of humanity’s impulses, yet which cloaked itself in the trappings of high culture, had to stand the next morning looking at the ultimate results of their political movement. You wonder what they may have been thinking on as the smoke swirled around the stricken opera house.
The destruction of the Staatsoper seemed to symbolize the painful cost of war to some people, no doubt. But Hitler, a devotee of opera and the classical culture he thought it reflected, ordered its immediate reconstruction despite the increasingly severe wartime shortages. In a defiant display of resilience – or perhaps theatrical propaganda – the opera house reopened on December 12, 1942, with Wilhelm Furtwängler conducting Wagner’s «Die Meistersinger von Nürnberg» to celebrate the building’s 200th anniversary. It was a triumphal return that would be short-lived.
On February 3, 1945, three Allied bombs smashed into the building, this time destroying much of the historic structure. Only the main façade along Unter den Linden survived intact, standing not only as a broken monument to Berlin’s cultural heritage, but also as a sad testament to the utter degradation of culture in general under fascism and extremism. Like Berlin itself, the opera would rise again from the ashes of World War II, but those war years marked the end of a dark chapter in the building’s history, when it served the needs of the Third Reich.
A Royal Vision: Frederick’s Temple to Music
Today, the Staatsoper stands proudly on Unter den Linden boulevard as one of the world’s premier opera venues, the dark days of Hiter’s Reich far behind it.
Yet it’s fascinating to think that the Opera has always been an instrument of government power from its earliest days. Originally commissioned by King Frederick the Great in 1741 and designed by the era’s leading architect, Georg Wenzeslaus von Knobelsdorff, the building was Prussia’s first free-standing opera house. At a time when most German opera was performed in court theaters or temporary structures, this permanent, public opera house represented a radical departure. Frederick the Great was declaring that opera wasn’t just court entertainment but a civic institution – a startling concept that placed Berlin in direct cultural competition with Paris and Vienna. The building’s prominent location on the city’s grandest boulevard further emphasized that Prussia, long seen as a military power, was now asserting itself as a cultural force in Europe.
The building represents the peak of 18th century Prussian court Palladian architecture, with its emphasis on balance and proportionality. Its façade, echoing the style of Roman temples, is dominated by the massive portico with its six soaring Corinthian columns. Above them, the classical triangular pediment bears relief sculptures depicting the power of music: Apollo stands with the Muses, while on either side, lions rest at his feet – symbols of Prussia’s military strength tamed by the arts. Beneath the portico, a Latin inscription in gilded letters reads «FRIDERICUS REX APOLLINI ET MUSIS» («King Frederick to Apollo and the Muses»), a dedication that speaks to Frederick the Great’s vision of Berlin as the «Athens on the Spree.»
That sublime façade leads to an interior which showcases an opulent blend of rococo and classical elements. The main auditorium, reconstructed after World War II and carefully restored most recently between 2010 and 2017, can seat around 1400 people, who sit in a traditional horseshoe arrangement. The acoustics, enhanced during recent renovations, are considered among Europe’s finest.
But it’s the hidden architectural details and the evidence of past incarnations of the building that really fascinate me. The original wooden stage machinery from the 18th century, though no longer in use, remains partially preserved beneath the modern equipment, giving you a rare glimpse into historical theatrical technology. During renovation work in 2015, workers discovered fragments of the original 18th-century wall paintings beneath later additions, providing valuable insights into the building’s baroque origins and original appearance. How they survived the turmoil of the 20th century is beyond me.
Tales from the Stage
The opera house has witnessed its share of historic musical moments. In 1811, Carl Maria von Weber conducted the premiere of his «Silvana» here. Richard Wagner’s «Der fliegende Holländer» debuted in 1844, and Giacomo Meyerbeer’s grand operas drew fashionable crowds throughout the 19th century. One lucky story involves the premiere of Albert Lortzing’s «Zar und Zimmermann» in 1837. During rehearsals, a stage weight nearly crushed the composer, who had been filling in for an ill singer. The near-miss became something of an operatic legend, with performers still touching a particular spot on the stage for luck before important performances.
Another fascinating story concerns the opera’s longtime piano tuner during the Cold War years. Hans-Joachim Schmidt served as the building’s official piano tuner from 1961 to 1989, spanning the entire Berlin Wall era. Because he lived in West Berlin, he needed special permission to cross the border daily. His dedication to maintaining the opera’s instruments made him an unlikely symbol of Berlin’s divided culture, and he kept detailed diaries about the political tensions he witnessed backstage.
Today’s visitors will find a thriving cultural institution that presents approximately 300 performances annually. The repertoire combines beloved classics like Mozart’s «The Magic Flute» and Verdi’s «La Traviata» with contemporary works and innovative productions. Under the musical direction of Daniel Barenboim, the house has maintained its reputation for musical excellence while embracing modern interpretations.
Planning your visit
Planning your visit is straightforward. Tickets can be purchased online through the Staatsoper’s official website, at the box office located in the opera house’s western wing, or via telephone booking. Prices range from €12 for standing room to €175 for premium seats during gala performances. Budget-conscious travelers should note that student discounts are available, and last-minute tickets are often released at reduced prices three hours before performances, assuming any are available.
The opera house offers guided tours in German and English several times weekly, giving you access to areas normally closed to the public, including the historic rehearsal rooms and the impressive backstage machinery. Book these tours in advance, especially during the peak summer tourist season.
For the full opera house experience, arrive early to the performance and have a drink or snack at the elegant Apollosaal, the opera’s historic foyer bar. The dress code is smart casual for regular performances, though opening nights and premieres tend to be more formal affairs.
The Staatsoper Unter den Linden remains more than just an opera house – it’s a symbol of Berlin’s enduring artistic spirit and cultural renaissance. From Frederick the Great’s ambitious vision to today’s world-class productions, the opera house invites visitors to become part of its ongoing story. And as a traveler, that’s a thrilling idea; no matter how small a role you played just by attending a performance, you are now part of this centuries long saga. And as the lights go down, take a moment to reflect on how all too often state power becomes intertwined with high culture. This is Berlin, after all…
