Der Silbersee

Chicago Opera Theater will present the Chicago premiere of DER SILBERSEE: EIN WINTERMÄRCHEN (THE SILVER LAKE – A WINTER’S FAIRY TALE) by Kurt Weill, with text by Georg Kaiser, from March 4 through March 8 at the Studebaker Theater in Chicago.

Chicago Opera Theater will present the second Discovery Concert of the 2025-26 season. In America’s Embrace: Celebrating Immigrant Composers boasts a wide-ranging program of opera and musical theater.

Chicago Opera Theater has unveiled its 2025/26 Season. The season centers around three operas never before seen in Chicago and more. Learn more about the season and see how to purchase tickets.

'Silverlake will bear whoever must go farther!' (Wer weiter muss, den trägt der Silbersee): this is the final, utopian sentence at the end of Der Silbersee by Kurt Weill and Georg Kaiser. - Severin and Olim, the two protagonists of this grim fairy tale, flee from the winter of a cynical and violent society to the spring of a new life across a magical frozen lake.

The idiosyncratic theatre maker Ersan Mondtag, who made his opera debut at Opera Ballet Vlaanderen with the acclaimed Der Schmied von Gent (Franz Schreker), here offers a contemporary take on Der Silbersee.

Filled with colorful criminals, biting social satire and a brilliant score, The Threepenny Opera opens International City Theatre's 2009 Season at the Long Beach Performing Arts Center. Jules Aaron directs Michael Feingold's translation of the trailblazing musical by Bertolt Brecht and Kurt Weill that became one of the most influential plays of the 20th Century. Darryl Archibald is musical director and Kay Cole choreographs the five-week run February 20 through March 22; low-priced previews begin February 17. First performed in 1928, Brecht and Weill's The Threepenny Opera was a revolutionary musical theater masterpiece that mocked the bourgeois political movement of pre-Hitler Germany. Brecht's brittle, sardonic tale of beggars, thieves and prostitutes, adapted from the 1728 play The Beggar's Opera by John Gay, was a fierce social and political critique, and Weill's innovative score that fused American jazz with German cabaret captured the ironic tone of the lyrics. Part acid social criticism, part bittersweet romance, the now eighty-year old saga of 'Mack the Knife' and his entourage of criminals and whores has never lost its theatrical punch. 'It's a satire on capitalism and corruption told from the viewpoint of the 'little people',' notes Aaron. 'If there was ever time to revive this show, it's now. Michael [Feingold]'s translation is earthy, gritty and very funny. I think it's going to strike a chord with audiences.'

Filled with colorful criminals, biting social satire and a brilliant score, The Threepenny Opera opens International City Theatre's 2009 Season at the Long Beach Performing Arts Center. Jules Aaron directs Michael Feingold's translation of the trailblazing musical by Bertolt Brecht and Kurt Weill that became one of the most influential plays of the 20th Century. Darryl Archibald is musical director and Kay Cole choreographs the five-week run February 20 through March 22; low-priced previews begin February 17. First performed in 1928, Brecht and Weill's The Threepenny Opera was a revolutionary musical theater masterpiece that mocked the bourgeois political movement of pre-Hitler Germany. Brecht's brittle, sardonic tale of beggars, thieves and prostitutes, adapted from the 1728 play The Beggar's Opera by John Gay, was a fierce social and political critique, and Weill's innovative score that fused American jazz with German cabaret captured the ironic tone of the lyrics. Part acid social criticism, part bittersweet romance, the now eighty-year old saga of 'Mack the Knife' and his entourage of criminals and whores has never lost its theatrical punch. 'It's a satire on capitalism and corruption told from the viewpoint of the 'little people',' notes Aaron. 'If there was ever time to revive this show, it's now. Michael [Feingold]'s translation is earthy, gritty and very funny. I think it's going to strike a chord with audiences.'