Herbert Fritsch - A creative conqueror of the stage
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Herbert Fritsch, often referred to as the "conqueror of unknown spaces", began his career after training as an actor at the Otto Falckenberg School in Munich. After a long career on the stage, including at the Berlin Volksbühne under Frank Castorf, Fritsch soon found his way into the film industry, where his works were sometimes celebrated at festivals and sometimes the subject of much controversy. His film Die Suppe caused a stir in Locarno, for example, as he recounts during rehearsals for Fin de partie at the Vienna State Opera. This production is his second work at this opera house after Il barbiere di Siviglia (2021).
From the Volksbühne to international success
Fritsch began his career as a theater director with the production of Beckett's Nicht-Ich at the Berlin Volksbühne. After engagements in Lucerne, Halle, Wiesbaden and Leipzig, he returned to Berlin, where the Volksbühne once again became his artistic home. Here he celebrated great success with plays such as Die (s)panische Fliege (2011), der die Mann (2015) and Pfusch (2016). Fritsch creates his own stage spaces and creates unique visual experiences, such as in the legendary production of Dieter Roth's Murmel Murmel (2012), which remained in the Volksbühne's repertoire for a long time and was shown internationally.
Opera as a creative playing field
The musicality and humor of his productions soon attracted the attention of major opera houses. In 2012, Fritsch made his debut in the opera world with Jacques Offenbach's Banditen in Bremen and shortly afterwards staged Péter Eötvös' Tri Sestri in Zurich. Since then, numerous projects have followed at renowned theaters such as the Komische Oper Berlin, the Hamburg State Opera and the Vienna Burgtheater. In addition to operas, Fritsch is also increasingly working on experimental music formats and collaborating with artists such as violinist Patricia Kopatchinskaja and musician Herbert Grönemeyer.
"Fin de partie" - Fritsch's personal Beckett
Fin de partie has accompanied Fritsch from a young age: As an actor, he once played Clov under the direction of Niels-Peter Rudolph. In his own production with György Kurtág's music, Fritsch deliberately sets himself apart from the classic German interpretation. He approaches Beckett's work with a "cheerful" view of transience and focuses on resilience. This creative approach to Beckett demands a lot from his singers - but Fritsch himself is always the most active on stage, leading them with energetic participation.