WHY "COMIC"? With the name Komische Oper, founding father Walter Felsenstein in 1947 drew on the immediacy and closeness to the people of the French genre Opéra comique, but also on the Berlin Komische Oper on Friedrichstrasse at Weidendammer Brücke, which had been destroyed in the war and whose artistic director Hans Gregor from 1905 to 1911 was inspired by similar ideas and called for "art without convention, prejudice and artist's vanities. Felsenstein in the program booklet of the opening premiere of the Komische Oper: "Komische Oper is indeed the literal translation of Opéra comique, but - taken literally - it tempts one to a sense that does not quite do justice to the genre of musical theater unmistakably designated by the French name. What is generally called Singspiel, Buffo-Opera, Operette, Spieloper in Germany, applies in part to the genre meant here, but also falls short of it to a large extent in musical as well as intellectual demands. The Komische Oper has set itself the task of cultivating the most artistically exquisite and at the same time most popular works of international musical theater from the past, present and future in its changing repertoire. And this with quite equal emphasis on both parts of the word music theater. For music that does not grow out of the represented process has nothing to do with theater, and a representation that does not identify itself precisely and artistically validly with the music had better do without music." Thus, at the Komische Oper Berlin, a permanent ensemble of virtuoso singer-performers continues to take center stage, presenting the entire spectrum of musical theater, from Claudio Monteverdi's oldest operas to Mozart and world premieres of contemporary works. Since 2012, Barrie Kosky has continued the tradition in his directorship, but has also reflected on the history of the house on Behrenstrasse before 1945. Repressed and forgotten works are once again on the program, rarely or never heard works by composers who disappeared from the scene under the National Socialists and are often unjustly misunderstood to this day. The Berlin jazz operetta of the 1920s and 1930s proves its witty wit under Kosky; freed from the kitsch of the 1950s, some pieces are presented in a completely new light. The Komische Oper Berlin is the legitimate heir of the Metropol Theater.This content has been machine translated.