Where light meets art
A behind-the-scenes look at the Berlin Staatsoper Unter den Linden.
Irene, what inspired you to start a career in lighting technology and how did you make it to your current position?
I knew for a long time that I wanted to work in theater, just not on stage. I was fascinated by the combination of creative work and technical craftsmanship in lighting.
In my career development, besides the great joy I find in my work and a bit of dedication, chance has often played a role. I’m rather spontaneous and get bored if I do the same thing for too long. So, I took on offers that sounded interesting without thinking much about the next career steps or professional goals. I quickly realized that I don’t handle the financial uncertainty of freelancing very well. In that sense, I consider myself very lucky to have been able to take on new, exciting tasks at the Staatsoper over such a long period.
You've been working at the Staatsoper Unter den Linden in Berlin since 2008. Throughout this time, you've been involved in many significant projects. Could you share some of the biggest challenges you've faced in your role with the lighting department? And are there any particular productions or moments that stand out as highlights for you?
At the moment, we're preparing to convert the front lighting from halogen to LED next year, while also reducing the number of fixtures installed in the auditorium by about half. During regular operations, we’ll be adapting around 30 repertoire productions for the upcoming season, switching from our profile spotlights to moving lights, without scheduling extra rehearsals. Maintaining quality under our typically tight rehearsal timelines while achieving the same lighting effects is a major challenge.
A standout production was definitely The Ring of the Nibelung, which we staged in 2022 under the direction of Dimitri Tcherniakov. We developed it in under a year from initial concept to premiere—a very ambitious timeline. Presenting all four premieres of these complex operas within a single week was challenging in itself, but technically, this production became a real showcase of our capabilities. The set involved twelve two-story rooms of varying widths that moved across the stage in all spatial dimensions and directions in different combinations. We installed about two kilometers of LED strips and many other lighting elements within the rooms, powered by a total of four different systems.
You've been involved in productions ranging from classical pieces to contemporary performances at the Staatsoper Unter den Linden. How do you adapt your approach to lighting to suit the different genres and moods of these productions?
Lighting doesn’t exist in isolation; it’s part of the overall concept. Initial ideas for the lighting are developed based on the musical composition, the director’s approach, and the set and costume design. Often, broad directional choices are already suggested or at least strongly implied by the design concept. The rest then unfolds through numerous discussions and throughout the rehearsal process.
When it comes to meeting the lighting requirements and achieving the desired quality for different productions, do you choose different types of lighting equipment and technologies? In other words, how do you decide on the best lighting fixtures for each piece? What criteria are crucial when selecting the right lighting for a specific production?
The first question is always about the kind of lighting effect we want to achieve. Once that’s clear, we consider how best to accomplish it. The design of the surfaces and costumes plays an important role, as do the specific characteristics of the fixtures and the light sources they contain. Even with similar light sources, the nature of the lighting effect can often change or shift. My decisions are based on these considerations.
What trends do you see in lighting technology for theatre productions, and how do they influence your work?
LED strips and battery-operated, wireless lamps of theater-quality have been transformative. Effects that were complicated or even impossible to achieve just a few years ago can now be created instantly. These technologies have become essential additions to our inventory and will likely continue to play a significant role.
On the other end of the spectrum, I see that new large (and motorized) HMI lamp heads will likely become harder to find in the future. However, they continue to play an important role on our stage, especially as there are still no comparable, theater-suitable LED alternatives on the market. In this technological gap, I’m counting on a reliable supply of bulbs to keep the existing equipment in use.
Halogen lamps are increasingly being replaced by more energy-efficient technologies in many sectors. However, we understand they are still used at the Staatsoper Unter den Linden. In your view, are there specific reasons or even advantages for using halogen lamps?
There are many compelling arguments for using LEDs. However, for certain halogen applications – especially low-voltage spotlights – I haven't yet found a convincing substitute. I’ve yet to see LEDs replicate the same punch combined with the warmth and softness of light that halogen offers. For instance, a golden set design lit by low-voltage halogen at 20-30% intensity has a vibrant glow that, to my knowledge, LEDs cannot yet achieve.
In lighting, as much as it involves technology, it ultimately comes down to artistry. So, we also have to consider factors beyond just cost-efficiency and sustainability – though these are essential. Removing halogen light where no satisfactory replacement exists would mean sacrificing certain expressive possibilities.
In your personal opinion, how do you assess the future of halogen lamps in the context of stage lighting? Do you see them remaining an indispensable element, and if so, why? Or do you foresee a complete shift towards other technologies in the long term?
I suspect there will still be theaters that want to use halogen lamps for quite some time. Converting to new technologies in areas where good alternatives already exist is extremely costly in the short term. Even with subsidies, I think it will take a while before this shift is widespread, though I believe it’s both inevitable and beneficial. In the long run, I imagine halogen use will narrow down to specialized applications, like the low-voltage fixtures and Svoboda lights I mentioned.
But before they can be used, the lamps first need to be manufactured. I certainly hope that manufacturers will continue to make halogen lamps available.
Finally, what advice would you give to young people who want to start a career in lighting technology in the theater industry? Are there specific skills or interests they should have? Or is there something you wish you had known at the beginning of your career?
We’ve been training event technology professionals for many years, and I’ve noticed that apprentices who come in with self-motivation, ask questions, and “see the work” tend to gain the most from their training and grow into highly valued colleagues. In theater especially, I think it’s important to look beyond just the technical side. Having a real interest in the artistic aspects of what’s happening on stage and understanding why it’s happening is absolutely essential.
