At the Kroll Opera
As regards the position he took up it was a step backwards and yet Zemlinsky could expect more exciting artistic stimuli than were possible in Prague after 16 years. This was true of the performance schedule of the house, which had a strong orientation to modern works and was open to unconventional productions, as well as the encounter with many renowned artists. For instance, while Otto Klemperer was director, conductors such as George Szell, Erich Kleiber and Leo Blech performed here as well as Zemlinsky; great stage directors and designers worked here such as László Moholy-Nagy, Gustav Gründgens, Oskar Schlemmer, Ewald Duelberg, Arthur Maria Rabenalt and Ernst Legal. However, the "Experiment Kroll Opera" was only short-lived. It soon became obvious that the ambitious artistic concept did not always realise its aims, it did not reach the masses and ultimately it became increasingly caught up in political crossfire. As Zemlinsky was mainly responsible for the house's conventional repertoire, as a conductor he had only a few artistic highlights, for instance Les contes d'Hoffmann in the sets by Moholy-Nagy and in 1931 the performance of Weill's Mahagonny in the Theater am Kurfürstendamm (stage-director: Caspar Neher). At this time the Kroll Opera had already been closed for half a year, officially because of budget cuts but in reality it was because of pressure from right-wing radical circles who took exception to the house's style.
After the theatre had been closed, Zemlinsky taught at the Berlin Academy of Music, had many conducting engagements outside Berlin, made some recordings and above all had more time to compose. He concentrated on a new opera that he completed in 1932: Der Kreidekreis (The Chalk Circle) based on Klabund.
After Hitler came to power it was impossible for Zemlinsky to continue his profession in Berlin and in summer 1933 he left the city with Louise and returned to Vienna.