belvedere edition
Johann Sebastian Bach's Goldberg Variations is an impressive example of the art of variation. Otherwise also known as Part Four of Bach's Clavier-Ubung 'consisting of an Aria and Diverse Variations' intended to 'refresh the spirits of connoisseurs'.
During the pandemic, the pianist Ragna Schirmer performed it for a small audience, mentally dedicating each variation to a different audience member. The result is a magnificent achievement that affords masterly proof of her passion for this work, a passion that has evolved over several decades.
During the pandemic, the pianist Ragna Schirmer performed it for a small audience, mentally dedicating each variation to a different audience member. The result is a magnificent achievement that affords masterly proof of her passion for this work, a passion that has evolved over several decades.
The White Horse Inn is the musical epitome of holiday happiness: Merry people under the southern sun go their affections, enjoy sailing and Sachertorte and fall in love with each other (or not). The address of luck: the tourist glut St. Wolfgang. Hotel Zum Weissen Rossl.
The number waiter Leopold (Toni Pfister) is still in love with the Rossl landlady (Miss Schneider), who in turn keeps an eye on the regular guest. Otto Siedler (Max Raabe), who in turn would like to marry Ottilie (Lilo Pfister), which is the Miss daughter of the jersey manufacturer Giesecke (Gerd Wameling), who in turn is in a bitter legal dispute with the beautiful Sigismund (Ursli Pfister), who secretly pays the Gos to poor Professor Hinzelmann (Otto Sander) because he is madly in love with his daughter Klarchen (Meret Becker). And then Emperor Franz Joseph II (Walter Schmidinger) comes into play...
The fabric of the White Rossl is well known, but we have rarely seen it so beautifully reveling in the kitsch and cliche world of the 1930s.
The number waiter Leopold (Toni Pfister) is still in love with the Rossl landlady (Miss Schneider), who in turn keeps an eye on the regular guest. Otto Siedler (Max Raabe), who in turn would like to marry Ottilie (Lilo Pfister), which is the Miss daughter of the jersey manufacturer Giesecke (Gerd Wameling), who in turn is in a bitter legal dispute with the beautiful Sigismund (Ursli Pfister), who secretly pays the Gos to poor Professor Hinzelmann (Otto Sander) because he is madly in love with his daughter Klarchen (Meret Becker). And then Emperor Franz Joseph II (Walter Schmidinger) comes into play...
The fabric of the White Rossl is well known, but we have rarely seen it so beautifully reveling in the kitsch and cliche world of the 1930s.
The celebrated actor Elisabeth Vogler has fallen silent. She doesn't speak anymore. Together with her nurse Alma the two unequal women spend a carefree summer - until the situation between them shifts. Where is the line between one's own identity and assigned roles? How is it possible to slip into a different life? Director Anna Bergmann raises questions about power, trust and roles images and shows an excellent adaption of Ingmar Bergman's experimental film.
A film by Uwe Janson
Baal is young, Baal is hungry, he burns in disunity and the need for rebellion, upheaval, controversy. A battle between absolute numbness and overpowering aliveness. Baal's eagerness to live is not just a victim of women, patrons, critics, admirers and his best friend, but ultimately Baal himself. Uwe Janson's adaptation of Bertolt Brecht's classic is a wild hymn of self-love with a congenial Matthias Schweighofer in the lead role.
Uwe Janson recounts the Baal with young actors, without denying the theatrical origin. In the montage of the image sequences, the film follows an emotional, dynamic staging that dares to tell a contemporary Baal without betraying the original Baal.
Bertolt Brecht's earliest drama has remained his most recent, his wildest. Baal tells of a young artist, who is traded by society as a genius, but does not want to get involved by an art and business enterprise. Baal polarizes, shakes and inflames equally. The piece is a rejection of indifference and leveling of man, a wild eulogy of self-love. The text is compiled from the three Brechtian Baal versions and transformed into a scenic contrast. Filming locations were Berlin and the forest in Markische Schweiz near Buckow.
Baal, congenially embodied by Matthias Schweighofer,...
Baal is young, Baal is hungry, he burns in disunity and the need for rebellion, upheaval, controversy. A battle between absolute numbness and overpowering aliveness. Baal's eagerness to live is not just a victim of women, patrons, critics, admirers and his best friend, but ultimately Baal himself. Uwe Janson's adaptation of Bertolt Brecht's classic is a wild hymn of self-love with a congenial Matthias Schweighofer in the lead role.
Uwe Janson recounts the Baal with young actors, without denying the theatrical origin. In the montage of the image sequences, the film follows an emotional, dynamic staging that dares to tell a contemporary Baal without betraying the original Baal.
Bertolt Brecht's earliest drama has remained his most recent, his wildest. Baal tells of a young artist, who is traded by society as a genius, but does not want to get involved by an art and business enterprise. Baal polarizes, shakes and inflames equally. The piece is a rejection of indifference and leveling of man, a wild eulogy of self-love. The text is compiled from the three Brechtian Baal versions and transformed into a scenic contrast. Filming locations were Berlin and the forest in Markische Schweiz near Buckow.
Baal, congenially embodied by Matthias Schweighofer,...
Rarely has the hopelessness of Buchner's Woyzeck been so movingly portrayed as it is in this production. Ulrich Rasche's sets conjure up a series of breathtaking images, each of them reflecting the situation onstage. This production opens up a direct route to the narrative that is hard to resist.
One of the most extraordinary musical prodigies of our day, Alma Deutscher presents a modern version of the beloved fairy tale blending humor, poetry, and the magic of theatre. Deutscher began composing her Cinderella at age 8, but without directly taking up the original tale by the Brothers Grimm, preferring to give music the predominant place in her spectacle. The title character here is also a young composer, envied by her stepmother and stepsisters for her talent and forced to toil away as a mere copyist. But compelled by the same love for art, Prince Charming-a poet, in Deutscher's retelling-comes to Cinderella's aid...
The courageous Fatima defeats the evil Lord of the Castle in a wager and frees the dreams he has held captive. Drawing on a story by Rafik Schami, Johanna Doderer created this children's opera in 2015 to fulfil a commission from the Vienna State Opera.
The physicist Mobius has discovered the so-called 'world formula' and locked himself up in a sanatorium for the mentally ill so that his research results do not fall into the wrong hands. But 'chance coincides with planned people when they reach the opposite of their goal'. Durrenmatt's comedy, premiered in 1962 and long since become a classic, was re-staged in 2013 by Herbert Fritsch at the Zurich Schauspielhaus 'extremely ingeniously'.
Venue Classroom. A young teacher tries to teach Schiller to her students. But these show no interest. Suddenly she falls in the scramble a gun in the hands. She hesitates for a moment, then forces her students to play Schiller at gunpoint. This kidnapping is not only an abysmal dance between thriller, comedy and melodrama, but also the pleasurable and provocative tearing of supposedly clear roles and identity cliches.
Germany an immigration country - integration debate - and all already discussed a thousand times. But here, in the 'crazy blood', a theatrical performance triumphs over all the debates. Instead of ideological convulsion: the playful fight. A school class fight somewhere in Germany, to laugh, wonder, think. Exciting performed by the young, great actors of Ballhaus Naunynstrasse in Berlin-Kreuzberg.
The director Nurkan Erpulat , together with the dramaturge Jens Hillje , also authored the piece Crazy Blood .
It is based on the idea of a French film, but Hillje and Erpulat have completely transferred the conflicts of a school class into German, changed the plot and developed many dramatic and linguistic details only in collaboration with the actors and actresses.
At first, the ensemble lounged askew, sacking, silently monkeying itself and the audience,...
Germany an immigration country - integration debate - and all already discussed a thousand times. But here, in the 'crazy blood', a theatrical performance triumphs over all the debates. Instead of ideological convulsion: the playful fight. A school class fight somewhere in Germany, to laugh, wonder, think. Exciting performed by the young, great actors of Ballhaus Naunynstrasse in Berlin-Kreuzberg.
The director Nurkan Erpulat , together with the dramaturge Jens Hillje , also authored the piece Crazy Blood .
It is based on the idea of a French film, but Hillje and Erpulat have completely transferred the conflicts of a school class into German, changed the plot and developed many dramatic and linguistic details only in collaboration with the actors and actresses.
At first, the ensemble lounged askew, sacking, silently monkeying itself and the audience,...
The film follow the musical form of theme and variations. New connections constantly emerge from the nexus of figures and music, and always at the same sites. Everything seems to be in flux, cyclic and linear. Lacking a clear narrative structure, the film transports the spectators into a poetic kaleidoscope of human states of mind and yearnings. A conjuring act abounding in beauty and depths of sorrow.
Arkady and Bazarov, two young students, return to the provinces for the summer. They are both very sceptical of the society of their times. Their activism has the sole purpose of creating the world anew. Where do you draw the line between inner revolt and superficial conformity, between steadfast defiance and compromise?
Fathers and Sons shows the growing divide between two generations, portraying the eternal conflict between the young and old and the contrast between change and preservation. It is a story of personal aspirations and legacies.
Fathers and Sons shows the growing divide between two generations, portraying the eternal conflict between the young and old and the contrast between change and preservation. It is a story of personal aspirations and legacies.
World premiered with a great success at the Vienna State Opera in 2019, Persinette retells the famous Rapunzel fairy tale. To the late-romantic music of Albin Fries , children's opera specialist Matthias von Stegmann takes us into the world rich in images, allowing us to sympathise and feel the excitement. Will Persinette escape her imprisonment in the high tower?
Stefan Bachmann stages Max Frisch's drama as a highly musical horror trip with powerful imagery, giving full scope to the suggestive power of the theatre.
A bank clerk bludgeons a janitor to death: with no reason, no motive, just like that. This murderer and his "senseless" deed totally derail the general prosecutor whose job it is to bring the charge. In a mad rush, he leaves his well-ordered existence and becomes an axe-wielding murderer, initiating a bloody movement against the socio-political status quo. Stefan Bachmann takes the subtitle of this "street ballad" at face value. The multifaceted live music, a cast who are clearly going all out and Olaf Altmann's congenial spatial positing create a nightmarish maelstrom that sees the story of "Count Oederland with the axe in his hand" as timeless while at the same time evoking countless highly topical associations.
A bank clerk bludgeons a janitor to death: with no reason, no motive, just like that. This murderer and his "senseless" deed totally derail the general prosecutor whose job it is to bring the charge. In a mad rush, he leaves his well-ordered existence and becomes an axe-wielding murderer, initiating a bloody movement against the socio-political status quo. Stefan Bachmann takes the subtitle of this "street ballad" at face value. The multifaceted live music, a cast who are clearly going all out and Olaf Altmann's congenial spatial positing create a nightmarish maelstrom that sees the story of "Count Oederland with the axe in his hand" as timeless while at the same time evoking countless highly topical associations.
Anna Gmeyner was born in Vienna in 1902 and, like the female heroes in her plays, remained a self-determined outsider, a figure of transit. The technical advancements and the reactionary bourgeoisie of her time were the inspiration for her first play, Automatenbufett , written in 1932. The play is set in a restaurant where food, beverages and even music can be ordered at the touch of a button. This restaurant attracts a horde of citizens from a small town. They are greedy and eccentric, selfish and depraved, and are dreaming of better economic times. Swiss director Barbara Frey brings Anna Gmeyner's almost - forgotten tragicomical folk back onto the stage.
Goethe's Faust in the staging of Peter Stein. The story of a person who wants to reach the limits of his knowledge and his talents - and goes beyond them - is narrated, with both loving and insistent accuracy. His constant failure and the ensuing devastation, the tireless new beginnings, finally his death and the embedding of his dying into an overarching endowment of meaning form the dramatic arc of poetry.
This all-encompassing work has never been shown in its full text form by a professional theater company in temporal and local unity. In the cultural program of EXPO 2000 Hannover and later in Berlin, Peter Stein realized his dream. Under the sometimes astonished, partly skeptical glances of audience and critics he ventured the actual premiere of Faust.
With the congenial Bruno Ganz as title hero, the ensemble conquered the unplayable in a truly unique stage marathon: a celebration of language! The fourfold cast of the Mephisto figure, as well as a constant change of the scenes, which the audience had to experience over two dramatic theater days, were further highlights of this production.
Television directors Peter Schonhofer (Faust I) and Thomas Grimm (Faust II) have adapted the theatrical performance in a combination of documentary and cinematic-scenic recording...
This all-encompassing work has never been shown in its full text form by a professional theater company in temporal and local unity. In the cultural program of EXPO 2000 Hannover and later in Berlin, Peter Stein realized his dream. Under the sometimes astonished, partly skeptical glances of audience and critics he ventured the actual premiere of Faust.
With the congenial Bruno Ganz as title hero, the ensemble conquered the unplayable in a truly unique stage marathon: a celebration of language! The fourfold cast of the Mephisto figure, as well as a constant change of the scenes, which the audience had to experience over two dramatic theater days, were further highlights of this production.
Television directors Peter Schonhofer (Faust I) and Thomas Grimm (Faust II) have adapted the theatrical performance in a combination of documentary and cinematic-scenic recording...
Goethe's epistolary novel The Sorrows of Young Werther may safely be described as one of the key works of literature in German. It stands for the feeling of life in a time of departure and, as it were, for a movement that attracted many young intellectuals and which was later called the time of the Sturm und Drang .
Characteristic of the works of this epoch is the contemplation of man in his own destiny, which is characterised by pain and passion in a social order in which class distinctions and arbitrariness of the aristocracy hinder the free development of the individual. However, the criticism of the political situation is only one - important - side aspect of the 'storm and stress'. The focus is on the negotiation of the emotional confusion and misguidance to which man is capable in his individual being. The main thrust of this powerful movement is dedicated to the emotional furore, which at the same time already has deep romantic traits. What happens when man in his longing for love unleashes his pursuit, allows himself more than to think freely, to feel free? The emotional exploration of the world from the perspective of people who have returned to focus unleashes the mind and leads to a revolution in the veins.
Strictly speaking, Uwe Janson's Werther is not...
Characteristic of the works of this epoch is the contemplation of man in his own destiny, which is characterised by pain and passion in a social order in which class distinctions and arbitrariness of the aristocracy hinder the free development of the individual. However, the criticism of the political situation is only one - important - side aspect of the 'storm and stress'. The focus is on the negotiation of the emotional confusion and misguidance to which man is capable in his individual being. The main thrust of this powerful movement is dedicated to the emotional furore, which at the same time already has deep romantic traits. What happens when man in his longing for love unleashes his pursuit, allows himself more than to think freely, to feel free? The emotional exploration of the world from the perspective of people who have returned to focus unleashes the mind and leads to a revolution in the veins.
Strictly speaking, Uwe Janson's Werther is not...
In a crack, a rat's gait, always bent and in the half-light, he causes the people in their misery to burn up emotionally. Olaf Altmann's ingenious set looks like a burning glass and intensifies the view, sharpens our eyes and ears for the events on the margins of society, a society that risks losing the weaker and the weakest, while the strong kill the sinking ship, until there is nothing left. And what an ensemble is director Thalheimer available! The Deutsche Theatre in Berlin at the height of its powers.
Former theatre director Harro Hassenreuter has set up a theater fund in his attic and gives private acting lessons. In this attic a fatal trade is concluded: Mrs. John, whose new-born has died, buys the unwanted child from the pregnant maid Pauline Piperkarcka and presents it as her own. When Pauline regrets the trade and wants the child back, Ms. John responds in panic. She exchanges the baby for her neighbour's terminally ill child and offers her criminal brother Bruno to frighten Pauline. Bruno kills Pauline and the desperate Mrs. John takes her own life.
Former theatre director Harro Hassenreuter has set up a theater fund in his attic and gives private acting lessons. In this attic a fatal trade is concluded: Mrs. John, whose new-born has died, buys the unwanted child from the pregnant maid Pauline Piperkarcka and presents it as her own. When Pauline regrets the trade and wants the child back, Ms. John responds in panic. She exchanges the baby for her neighbour's terminally ill child and offers her criminal brother Bruno to frighten Pauline. Bruno kills Pauline and the desperate Mrs. John takes her own life.
With mechanical looms and cheap imported cotton, wages have fallen and poverty among weavers has risen. The manufacturer Thirtiger wants to push the wages even further and has no sympathy for the complaints of his workers. Hunger drives the weavers to fight, the despair to violence.
Hauptmann's drama written in the Silesian dialect deals with the Weber uprising of 1844. The author has studied the historical sources for his social drama, quotes verbatim and takes over the course of the insurrection down to the last detail.
Hauptmann's drama written in the Silesian dialect deals with the Weber uprising of 1844. The author has studied the historical sources for his social drama, quotes verbatim and takes over the course of the insurrection down to the last detail.
"Especially difficult in the cinematic transmission was to bring the loosely arranged theater scenes Horvaths into a cinematic dramaturgy. This is how a completely new, independent script was created. We did not want to make a 'filmed theatre' with a kind of art language, but a modern film that is understood by people who do not know Horvath. However, there is still the 'Horvath core' in the film. We were very happy when a board member of the Horvath Society assured us that the writer would have been happy about the film.
Extraordinary is at Kasimir and Karoline certainly the shooting under live conditions - without barriers - at the Oktoberfest. The Oktoberfest is a melting pot of all social classes. A perfect background to tell a modern story about social barriers, the power of money and human yearnings. Despite the small cameras, the look on many drunks at the Oktoberfest seemed like a magnet. When Golo Euler and Robert Gwisdek played their racket scene, a drunk man intervened and missed our lighting a bloody nose. Despite the feature film plot, the film gives viewers a very realistic insight into Wiesn." (Ben von Grafenstein)
Extraordinary is at Kasimir and Karoline certainly the shooting under live conditions - without barriers - at the Oktoberfest. The Oktoberfest is a melting pot of all social classes. A perfect background to tell a modern story about social barriers, the power of money and human yearnings. Despite the small cameras, the look on many drunks at the Oktoberfest seemed like a magnet. When Golo Euler and Robert Gwisdek played their racket scene, a drunk man intervened and missed our lighting a bloody nose. Despite the feature film plot, the film gives viewers a very realistic insight into Wiesn." (Ben von Grafenstein)
Humperdinck is generally known for his fairytale opera Hansel und Gretel , a Christmas favourite, first staged in Weimar in 1893. His career brought early contact with Wagner and subsequently with his family as music tutor to Siegfried Wagner, the composer's son. He held various teaching positions of some distinction and enjoyed a fruitful collaboration in the theatre with Max Reinhardt, providing incidental music for a number of Shakespearean productions in Berlin.
The charming melodies make it an opera that children enjoy. However, its wonderful music is for everyone. The Salzburg Marionette Theatre created a fascinating production with renowned singers and highly skilled puppeteers.
The charming melodies make it an opera that children enjoy. However, its wonderful music is for everyone. The Salzburg Marionette Theatre created a fascinating production with renowned singers and highly skilled puppeteers.
John Gabriel Borkman has barricaded himself in the attic of his house. He needs to be clear about what he has left of his financial empire. Crashed after a legendary rise and punished for unscrupulous fraud with eight years imprisonment, the banker is ruined, his reputation is in ruins, his family is completely divided. Only his son could restore the father's reputation.
For Henrik Ibsen , Henrik Ibsen's play is the most important work of modern classical music to be reinterpreted in the Europe of the financial crisis.
For Henrik Ibsen , Henrik Ibsen's play is the most important work of modern classical music to be reinterpreted in the Europe of the financial crisis.
Henrik Ibsen's play, first performed in 1879, is a masterpiece of naturalistic theatre. At the same time it is a cleverly knit melodrama and an exciting thriller.
JELINEK, E.: Schutzbefohlenen (Die) (after Aeschylus Die Schutzflehenden) (Schauspiel Leipzig, 2015)
In 2013, refugees seek asylum in Austria and take refuge in the Votivkirche on Vienna's Ringstrasse - and are evicted. Elfriede Jelinek takes this incident as the occasion of a vehement discussion about the treatment of affluent society with the refugees from the Mediterranean, about the constructs of mental and geographical isolation and the fear of the stranger.
As a blueprint, Elfriede Jelinek uses Aeschylus ' text The Suppliants , which describes the fate of the daughters of Danaos as the first part of a lost work. These escape from their native Egypt over the sea to the beach of Argos. There they plead with King Pelasgos for protection. Pelasgos questions his people - and that decides to give asylum to the daughters of Danaos.
People are looking for protection and asylum. A hot topic now - and always. In the Leipzig staging of Enrico Lubbe, the two pieces Die Schutzflewoender and Die Schutzbefohlenen will be shown one evening for the first time.
A humanistic utopia from antiquity and a look at the reality of the present meet each other. Written about 463 BC By one of the first playwrights, Aeschylus, and written in 2013 by the Nobel laureate Elfriede Jelinek.
As a blueprint, Elfriede Jelinek uses Aeschylus ' text The Suppliants , which describes the fate of the daughters of Danaos as the first part of a lost work. These escape from their native Egypt over the sea to the beach of Argos. There they plead with King Pelasgos for protection. Pelasgos questions his people - and that decides to give asylum to the daughters of Danaos.
People are looking for protection and asylum. A hot topic now - and always. In the Leipzig staging of Enrico Lubbe, the two pieces Die Schutzflewoender and Die Schutzbefohlenen will be shown one evening for the first time.
A humanistic utopia from antiquity and a look at the reality of the present meet each other. Written about 463 BC By one of the first playwrights, Aeschylus, and written in 2013 by the Nobel laureate Elfriede Jelinek.
What is a classic? The answer is simple and complicated at the same time. The 'consecration' of a classic results from the sustainability and value of a personality or a work independent of the time and their fashions. In this respect, we are dealing with a double classic in this Emilia Galotti production. Lessing's Standestaats-Intrige is a vice-murderer of the opposite order, a timeless parable about the hopelessness of love in the destructive machinery of politics and the cabal against the background of social inequality.
Andrea Breth's staging art also goes far beyond the sometimes frantic search for new, often adaptive forms of a theatrical enterprise, which seeks to assert itself in the war for attention in our information society. Breth, on the other hand, takes her time and gives it to her audience - for a 'time out' of minutes and hours outside the time and space of that everyday reality that occasionally threatens to take our breath away. Andrea Breth staged her inner fury on stage with a steady hand, guided by an astute analysis and a sensibility that escalates to the edge of the living. This makes their work explosive and comprehensible beyond the day, even if the encounter with them can mean work for the audience.
Andrea Breth's staging art also goes far beyond the sometimes frantic search for new, often adaptive forms of a theatrical enterprise, which seeks to assert itself in the war for attention in our information society. Breth, on the other hand, takes her time and gives it to her audience - for a 'time out' of minutes and hours outside the time and space of that everyday reality that occasionally threatens to take our breath away. Andrea Breth staged her inner fury on stage with a steady hand, guided by an astute analysis and a sensibility that escalates to the edge of the living. This makes their work explosive and comprehensible beyond the day, even if the encounter with them can mean work for the audience.
It is only a few hours that Lessing scrutinizes in his tragedy. But they are enough to destroy the life of the decent middle-class girl Emilia Galotti . She, too, is a victim of her time, a victim of aristocratic arbitrariness, who does not care about the feelings and sensitivities of the individual, unless he is a member of the nobility. He takes what he wants, regardless of losses.
Michael Thalheimer cuts off Lessing's wordy, courtly-bourgeois robber's pistol from the classic beard, while he turns on the time screw. However, he does not resort to flat methods of updating. His protagonists are count, schemer or bourgeois girl in old garb, but they talk like coke. Almost expressionless, they chatter their lyrics around their ears and leave no doubt that here the single word is rarely placed on the gold scale. They are dialogues that are more like a firefight than a rhetorically-psychologically balanced stage conversation.
Why does he do that, this star director of the new century, who together with his set designer Olaf Altmann, with this production, delivered the first climax of a sustained series of celebrated productions? It is not only the lightness that carries us beyond the boundaries of a city theatre-usual classic interpretation on this theatre evening. It is the...
Michael Thalheimer cuts off Lessing's wordy, courtly-bourgeois robber's pistol from the classic beard, while he turns on the time screw. However, he does not resort to flat methods of updating. His protagonists are count, schemer or bourgeois girl in old garb, but they talk like coke. Almost expressionless, they chatter their lyrics around their ears and leave no doubt that here the single word is rarely placed on the gold scale. They are dialogues that are more like a firefight than a rhetorically-psychologically balanced stage conversation.
Why does he do that, this star director of the new century, who together with his set designer Olaf Altmann, with this production, delivered the first climax of a sustained series of celebrated productions? It is not only the lightness that carries us beyond the boundaries of a city theatre-usual classic interpretation on this theatre evening. It is the...
With his super-charming dance through the supermarket, Friedrich Liechtenstein has reached over 13 million clicks on the Internet.
Supergeil became the buzzword of the hour. As far as the international press such as the New York Times and the Guardian, the world deals with Friedrich Liechtenstein. The multi-layered artist is an actor, chansonnier, professional flaneur and utopian.
The film by Jan Schmidt-Garre alternates between the oblique personality of Liechtenstein, his trashy, not always serious work and his crazy biography. From bourgeois life as a puppeteer in the GDR on the Boh?mien life in post-Wende Berlin, including total crash in poverty and heartache, to Youtube millionaire.
In front of the camera, 'Germany's most famous hermit' (Die Zeit) tells of his life: from his childhood in Eisenhuttenstadt, from the time when he went through life without a commitment and lived from cheap quark on the rock, to the legendary success, who came over him with 'super-cool'. With many excerpts from Liechtenstein's theatre productions, puppet shows, concerts, his acclaimed CD album Bad Gastein and of course the videos that led to the Edeka commercial.
Supergeil became the buzzword of the hour. As far as the international press such as the New York Times and the Guardian, the world deals with Friedrich Liechtenstein. The multi-layered artist is an actor, chansonnier, professional flaneur and utopian.
The film by Jan Schmidt-Garre alternates between the oblique personality of Liechtenstein, his trashy, not always serious work and his crazy biography. From bourgeois life as a puppeteer in the GDR on the Boh?mien life in post-Wende Berlin, including total crash in poverty and heartache, to Youtube millionaire.
In front of the camera, 'Germany's most famous hermit' (Die Zeit) tells of his life: from his childhood in Eisenhuttenstadt, from the time when he went through life without a commitment and lived from cheap quark on the rock, to the legendary success, who came over him with 'super-cool'. With many excerpts from Liechtenstein's theatre productions, puppet shows, concerts, his acclaimed CD album Bad Gastein and of course the videos that led to the Edeka commercial.
A Somali pirate asks in front of the Hamburg district court for understanding his attack on the cargo ship MS Taipan and complains about the loss of his friend Tofdau. Sergeant Major Pellner and Private Dorsch drive into the rainforests of Afghanistan with a patrol boat. Your mission: liquidation of a crazy Lieutenant Colonel. The journey leads deeper and deeper into a jumbled world in which colonial history and neo-colonial realities are inextricably linked. Further and further away from so-called civilization, into the wilderness and darkness. When the drowned pirate Tofdau unexpectedly returns to history and begs for help in the darkness, he is shot dead by First Sergeant Pellner. Because in this story there is no room for a stranger.
Whimsical and filigree, ironic and at the same time infinitely sad, Wolfram Lotz describes in his text our inability to really understand the stranger: the horror of a distant war, another culture, another human being, and finally even himself.
Whimsical and filigree, ironic and at the same time infinitely sad, Wolfram Lotz describes in his text our inability to really understand the stranger: the horror of a distant war, another culture, another human being, and finally even himself.
Inge grows up in a social democratic house. In 1933, the mother of the 10-year-old opens that she is Jewish. Inge slowly realizes what that will mean to her.
"Starting today, your name is Sara!' says a police officer in 1938 to the 16-year-old Inge and stamps a J in her passport - 'J' for Jew. From now on everything changes in the life of the self-confident Berliner.
Inge and her mother stay in Berlin - like all Jews they are exposed to ostracism and persecution by the Nazis. Otto Weist, the owner of a workshop for the blind, places Inge, in defiance of all laws, in his office. But after the deportations began in 1941, Inge and her mother are forced to 'go underground'.
The piece based on the autobiographical book I Wore the Yellow Star by Inge Deutschkron tells in 30 pictures, songs and music scenes of the fear of the persecuted, of the people who helped Inge and her mother and became 'silent heroes' for her, from a lost childhood and not least from the fighting courage of a young girl who does not give up.
From Today You Are Called Sara was staged at the GRIPS Theater Berlin to 350 sold-out performances and is still in the repertoire. More than 120,000 theatre-goers have seen the piece since its premiere in 1989 alone in Berlin, it has been staged by 42 theatres so...
"Starting today, your name is Sara!' says a police officer in 1938 to the 16-year-old Inge and stamps a J in her passport - 'J' for Jew. From now on everything changes in the life of the self-confident Berliner.
Inge and her mother stay in Berlin - like all Jews they are exposed to ostracism and persecution by the Nazis. Otto Weist, the owner of a workshop for the blind, places Inge, in defiance of all laws, in his office. But after the deportations began in 1941, Inge and her mother are forced to 'go underground'.
The piece based on the autobiographical book I Wore the Yellow Star by Inge Deutschkron tells in 30 pictures, songs and music scenes of the fear of the persecuted, of the people who helped Inge and her mother and became 'silent heroes' for her, from a lost childhood and not least from the fighting courage of a young girl who does not give up.
From Today You Are Called Sara was staged at the GRIPS Theater Berlin to 350 sold-out performances and is still in the repertoire. More than 120,000 theatre-goers have seen the piece since its premiere in 1989 alone in Berlin, it has been staged by 42 theatres so...
A stolen hoard of gold, the villainous Fafner, who turns into a dragon, the god Wotan, the plucky Valkyrie Brunnhilde, clever little forest bird and, last but not least, the hero Siegfried, a stranger to fear. They all experience great adventures in The Ring Cycle for Children.
Based on Wagner's original work, Hirofumi Misawa and Matthias von Stegmann have created an exciting one-hour opera, which uses the best-known motifs from the Ring to entice us into a world of myth and fairytale.
Based on Wagner's original work, Hirofumi Misawa and Matthias von Stegmann have created an exciting one-hour opera, which uses the best-known motifs from the Ring to entice us into a world of myth and fairytale.
Alceste is an idealist and a master of hurtful words, always eager to hold up a mirror to his fellow human beings. But he has finally found his match in the young widow Celimene: As rhetorically gifted as he is, she has no intention of giving in to his whimsies.
A delightful and humorous production within a contemporary reduced setting by famous stage director Anne Lenk at the Deutsches Theater Berlin.
A delightful and humorous production within a contemporary reduced setting by famous stage director Anne Lenk at the Deutsches Theater Berlin.
On Munich's posh Maximilianstrasse, of all places (or maybe this is just the place for it?), Gotscheff, unflinching and desperate, tells us once again about revolution and about how hard it is to carry out, and even harder to sustain and justify, to learn from. In the end, there can be only failure or maybe just a spark of hope that not every sacrifice has been in vain. "Old-fashioned" in the best sense of the word, uncompromising in its archaic imagery and painfully clear without any scenic frippery, Gotscheff tells us this story, searching for the visions of the future in the ashes of the past. A utopian dream (and certainly not just the old Russian version) is carried to its grave in a threateningly grey non-space, by extraordinary actors (above all Valery Cheplanova, Bibiana Belgau, Sebastian Blomberg), and at the same time, the dream of betterment and the eternal necessity of changes are invoked. Dimiter Gotscheff's final production premiered six months before his death. (Residenz Theater)
Das Drumherum by Elisabeth Naske is commissioned by the Vienna State Opera based on the eponymous children's book classic by Mira Lobe.
Timeless, cheerful and yet with unobtrusive sincerity, Elisabeth Naske tells a lovable story in the children's opera Das Drumherum.
The mayor wants to expand his city at any cost and plans skyscrapers, shopping malls and business centres. For this purpose, even the forest should be cleared. The children of the city do not want to accept this. Brave and with a lot of imagination, they are committed to preserving nature and its playgrounds.
And then there is the friendly Waldgeist Hullewulle - all together a wonderful solution of the conflict succeeds.
After Mira Lobes's children's book of the same name, which has been popular for generations, a one-hour music theatre work was created, which premiered at the Vienna State Opera with great success.
Timeless, cheerful and yet with unobtrusive sincerity, Elisabeth Naske tells a lovable story in the children's opera Das Drumherum.
The mayor wants to expand his city at any cost and plans skyscrapers, shopping malls and business centres. For this purpose, even the forest should be cleared. The children of the city do not want to accept this. Brave and with a lot of imagination, they are committed to preserving nature and its playgrounds.
And then there is the friendly Waldgeist Hullewulle - all together a wonderful solution of the conflict succeeds.
After Mira Lobes's children's book of the same name, which has been popular for generations, a one-hour music theatre work was created, which premiered at the Vienna State Opera with great success.
Director Claudia Bauer and her enthusiastic cast translate PeterLicht's radical rewriting of Moliere's Tartuffe into fast-paced comedy. In its colourful pop outfit, betrayal shines all the brighter and our present times are firmly in their sights.
The seemingly pious and virtuous Tartuffe deeply impresses the wealthy Orgon and unsettles his entire family, until he is gradually caught in dishonest intentions. So far the story as told by Moliere. In his radical retelling, PeterLicht takes up central motifs of the work, taking aim at our present times in the process.
Director Claudia Bauer and her cast of enthusiastic actors translate PeterLicht's revealing criticism of language into lightning comedy with a colourful pop optics that makes the deceit shine all the brighter, until it finally explodes.
The seemingly pious and virtuous Tartuffe deeply impresses the wealthy Orgon and unsettles his entire family, until he is gradually caught in dishonest intentions. So far the story as told by Moliere. In his radical retelling, PeterLicht takes up central motifs of the work, taking aim at our present times in the process.
Director Claudia Bauer and her cast of enthusiastic actors translate PeterLicht's revealing criticism of language into lightning comedy with a colourful pop optics that makes the deceit shine all the brighter, until it finally explodes.
Rene Pollesch departs from Bertolt Brecht's Fatzer fragment not only cleverly but also casually and reinterprets the highly interference-prone relationship of the individual to the collective under contemporary conditions. No-one ever managed to move so resonantly and on so many levels from the 'Decline of the Egotist Fatzer' to the impossible exit of the individualist Hinrichs. Brecht's rhetoric of workers' choruses and class struggle, together with its excursions into contemporary theatre, is only one of the possible levels on which one can read this complex evening. On a second, visual level, classical scenic references assemble themselves into a form of retrospective of theatrical efforts at representation and revolution. On a third level, Pollesch grabs us by our desire to be loved exclusively and on a fourth, the remarkable Fabian Hinrichs who manages to wring entirely new tones out of the Pollesch sound, abseils down from the flies. That network sport also works as an effective anti-depressant amid all these meta-level acrobatics may not be politically correct. But it is wonderful. (Volksbuehne Berlin)
15 former prisoners from the Stasi prisons in Potsdam and Berlin- Hohenschonhausen tell their stories. They describe their experiences before, during and after the detention. These are stories that get under your skin because they show the true, the ugly face of the oft transfigured GDR dictatorship, with all their cruelty and perfidious methods of oppression. Each one has a different destiny, each has a different strategy to deal with, everyone can handle and process it differently. What is common to all is the need to talk about it and to ensure that everyone knows about these stories and therefore the truth.
The 'performers' deserve the highest admiration for their courage to be open, for spreading so freely these traumatic experiences from their biography to the audience. The GDR regime has tried again and again to silence its opponents, but it has not succeeded, as this work proves.
The production by Clemens Bechtel, based on the concept of Lea Rosh and Renate Kreibich, is clever, clear and unsentimental, sometimes even laughable, even though it is really crying. Wolfgang Bergmann
The 'performers' deserve the highest admiration for their courage to be open, for spreading so freely these traumatic experiences from their biography to the audience. The GDR regime has tried again and again to silence its opponents, but it has not succeeded, as this work proves.
The production by Clemens Bechtel, based on the concept of Lea Rosh and Renate Kreibich, is clever, clear and unsentimental, sometimes even laughable, even though it is really crying. Wolfgang Bergmann
Joseph Roth's novel Job tells the simple life of a Jewish family at the beginning of the 20th century. The head of the family Mendel Singer appears as a reincarnation of biblical Job. The escape from the hard life leads to Marika, the seemingly praised country, but blow by blow heavy fatalities hit the family. In an angry rebellion against God, Mendel Singer renounces his faith. But then it comes to a miraculous turn: The son left behind comes healthy and as a gifted musician and conductor to New York and closes his old father in the arms. And Mendel 'rested from the heaviness of happiness and greatness of miracles'. With the knowledge of how the history of the 20th century continues, a happiness to despair.
The Dutch director Johan Simons, together with the author Koen Tachelet, has started to turn this juicy, sad, powerful novel into a theater evening. And he succeeded.
The ensemble of the Munchner Kammerspiele always finds the right tone and the right gesture for this Polonaise of the sinking and thus provided undoubtedly for a theatrical climax of the season. Above all, Andre Jung, whose acting is at its best when Mendel is hardest hit by fate. Hildegart Schmahl is also great when she has to reprove and envy her husband, Mirjam, at the same time. Wiebke Puls plays a...
The Dutch director Johan Simons, together with the author Koen Tachelet, has started to turn this juicy, sad, powerful novel into a theater evening. And he succeeded.
The ensemble of the Munchner Kammerspiele always finds the right tone and the right gesture for this Polonaise of the sinking and thus provided undoubtedly for a theatrical climax of the season. Above all, Andre Jung, whose acting is at its best when Mendel is hardest hit by fate. Hildegart Schmahl is also great when she has to reprove and envy her husband, Mirjam, at the same time. Wiebke Puls plays a...
Mary, Queen of Scots, is taken prisoner and sentenced to death by her cousin, the Queen of England. But Mary remains a figure of light even inside her prison cell. She is able to count on her loyal followers. The result is an intrigue woven into the male-dominated fabric of politics and religion in which the protagonists are caught between love and the desire for power: a blame game couched in impressively clear language.
Fascinated by the fate of, according to contemporary witness, beautiful and passionate Maria Stuart , Friedrich Schiller planned already after the completion of Kabale and Love a drama about the Scottish Queen. For him, the challenge in working with the material was 'to see the catastrophe in the first scenes, and, as the plot of the play seems to move away from it, it becomes closer and closer'. Schiller's tragedy begins for three days before Maria Stuart's execution. It tells of the incarcerated and her attempt to avert the already announced death sentence. Meanwhile, various political camps struggle either for the liberation or for the speedy execution of the prisoners. Schiller's Queen's drama raises the question of the relationship between power and morality.
Director Stephan Kimmig staged the original text ironically. As accurate as he is in the language of Schiller, he places his production precisely in the fear that determines our present, which does not prevail in many places until after 9/11. The revolving stage is cool office world, prison and secret command centre.
Director Stephan Kimmig staged the original text ironically. As accurate as he is in the language of Schiller, he places his production precisely in the fear that determines our present, which does not prevail in many places until after 9/11. The revolving stage is cool office world, prison and secret command centre.
In an era of emerging mass movements, where the enemies of democracy line up against the open society in market places and on social media platforms, Ulrich Rasche's unconventionally severe chorus theatre, cultivated over a period of years, is the art-work of the hour. Rasche places his actors on gigantic treadmills that rotate like tank treads, ascending towards the heavens and inclining into the abyss. Whether it is the Moor household, hijacked by the scheming Franz, or Karl's robber horde - they all stride along like galley slaves, all of them caught in the slipstream of the masses, congenially orchestrated by Rasche's composer Ari Benjamin Meyers through meditative, archaic drum compositions. In this grim, operatic production, the fantasies of a breakthrough and criticism of the authorities which inflame Schiller's protagonists condense into an apocalyptic monument.
Karl and Franz are brothers. Franz, the younger one, hates Karl. He desires the inheritance of the firstborn, the love of the Father, who forgives everything. Two brothers, a problem. Nicolas Stemann, who stages Schiller's Rauber as a men's pack and sends a four-part Bruderhydra to the piste, celebrating the text as an orchestral linguistic work, shows that Karl and Franz are really two sides of the same coin. This works so elegantly that from Schiller's brother couple a single Franzkarl and the Robbers becomes a speech artwork.
The drama has lost nothing of its explosiveness and topicality, even after more than 200 years. The conflict between law and freedom and the question of right and wrong are timeless motives, which Schiller exemplifies in his Robbers. But especially the negotiation of morality in the field of tension between envy and resentment has remained an eternal theme.
The brothers Franz and Karl Moor become one person in the staging of Nicolas Stemann - divided into four actors: The roles are blurred. Thus, Stemann's 'Men's Choir' succeeds in creating an impressive and wordy language game. The 'Moor Boygroup' is loud, unpredictable, violent, archaic and they 'storm and crowd' in a very 'robber manner'. In addition to these impressive, explosive and rhythmic...
The drama has lost nothing of its explosiveness and topicality, even after more than 200 years. The conflict between law and freedom and the question of right and wrong are timeless motives, which Schiller exemplifies in his Robbers. But especially the negotiation of morality in the field of tension between envy and resentment has remained an eternal theme.
The brothers Franz and Karl Moor become one person in the staging of Nicolas Stemann - divided into four actors: The roles are blurred. Thus, Stemann's 'Men's Choir' succeeds in creating an impressive and wordy language game. The 'Moor Boygroup' is loud, unpredictable, violent, archaic and they 'storm and crowd' in a very 'robber manner'. In addition to these impressive, explosive and rhythmic...
King Hamlet is dead. Poisoned by his brother Claudius who has married the king's widow and has taken over the regiment in Denmark. Young prince Hamlet wants to avenge his father. This however drives the prince more and more into isolation. With Sandra Huller as Hamlet, Johan Simons' highly concentrated staging of Shakespeare's classic play becomes a pleading for radical honesty.
Of all the death dances of the theatre, that of King Lear is the virtuoso piece. The cheerful melancholy of old age makes the varnish, which lends its content to any production of the classical king's drama.
In the present production, two meet each other, who have previously proven that they have copied a lot of life: Luc Bondy and Gert Voss, grandees of the director and drama theatre, leftover of the last, the great theatre century. On the stage of the Burgtheater in Vienna they celebrate their Lear. Danced by a fool with Berlin snot on smock, Birgit Minichmayr as a congenial humorous poetic fish, Voss brings out the last battle, plays the great, the powerful instrument of his acting and wins the game in which he demonstrates losing, as we do Everybody will do it in the public armchairs: we lose our lives when we lose our love.
With King Lear, after two theater films, the theater edition is once again dedicated to the recording of a stage production that was created at the Vienna Burgtheater in 2007 by Peter Schonhofer: the dense, high-resolution observation of a finely crafted staging.
Wolfgang Bergman
In the present production, two meet each other, who have previously proven that they have copied a lot of life: Luc Bondy and Gert Voss, grandees of the director and drama theatre, leftover of the last, the great theatre century. On the stage of the Burgtheater in Vienna they celebrate their Lear. Danced by a fool with Berlin snot on smock, Birgit Minichmayr as a congenial humorous poetic fish, Voss brings out the last battle, plays the great, the powerful instrument of his acting and wins the game in which he demonstrates losing, as we do Everybody will do it in the public armchairs: we lose our lives when we lose our love.
With King Lear, after two theater films, the theater edition is once again dedicated to the recording of a stage production that was created at the Vienna Burgtheater in 2007 by Peter Schonhofer: the dense, high-resolution observation of a finely crafted staging.
Wolfgang Bergman
Richard is hideous, deformed and full of hatred for the world. He exploits the ambitions of others for his own ends. With unscrupulous determination he clears away every obstacle that lies in his path to becoming king. But even this triumph fails to heal the great insult that nature has bestowed upon him. Alone at the apex of the English kingdom, he now turns his rage on his true nemesis - himself.
Richard III is one of Shakespeare's earliest works, first performed around 1593 - and the title character with his unbridled, single-minded amorality is still fascinating and compelling to this day. Staged by Thomas Ostermeier at the Schaubuhne Berlin this production is perfectly cast and features Lars Eidinger as Richard.
Richard III is one of Shakespeare's earliest works, first performed around 1593 - and the title character with his unbridled, single-minded amorality is still fascinating and compelling to this day. Staged by Thomas Ostermeier at the Schaubuhne Berlin this production is perfectly cast and features Lars Eidinger as Richard.
The whole world is a stage - this sentence comes from Shakespeare himself, which could be considered the title of his complete oeuv e. And as a headline for our time. That's why it's all about the stage-like nature of love and being, in Jan Bosse's production of the Shakespeare comedy Much Ado About Nothing . With a brilliant star ensemble, he takes on the big stage of the Vienna Burgtheater wide-awake and cheerfully trying to reconcile us somehow - and because there is no other way - with this world of beautiful appearance.
Two couples, who could not be more different, are juxtaposed: on the one hand, Claudio and Hero, who would rather marry today than tomorrow, though they hardly know each other and are hindered by the intrigues of the evil Don John. On the other side, the couple Beatrice and Benedict, who swore they would never, and under no circumstances, get involved with the opposite sex, but eventually marry.
For director Bosse, the story revolves around the first committed singles in theatre history in the world of a pseudo-idyl. The backdrop of the dream wedding hides only with difficulty the emptiness of "nothingness". An artificial world of surface, of illusion and illusion, created only for the removal of impulses for a society that would like to spend its...
Two couples, who could not be more different, are juxtaposed: on the one hand, Claudio and Hero, who would rather marry today than tomorrow, though they hardly know each other and are hindered by the intrigues of the evil Don John. On the other side, the couple Beatrice and Benedict, who swore they would never, and under no circumstances, get involved with the opposite sex, but eventually marry.
For director Bosse, the story revolves around the first committed singles in theatre history in the world of a pseudo-idyl. The backdrop of the dream wedding hides only with difficulty the emptiness of "nothingness". An artificial world of surface, of illusion and illusion, created only for the removal of impulses for a society that would like to spend its...
Director and author Simon Stone rewrote, updated and questioned Chekhov's famous drama for the present day: with brilliant dialogue, subtle characterization and the ambivalent figures which these so reliably generate. Avoiding pathos, spectacle and heroism, Chekhov maintains a masterful balance between melancholy and joie de vivre. Premiered 1901 at the Moscow arts Theatre it is a play about the everyday, about desire and failure.
With a humorous and imaginative staging and ballet scenes acted out in great detail, the Salzburg Marionette Theatre will immerse you in the story of Clara and the Nutcracker. Artfully directed puppets bring life to the figures from the fairy tale. A wonderful interpretation of Tchaikovsky's masterwork.
The Potzlow Case. During the trial, the perpetrators were reduced to cold, untouchable monsters; right-wing extremists without remorse, without reflection. The whole village was under the general suspicion of covering the crime. The second look at the case makes it clear that the general stereotypes do not help.
Perhaps it is the combination of cruelty and looking away in the face of the almost unbelievable events in Potzlow that Veiel and his co- author, the dramaturge Gesine Schmidt, did not rest. But perhaps this is also an attempt to answer the increasingly obvious failure of the media to adequately describe and problematize reality and deal responsibly with crime, with perpetrators such as victims and their milieus.
In the media, (almost) everything can be presented and widely negotiated. But the total information society tends to distort the realistic view of reality rather than illuminate it. The staged, but deliberately low-impact reconstruction of the deed, its circumstances, and the assessment of events from various angles represents an exciting counter-proposal to the media mockery of reality.
Perhaps it is the combination of cruelty and looking away in the face of the almost unbelievable events in Potzlow that Veiel and his co- author, the dramaturge Gesine Schmidt, did not rest. But perhaps this is also an attempt to answer the increasingly obvious failure of the media to adequately describe and problematize reality and deal responsibly with crime, with perpetrators such as victims and their milieus.
In the media, (almost) everything can be presented and widely negotiated. But the total information society tends to distort the realistic view of reality rather than illuminate it. The staged, but deliberately low-impact reconstruction of the deed, its circumstances, and the assessment of events from various angles represents an exciting counter-proposal to the media mockery of reality.
Great romantic opera in three acts in one adaptation for children
Prince Arindal meets the fairy Ada during the nocturnal hunt. Both fell in love immediately. Arindal decides to stay with Ada forever in the fairy kingdom. However, the Fairy King warns that if Arindal Ada ever left alone for more than a year, it would turn to stone. But war broke out in Arindal's kingdom. His sister Lora longs for the return of the missing brother since seven years. She urges Arindal to return to his threatened homeland, where he has since become king after the death of his father. With a heavy heart Arindal Ada must leave to follow his duty in the human world. He vows to return to the fairy realm even before the year has passed.
Will Arindal meet the deadline? Or will Ada turn into a stone because Arindal could not keep his promise?
Prince Arindal meets the fairy Ada during the nocturnal hunt. Both fell in love immediately. Arindal decides to stay with Ada forever in the fairy kingdom. However, the Fairy King warns that if Arindal Ada ever left alone for more than a year, it would turn to stone. But war broke out in Arindal's kingdom. His sister Lora longs for the return of the missing brother since seven years. She urges Arindal to return to his threatened homeland, where he has since become king after the death of his father. With a heavy heart Arindal Ada must leave to follow his duty in the human world. He vows to return to the fairy realm even before the year has passed.
Will Arindal meet the deadline? Or will Ada turn into a stone because Arindal could not keep his promise?
Wagner's great epic compresses to two hours, dense, humorous and extremely exciting! Puppets meet actors and take us into a time tunnel of mythological entanglements.
The Salzburg Marionette Theater and the adjacent Landestheater put together a mammoth task: Wagner's The Ring of the Nibelung was supposed to shrink from 16 hours to a compact two.
The tetralogy was not allowed to suffer any substantive lack, on the contrary, the version was to provide a common thread through the four operas. The basic structure of the work remained untouched and was only condensed. The staging casts a contemporary look on the fabric. The spectators will find themselves in more than 30 characters portrayed by puppets and people.
Music : excerpts from the famous Solti Ring cycle.
The Salzburg Marionette Theater and the adjacent Landestheater put together a mammoth task: Wagner's The Ring of the Nibelung was supposed to shrink from 16 hours to a compact two.
The tetralogy was not allowed to suffer any substantive lack, on the contrary, the version was to provide a common thread through the four operas. The basic structure of the work remained untouched and was only condensed. The staging casts a contemporary look on the fabric. The spectators will find themselves in more than 30 characters portrayed by puppets and people.
Music : excerpts from the famous Solti Ring cycle.
Based on the sprawling and rarely-told drama, director Uwe Janson developed a two-hour version: unfolding the action in a single building, he symbolizes the rise and fall of the Lulu in a mistaken walk through a 'hotel absurd'. Jessica Schwarz has earned herself a worthy place in the history of interpretation of this eternal theatrical figure with her cinematic theatrical debut.
The world does not need any conductors! A provocative thesis that the little animated baton builder puts up at his workbench. Do the participants of the world-renowned Gustav Mahler Conducting Competition see this as well? In a humorous way, the film examines the power and magic of the maestros and explains what the orchestra actually needs a conductor for.
Concert for a Deaf Soul - a play for puppets, actors and the pianist Ragna Schirmer The piece by Christoph Werner is a theatrical approach to the mysterious life of the French composer Maurice Ravel . Through the congenial cooperation of the Puppet Theater Halle and the pianist Ragna Schirmer an 'evening of compassion, full of love for Ravel and his music was born'.