Musical Direction: Gábor Hontvári

Direction: Tristan Braun

Stage Design: Valentin Mattka

Costume Design: Heike Seidler

Choreography: Mariana Souza

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Cast:

Albert - Julian Habermann

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Operetta by Paul Abraham:

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Hollywood meets the Côte d’Azur. Marylou, daughter of film producer Sam Macintosh, plans to create her own movie, hoping the film’s profits will save Universal Star Picture Ltd. from bankruptcy and herself from an arranged marriage orchestrated by her father. While scanning the gossip column of the New York Times, Marylou stumbles upon the perfect real-life story: Spanish Infanta Isabella, living in exile with her dethroned family at a luxury hotel on the Côte d’Azur. For Isabella, a film offer would be just what she needs to finance her court—if only the setting weren’t so beneath her dignity. As if things couldn’t get more complicated, hotel waiter Albert falls in love with the beautiful Spaniard!

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Paul Abraham’s 1934 operetta Märchen im Grand Hôtel ("Fairy Tale in the Grand Hotel") is teeming with typical operetta clichés: class differences, last-minute resolutions of major misunderstandings, all set to dazzling music that not only evokes the operetta bliss of the "Silver Era" but also skillfully brings fashionable dances like the foxtrot and tango, along with new jazz sounds, to the stage. Born in Hungary in 1892, Paul Abraham became one of the most successful composers of his time in the early 1930s with works like Viktoria und ihr Husar, Die Blume von Hawaii, and Ball im Savoy. However, his soaring career was abruptly halted by the Nazi terror. Abraham fled via Paris to New York, where he was unable to regain his artistic footing. Soon after, he descended into a state of mental decline from which he never recovered, remaining in this condition until his death in 1960.

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Musical Direction: Gábor Hontvári

Direction: Tristan Braun

Stage Design: Valentin Mattka

Costume Design: Heike Seidler

Choreography: Mariana Souza

‍

Cast:

Albert - Julian Habermann

‍

Operetta by Paul Abraham:

‍

Hollywood meets the Côte d’Azur. Marylou, daughter of film producer Sam Macintosh, plans to create her own movie, hoping the film’s profits will save Universal Star Picture Ltd. from bankruptcy and herself from an arranged marriage orchestrated by her father. While scanning the gossip column of the New York Times, Marylou stumbles upon the perfect real-life story: Spanish Infanta Isabella, living in exile with her dethroned family at a luxury hotel on the Côte d’Azur. For Isabella, a film offer would be just what she needs to finance her court—if only the setting weren’t so beneath her dignity. As if things couldn’t get more complicated, hotel waiter Albert falls in love with the beautiful Spaniard!

‍

Paul Abraham’s 1934 operetta Märchen im Grand Hôtel ("Fairy Tale in the Grand Hotel") is teeming with typical operetta clichés: class differences, last-minute resolutions of major misunderstandings, all set to dazzling music that not only evokes the operetta bliss of the "Silver Era" but also skillfully brings fashionable dances like the foxtrot and tango, along with new jazz sounds, to the stage. Born in Hungary in 1892, Paul Abraham became one of the most successful composers of his time in the early 1930s with works like Viktoria und ihr Husar, Die Blume von Hawaii, and Ball im Savoy. However, his soaring career was abruptly halted by the Nazi terror. Abraham fled via Paris to New York, where he was unable to regain his artistic footing. Soon after, he descended into a state of mental decline from which he never recovered, remaining in this condition until his death in 1960.

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Musical Direction: Gábor Hontvári

Direction: Tristan Braun

Stage Design: Valentin Mattka

Costume Design: Heike Seidler

Choreography: Mariana Souza

‍

Cast:

Albert - Julian Habermann

‍

Operetta by Paul Abraham:

‍

Hollywood meets the Côte d’Azur. Marylou, daughter of film producer Sam Macintosh, plans to create her own movie, hoping the film’s profits will save Universal Star Picture Ltd. from bankruptcy and herself from an arranged marriage orchestrated by her father. While scanning the gossip column of the New York Times, Marylou stumbles upon the perfect real-life story: Spanish Infanta Isabella, living in exile with her dethroned family at a luxury hotel on the Côte d’Azur. For Isabella, a film offer would be just what she needs to finance her court—if only the setting weren’t so beneath her dignity. As if things couldn’t get more complicated, hotel waiter Albert falls in love with the beautiful Spaniard!

‍

Paul Abraham’s 1934 operetta Märchen im Grand Hôtel ("Fairy Tale in the Grand Hotel") is teeming with typical operetta clichés: class differences, last-minute resolutions of major misunderstandings, all set to dazzling music that not only evokes the operetta bliss of the "Silver Era" but also skillfully brings fashionable dances like the foxtrot and tango, along with new jazz sounds, to the stage. Born in Hungary in 1892, Paul Abraham became one of the most successful composers of his time in the early 1930s with works like Viktoria und ihr Husar, Die Blume von Hawaii, and Ball im Savoy. However, his soaring career was abruptly halted by the Nazi terror. Abraham fled via Paris to New York, where he was unable to regain his artistic footing. Soon after, he descended into a state of mental decline from which he never recovered, remaining in this condition until his death in 1960.

‍

‍

Musical Direction: Gábor Hontvári

Direction: Tristan Braun

Stage Design: Valentin Mattka

Costume Design: Heike Seidler

Choreography: Mariana Souza

‍

Cast:

Albert - Julian Habermann

‍

Operetta by Paul Abraham:

‍

Hollywood meets the Côte d’Azur. Marylou, daughter of film producer Sam Macintosh, plans to create her own movie, hoping the film’s profits will save Universal Star Picture Ltd. from bankruptcy and herself from an arranged marriage orchestrated by her father. While scanning the gossip column of the New York Times, Marylou stumbles upon the perfect real-life story: Spanish Infanta Isabella, living in exile with her dethroned family at a luxury hotel on the Côte d’Azur. For Isabella, a film offer would be just what she needs to finance her court—if only the setting weren’t so beneath her dignity. As if things couldn’t get more complicated, hotel waiter Albert falls in love with the beautiful Spaniard!

‍

Paul Abraham’s 1934 operetta Märchen im Grand Hôtel ("Fairy Tale in the Grand Hotel") is teeming with typical operetta clichés: class differences, last-minute resolutions of major misunderstandings, all set to dazzling music that not only evokes the operetta bliss of the "Silver Era" but also skillfully brings fashionable dances like the foxtrot and tango, along with new jazz sounds, to the stage. Born in Hungary in 1892, Paul Abraham became one of the most successful composers of his time in the early 1930s with works like Viktoria und ihr Husar, Die Blume von Hawaii, and Ball im Savoy. However, his soaring career was abruptly halted by the Nazi terror. Abraham fled via Paris to New York, where he was unable to regain his artistic footing. Soon after, he descended into a state of mental decline from which he never recovered, remaining in this condition until his death in 1960.

‍

‍

Musical Direction: Gábor Hontvári

Direction: Tristan Braun

Stage Design: Valentin Mattka

Costume Design: Heike Seidler

Choreography: Mariana Souza

‍

Cast:

Albert - Julian Habermann

‍

Operetta by Paul Abraham:

‍

Hollywood meets the Côte d’Azur. Marylou, daughter of film producer Sam Macintosh, plans to create her own movie, hoping the film’s profits will save Universal Star Picture Ltd. from bankruptcy and herself from an arranged marriage orchestrated by her father. While scanning the gossip column of the New York Times, Marylou stumbles upon the perfect real-life story: Spanish Infanta Isabella, living in exile with her dethroned family at a luxury hotel on the Côte d’Azur. For Isabella, a film offer would be just what she needs to finance her court—if only the setting weren’t so beneath her dignity. As if things couldn’t get more complicated, hotel waiter Albert falls in love with the beautiful Spaniard!

‍

Paul Abraham’s 1934 operetta Märchen im Grand Hôtel ("Fairy Tale in the Grand Hotel") is teeming with typical operetta clichés: class differences, last-minute resolutions of major misunderstandings, all set to dazzling music that not only evokes the operetta bliss of the "Silver Era" but also skillfully brings fashionable dances like the foxtrot and tango, along with new jazz sounds, to the stage. Born in Hungary in 1892, Paul Abraham became one of the most successful composers of his time in the early 1930s with works like Viktoria und ihr Husar, Die Blume von Hawaii, and Ball im Savoy. However, his soaring career was abruptly halted by the Nazi terror. Abraham fled via Paris to New York, where he was unable to regain his artistic footing. Soon after, he descended into a state of mental decline from which he never recovered, remaining in this condition until his death in 1960.

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Wolfgang Amadeus Mozart: "Requiem"

Josef Gabriel Rheinberger: Organ

Concerto in G minor, Op. 177

Eichstätt Cathedral Choir

Georgian Chamber Orchestra Ingolstadt

Organ: Martin Bernreuther

Conductor: Manfred Faig

BACH’S COMPASS

In a world full of crises, Bach gives us something to hold on to. Find a path through daily dilemmas in this cantata programme by famous Bach expert John Butt.

„Intimate line-up with maximum expression“

For centuries, Bach’s cantatas have been providing comfort, reflection and calmness. For the opening of this season, John Butt, artistic director of the Dunedin Consort, chose three cantatas with themes that also move today’s listeners. Do you open up to the ‘other’, or do you shy away from the unfamiliar? In the case of injustice, do you want revenge or do you try to forgive? And where do you find trust, hope and faith? Universal questions of life with possible answers set to music by Bach. John Butt leads the ensemble in an intimate line-up with maximum expression.

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WORKS

Johann Bernard Bach
Overture-Suite no. 3 in E minor

Johann Sebastian Bach
Cantata Was soll ich aus dir machen, Ephraim?, BWV 89
Cantata Ihr, die ihr euch von Christo nennet, BWV 164
Cantata Ich lasse dich nicht, du segnest mich denn, BWV 157

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PERFORMERS

Netherlands Bach Society
John Butt, harpsichord and leader
Carine Tinney, soprano
Alex Potter, alto
Julian Haberman, tenor
Matthew Brook, bass

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BACH’S COMPASS

In a world full of crises, Bach gives us something to hold on to. Find a path through daily dilemmas in this cantata programme by famous Bach expert John Butt.

„Intimate line-up with maximum expression“

For centuries, Bach’s cantatas have been providing comfort, reflection and calmness. For the opening of this season, John Butt, artistic director of the Dunedin Consort, chose three cantatas with themes that also move today’s listeners. Do you open up to the ‘other’, or do you shy away from the unfamiliar? In the case of injustice, do you want revenge or do you try to forgive? And where do you find trust, hope and faith? Universal questions of life with possible answers set to music by Bach. John Butt leads the ensemble in an intimate line-up with maximum expression.

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WORKS

Johann Bernard Bach
Overture-Suite no. 3 in E minor

Johann Sebastian Bach
Cantata Was soll ich aus dir machen, Ephraim?, BWV 89
Cantata Ihr, die ihr euch von Christo nennet, BWV 164
Cantata Ich lasse dich nicht, du segnest mich denn, BWV 157

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PERFORMERS

Netherlands Bach Society
John Butt, harpsichord and leader
Carine Tinney, soprano
Alex Potter, alto
Julian Haberman, tenor
Matthew Brook, bass

‍

BACH’S COMPASS

In a world full of crises, Bach gives us something to hold on to. Find a path through daily dilemmas in this cantata programme by famous Bach expert John Butt.

„Intimate line-up with maximum expression“

For centuries, Bach’s cantatas have been providing comfort, reflection and calmness. For the opening of this season, John Butt, artistic director of the Dunedin Consort, chose three cantatas with themes that also move today’s listeners. Do you open up to the ‘other’, or do you shy away from the unfamiliar? In the case of injustice, do you want revenge or do you try to forgive? And where do you find trust, hope and faith? Universal questions of life with possible answers set to music by Bach. John Butt leads the ensemble in an intimate line-up with maximum expression.

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WORKS

Johann Bernard Bach
Overture-Suite no. 3 in E minor

Johann Sebastian Bach
Cantata Was soll ich aus dir machen, Ephraim?, BWV 89
Cantata Ihr, die ihr euch von Christo nennet, BWV 164
Cantata Ich lasse dich nicht, du segnest mich denn, BWV 157

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PERFORMERS

Netherlands Bach Society
John Butt, harpsichord and leader
Carine Tinney, soprano
Alex Potter, alto
Julian Haberman, tenor
Matthew Brook, bass

‍

BACH’S COMPASS

In a world full of crises, Bach gives us something to hold on to. Find a path through daily dilemmas in this cantata programme by famous Bach expert John Butt.

„Intimate line-up with maximum expression“

For centuries, Bach’s cantatas have been providing comfort, reflection and calmness. For the opening of this season, John Butt, artistic director of the Dunedin Consort, chose three cantatas with themes that also move today’s listeners. Do you open up to the ‘other’, or do you shy away from the unfamiliar? In the case of injustice, do you want revenge or do you try to forgive? And where do you find trust, hope and faith? Universal questions of life with possible answers set to music by Bach. John Butt leads the ensemble in an intimate line-up with maximum expression.

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WORKS

Johann Bernard Bach
Overture-Suite no. 3 in E minor

Johann Sebastian Bach
Cantata Was soll ich aus dir machen, Ephraim?, BWV 89
Cantata Ihr, die ihr euch von Christo nennet, BWV 164
Cantata Ich lasse dich nicht, du segnest mich denn, BWV 157

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PERFORMERS

Netherlands Bach Society
John Butt, harpsichord and leader
Carine Tinney, soprano
Alex Potter, alto
Julian Haberman, tenor
Matthew Brook, bass

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Opening Concert Musikfest Erzgebirge

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Wrocław Baroque Orchestra / Soloists Ensemble / Dresden Chamber Choir / Hans-Christoph Rademann

"The Creation" by Joseph Haydn

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Samantha Gaul, Soprano

Julian Habermann, Tenor

Johannes Schendel, Bass

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Hessian State Youth Choir

Hessian State Youth Symphony Orchestra

Conducted by Axel Pfeiffer

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"The Creation" by Joseph Haydn

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Samantha Gaul, Soprano

Julian Habermann, Tenor

Johannes Schendel, Bass

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Hessian State Youth Choir

Hessian State Youth Symphony Orchestra

Conducted by Axel Pfeiffer

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• Henry Purcell: Two Fantasias for Strings
• Benjamin Britten: Hymn to St. Cecilia op. 27
• Franz Liszt: Orpheus (Symphonic Poem No. 4, 1854, Organ Version)
• Georg Friedrich Händel: Solomon (Act III)

Lucia Boisserée – Queen of Sheba (Soprano)

Julian Habermann – Zadok, the Priest (Tenor)

Markus Simon – Solomon (Baritone)

Vocal Ensemble St. Lorenz

ensemble KONTRASTE

Matthias Ank – Conductor and Organ

MONTEVERDI'S "ORFEO" IS REGARDED AS THE BIRTH OF OPERA AND TELLS OF THE POWER OF MUSIC.

MICHAEL HELL BRINGS THE MASTERPIECE BACK TO LIFE,

NATALIA MORO WRAPS IT IN IMAGES OF SAND.

SAND IN THE LAND OF SHADOWS

In 1607, Monteverdi placed the lamentations of Orpheus in the mouth of a divinely singing tenor in Mantua, and his orchestra wielded the full power of tones to conquer death. In Styriarte's "Orfeo," sand symbolizes the realm of shadows, where colors cease to exist. Through moving images, the sand artist Natalia Moro captures the myth on canvas. Enchantingly beautiful baroque voices sing the arias and choruses of Monteverdi's masterpiece. Michael Hell guides his colorful ĀRT HOUSE orchestra as conductor and harpsichordist.

MONTEVERDI'S "ORFEO" IS REGARDED AS THE BIRTH OF OPERA AND TELLS OF THE POWER OF MUSIC.

MICHAEL HELL BRINGS THE MASTERPIECE BACK TO LIFE,

NATALIA MORO WRAPS IT IN IMAGES OF SAND.

SAND IN THE LAND OF SHADOWS

In 1607, Monteverdi placed the lamentations of Orpheus in the mouth of a divinely singing tenor in Mantua, and his orchestra wielded the full power of tones to conquer death. In Styriarte's "Orfeo," sand symbolizes the realm of shadows, where colors cease to exist. Through moving images, the sand artist Natalia Moro captures the myth on canvas. Enchantingly beautiful baroque voices sing the arias and choruses of Monteverdi's masterpiece. Michael Hell guides his colorful ĀRT HOUSE orchestra as conductor and harpsichordist.

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Protestant Service with Children's Church

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J. S. Bach: Magnificat BWV 243

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Catherina Witting - Soprano

Joël Vuik - Alto

Julian Habermann - Tenor

Andreas Pruys - Bass

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St. Michaelis Choir

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St. Michaelis Orchestra

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Jörg Endebrock - Conductor and Organist

Mendelssohn: "Elijah"

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Vocal Soloists

Choir and Orchestra of the University of Music and Performing Arts Frankfurt

Conducted by Florian Lohmann

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Kloster Eberbach, Basilica, Eltville am Rhein

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• Dvorak - Mass in D major
• Biblical Songs (Arrangement for Chor and Orchestra by Jarmil Burghauser)
• Purcell - Te Deum and Jubilate in D major

Bernhard Zosel - Conductor

Protestant Service with Children's Church

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J. S. Bach: "Wer mich liebet, der wird mein Wort halten" BWV 74

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Catherina Witting - Soprano

Ida Aldrian - Alto

Julian Habermann - Tenor

Dávid Csizmár - Bass

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St. Michaelis Choir

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St. Michaelis Orchestra

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Jörg Endebrock - Conductor and Organist

Conductor: Eivind Gullberg Jensen Evangelist: Patrick Grahl Jesus: Arttu Kataja Alto: Maarten Engeltjes Tenor: Julian Habermann Soprano: Marie Luise Werneburg Bass: Henning von Schulman Choir: NNCK Choir: RJK Roder Jongenskoor

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Conductor: Eivind Gullberg Jensen Evangelist: Patrick Grahl Jesus: Arttu Kataja Alto: Maarten Engeltjes Tenor: Julian Habermann Soprano: Marie Luise Werneburg Bass: Henning von Schulman Choir: NNCK Choir: RJK Roder Jongenskoor

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Conductor: Eivind Gullberg Jensen Evangelist: Patrick Grahl Jesus: Arttu Kataja Alto: Maarten Engeltjes Tenor: Julian Habermann Soprano: Marie Luise Werneburg Bass: Henning von Schulman Choir: NNCK Choir: RJK Roder Jongenskoor

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Conductor: Eivind Gullberg Jensen Evangelist: Patrick Grahl Jesus: Arttu Kataja Alto: Maarten Engeltjes Tenor: Julian Habermann Soprano: Marie Luise Werneburg Bass: Henning von Schulman Choir: NNCK Choir: RJK Roder Jongenskoor

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Conductor: Eivind Gullberg Jensen Evangelist: Patrick Grahl Jesus: Arttu Kataja Alto: Maarten Engeltjes Tenor: Julian Habermann Soprano: Marie Luise Werneburg Bass: Henning von Schulman Choir: NNCK Choir: RJK Roder Jongenskoor

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Choir: Oratorienchor Musikverein Pirmasens e. V.

Conductor: Christoph Haßler

Programme:

Bach, Johann Sebastian (1685-1750) Mass in B minor, BWV232

Performers:

Belgrade Philharmonic Orchestra

Gabriel Felz, Conductor

Vera Talerko, Soprano

Beth Taylor, Mezzo-sopran

Julian Habermann, Tenor

Simon Robinson, Bass-bariton

Czech Philharmonic Choir of Brno

Works by Delibes, Lehár, J. Strauss, Stolz

Leonor Amaral, Soprano Julian Habermann, Tenor Johannes Klumpp, Conduction and Moderation

Under the direction of Johannes Klumpp, the artistic director of the Heidelberger Sinfoniker, we invite you to welcome the New Year with the Portuguese coloratura soprano Leonor Amaral and the tenor Julian Habermann!

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Works by Delibes, Lehár, J. Strauss, Stolz

Leonor Amaral, Soprano Julian Habermann, Tenor Johannes Klumpp, Conduction and Moderation

Under the direction of Johannes Klumpp, the artistic director of the Heidelberger Sinfoniker, we invite you to welcome the New Year with the Portuguese coloratura soprano Leonor Amaral and the tenor Julian Habermann!

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Works by Delibes, Lehár, J. Strauss, Stolz

Leonor Amaral, Soprano Julian Habermann, Tenor Johannes Klumpp, Conduction and Moderation

Under the direction of Johannes Klumpp, the artistic director of the Heidelberger Sinfoniker, we invite you to welcome the New Year with the Portuguese coloratura soprano Leonor Amaral and the tenor Julian Habermann!

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Works by Delibes, Lehár, J. Strauss, Stolz

Leonor Amaral, Soprano Julian Habermann, Tenor Johannes Klumpp, Conduction and Moderation

Under the direction of Johannes Klumpp, the artistic director of the Heidelberger Sinfoniker, we invite you to welcome the New Year with the Portuguese coloratura soprano Leonor Amaral and the tenor Julian Habermann!

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Works by Delibes, Lehár, J. Strauss, Stolz

Leonor Amaral, Soprano Julian Habermann, Tenor Johannes Klumpp, Conduction and Moderation

Under the direction of Johannes Klumpp, the artistic director of the Heidelberger Sinfoniker, we invite you to welcome the New Year with the Portuguese coloratura soprano Leonor Amaral and the tenor Julian Habermann!

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Works by Delibes, Lehár, J. Strauss, Stolz

Leonor Amaral, Soprano Julian Habermann, Tenor Johannes Klumpp, Conduction and Moderation

Under the direction of Johannes Klumpp, the artistic director of the Heidelberger Sinfoniker, we invite you to welcome the New Year with the Portuguese coloratura soprano Leonor Amaral and the tenor Julian Habermann!

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