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.

‍

‍

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.

‍

‍

Opera by Alban Berg:

‍

Musical Direction: Enrico Calesso

Direction: Sigrid Herzog

Stage Design: Harald Thor

Costume Design: Tanja Hofmann

‍

Cast:

Andres - Julian Habermann

‍

‍

Opera by Alban Berg:

‍

Musical Direction: Enrico Calesso

Direction: Sigrid Herzog

Stage Design: Harald Thor

Costume Design: Tanja Hofmann

‍

Cast:

Andres - Julian Habermann

‍

‍

Opera by Alban Berg:

‍

Musical Direction: Enrico Calesso

Direction: Sigrid Herzog

Stage Design: Harald Thor

Costume Design: Tanja Hofmann

‍

Cast:

Andres - Julian Habermann

‍

‍

Opera by Alban Berg:

‍

Musical Direction: Enrico Calesso

Direction: Sigrid Herzog

Stage Design: Harald Thor

Costume Design: Tanja Hofmann

‍

Cast:

Andres - Julian Habermann

‍

‍

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.

‍

‍

Opera by Alban Berg:

‍

Musical Direction: Enrico Calesso

Direction: Sigrid Herzog

Stage Design: Harald Thor

Costume Design: Tanja Hofmann

‍

Cast:

Andres - Julian Habermann

‍

‍

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.

‍

‍

Opera by Alban Berg:

‍

Musical Direction: Enrico Calesso

Direction: Sigrid Herzog

Stage Design: Harald Thor

Costume Design: Tanja Hofmann

‍

Cast:

Andres - Julian Habermann

‍

‍

Opera by Alban Berg:

‍

Musical Direction: Enrico Calesso

Direction: Sigrid Herzog

Stage Design: Harald Thor

Costume Design: Tanja Hofmann

‍

Cast:

Andres - Julian Habermann

‍

‍

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.

‍

‍

Opera by Alban Berg:

‍

Musical Direction: Enrico Calesso

Direction: Sigrid Herzog

Stage Design: Harald Thor

Costume Design: Tanja Hofmann

‍

Cast:

Andres - Julian Habermann

‍

‍

PERFORMERS:

‍

‍Elisabeth Breuer, Soprano 1
Natasha Schnur, Soprano 2
Ulrike Malotta, Alto
Julian Habermann, Tenor
Johannes Kammler, Bass
Gaechinger Cantorey
Hans-Christoph Rademann, Conductor

‍

Program:

‍Jean-Féry Rebel - Les Éléments
Carl Philipp Emanuel Bach - Klopstock's Morning Song on the Feast of Creation Wq 239
Georg Philipp Telemann - Die Tageszeiten TVWV 20:39

‍

Introduction: 6:20 PM

‍

Short Description:

‍A return to nature – Three innovative composers, three visions of the creation of the world, three brilliant late works make up this program. The relationship between humanity and nature, as well as the concept of a divine creative force, was a recurring theme in 18th-century literature. Music, too, engaged with this idea. Joseph Haydn's oratorio The Creation is probably the most well-known example, but before him, other composers also expressed the sensual and spiritual dimensions of nature in their unique musical languages. One such composer was Jean-Féry Rebel, a student of Lully and court musician to the French king. His symphony Les Éléments (1738) is a ballet suite suffused with tone painting. C.P.E. Bach's Klopstock's Morning Song (1783) is marked by the style of "Empfindsamkeit" and was considered one of the masterpieces of German music for two decades. Finally, Telemann takes us from morning to night in his vividly and atmospherically set cantata cycle Die Tageszeiten.

‍

PERFORMERS:

‍

‍Elisabeth Breuer, Soprano 1
Natasha Schnur, Soprano 2
Ulrike Malotta, Alto
Julian Habermann, Tenor
Johannes Kammler, Bass
Gaechinger Cantorey
Hans-Christoph Rademann, Conductor

‍

Program:

‍Jean-Féry Rebel - Les Éléments
Carl Philipp Emanuel Bach - Klopstock's Morning Song on the Feast of Creation Wq 239
Georg Philipp Telemann - Die Tageszeiten TVWV 20:39

‍

Introduction: 6:20 PM

‍

Short Description:

‍A return to nature – Three innovative composers, three visions of the creation of the world, three brilliant late works make up this program. The relationship between humanity and nature, as well as the concept of a divine creative force, was a recurring theme in 18th-century literature. Music, too, engaged with this idea. Joseph Haydn's oratorio The Creation is probably the most well-known example, but before him, other composers also expressed the sensual and spiritual dimensions of nature in their unique musical languages. One such composer was Jean-Féry Rebel, a student of Lully and court musician to the French king. His symphony Les Éléments (1738) is a ballet suite suffused with tone painting. C.P.E. Bach's Klopstock's Morning Song (1783) is marked by the style of "Empfindsamkeit" and was considered one of the masterpieces of German music for two decades. Finally, Telemann takes us from morning to night in his vividly and atmospherically set cantata cycle Die Tageszeiten.

‍

In order to anchor the topic of diversity more clearly in the classical music scene, Thomas Höft has overwritten the well-known "St. John Passion" by Johann Sebastian Bach with a completely new libretto, which instead of the story of Jesus' suffering places the story of the suffering of discriminated and murdered lesbian, gay, and trans people at the centre of the reflection.

It is not about external provocation, but about the serious question of our behaviour towards the suffering of people who were/are persecuted because of their sexuality.

‍
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.

‍

Kofinanziert durch das EU-Programm „Creative Europe (2021-2027)“ sowie durch das Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport.

‍

CAST

Ārt House 17

Susanne Elmark, Sopran
Yosemeh Adjei, Countertenor
Julian Habermann, Tenor
Markus Schäfer, Tenor (Narrator)
Dietrich Henschel, Bariton

Thomas Höft, Libretto
Michael Hell, Musical Director

‍

‍

‍

In order to anchor the topic of diversity more clearly in the classical music scene, Thomas Höft has overwritten the well-known "St. John Passion" by Johann Sebastian Bach with a completely new libretto, which instead of the story of Jesus' suffering places the story of the suffering of discriminated and murdered lesbian, gay, and trans people at the centre of the reflection.

It is not about external provocation, but about the serious question of our behaviour towards the suffering of people who were/are persecuted because of their sexuality.

‍
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.

‍

Kofinanziert durch das EU-Programm „Creative Europe (2021-2027)“ sowie durch das Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport.

‍

CAST

Ārt House 17

Susanne Elmark, Sopran
Yosemeh Adjei, Countertenor
Julian Habermann, Tenor
Markus Schäfer, Tenor (Narrator)
Dietrich Henschel, Bariton

Thomas Höft, Libretto
Michael Hell, Musical Director

‍

‍

‍

„Das verwunschene Glück“ (with music from the opera “Gl’incatesimi disciolti” by A. Draghi 1640 and additional musical pieces curated by Thomas Höft and Michael Hell)

Concert Performance accompanied by dancers.

‍

Musical Direction: Michael Hell

Dramaturgy: Thomas Höft

Choreography: Mareike Franz

‍

Cast:

Sophia Daneman & Johanna Rosa Falkinger, Sopran

Anna Manske, Mezzosopran

Julian Habermann & Markus Schäfer, Tenor

Dietrich Henschel, Bariton

„Das verwunschene Glück“ (with music from the opera “Gl’incatesimi disciolti” by A. Draghi 1640 and additional musical pieces curated by Thomas Höft and Michael Hell)

Concert Performance accompanied by dancers.

‍

Musical Direction: Michael Hell

Dramaturgy: Thomas Höft

Choreography: Mareike Franz

‍

Cast:

Sophia Daneman & Johanna Rosa Falkinger, Sopran

Anna Manske, Mezzosopran

Julian Habermann & Markus Schäfer, Tenor

Dietrich Henschel, Bariton

„Das verwunschene Glück“ (with music from the opera “Gl’incatesimi disciolti” by A. Draghi 1640 and additional musical pieces curated by Thomas Höft and Michael Hell)

Concert Performance accompanied by dancers.

‍

Musical Direction: Michael Hell

Dramaturgy: Thomas Höft

Choreography: Mareike Franz

‍

Cast:

Sophia Daneman & Johanna Rosa Falkinger, Sopran

Anna Manske, Mezzosopran

Julian Habermann & Markus Schäfer, Tenor

Dietrich Henschel, Bariton

In order to anchor the topic of diversity more clearly in the classical music scene, Thomas Höft has overwritten the well-known "St. John Passion" by Johann Sebastian Bach with a completely new libretto, which instead of the story of Jesus' suffering places the story of the suffering of discriminated and murdered lesbian, gay, and trans people at the centre of the reflection.

It is not about external provocation, but about the serious question of our behaviour towards the suffering of people who were/are persecuted because of their sexuality.

‍
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.

‍

Kofinanziert durch das EU-Programm „Creative Europe (2021-2027)“ sowie durch das Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport.

‍

CAST

Ārt House 17

Susanne Elmark, Sopran
Yosemeh Adjei, Countertenor
Julian Habermann, Tenor
Markus Schäfer, Tenor (Narrator)
Dietrich Henschel, Bariton

Thomas Höft, Libretto
Michael Hell, Musical Director

‍

‍

‍