After his last tour was sold out to the last seat, the »one-man boy band« of German comedy is now going on tour with his sixth stage programme. This time, the motto is: »Alles neu« (Everything’s new)!
Keywords: Shows & Entertainment
| Alain Frei | Comedian |
Information not provided |
These events are similar in terms of concept, place, musicians or the program.
Born in the right place by chance? By chance, lucky enough to be able to devote yourself to your love of music undisturbed from an early age? How free are art and music? When am I free, when are we free? What may, what should, what will freedom cost – me, you, us?Our so beloved freedom? Just an accidental gift of history? – Conceived, written and directed by tauchgold, Mensch, Musik #8 “Zufällig FREI” takes up this question from a different direction: How can music and art still reverse the downward trajectory of the will to freedom even in the face of direct threat? How can creative Eros put a stop to the destructive instinct? And what happens when I replace guilt and repentance before God with love and responsibility before others?Under the direction of Dutch conductor Bas Wiegers, the Rundfunk-Sinfonieorchester Berlin is once again transcending the boundaries of symphonic music by inviting artists to push the boundaries of classical performance practice – this time with works by composers who were given or denied freedom for random reasons. All of them – composers and their works – are linked by the question: When am I free and what does freedom mean to me?
Das Ensemble Modern widmet sich in der Konzertreihe »Wie frei ist die Kunst?« mit Musik und Gesprächen dem Thema der Kunstfreiheit und deren Grenzen. Im letzten Teil der Reihe, »Wie frei sind Komponist:innen?«, debattieren die Komponistin Brigitta Muntendorf und der Komponist Unai Urkola Etxabe im Gespräch mit Leonie Reineke darüber, inwieweit Künstler:innen persönliche Überzeugungen, politische Haltungen oder Einflüsse aus anderen Kulturen in ihre Arbeit einbringen können.Die Mexikanerin Hilda Paredes beschäftigt sich in »Forbidden games« (2019) mit Kindern, die ohne ihre Eltern in Gefängnissen an der Grenze zwischen Mexiko und den USA festgehalten werden. Der Italiener Carmine-Emanuele Cella thematisiert in »La mémoire de l’eau« (2014) die Fragilität des Wassers und unseres Planeten. In »The heart’s ear« (1997) nimmt die Australierin Liza Lim eine Melodie aus der islamischen Sufi-Musik als Ausgangspunkt.
The Ensemble Modern dedicates its concert series "How Free is Art?" to the topic of artistic freedom and its limits through music and discussions. How do performing artists deal with socio-political issues? Should, must or may they express an opinion through their program selection? Tania Rubio calls for protection of natural resources in her piece while Vladimir Tarnopolski tries to appear apolitical. Iris ter Schiphorst focuses on whistleblower Julian Assange.
The Ensemble Modern's concert series "How Free is Art?" explores artistic freedom and its limits through music and discussions. Philharmonie director Louwrens Langevoort and Museum Ludwig director Yilmaz Dziewior discuss how organizers can meet audience expectations, programming freedoms, and external influences. The concert features avant-garde music (Pierre Boulez), minimalist music (John Adams), and Jennifer Walshe's "Unbreakable line. Hinged waist".
In this affectionate homage, the West End success faithfully brings the unmistakeable sound of Paul Simon and Art Garfunkel to the stage. With global hits such as »The Sound of Silence«, »Bridge over Troubled Water« and »Mrs Robinson«, the show takes the audience on a thrilling journey through time, following the careers of the likeable and philosophical folk-rock stars!
Two pop-cultural icons come together here: With their joint live programme »Das Letzte Mahl«, Xatar and heavytones break down genre boundaries and mix trademark soul/funk/jazz sound with hard rap from the street. When explosive brass sections, driving percussion, funky guitars and vintage keyboard pads meet gangster rap with ruthless lyrics, it promises nothing less than a new level of hip hop and energetic live entertainment.
Naturally 7 create the multi-faceted sound cosmos of a whole band from the sound of the drums to the bass, the guitar, the harmonica or even the trombone – and completely without instruments! The seven men sing a cappella, but they are not comparable with many other groups of this genre, because only a few achieve such a perfect sound. Sometimes it’s R’n’B, soul or hip hop, sometimes gospel, pop or even rock. In the programme »N7 @the Movies« Naturally 7 performs great songs from movies and musicals like »Titanic«, »West Side Story«, »Grease«, »8 Mile«, »Saturday Night Fever« and many more.
From the Westphalian province to rock star – this dream came true for Bertram Engel in 1976 when Udo Lindenberg signed the then 17-year-old for the legendary Panikorchester. A few years later, another superstar of German rock music, Peter Maffay, hired him as a permanent band member. Bertram Engel has now been in the spotlight with the two for almost five decades, sharing unique moments and destinies with them on and off stage. As a drummer, he is the pulse that drives and holds the band together. In his book, Engel tells of his exciting life as a rock musician, full of unrivalled anecdotes about the stars he has performed with. At the Laeiszhalle, Bertram Engel not only reads from the book, but also plays songs he wrote for Peter Maffay and Udo Lindenberg.
Two legendary worlds collide: the creativity of a long-time Kraftwerk band member and a milestone in cinema history. It is no exaggeration to use the adjective »sensational« to describe what has been created in recent years in the Hamburg studio of musician Karl Bartos, who played a key role in shaping Kraftwerk’s electropop style from 1974 to 1990. It brings the silent film classic »The Cabinet of Dr Caligari« into our time through sophisticated sound design and creates a total work of art that immediately casts a spell over you. The fascinating interplay of fantasy and touching chills is given something intoxicating and beguilingly beautiful by Barto’s sound art. Karl Bartos has been fascinated by »The Cabinet of Dr Caligari« for almost twenty years and has given this silent film classic a fitting artistic guise. He has not only created a completely new, consistent soundscape to accompany the movie, but also his own music. He uses the timeless sound of the symphony orchestra, albeit synthesised and electronically modulated. This spectacular project combines the film screening of the first psycho-thriller with sounds and music created live on stage by Karl Bartos and his colleague Mathias Black.
Two legendary worlds collide: the creativity of a long-time Kraftwerk band member and a milestone in cinema history. It is no exaggeration to use the adjective »sensational« to describe what has been created in recent years in the Hamburg studio of musician Karl Bartos, who played a key role in shaping Kraftwerk’s electropop style from 1974 to 1990. It brings the silent film classic »The Cabinet of Dr Caligari« into our time through sophisticated sound design and creates a total work of art that immediately casts a spell over you. The fascinating interplay of fantasy and touching chills is given something intoxicating and beguilingly beautiful by Barto’s sound art. Karl Bartos has been fascinated by »The Cabinet of Dr Caligari« for almost twenty years and has given this silent film classic a fitting artistic guise. He has not only created a completely new, consistent soundscape to accompany the movie, but also his own music. He uses the timeless sound of the symphony orchestra, albeit synthesised and electronically modulated. This spectacular project combines the film screening of the first psycho-thriller with sounds and music created live on stage by Karl Bartos and his colleague Mathias Black.
ConcertPulse