Set your preferred locations for a better search. You can sign up here.

Das Tagebuch der Anne Frank

Date & Time
Tue, May 6, 2025, 11:00
Everything seems to have been said about them, books have been written, films made, podcasts produced, facts collected upon facts. And yet there remains a void into which all the facts and words cannot penetrate - but the music can. In his composition, Grigori Frid approaches the inner states of Anne Frank, traces her longings and fears, and thus echoes the great literary power of Anne Frank's words. He creates a sensualization of the situation and thus a strong possibility... Read full text

Keywords: Opera

Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event

Musicians

Volker KrafftMusical Director
Olivia WarburtonAnne Frank
Philharmonisches Staatsorchester HamburgOrchestra

Program

Das Tagebuch der Anne FrankGrigori Frid
Give feedback
Last update: Fri, Nov 22, 2024, 12:42

Similar events

These events are similar in terms of concept, place, musicians or the program.

Artistic depiction of the event

Das Tagebuch der Anne Frank

Thu, May 8, 2025, 19:00
opera stabile (Hamburg)
Volker Krafft (Musical Director), Olivia Warburton (Anne Frank), Philharmonisches Staatsorchester Hamburg (Orchestra)
Everything seems to have been said about them, books have been written, films made, podcasts produced, facts collected upon facts. And yet there remains a void into which all the facts and words cannot penetrate - but the music can. In his composition, Grigori Frid approaches the inner states of Anne Frank, traces her longings and fears, and thus echoes the great literary power of Anne Frank's words. He creates a sensualization of the situation and thus a strong possibility of identification for young people today. After the White Rose, this graphic opera is dedicated to another iconic figure and victim of the Nazi dictatorship: Anne Frank. Digital and handmade, with comic, film, gore and poetry, documentary and fantastic, telling history and stories differently. For the truth behind reality! Production: David Bösch Setsund costume: Patrick Bannwart Video: Falko Herold Dramaturgy: Janina Zell, Michael Sangkuhl Music theater pedagogy: Maura Kopschitz
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event

Der Ring des Nibelungen – Das Rheingold

Sat, May 16, 2026, 19:30
Deutsche Oper Berlin (Berlin)
Richard Wagner considered RHEINGOLD a "pre-evening" to his stage play DER RING DES NIBELUNGEN, a label that certainly deliberately refers to the prologues of the Baroque operas. Because here, as well as there, the gods are in control and create the conditions under which the fates of man will be decided. And just like the ancient deities of Monteverdi, their northern counterparts of Wagner are beings who embody the drives of human existence. All of the feelings, urges and thoughts that determine our own existence also appear in the two and a half hours of RHEINGOLD. Starting with the innocent games played by the Rheinmaidens whom the Nibelung Alberich robs of their gold, to this dwarf's unbridled lust for power and the scornful nihilism of the fire god Loge, to the father of the gods Wotan's attempt to create something that will last with his palace of Valhalla. And not lastly, the gold itself is a mute lead character: an item of gleaming fascination, it is simultaneously a touchstone by which each character is manifest and which divides gods and man alike into good and evil. With its claim of explaining the world through its sheer expanse across time, DER RING DES NIBELUNGEN is the greatest challenge for any opera director. At the Deutsche Oper Berlin Stefan Herheim is taking on the task of translating the mindset of Wagner's tetralogy into the 21st century. The winner of multiple awards, the Norwegian director is one of the most important directors today: in his work he frequently illustrates the ideological historical connections and effective history of the respective operas. This approach has shaped his celebrated PARSIFAL in Bayreuth, among others, and has predestined him for an interpretation of RING.
Info & Ticket (deutscheoperberlin.de)
Artistic depiction of the event

Der Ring des Nibelungen – Das Rheingold

Tue, May 26, 2026, 19:30
Deutsche Oper Berlin (Berlin)
Richard Wagner considered RHEINGOLD a "pre-evening" to his stage play DER RING DES NIBELUNGEN, a label that certainly deliberately refers to the prologues of the Baroque operas. Because here, as well as there, the gods are in control and create the conditions under which the fates of man will be decided. And just like the ancient deities of Monteverdi, their northern counterparts of Wagner are beings who embody the drives of human existence. All of the feelings, urges and thoughts that determine our own existence also appear in the two and a half hours of RHEINGOLD. Starting with the innocent games played by the Rheinmaidens whom the Nibelung Alberich robs of their gold, to this dwarf's unbridled lust for power and the scornful nihilism of the fire god Loge, to the father of the gods Wotan's attempt to create something that will last with his palace of Valhalla. And not lastly, the gold itself is a mute lead character: an item of gleaming fascination, it is simultaneously a touchstone by which each character is manifest and which divides gods and man alike into good and evil. With its claim of explaining the world through its sheer expanse across time, DER RING DES NIBELUNGEN is the greatest challenge for any opera director. At the Deutsche Oper Berlin Stefan Herheim is taking on the task of translating the mindset of Wagner's tetralogy into the 21st century. The winner of multiple awards, the Norwegian director is one of the most important directors today: in his work he frequently illustrates the ideological historical connections and effective history of the respective operas. This approach has shaped his celebrated PARSIFAL in Bayreuth, among others, and has predestined him for an interpretation of RING.
Info & Ticket (deutscheoperberlin.de)
Artistic depiction of the event

Das Phantom der Oper

Fri, Mar 28, 2025, 20:00
Theater und Philharmonie Essen, Alfried Krupp Saal (Essen)
World-star Deborah Sasson and German musical star Uwe Kröger reunite their talents on German stages. Their chemistry is palpable, showcasing their deserved spotlight. Awarded the Golden Sun 2023 by Sonnenklar TV, their "Phantom of the Opera" has captivated audiences since 2010. Featuring masterful arrangements by Ryan Martin, spectacular stage design by Daniel Stryjecki and Michael Scott, this production stays true to the original novel, incorporating operatic quotes. Sasson's powerful voice embodies Christine, while Kröger, known for his role in "Elisabeth," plays the Phantom, alongside a talented ensemble.
Info & Ticket (www.theater-essen.de)
Artistic depiction of the event

Der Freischütz

Sun, Nov 17, 2024, 18:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Andreas Kriegenburg (Inszenierung), Yoel Gamzou (Musical Director), Harald B. Thor (Bühnenbild), Andrea Schraad (Costume), Andreas Grüter (Licht), Dr. Angela Beuerle (Dramaturgie), Volker Michl (Choreography), Christian Günther (Chorleitung), Andrzej Dobber (Ottokar), Hubert Kowalczyk (Cuno), Julia Kleiter (Agathe), Alina Wunderlin (Ännchen), Johan Reuter (Caspar), Maximilian Schmitt (Max), Clemens Sienknecht (Samiel), Han Kim (Ein Eremit), William Desbiens (Kilian), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
Info (www.staatsorchester-hamburg.de)
Artistic depiction of the event

Der Freischütz

Wed, Nov 20, 2024, 19:30
Hamburgische Staatsoper, Großes Haus (Hamburg)
Andreas Kriegenburg (Inszenierung), Yoel Gamzou (Musical Director), Harald B. Thor (Bühnenbild), Andrea Schraad (Costume), Andreas Grüter (Licht), Dr. Angela Beuerle (Dramaturgie), Volker Michl (Choreography), Christian Günther (Chorleitung), Andrzej Dobber (Ottokar), Hubert Kowalczyk (Cuno), Julia Kleiter (Agathe), Alina Wunderlin (Ännchen), Johan Reuter (Caspar), Maximilian Schmitt (Max), Clemens Sienknecht (Samiel), Han Kim (Ein Eremit), William Desbiens (Kilian), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
Info (www.staatsorchester-hamburg.de)
Artistic depiction of the event

Der Freischütz

Sat, Nov 23, 2024, 19:30
Hamburgische Staatsoper, Großes Haus (Hamburg)
Andreas Kriegenburg (Inszenierung), Yoel Gamzou (Musical Director), Harald B. Thor (Bühnenbild), Andrea Schraad (Costume), Andreas Grüter (Licht), Dr. Angela Beuerle (Dramaturgie), Volker Michl (Choreography), Christian Günther (Chorleitung), Andrzej Dobber (Ottokar), Hubert Kowalczyk (Cuno), Julia Kleiter (Agathe), Alina Wunderlin (Ännchen), Johan Reuter (Caspar), Maximilian Schmitt (Max), Clemens Sienknecht (Samiel), Han Kim (Ein Eremit), William Desbiens (Kilian), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
Info (www.staatsorchester-hamburg.de)
Artistic depiction of the event

Der Freischütz

Wed, Nov 27, 2024, 19:30
Hamburgische Staatsoper, Großes Haus (Hamburg)
Andreas Kriegenburg (Inszenierung), Yoel Gamzou (Musical Director), Harald B. Thor (Bühnenbild), Andrea Schraad (Costume), Andreas Grüter (Licht), Dr. Angela Beuerle (Dramaturgie), Volker Michl (Choreography), Christian Günther (Chorleitung), Andrzej Dobber (Ottokar), Hubert Kowalczyk (Cuno), Julia Kleiter (Agathe), Alina Wunderlin (Ännchen), Johan Reuter (Caspar), Maximilian Schmitt (Max), Clemens Sienknecht (Samiel), Han Kim (Ein Eremit), William Desbiens (Kilian), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
Info (www.staatsorchester-hamburg.de)