Zwischen Konfetti und Polo­naisen

Zwischen Konfetti und Polo­naisen

Every year it's carnival, and every year she has the same problem: what to wear? Pippi Longstocking doesn't fit anymore, the polar bear costume is too light-colored, Darth Vader sounds weird, the elephant costume makes eating difficult, and her friend wants to wear the pink unicorn costume. A witch costume might scare people. Maybe other countries, like Great Britain, have different customs, like a football festival.

Zwischen Konfetti und Polo­naisen

Every year it's carnival, and every year she has the same problem: what to wear? Pippi Longstocking doesn't fit anymore, the polar bear costume is too light-colored, Darth Vader sounds weird, the elephant costume makes eating difficult, and her friend wants to wear the pink unicorn costume. A witch costume might scare people. Maybe other countries, like Great Britain, have different customs, like a football festival.

Zwischen Konfetti und Polo­naisen

Every year it's carnival, and every year she has the same problem: what to wear? Pippi Longstocking doesn't fit anymore, the polar bear costume is too light-colored, Darth Vader sounds weird, the elephant costume makes eating difficult, and her friend wants to wear the pink unicorn costume. A witch costume might scare people. Maybe other countries, like Great Britain, have different customs, like a football festival.

Zwischen Konfetti und Polo­naisen

Every year it's carnival, and every year she has the same problem: what to wear? Pippi Longstocking doesn't fit anymore, the polar bear costume is too light-colored, Darth Vader sounds weird, the elephant costume makes eating difficult, and her friend wants to wear the pink unicorn costume. A witch costume might scare people. Maybe other countries, like Great Britain, have different customs, like a football festival.

Zwischen Konfetti und Polo­naisen

Every year it's carnival, and every year she has the same problem: what to wear? Pippi Longstocking doesn't fit anymore, the polar bear costume is too light-colored, Darth Vader sounds weird, the elephant costume makes eating difficult, and her friend wants to wear the pink unicorn costume. A witch costume might scare people. Maybe other countries, like Great Britain, have different customs, like a football festival.

Zwischen Himmel und Erde

Debütreihe Gerrit Illenberger. Gerold Huber Zwischen Himmel und Erde

Two years ago, baritone from Heidenheim impressed audiences at the Heidelberg Spring Song Academy. Now, a member of the Semperoper ensemble, he returns to Heidelberg with his former teacher's piano partner. The concert will feature settings of poems by Eichendorff, Verlaine, Mallarmé, and texts from "Des Knaben Wunderhorn". The concert will be performed without intermission.

Ruslan und Ljudmila

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL? Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time. Hungarian directors Alexandra Szemerédy and Magdolna Parditka look behind the magical façade of the legendary world and approach the characters with great curiosity for their most primal human fears, their emotional abrasions and abysses. They also follow trails that lead into authoritarian systems of yesterday and today - and ultimately end in a wedding. Or is the happy ending of this fairy tale pure utopia? Musical direction: Ben Glassberg Production, stage and costumes: Alexandra Szemerédy, Magdolna Parditka Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Grand magic opera in five acts (1842) Libretto: Konstantin Bakturin, Valeriyan Shirkov, Nestor Kukolnik, Mikhail Godenov, Nikolai Markevich and Mikhail Glinka based on the poem of the same name by Alexander Pushkin

Ruslan und Ljudmila

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL? Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time. Hungarian directors Alexandra Szemerédy and Magdolna Parditka look behind the magical façade of the legendary world and approach the characters with great curiosity for their most primal human fears, their emotional abrasions and abysses. They also follow trails that lead into authoritarian systems of yesterday and today - and ultimately end in a wedding. Or is the happy ending of this fairy tale pure utopia? Musical direction: Ben Glassberg Production, stage and costumes: Alexandra Szemerédy, Magdolna Parditka Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Grand magic opera in five acts (1842) Libretto: Konstantin Bakturin, Valeriyan Shirkov, Nestor Kukolnik, Mikhail Godenov, Nikolai Markevich and Mikhail Glinka based on the poem of the same name by Alexander Pushkin