Two significant names in the international metal scene unite on one stage: Leaves’ Eyes and Atrocity promise an evening between epic vastness and uncompromising heaviness.

Leaves’ Eyes represent cinematic symphonic metal with Nordic mythology, grand melodies, and impressive soundscapes. Powerful guitars meet orchestral arrangements and a charismatic voice that tells stories of battles, legends, and longing.

Atrocity, on the other hand, have been one of the most versatile formations in the German metal scene for decades. With powerful riffs, dark atmosphere, and stylistic versatility, they bridge the gap between death metal roots and modern influences.

Together, they create a concert experience full of dynamics: epic and atmospheric on one side, intense and powerful on the other. An evening for all who love melodic grandeur just as much as raw energy – and who want to experience metal in all its diversity.

Doors open: 19:00 Uhr

A self-production of the inclusive theater group of the Kannwas Kollektiv in collaboration with the Tanzhaus Lindau

About the play
“Fliegen lernen” tells the story of a young man at the beginning of an apparently secure adult life. The encounter with a dance group disrupts his plans and leads him on a quest – for his own path and for the story of his deceased mother.

Artistic team
Script & direction: Ainhoa Guerrero Tetas and Thekla Lanz (Kannwas Kollektiv)
Choreography: Anne Thaeter (Tanzhaus Lindau e.V.)
Costume: Janina Kobinger

Theater ensemble
The ensemble consists of 24 actors and dancers, nearly half of whom are people with disabilities. It is an inclusive group that has been performing theater together in this constellation since 2024.

This production was funded by Aktion Mensch

Themes: Self-determination and empowerment, freedom, inclusion
for students aged 12 and over

80 minutes without intermission

Operetta by Ralph Benatzky

Operetta in 3 Acts
Libretto and text adaptation: Eric Charell, Robert Gilbert, and Kurt Feltz
Duration: 130 minutes including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Kathrin Klimke / Bernhard Leismüller / Sebastian Demmel
Costume design: Bernhard Leismüller / Amand Pérez / Fabienne Haspel
Set design: Bettina Hummitzsch
Scenery construction: Ralf Böhringer
Production assistance: Patrick Vonmoos
Direction, dramaturgy: Bernhard Leismüller

STAGING
"Im weissen Rössl" presents a significant challenge for a puppet theater. Not least, the numerous props used by the puppets pose the highest demands on the puppeteers. Letters, glasses, and suitcases, yes, even musical instruments and animals must be mastered.

STAGE HISTORY
The premiere of "Im weissen Rössl" took place on November 8, 1930, at the Berliner Schauspielhaus. The setting of the story is the Weißes Rössl hotel in St. Wolfgang in the Salzkammergut region of Austria. In London, the piece was part of an Erik Charell production that staged 651 performances in succession in 1931, and in New York, The White Horse Inn was performed 223 times on Broadway at the Center Theatre in 1936, again in a musically reassembled Charell production.
The work was banned in Nazi Germany due to its Jewish co-authors. Particularly, the bathing scene, considered scandalous, provoked the anger of the Nazis.
On June 19, 2009, "Im weissen Rössl" was performed again.
The rediscovered Rössl is brighter and jazzier than the arrangement played to this day from the 1950s. Even the historical recordings of individual music numbers could only provide a rough idea of it.

Sold out – Possibly remaining seats at the box office / Wheelchair seats please order by phone: +49 (0)83829113915

A best ager in the bloom of decay
Hans Gerzlich is horrified when he suddenly realizes that he was born in the same year as... old people. During the commercial breaks of his favorite show, no enticing aftershaves and sporty cars are being advertised anymore, but Granufink, Voltaren, and heat patches.
Outside 50, inside 20, he wonders, "When does life finally begin?" but then the "Personal Pension Information" lands in his mailbox again. The newly minted best ager has calculated: If he retires at 67, he can live quite comfortably off it for eleven days. Therefore, he hopes for an increase in bottle deposits.
But he also thinks about denying his own demise. About missed opportunities, but increasing serenity, what a new ethics of aging should look like, which, while playing a role in economics, does not take the lead, and which language he best learns to communicate with his caregiver later on.
In this cabaret program, you will laugh your heart out if you are 50, were 50 once, or plan to be 50 someday. But beware: you will already be two hours older afterward and have several more laughter lines.

Doors open at 19:15.

RAY WILSON, the former singer of GENESIS, presents the greatest hits from the legendary band's history as well as selected songs from his successful solo career. The multifaceted compositions of the progressive rock era blend with the well-known pop hits of the 1970s to 1990s - newly arranged without losing the original character of the songs.

RAY WILSON shaped the last GENESIS studio album CALLING ALL STATIONS with his distinctive voice, which to this day counts among the best-selling albums of the band. Over 20 years after its release, he brings the highlights of this album live to the stage with his band, including classics like "Congo," "Not About Us," "Shipwrecked," and "The Dividing Line." The set is complemented by timeless GENESIS anthems such as "No Son Of Mine," "Mama," or "Carpet Crawlers," as well as his own songs from his solo career.

GENESIS sold over 150 million records worldwide and were inducted into the Rock and Roll Hall of Fame. RAY WILSON himself is considered one of the outstanding singers of Great Britain and impresses with charismatic stage presence and intense live performances. His international career began in 1994 with STILTSKIN and the number-one hit "Inside," before he took over as singer of GENESIS from Phil Collins in 1997.

With GENESIS CLASSIC, the audience can expect an emotional, powerful concert experience at the highest musical level.

Doors: 7:00 PM

A self-production of the inclusive theater group of the Kannwas Kollektiv in collaboration with the Tanzhaus Lindau

About the play
“Fliegen lernen” tells the story of a young man at the beginning of an apparently secure adult life. The encounter with a dance group disrupts his plans and leads him on a quest – for his own path and for the story of his deceased mother.

Artistic team
Script & direction: Ainhoa Guerrero Tetas and Thekla Lanz (Kannwas Kollektiv)
Choreography: Anne Thaeter (Tanzhaus Lindau e.V.)
Costume: Janina Kobinger

Theater ensemble
The ensemble consists of 24 actors and dancers, nearly half of whom are people with disabilities. It is an inclusive group that has been performing theater together in this constellation since 2024.

This production was funded by Aktion Mensch

Themes: Self-determination and empowerment, freedom, inclusion
for students aged 12 and over

80 minutes without intermission

Wolfgang Amadeus Mozart

Opera in two acts | KV 620
Libretto: Emanuel Schikaneder
Playing time: 140 min. including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller
Set design: Bettina Hummitzsch
Direction, Dramaturgy: Ralf Hechelmann

STAGING
The production consciously eludes the countless interpretations that the work has undergone in its over two-hundred-year history. The Lindau Magic Flute takes place in a fairy-tale land. And this is not only because the fairy-tale genre deliberately employs logical breaks and paradoxes to enchant in the truest sense. Every viewer is allowed and encouraged to find and create their own story in the Magic Flute.

STAGE HISTORY
The premiere took place on September 30, 1791, at the Freihaus-Theater auf der Wieden - a Viennese suburban stage. As early as October 1791, the Magic Flute reached nearly twenty performances, and in the ensuing months, the Magic Flute continued to be successfully featured in the program of the Viennese stage. A year later, on October 25, 1792, it was performed with great success in Prague, followed by performances in Munich, in 1793 in Frankfurt a. M., and finally in Berlin and Weimar in 1794.

Sold out – Possibly remaining seats at the box office / Wheelchair seats please order by phone: +49 (0)83829113915

Wolfgang Amadeus Mozart

Singspiel in three acts | K 384
Libretto: Christoph Friedrich Bretzner
Duration: 120 min. including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller
Stage design: Bettina Hummitzsch
Direction, dramaturgy: Bernhard Leismüller

PERFORMANCE
"The Abduction" is a plea for courage, tolerance, and forgiveness. Against an exotic backdrop in the tension between two completely different cultures, Mozart outlines a historical utopia: Reconciliation. "Nothing is as ugly as revenge!" Against the backdrop of racial and religious conflicts that still lead to bloodshed, "The Abduction from the Seraglio" is a very current subject.

STAGE HISTORY
The premiere took place on July 16, 1782, at the Vienna Burgtheater and was a great success. Soon after, the opera began its triumphal march through German theaters: in 1783, performances took place in Prague, Leipzig, Bonn, and in 1784 in Munich, Salzburg, Mannheim, and Frankfurt am Main. Johann Wolfgang von Goethe was present at the Weimar premiere on April 4, 1785, and expressed his thoughts on the event with the words: "All our efforts to conclude in simplicity and limitation were lost when Mozart appeared. ´The Abduction from the Seraglio´ surpassed everything." Since then, the opera has been an indispensable part of the world's stages.

Wolfgang Amadeus Mozart

Opera in two acts | KV 620
Libretto: Emanuel Schikaneder
Duration: 140 mins including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller
Stage design: Bettina Hummitzsch
Direction, Dramaturgy: Ralf Hechelmann

STAGING
The production consciously avoids the countless interpretations that the work has undergone in its over two-hundred-year history. The Lindauer Magic Flute takes place in a fairytale land. And this is not only because the fairytale genre strategically uses illogicalities and paradoxes to enchant literally. Each spectator is allowed and encouraged to find and invent their own story in the Magic Flute.

STAGE HISTORY
The premiere took place on September 30, 1791, at the Freihaus-Theater auf der Wieden - a Viennese suburban theater. In October 1791 alone, the Magic Flute had nearly twenty performances, and it continued to be successful in the Viennese theater's program in the following months. A year later, on October 25, 1792, it was successfully performed in Prague, followed by performances in Munich, in Frankfurt am Main in 1793, and finally in Berlin and in Weimar in 1794.

Premiere May 2026
Martin Frank – "Greetings from Allegro South"

Do you long for a short vacation from the madness of the world? Then come for a two-hour comedy evening in Allegro South. Don't know where that is? Neither does Martin. But the 33-year-old comedian has everything that the name "Allegro South" promises: authentic gags, captivating tempo, enjoyable music, and an incomparable Bavarian charm.
While elsewhere the big windbags push into the front rows and drive the world insane with tirades of hate, in Allegro South, the down-to-earth second fiddle is appreciated.
In his fifth solo program, Martin Frank speaks in his unmistakable style about everything that currently moves him. Never heard of this comedian? Then you should quickly ask your grandma! Or you can be surprised and trust what 123jackydaniel789 writes on YouTube: "Super funny but the singing is annoying!" So book your tickets, see for yourself, and send "Greetings from Allegro South" out into the world.
Who is Martin Frank?
Martin Frank was born in 1992 on a farm in Lower Bavaria, Hutthurm. After training as a civil registrar and organist, he completed a three-year acting course at the Zerboni Acting School in Munich. From May 2026, he will tour the entire German-speaking area with his fifth solo program "Greetings from Allegro South." Martin Frank is a comedian, Spiegel bestseller author ("Grandma, I'm already bringing the wheelchair up," "The last one turns off the light") and host of the late-night show "Frank on Friday" on BR television.

Admission: 7:00 PM

Luise Kinseher has been on the stages of this country for 35 years. She has written eight cabaret programs, won all the awards, now enough is enough. Now it's time for others to take the stage, especially those who really want it. While MARY from BAVARY has so far only made small guest appearances, she will now take the whole evening. Endlich SOLO is a jubilant anniversary program, a fireworks display of punchlines, a laughter offensive, quite a big deal. Not only Luise Kinseher will be amazed!

Doors open at 7:15 PM

No tickets available

Opera in three acts
Antonín Dvorák
Duration: 130 mins including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Martin Gobsch
Costume tailoring: Bernhard Leismüller
Set design: Bernhard Leismüller
Direction, Dramaturgy: Bernhard Leismüller

Piotr Iljitsch Tschaikovsky

Ballet
Duration: 130 minutes including an intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller / Bernhard Morgenstern
Puppet heads: Sebastian Demmel
Costume design: Bernhard Leismüller / Amand Pérez
Set design: Bettina Hummitzsch
Choreography & Rehearsal: Jutta Mähr

CHOREOGRAPHY
Continuing on from Petipa's choreography, the ensemble of the Marionettenoper under the direction of Munich choreographer Jutta Mähr developed their own interpretation of the ballet classic. Even though a marionette may seem effortlessly able to master any physical challenge, the efforts had to be made visible. The illusion that the muscles tense up to the extreme pain threshold, that the dancers truly sweat, that they constantly have to fight for their balance was the main objective of this production.

STAGE HISTORY
"Swan Lake" is perhaps the most famous ballet of all time - all classical companies have it in their repertoire. Piotr Iljitsch Tschaikovsky took half a year (August 1875 to April 1876) to complete his first ballet, which premiered on February 20, 1877 at the Moscow Bolshoi Theatre. The first Russian guest performance in the West took place in 1969 by the Kirov Ballet. Among the newer interpretations, in addition to the choreography of principal dancer Rudolf Nureyev, those of George Balanchine (New York 1951), Vladimir Bourmeister (Moscow 1956), John Cranko (Stuttgart 1963), John Neumeier (Hamburg 2002), and the all-male reinterpretation "Matthew Bourne's Swan Lake" (London 1995) have become popular.

Wolfgang Amadeus Mozart

Opera in two acts | KV 620
Libretto: Emanuel Schikaneder
Duration: 140 mins including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller
Stage design: Bettina Hummitzsch
Direction, Dramaturgy: Ralf Hechelmann

STAGING
The production consciously avoids the countless interpretations that the work has undergone in its over two-hundred-year history. The Lindauer Magic Flute takes place in a fairytale land. And this is not only because the fairytale genre strategically uses illogicalities and paradoxes to enchant literally. Each spectator is allowed and encouraged to find and invent their own story in the Magic Flute.

STAGE HISTORY
The premiere took place on September 30, 1791, at the Freihaus-Theater auf der Wieden - a Viennese suburban theater. In October 1791 alone, the Magic Flute had nearly twenty performances, and it continued to be successful in the Viennese theater's program in the following months. A year later, on October 25, 1792, it was successfully performed in Prague, followed by performances in Munich, in Frankfurt am Main in 1793, and finally in Berlin and in Weimar in 1794.

You would like to have a look behind the scenes? For this reason, the Lindauer Marionettenoper offers a tour that includes the following:
History of the Lindauer Marionettenoper-3 scenes from an opera-backstage tour
The tour lasts 1 hour without a break. We look forward to welcoming you behind the scenes!

Come by for the signing session with the author of "Der Bademeister ohne Himmel," Petra Pellini, on May 29, 2026, at your Hugendubel in Lindau!

In her newly released paperback novel, she tells with warmth and humor about growing up and forgetting, and about a unique friendship.

Information about the book:
Linda is fifteen and would preferably run in front of a car. But two people still hold her back: her only friend Kevin, who is despairing that the world is on the brink. And Hubert, eighty-six years old, a retired lifeguard who hardly leaves his apartment, toasts carrots, and waits for his wife who passed away seven years ago. Three times a week, Linda spends the afternoon with Hubert to relieve the Polish caregiver Ewa, who practices her profession with quite eccentric methods. Linda sensitively and playfully encounters Hubert’s progressing dementia and tries to keep the old lifeguard in life. Until fate ruins her plans . . .

Now newly released as a paperback with an exclusive colored edge in the first edition!

Information about the author:
Petra Pellini, born in 1970 in Vorarlberg, lives and works in Bregenz. She has long worked in the care of people with dementia. For an excerpt from "Der Bademeister ohne Himmel," she was awarded the Vorarlberger Literature Prize in 2021, and the novel was also on the shortlist for the "Favorite Book of Independent Bookstores" 2024.

Secure your signed copy now and register for free!

Wolfgang Amadeus Mozart

Opera in two acts | KV 620
Libretto: Emanuel Schikaneder
Duration: 140 mins including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller
Stage design: Bettina Hummitzsch
Direction, Dramaturgy: Ralf Hechelmann

STAGING
The production consciously avoids the countless interpretations that the work has undergone in its over two-hundred-year history. The Lindauer Magic Flute takes place in a fairytale land. And this is not only because the fairytale genre strategically uses illogicalities and paradoxes to enchant literally. Each spectator is allowed and encouraged to find and invent their own story in the Magic Flute.

STAGE HISTORY
The premiere took place on September 30, 1791, at the Freihaus-Theater auf der Wieden - a Viennese suburban theater. In October 1791 alone, the Magic Flute had nearly twenty performances, and it continued to be successful in the Viennese theater's program in the following months. A year later, on October 25, 1792, it was successfully performed in Prague, followed by performances in Munich, in Frankfurt am Main in 1793, and finally in Berlin and in Weimar in 1794.

So close to the unique ABBA sound like no other show!

For over 25 years THE MAGIC OF ABBA has thrilled audiences in more than 30 countries worldwide – authentic and captivating. Europe’s NO1 ABBA Concert Show is now bigger, more spectacular, and more energetic than ever before!

So: Glitter outfit on, platform shoes out – and let’s go!

Experience an unforgettable time travel back to the 70s and early 80s. Immerse yourself in the magic of the Swedish cult band and celebrate their greatest hits live on stage.

Sing along, dance to the rhythm of the unforgettable melodies, and let yourself be enchanted by the energy, glamour, and joy of life this show brings.

Become part of this unique experience – and feel the fascination that connects ABBA fans all over the world.

For two hours, it’s: Back to the golden era of pop – where music touched hearts and dreams came true.

Doors open: 18:30

Johann Strauss

Operetta in three acts
Libretto: Richard Genée
Translation: Kurt Honolka
Duration: 140 minutes including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller & Katrin Keuthmann
Stage design: Hans Wünsch
Direction, Dramaturgy: Bernhard Leismüller

DIRECTING
As with all productions of the Marionettenoper, the emphasis in "Die Fledermaus" was placed on translating music into choreographed movement. One could even say that this principle was taken to its extreme here. When a character sits down, gets up, takes a step, it is determined by the music. Otto Schenk, who has directed "Die Fledermaus" worldwide and is probably one of the greatest experts of this musical masterpiece, said: "Not a single note is accidental." And this is not only true for Strauss. One can discover this connection with all the great opera composers.

STAGE HISTORY
"Die Fledermaus" was created between September 1873 and March 1874. The libretto was written by Richard Genée based on a play by the highly successful author duo Henri Meilhac and Ludovic Halévy, who two years earlier had created the basis for "Carmen," the most performed opera in the world to this day. Genée not only provided the text but also had a significant influence on the musical adaptation. According to the latest research, he is even credited with the majority of the musical material. Unfortunately, he was not entitled to any royalties for the success of "Die Fledermaus." "Die Fledermaus" is considered the queen of operetta and conquered the world after its Viennese premiere. It is one of the few operettas regularly performed at major opera houses such as the Metropolitan Opera, La Scala in Milan, the Vienna State Opera, and the Royal Opera House Covent Garden in London.