Playing, laughing, being loud, romping, doing nothing – and that in an exhibition house! From September 4, 2024, BAUBAU invites exactly that. In the play space for children designed by artist Kerstin Brätsch, more is allowed than forbidden. Colorful wallpapers, structures, objects, and a range of “Loose Parts” form spaces on the ground floor of the Gropius Bau that do not impose fixed guidelines but are determined by the activities of the children. They dictate the direction and form of what happens here. Thus, this place becomes a space of possibilities that can change day by day.

BAUBAU will launch in September 2024 in a prototype version and will continue to develop and grow over the coming years both inside and outside the Gropius Bau – in close exchange with the children and their wishes, as this is their place.

The Play
All children have the urge to play. This is how they learn to understand themselves and the world. Especially open, self-determined play is of great significance for emotional and social development. The educational concept for BAUBAU is therefore based on the principles of free play: Here, there is time, space, and permission for children to follow their own needs and interests. They are accompanied by playworkers – trained staff who create a safe and supportive environment where children can play freely.

 
The Art
BAUBAU playfully questions what a museum or an art institution should be. The comprehensive spatial design developed by Kerstin Brätsch is full of references and inspirations: elements from her previous works, such as marbling, paintings, or stucco marble work, reappear here in altered forms and materialities. The wallpapers, curtains, fabrics, seating furniture, and climbing structures are inhabited by dinosaurs, fantastical beings, termite mounds, and abstract elements. With their strange, funny, and perhaps a bit eerie shapes, they create an open framework for free play.

Kerstin Brätsch's practice is designed to allow and incorporate influences from outside. While she has previously collaborated with artists or artisans, she now does so in a completely different way with children: She invites the children to reshape and further develop the space according to their own ideas and visions, without the influence of the artist in unpredictable ways.

Mon, Wed, Thu, Fri 12:00–18:00
Sat, Sun 11:00–18:00
Tue closed

Playing, laughing, being loud, romping, doing nothing – and that in an exhibition house! From September 4, 2024, BAUBAU invites exactly that. In the play space for children designed by artist Kerstin Brätsch, more is allowed than forbidden. Colorful wallpapers, structures, objects, and a range of “Loose Parts” form spaces on the ground floor of the Gropius Bau that do not impose fixed guidelines but are determined by the activities of the children. They dictate the direction and form of what happens here. Thus, this place becomes a space of possibilities that can change day by day.

BAUBAU will launch in September 2024 in a prototype version and will continue to develop and grow over the coming years both inside and outside the Gropius Bau – in close exchange with the children and their wishes, as this is their place.

The Play
All children have the urge to play. This is how they learn to understand themselves and the world. Especially open, self-determined play is of great significance for emotional and social development. The educational concept for BAUBAU is therefore based on the principles of free play: Here, there is time, space, and permission for children to follow their own needs and interests. They are accompanied by playworkers – trained staff who create a safe and supportive environment where children can play freely.

 
The Art
BAUBAU playfully questions what a museum or an art institution should be. The comprehensive spatial design developed by Kerstin Brätsch is full of references and inspirations: elements from her previous works, such as marbling, paintings, or stucco marble work, reappear here in altered forms and materialities. The wallpapers, curtains, fabrics, seating furniture, and climbing structures are inhabited by dinosaurs, fantastical beings, termite mounds, and abstract elements. With their strange, funny, and perhaps a bit eerie shapes, they create an open framework for free play.

Kerstin Brätsch's practice is designed to allow and incorporate influences from outside. While she has previously collaborated with artists or artisans, she now does so in a completely different way with children: She invites the children to reshape and further develop the space according to their own ideas and visions, without the influence of the artist in unpredictable ways.

Mon, Wed, Thu, Fri 12:00–18:00
Sat, Sun 11:00–18:00
Tue closed

There is nothing new under the sun, it is said. But underneath the two hats of Ulan & Bator, that's not the case! UNDSINN! After their program "ZUKUNST" (German Cabaret Award 2022), "UNDSINN" is the next creation of the two intellectual clowns of German cabaret. Now in their 24th year, they continue to research their "Krazy Kabarett," as they call it. No one else in the German-speaking world connects poetry, comedy, cabaret, wordplay, bodily performance, dance, and song in such a boundary-crossing yet accessible way to create a work of art. Their unique humor, which has long gone beyond comparisons with Monty Python and Loriot, allows them to expertly dance on the thin line between depth, musicality, fun, philosophy, and social criticism. Indeed, UNDSINN.

Ulan & Bator are:
Frank Smilgies & Sebastian Rüger

Photo: Sebastian Rüger

6:15 PM

Playing, laughing, being loud, romping, doing nothing – and that in an exhibition house! From September 4, 2024, BAUBAU invites exactly that. In the play space for children designed by artist Kerstin Brätsch, more is allowed than forbidden. Colorful wallpapers, structures, objects, and a range of “Loose Parts” form spaces on the ground floor of the Gropius Bau that do not impose fixed guidelines but are determined by the activities of the children. They dictate the direction and form of what happens here. Thus, this place becomes a space of possibilities that can change day by day.

BAUBAU will launch in September 2024 in a prototype version and will continue to develop and grow over the coming years both inside and outside the Gropius Bau – in close exchange with the children and their wishes, as this is their place.

The Play
All children have the urge to play. This is how they learn to understand themselves and the world. Especially open, self-determined play is of great significance for emotional and social development. The educational concept for BAUBAU is therefore based on the principles of free play: Here, there is time, space, and permission for children to follow their own needs and interests. They are accompanied by playworkers – trained staff who create a safe and supportive environment where children can play freely.

 
The Art
BAUBAU playfully questions what a museum or an art institution should be. The comprehensive spatial design developed by Kerstin Brätsch is full of references and inspirations: elements from her previous works, such as marbling, paintings, or stucco marble work, reappear here in altered forms and materialities. The wallpapers, curtains, fabrics, seating furniture, and climbing structures are inhabited by dinosaurs, fantastical beings, termite mounds, and abstract elements. With their strange, funny, and perhaps a bit eerie shapes, they create an open framework for free play.

Kerstin Brätsch's practice is designed to allow and incorporate influences from outside. While she has previously collaborated with artists or artisans, she now does so in a completely different way with children: She invites the children to reshape and further develop the space according to their own ideas and visions, without the influence of the artist in unpredictable ways.

Mon, Wed, Thu, Fri 12:00–18:00
Sat, Sun 11:00–18:00
Tue closed

Many roles Christine Eixenberger takes on for herself, not least her own: As a primary school teacher, she once switched to the stage and quickly added a TV career. For the successful ZDF series "Marie fängt Feuer," she has been in front of the camera for years as a firefighter and shines in numerous other character roles in film and television. However, her comedic core competency is mainly displayed live: For her multifaceted stage comedy, she was awarded the Bavarian Cabaret Prize, among others.
In her new solo program, Christine Eixenberger tells how it is to no longer be solo. The relationship is stable, the housing shortage too, so her partner moves in with her. From "I and you" it becomes a "we" - with all the consequences.
But Chrissy has that fully under control. Well, almost. With tireless energy and enthusiasm, she not only defies the small crises in her newly formed couple household, but also the big ones in this world, because she knows: The big reflects in the small. And vice versa. Supply chain problems, artificial intelligence, and chip shortages? The trained primary school teacher confronts these with a robust handyman attitude and a biotech lab in the fridge.
Thereby, as a philosophically inclined scion of Generation Y, she always asks herself the question of "Why": Why is a black zero more important than a functioning education system? Why do the Austrians and the Swiss manage to operate a functioning railway network despite topographical obstacles? And why, damn it, is there still a crumb from breakfast on the dining table, even though it’s already afternoon?
In her fifth stage program “Volle Kontrolle,” the sharp-tongued cabaret artist humorously faces the challenges of advanced coupledom in turbulent times - profound, entertaining, and very, very funny.

Photo: Gregor Wiebe

WEB: christine-eixenberger.de

17:00

Finally, after five years of creative pause, there will be a new program by Erwin Grosche. It will be called PIPIFAX and be Pipifax. If you look it up in the Duden, PIPIFAX stands for "foolish stuff and nonsense." That is exactly what Erwin Grosche has been doing on stage for 50 years, hiding touching philosophical thoughts and seriously meant insights within all the nonsense.

Follow the world listener on his journey through his city and his neighborhood. What he sees there is human, cheerful, and comforting. Enlightening texts about poppy seed cake, latest insights about cheese spread, and wistful descriptions of everyday life with cheers can be found in the program, as well as misguided decisions about acquiring a hamster or what could speak against the use of a trumpet. Is that Pipifax? Yes, but it would be a shame if there were no such Pipifax.

Entrance: 5:30 PM

Concert reading with Aeham Ahmad (pianist from the ruins) and Andreas Lukas (writer)

Music can build bridges and set signs. Aeham Ahmad's message is "Music for hope," bringing fates and people together.

The two artists manage to connect their respective art forms in a way that is both entertaining and deeply moving. The concert reading becomes a special experience through this connection of music and literature.

Aeham Ahmad has been living in Germany as a successful musician for several years now. In the Yarmouk refugee camp, he pushed his piano on a board with wheels through the ruins. He made it his mission to bring hope with his playing. Even here, he manages to bring a smile to people's faces with his music. Sitting at the piano, it seems he throws his experiences and feelings into the keys. The boundaries between genres are broken. When he starts his performance with Beethoven's "Ode to Joy," wandering through styles and eras and finally incorporating the melody "The thoughts are free," the audience joins in with enthusiasm. He describes his style as Modern Classic Jazz Mix or World Music. The notion of freedom accompanies him throughout. This is the occasion for the new book "Ankommen …!? - How do we achieve this," which he wrote together with Andreas Lukas.

"Ankommen …!? provides personal insights into life and everyday experiences with all its beautiful sides and difficulties. Close to life, he tells his story and experiences in the new and unknown culture and society. "It has not become easier for all of us. Despite everything, I also want to find peace for myself here and contribute with my music and my songs," says Aeham Ahmad. While writing, the authors realized that arriving is always a years-long marathon for all of us and will be. But it opens many new paths, leads to new insights, friendships, and experiences.

Concert reading: Symbiosis of music and literature
The concert reading is more than just a musical performance or a reading. It is a multidisciplinary experience where music and words go hand in hand. Sometimes, the special lies in reduction. It is reduced because it only takes a book, a piano, and indeed the author and the pianist to create moments in about an hour and a half that are not experienced every day. While Aeham Ahmad plays virtuosic pieces on the piano, Andreas Lukas reads passages from works that often stand in direct dialogue with the music. Aehams music reflects not only technical skill but also deep emotions that touch deeply. On the other hand, Andreas Lukas captivates with gripping stories and literary sensitivity. Together, they manage to create an atmosphere that touches the heart and stimulates thought. This unique combination captivates the audience and creates moments that will be remembered for a long time. Alternating with musical pieces, excerpts from the book "Ankommen …!? – How do we achieve this" are read, as well as lyrical thoughts in connection with music and words. Aehams music not only colors the texts but also gives them additional expressive power. Immerse yourself in the impressive merging of music and words with narratives and encounters, presented by the successful duo of pianist and writer, who symbiotically connect music and lyrical thoughts, inviting you to dream, ponder, or simply enjoy.

Admission: 12:30 PM

The permanent exhibition on the life and work of Erich Maria Remarque offers a detailed look into the life, work, and thoughts of the famous writer through numerous photographs, documents, and manuscripts. The exhibition is bilingual, presented in German and English throughout.

Divided into seven sections covering his youth in Osnabrück (1898–1921), the years in Hanover and Berlin (1922–1928), the discussion around All Quiet on the Western Front (1928–1930), his exile in Europe (1931–1939) and the USA (1939–1948), his political works in the 1950s, and the 1960s leading up to his death on September 25, 1970 in Locarno, the exhibition attempts to highlight the ruptures, contradictions, and controversies in Remarque's life while emphasizing their productivity for his work. It illustrates Remarque's numerous psychological conflicts, aiming to resolve the apparent contradiction between the "bon vivant" and the "militant pacifist," and provides insight into his acquaintances, friendships, and marriages. Numerous originals such as the death mask or Remarque's original desk complement the presentation.

Another focus of the exhibition is the worldwide, often highly controversial reception of Remarque's works, which have been translated into at least 60 languages and continue to attract a global audience of millions.

An information terminal allows visitors to delve deeper into specific questions about Remarque's life and work. Another terminal provides access to over 2,000 photographs spanning all stages of Remarque's life, his residences, contacts, and the film adaptations of his works.

The exhibition is open for free visits on Tuesdays to Fridays from 10 am to 1 pm and from 3 pm to 5 pm, and on Saturdays and Sundays from 11 am to 5 pm. Guided tours for school classes and other interest groups can also be arranged outside regular opening hours. Tours can be scheduled with Mr. Martin Siemsen (siemsen.m@osnabrueck.de) by phone at 0541/323-2109 or fax at 0541/323-4355.

A shop on-site offers materials related to Remarque's life and work for sale.

The castle with a lot to offer: "HerrschaftsZeiten! Erlebnis Cadolzburg" from June 24, 2017 at the Cadolzburg - the new highlight of the Nuremberg Metropolitan Region

A powerful castle - the setting of the illustrious history of a ruling family that has achieved great success: this was and is the Cadolzburg. The rulers were the Hohenzollern family, who ruled over Franken and later Brandenburg, also gaining electoral dignity in the 15th century. Later on, they even became Prussian kings and German emperors.

The Cadolzburg derives its radiance not only from its role as the starting point of a significant career in the Holy Roman Empire - the impressive structure itself reflects this golden era of the Hohenzollerns. The new museum "HerrschaftsZeiten! Erlebnis Cadolzburg" of the Bavarian Administration of State Castles will make this time - the late Middle Ages - exciting and informative for visitors through innovative communication concepts. While walking through the castle, visitors can learn not only about the architectural history, wars and peace, daily life, and governing tasks of the princely castle residents. There is much to discover here through interactive and sensory means:

Visitors can experience the castle through their sense of smell, there are tactile stations, sounds and dialogues, vivid models, and invitations to try things out. Exciting or challenging games, medieval Hohenzollerns in their own words, and the jester Contz who guides visitors through the castle bring the Middle Ages to life. Visitors can also expect to see several original medieval artifacts such as swords, maces, or a magnificent treasure chest. Other objects were specially crafted for the museum based on extensive research in historical techniques, such as the gilded armor of the famous General Albrecht Achilles, or textiles dyed according to original recipes. The Bavarian Administration of State Castles also made significant contributions to experimental historical research, like creating a breastplate from boiled leather, in line with the ambition of creating one of Germany's most important castle museums.

The cultural communication of the Bavarian Administration of State Castles also offers a diverse program of accompanying events, making this exciting history even more intriguing - for the young nobleman as well as the castle enthusiast.

Not only the Middle Ages but also the Cadolzburg itself now comes back to life. After the extensive damage of World War II, original medieval rooms and successful architectural creations of the 21st century can now be experienced. The modern buildings completed in 2017 bridge the medieval era with our present time.

You can expect very special experiences here - it truly is THE CASTLE WITH A LOT TO OFFER.

 

 

The Romantic era was a particularly brilliant period for portrait miniatures, reaching its peak and at the same time signaling the end of this special painting technique. Countless artists created portraits with great empathy and astonishing technical perfection. More people than ever collected small portraits of their loved ones to carry with them or to gather at home as a pictorial family album. 142 masterpieces from the renowned Tansey collection illuminate the heyday of an art that had to make way for photography during the 19th century.

Accompanying the exhibition is a catalog that, in addition to the annotated reproduction of all works, is distinguished by essays by various experts on aspects of miniature painting during this time. Hirmer Verlag, bilingual German/English, 432 pages, 208 color illustrations.

Tue - Sun 11am-5pm

Halloween rock music for kids

The Augsburg children's music band "Andi und die Affenbande" combines music, theater, and interactive activities in their dynamic and entertaining concerts to create a colorful concert experience.

The children are not just listeners: they get to sing along, dance, and even perform on stage. The sound is energetic, the lyrics imaginative and cheeky – even the parents can't help but rock along.

Whether it's ghosts in the bedroom, wiggly teeth, or a castle on the beach – the Affenbande hits home with their lyrics and melodies that resonate with both children and parents. After all, "Andi und die Affenbande" knows the life that revolves around grandpas, funfairs, and favorite ice creams. It’s no wonder that things get lively here – their little fans hop and jump, laugh and sing along. The Augsburg Allgemeine confirms, "Andi und die Affenbande know how to get kids grooving."

On this afternoon, you'll experience an electrifying rock Halloween party at the Wittelsbach Castle! Come in costume and make our Grand Hall shake!

Children under 14 years old are only allowed when accompanied by a legal guardian.

Entry: 2:00 PM

The Pension zur schwäbischen Jungfrau
Who hasn't heard of it: The Ländle. Better known as BaWü. Home of the Kehrwoche, Spätzle, Trollinger-Lemberger, and World Savings Day. And not only cars, but Swabian hospitality is now set to be exported. The franchise chain "Pension zur schwäbischen Jungfrau" is embarking on a journey from the used federal state to the peripheries of East German industrial estates from Ottendorf-Okrilla to Großengottern.
Experience “Frl. Fischer”, the eternally young entrepreneur with heart and mouth, who is trying her luck as a new restaurateur. Always by her side is the loyal keyboard player Sven, who, as a non-system-relevant solo self-employed pianist, finally wants to take off. As permanent guests, Mrs. Sturm, who found the retirement home too exciting, and prefers to create an atmosphere in the quaint pension. Or the modern woman of today, of course with a son who prefers not to be named... All played and brought to life by Carolin Fischer, long known as a longtime member of the academixer ensemble and now on solo paths. Enjoy this cheerful evening in the East German province, where even the Swabians still have something to teach...

Admission: 5:00 PM into the house | 5:30 PM into the hall

She is infamous, she is unique, and she is definitely crazy. She doesn't just have a green thumb, she has two. "Gardening without much fuss" is not only her motto, but also the title of her current live tour.

We're talking about Katrin Iskam, a trained and active nurse, but above all the hottest discovery in the local garden scene. Because who digs, shovels, and digs in rubber boots and nightgown? Exactly, only "Katrinchen," as she is affectionately called by her fans. And there are now quite a lot of them. Nearly 200,000 alone on her Instagram page @katrinsgarten, which was awarded the 1st place in the German Garden Book Prize. The self-taught gardener is a successful garden influencer and SPIEGEL best-selling author (2022 "With Wit, Charm, and Method - The somewhat different garden book"; 2023 "Go big or go home: Garden design with @katrinsgarten"; Book no. 3 follows in late summer: "Through Katrin's Garden Year 2025 with Heart & Fork"). Born and raised in the Altmark, she now lives in Himbergen in the Lüneburg Heath. Could a place of residence sound more like a garden? Hardly.

And right there it lies: Her garden. Her retreat. The origin of all her creative katrinsgarten constructions. And the nucleus of countless incredible stories. A nightly snail rescue mission can end up almost at the police station. And if the organic fertilizer accidentally ends up on the Christmas tree, "Head Gardener" Tyson, Katrin's dachshund, is the happiest. Together, the two form an unbeatable team when it comes to planning, caring for, and nurturing. Then there's Waldemar, the god-like husband, who is more likely to locate the Fette Henne (stonecrop) in the chicken coop. And when Katrin advises to "get rid of" something, it's always with the best intentions. In "Gardening without much fuss," Katrin Iskam serves up plenty of practical tips and just as many funny anecdotes. "Happy Garden" in a completely different way. And if someone should happen to get lost and stand at her doorstep in Himbergen, "Katrinchen" also has a down-to-earth and preventive piece of advice ready for that case: Breaking in at my place is futile, the money is in the garden.

All this and much more can be found in "Gardening without much fuss," the live program by and with Katrin Iskam.

Doors open: 6:00 PM

Now there's a ban on corners!

Kitas and schools are at their personnel limit, parents come with strange demands, children are going increasingly crazy, are overwhelmed, yet are also supposed to make every decision for themselves. Is there still anything to laugh about?

And yes! The most famous (V)ERZIEHER in Germany shows this again nationwide in his third show "Baueckenverbot".

Jan Preuß articulates what other educators often don’t even dare to think. He demonstrates why children, contrary to all theory, do indeed understand irony, how to counter parents effectively, and just how absurd some rules in educational everyday life really are.

At the same time, however, he also raises serious questions: How many educators will there really be in 20 years? Where are we full of hope to create good people and struggle with our own hypocrisy? But don't worry, even here the (V)ERZIEHER finds suitable, funny answers. With humor, this job can be much better endured.

Thomas Freitag marks a conclusion with his new program.
For the once bright dreams of the post-war child Thomas have now turned into nightmares – and the anger about this does not leave him cold. With his enormous acting talent, his experience, and his age, he takes the audience by the hand and leads them on his "retreat across the minefields of the plain."
And since Thomas Freitag's parodies are legendary, of course, the greats from heaven also have their say – because they suffer the most under the current ground staff.
So, anyone who wants to experience the great shape-shifter one more time should not miss this program.

Doors open: 6:30 PM

VENEZIANA, the new program of the Finnish pianist Iiro Rantala, which will celebrate its premiere at the Berlin Philharmonie (Jan 2023), is dedicated to a place of longing - Venice. How could one not be inspired by the beauty and mysteries of the city, its architecture, art history? And by the artists and composers who created fantastic works in this city. Vivaldi and his "Four Seasons," Monteverdi and Italian opera in general, for which Iiro Rantala has a lifelong love. Iiro Rantala often moves on the border between jazz and classical. And in an exuberance of moods: "On stage, he can become a dervish at the keys. But he can also quietly and intensely immerse himself in the music." The ideal partner for "Veneziana" is the four string players of the Galatea Quartet, with whom Rantala has often shared the stage. The quartet, based in Zurich, is known for innovative, genre-crossing concepts - making it the perfect complement for a program that is as colorful and multifaceted as the lagoon city itself.

"Intelligence, humor, a lot of sentiment, unpredictable ideas, and finest piano craftsmanship" (FAZ) - the Finnish pianist Iiro Rantala is "a natural phenomenon at the keys" (Jazz thing). With the anarchic trio Töykeät, he made the jazz stages of Europe and far beyond unsafe for almost 20 years. His subsequent ACT debut album "Lost Heroes" marked a turning point in his music. Where wild, unbridled exuberance once ruled, Rantala today seeks and finds mainly the strength of melody, harmony, and deep emotion. However, the mischief shines through again and again. And so does his outstanding, classically trained piano craftsmanship. Rantala creates a balancing act in many ways: praised by critics, including the Annual Prize of the German Record Critics, the ECHO Jazz, the Finnish EMMA Award, and many more, while also being a favorite among audiences at hundreds, if not thousands, of concerts. In classical temples like the Berlin Philharmonie, Elbphilharmonie, Konzerthaus Berlin, Philharmonie Cologne, but also in jazz clubs and festivals all over Europe. Solo, in a trio, or with a full orchestra. Between jazz, classical, pop, and Nordic song. With sentiment and melancholy, but also with a lot of wit and charm. In short: a master of modern, limitless piano playing.

Iiro Rantala moves exactly on the border between jazz and classical. "On stage, he can become a dervish at the keys. But he can also quietly and intently immerse himself in the music. Rantala has always had a tendency towards genre mixing" (Fritz Krauser, Stuttgarter Zeitung). The Galatea Quartet complements him ideally. Besides the classical repertoire, the Galatea Quartet has also explored unusual terrain and developed innovative, genre-crossing concepts; cross-over projects are not uncommon in this regard. Together, the four string players and Iiro Rantala will once again expand the classical field by an exciting building block.

Doors open at 7 PM.

In MEN NERVE STRONGLY, Ingo dissects our coexistence as wonderfully and pointedly as no one else. Nothing is safe from him - from communication between the sexes to the little quirks and quirks that make our lives difficult. Because who is to blame for the misery? The men! In a world full of awkward situations, Ingo extends a helping hand to them. For the women, for peace. He is the safe space of laughter, the last bastion against stuffiness. Don't worry: What happens at Appelt, stays at Appelt. Laugh away what breaks you - Comedy from 18!

Admission: 5:00 PM

Amigos & Daniela Alfinito - live 2026

Experience a fireworks of emotions in 2026 as well! With old, new, and brand-new songs, they celebrate German pop music together! As Europe's most successful pop duo, the Amigos continue to set the standard in the international pop business. Bernd and Karl-Heinz Ulrich are always very close to their fans with their songs, and you will look in vain for star qualities here. Cheerful and thoughtful as always, they bring their songs, which life writes, to the stage and do not shy away from tackling sensitive topics.

Just as authentic and down-to-earth as father and uncle, Daniela Alfinito tells stories from life through her songs and regularly storms the charts with them. Captivating music to stories that everyone has experienced at some point. She stands for self-confidence and courage – aimed at all who have already experienced and fought a lot.

Venue entry: 14:30

Oslo Gospel Choir(NOR)


It is undoubtedly the most famous gospel choir in Europe. With its 20 excellent
protagonists, the Oslo Gospel Choir enchants and delights its audience in
a unique way. The exceptional choir from Norway is coming for a concert
to Germany, on October 25, 2026, at the Liederhalle Stuttgart.

With a unique performance, the choir manages to captivate the audience in
Europe as well as on tours in the USA with sold-out concerts time and time again. This means that anyone who loves and sings gospel cannot miss the Oslo Gospel Choir. Especially for gospel newcomers, the Oslo choir has been and remains a role model and inspiration for their own successful choir founding. The choir's great international success is evident in 1.5 million albums sold,
numerous television appearances, and being awarded several prizes, including

for the "Best International Gospel Album".



As a characteristic vocal ensemble, they are well-known,
for since its founding in 1988 by composer and conductor Tore W. Aas,
the Oslo Gospel Choir has interpreted the old slave songs at the highest level, setting standards. Naturally, the repertoire also includes the classic gospel highlights,
as well as popular pop numbers and many original compositions sung by gospel choirs
around the world. This has given the choir a new dimension of enthusiasm on all its guest performances. What impresses is not only the size of the
choir with around 20 singers but also the perfectly arranged
voices and incredible presence on stage. Artists selected and assembled for this choir from all over Norway.

Last but not least, the gospel choir is distinguished by its social commitment. Through charity
concerts and fundraising actions, more than 1 million dollars have been raised to help those in need, including in India,
in Rwanda, or tsunami victims. The singers want to
authentically practice what they proclaim with their songs, in the spirit of hope and
in faith in a loving God. A truly great vocal and choral experience
that one should not miss.

Doors open: 6:00 PM

Power to the Popel: Demokratie für Quereinsteiger

Admit it, you just read “Power to the People” and internally hummed the wonderful song by John Lennon. But this title is not a typo, as Philipp Weber's cabaret piece revolves around the little “Popel,” which the Duden defines as an “insignificant and pitiful little human.” Ultimately, it is the task of democracy to transform these scattered little ones into self-controlled people, the sovereign sovereign. But how quickly can the Popel also become the Pöbel? Political scientists have been warning us for some time now that more and more Germans are becoming tired of democracy. How can this be? Isn’t democracy the fairest of all forms of government because it alone can guarantee that citizens are not governed better than they deserve? According to unofficial surveys by the federal government, 75 percent of Germans believe that three-quarters of Germans are total idiots. But who actually has the say here? The People, the Pöbel, or the Popel?

The answer is simple: Philipp Weber. In times when representatives of the people and manipulators of public opinion endlessly invoke the crisis of civil society, the cabaret artist practices the most valuable democratic virtue with his audience: humor. For aren’t comedy, wit, and esprit the most dazzling weapons of a resilient democracy? And those who can chuckle at their own thoughts and actions with the necessary irony will not become the victims of their own narrow-mindedness. True democrats primarily laugh about one thing: themselves. So laugh along and protect democracy!

2025 Münsterländer Kabarettpreis „Kiep“ (Jury Prize)
2024 AZ-Stern der Abendzeitung München
2019 Gaul von Niedersachsen
2018 Preis der Leipziger Lachmesse („Leipziger Löwenzahn“)
2016 tz-Rosenstrauß des Jahres 2016
2010 Deutscher Kleinkunstpreis (with the Erste Deutsche Zwangsensemble)
2009 Bayerischer Kabarettpreis: „Senkrechtstarter“
2008 Lachmessepreis Leipziger Löwenzahn (with the Erste Deutsche Zwangsensemble)
2008 Deutscher Kabarettpreis
2007 Salzburger Stier (with the Erste Deutsche Zwangsensemble)
2004 Kleinkunstpreis des Landes Baden-Württemberg
2002 Passauer Scharfrichterbeil

Entry 30 minutes before the start of the event