Staatsoperette Dresden

Scenes from Henri Murger's La vie de Bohème | Libretto by Giuseppe Giacosa and Luigi Illica | Music by Giacomo Puccini | German text version by Bettina Bartz and Werner Hintze

Who doesn't know the most famous opera by Giacomo Puccini? Created in 1896 based on a drama by Henri Murger, it takes us into the enticing yet sobering world of the Parisian Bohemians. Instead of finding freedom and independence, the artist friends around the poet Rodolfo find mainly one thing: coldness. When the pretty neighbor Mimì enters their attic asking for a light, at least a little warmth seems to enter Rodolfo's life. However, it soon becomes clear: even this flame must pay its tribute to poverty...

In four spotlights and with his unmistakable emotional musical language, Puccini creates characters who have not lost any of their charm and wit to this day. As infectious as they may be in their youth and joy of life, they are equally moving in their sorrow. Matthias Reichwald narrates Puccini's masterpiece very close to these characters, their desires, and contradictions, and in German - so that one is not only moved when Mimì dies accompanied by enchanting orchestral music but also experiences the witty and self-ironic life of the Bohemians up close.

Scenes from Henri Murger's La vie de Bohème | Libretto by Giuseppe Giacosa and Luigi Illica | Music by Giacomo Puccini | German text version by Bettina Bartz and Werner Hintze

Who doesn't know the most famous opera by Giacomo Puccini? Created in 1896 based on a drama by Henri Murger, it takes us into the enticing yet sobering world of the Parisian Bohemians. Instead of finding freedom and independence, the artist friends around the poet Rodolfo find mainly one thing: coldness. When the pretty neighbor Mimì enters their attic asking for a light, at least a little warmth seems to enter Rodolfo's life. However, it soon becomes clear: even this flame must pay its tribute to poverty...

In four spotlights and with his unmistakable emotional musical language, Puccini creates characters who have not lost any of their charm and wit to this day. As infectious as they may be in their youth and joy of life, they are equally moving in their sorrow. Matthias Reichwald narrates Puccini's masterpiece very close to these characters, their desires, and contradictions, and in German - so that one is not only moved when Mimì dies accompanied by enchanting orchestral music but also experiences the witty and self-ironic life of the Bohemians up close.

Scenes from Henri Murger's La vie de Bohème | Libretto by Giuseppe Giacosa and Luigi Illica | Music by Giacomo Puccini | German text version by Bettina Bartz and Werner Hintze

Who doesn't know the most famous opera by Giacomo Puccini? Created in 1896 based on a drama by Henri Murger, it takes us into the enticing yet sobering world of the Parisian Bohemians. Instead of finding freedom and independence, the artist friends around the poet Rodolfo find mainly one thing: coldness. When the pretty neighbor Mimì enters their attic asking for a light, at least a little warmth seems to enter Rodolfo's life. However, it soon becomes clear: even this flame must pay its tribute to poverty...

In four spotlights and with his unmistakable emotional musical language, Puccini creates characters who have not lost any of their charm and wit to this day. As infectious as they may be in their youth and joy of life, they are equally moving in their sorrow. Matthias Reichwald narrates Puccini's masterpiece very close to these characters, their desires, and contradictions, and in German - so that one is not only moved when Mimì dies accompanied by enchanting orchestral music but also experiences the witty and self-ironic life of the Bohemians up close.

Scenes from Henri Murger's La vie de Bohème | Libretto by Giuseppe Giacosa and Luigi Illica | Music by Giacomo Puccini | German text version by Bettina Bartz and Werner Hintze

Who doesn't know the most famous opera by Giacomo Puccini? Created in 1896 based on a drama by Henri Murger, it takes us into the enticing yet sobering world of the Parisian Bohemians. Instead of finding freedom and independence, the artist friends around the poet Rodolfo find mainly one thing: coldness. When the pretty neighbor Mimì enters their attic asking for a light, at least a little warmth seems to enter Rodolfo's life. However, it soon becomes clear: even this flame must pay its tribute to poverty...

In four spotlights and with his unmistakable emotional musical language, Puccini creates characters who have not lost any of their charm and wit to this day. As infectious as they may be in their youth and joy of life, they are equally moving in their sorrow. Matthias Reichwald narrates Puccini's masterpiece very close to these characters, their desires, and contradictions, and in German - so that one is not only moved when Mimì dies accompanied by enchanting orchestral music but also experiences the witty and self-ironic life of the Bohemians up close.

Scenes from Henri Murger's La vie de Bohème | Libretto by Giuseppe Giacosa and Luigi Illica | Music by Giacomo Puccini | German text version by Bettina Bartz and Werner Hintze

Who doesn't know the most famous opera by Giacomo Puccini? Created in 1896 based on a drama by Henri Murger, it takes us into the enticing yet sobering world of the Parisian Bohemians. Instead of finding freedom and independence, the artist friends around the poet Rodolfo find mainly one thing: coldness. When the pretty neighbor Mimì enters their attic asking for a light, at least a little warmth seems to enter Rodolfo's life. However, it soon becomes clear: even this flame must pay its tribute to poverty...

In four spotlights and with his unmistakable emotional musical language, Puccini creates characters who have not lost any of their charm and wit to this day. As infectious as they may be in their youth and joy of life, they are equally moving in their sorrow. Matthias Reichwald narrates Puccini's masterpiece very close to these characters, their desires, and contradictions, and in German - so that one is not only moved when Mimì dies accompanied by enchanting orchestral music but also experiences the witty and self-ironic life of the Bohemians up close.

Scenes from Henri Murger's La vie de Bohème | Libretto by Giuseppe Giacosa and Luigi Illica | Music by Giacomo Puccini | German text version by Bettina Bartz and Werner Hintze

Who doesn't know the most famous opera by Giacomo Puccini? Created in 1896 based on a drama by Henri Murger, it takes us into the enticing yet sobering world of the Parisian Bohemians. Instead of finding freedom and independence, the artist friends around the poet Rodolfo find mainly one thing: coldness. When the pretty neighbor Mimì enters their attic asking for a light, at least a little warmth seems to enter Rodolfo's life. However, it soon becomes clear: even this flame must pay its tribute to poverty...

In four spotlights and with his unmistakable emotional musical language, Puccini creates characters who have not lost any of their charm and wit to this day. As infectious as they may be in their youth and joy of life, they are equally moving in their sorrow. Matthias Reichwald narrates Puccini's masterpiece very close to these characters, their desires, and contradictions, and in German - so that one is not only moved when Mimì dies accompanied by enchanting orchestral music but also experiences the witty and self-ironic life of the Bohemians up close.

Scenes from Henri Murger's La vie de Bohème | Libretto by Giuseppe Giacosa and Luigi Illica | Music by Giacomo Puccini | German text version by Bettina Bartz and Werner Hintze

Who doesn't know the most famous opera by Giacomo Puccini? Created in 1896 based on a drama by Henri Murger, it takes us into the enticing yet sobering world of the Parisian Bohemians. Instead of finding freedom and independence, the artist friends around the poet Rodolfo find mainly one thing: coldness. When the pretty neighbor Mimì enters their attic asking for a light, at least a little warmth seems to enter Rodolfo's life. However, it soon becomes clear: even this flame must pay its tribute to poverty...

In four spotlights and with his unmistakable emotional musical language, Puccini creates characters who have not lost any of their charm and wit to this day. As infectious as they may be in their youth and joy of life, they are equally moving in their sorrow. Matthias Reichwald narrates Puccini's masterpiece very close to these characters, their desires, and contradictions, and in German - so that one is not only moved when Mimì dies accompanied by enchanting orchestral music but also experiences the witty and self-ironic life of the Bohemians up close.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Scenes from Henri Murger's La vie de Bohème | Libretto by Giuseppe Giacosa and Luigi Illica | Music by Giacomo Puccini | German text version by Bettina Bartz and Werner Hintze

Who doesn't know the most famous opera by Giacomo Puccini? Created in 1896 based on a drama by Henri Murger, it takes us into the enticing yet sobering world of the Parisian Bohemians. Instead of finding freedom and independence, the artist friends around the poet Rodolfo find mainly one thing: coldness. When the pretty neighbor Mimì enters their attic asking for a light, at least a little warmth seems to enter Rodolfo's life. However, it soon becomes clear: even this flame must pay its tribute to poverty...

In four spotlights and with his unmistakable emotional musical language, Puccini creates characters who have not lost any of their charm and wit to this day. As infectious as they may be in their youth and joy of life, they are equally moving in their sorrow. Matthias Reichwald narrates Puccini's masterpiece very close to these characters, their desires, and contradictions, and in German - so that one is not only moved when Mimì dies accompanied by enchanting orchestral music but also experiences the witty and self-ironic life of the Bohemians up close.

Scenes from Henri Murger's La vie de Bohème | Libretto by Giuseppe Giacosa and Luigi Illica | Music by Giacomo Puccini | German text version by Bettina Bartz and Werner Hintze

Who doesn't know the most famous opera by Giacomo Puccini? Created in 1896 based on a drama by Henri Murger, it takes us into the enticing yet sobering world of the Parisian Bohemians. Instead of finding freedom and independence, the artist friends around the poet Rodolfo find mainly one thing: coldness. When the pretty neighbor Mimì enters their attic asking for a light, at least a little warmth seems to enter Rodolfo's life. However, it soon becomes clear: even this flame must pay its tribute to poverty...

In four spotlights and with his unmistakable emotional musical language, Puccini creates characters who have not lost any of their charm and wit to this day. As infectious as they may be in their youth and joy of life, they are equally moving in their sorrow. Matthias Reichwald narrates Puccini's masterpiece very close to these characters, their desires, and contradictions, and in German - so that one is not only moved when Mimì dies accompanied by enchanting orchestral music but also experiences the witty and self-ironic life of the Bohemians up close.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Music by Emmerich Kálmán | Libretto by Julius Brammer and Alfred Grünwald

„O Bajadere, how your image captivates me!“ The sophisticated singer Odette Darimonde has had enough. In the operetta Die Bajadere, she is admired nightly by the Parisian audience, yet hardly anyone looks behind the facade of the stage diva. Least of all the adoring Indian Prince Radjami, who stages a statesmanlike entrance in front of her dressing room, only to receive a cold shoulder. Now Radjami's ambition is ignited: with the allegedly magically scented roses as props, he entangles Odette in a role play full of secret desires and erotic thrills. In front of the theater's curtains, the actors soon can scarcely distinguish between genuine and feigned desire. When Odette exposes the deception in the midst of the wedding ceremony, the illusion seems shattered – until a reunion on stage.

The sound cosmos of Die Bajadere shimmers between luscious waltzes and intimate ballads, steeped in exotic flair that flirts with the Far East but never denies the Hungarian origin of Emmerich Kálmán. Perhaps the composer's most unusual work is transformed by the interpretation of the director Juana Inés Cano Restrepo into a sensual narrative about play and truth in love – with an uncertain outcome.

Libretto by Alfred Grünwald and Fritz Löhner-Beda | Music by Paul Abraham

What can he do that she can't? And does he have the right at all - or does she? The annual ball at the Hotel Savoy allows men everything and forbids women nothing. Yet the outrage is great when Marquise Madeleine de Faublas announces to her newlywed husband Aristide in front of the entire ball society that she had just cheated on him in the private room. A huge offense follows a great injury: just returned from their honeymoon, Aristide leaves his wife alone at home on the first evening to secretly meet with his former flame, the fiery Tangolita under false pretenses...

In his third consecutive operetta success in Berlin, the Jewish-Hungarian composer Paul Abraham not only tests the marriage of the Faublas, but rather turns traditional gender roles upside down. Boldly, equality is explored here - be it in love or in the profession - and the composition is driven forward to the prevalent authority of jazz. At the premiere in December 1932, the artistic Berlin of the Weimar Republic celebrated itself and its sense of life one last time with fashionable dances like the acclaimed and sung "Känguru", only to stagger towards its brutal end a month later with Adolf Hitler's appointment as Chancellor.

Libretto by Alfred Grünwald and Fritz Löhner-Beda | Music by Paul Abraham

What can he do that she can't? And does he have the right at all - or does she? The annual ball at the Hotel Savoy allows men everything and forbids women nothing. Yet the outrage is great when Marquise Madeleine de Faublas announces to her newlywed husband Aristide in front of the entire ball society that she had just cheated on him in the private room. A huge offense follows a great injury: just returned from their honeymoon, Aristide leaves his wife alone at home on the first evening to secretly meet with his former flame, the fiery Tangolita under false pretenses...

In his third consecutive operetta success in Berlin, the Jewish-Hungarian composer Paul Abraham not only tests the marriage of the Faublas, but rather turns traditional gender roles upside down. Boldly, equality is explored here - be it in love or in the profession - and the composition is driven forward to the prevalent authority of jazz. At the premiere in December 1932, the artistic Berlin of the Weimar Republic celebrated itself and its sense of life one last time with fashionable dances like the acclaimed and sung "Känguru", only to stagger towards its brutal end a month later with Adolf Hitler's appointment as Chancellor.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Libretto by Alfred Grünwald and Fritz Löhner-Beda | Music by Paul Abraham

What can he do that she can't? And does he have the right at all - or does she? The annual ball at the Hotel Savoy allows men everything and forbids women nothing. Yet the outrage is great when Marquise Madeleine de Faublas announces to her newlywed husband Aristide in front of the entire ball society that she had just cheated on him in the private room. A huge offense follows a great injury: just returned from their honeymoon, Aristide leaves his wife alone at home on the first evening to secretly meet with his former flame, the fiery Tangolita under false pretenses...

In his third consecutive operetta success in Berlin, the Jewish-Hungarian composer Paul Abraham not only tests the marriage of the Faublas, but rather turns traditional gender roles upside down. Boldly, equality is explored here - be it in love or in the profession - and the composition is driven forward to the prevalent authority of jazz. At the premiere in December 1932, the artistic Berlin of the Weimar Republic celebrated itself and its sense of life one last time with fashionable dances like the acclaimed and sung "Känguru", only to stagger towards its brutal end a month later with Adolf Hitler's appointment as Chancellor.

Libretto by Alfred Grünwald and Fritz Löhner-Beda | Music by Paul Abraham

What can he do that she can't? And does he have the right at all - or does she? The annual ball at the Hotel Savoy allows men everything and forbids women nothing. Yet the outrage is great when Marquise Madeleine de Faublas announces to her newlywed husband Aristide in front of the entire ball society that she had just cheated on him in the private room. A huge offense follows a great injury: just returned from their honeymoon, Aristide leaves his wife alone at home on the first evening to secretly meet with his former flame, the fiery Tangolita under false pretenses...

In his third consecutive operetta success in Berlin, the Jewish-Hungarian composer Paul Abraham not only tests the marriage of the Faublas, but rather turns traditional gender roles upside down. Boldly, equality is explored here - be it in love or in the profession - and the composition is driven forward to the prevalent authority of jazz. At the premiere in December 1932, the artistic Berlin of the Weimar Republic celebrated itself and its sense of life one last time with fashionable dances like the acclaimed and sung "Känguru", only to stagger towards its brutal end a month later with Adolf Hitler's appointment as Chancellor.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Book by Joe Masteroff | based on the play "I Am a Camera" by John van Druten and stories by Christopher Isherwood | Lyrics by Fred Ebb | Music by John Kander | Adaptation by Chris Walker | German version by Robert Gilbert

Welcome, bienvenue, welcome! In the bubbling Berlin of 1929, it seems like the whole world is dancing on a volcano. The Emcee of the Kit Kat Klub invites night owls to an evening of outrageous attractions. Among the guests is American writer Cliff Bradshaw, who meets showgirl and life artist Sally Bowles. Together, they move into a furnished room at Fraulein Schneider's boarding house. The microcosm of the pension also includes Fraulein Kost, who earns her living in the nightly trade, and the Jewish fruit vendor Schultz, hoping for a second spring with his landlady. As austere as daily life may be, the nights are intoxicating: Sally and Cliff let themselves get carried away in the whirlpool of pleasure-seeking. But behind the glittering curtains of the cabaret, a turning point is looming. As society becomes torn with hate, suddenly, it is uncertain: How free can one really live and love here?

Cabaret is a masterpiece of musical history that has never been as close to the pulse of the times as it is now. With heated jazz rhythms, glamorous revue numbers, and world-famous songs like "Mein Herr" or "Maybe this Time," a panorama of the late, shattered Weimar Republic is opened, reflecting the feeling of today as well.

Libretto by Alfred Grünwald and Fritz Löhner-Beda | Music by Paul Abraham

What can he do that she can't? And does he have the right at all - or does she? The annual ball at the Hotel Savoy allows men everything and forbids women nothing. Yet the outrage is great when Marquise Madeleine de Faublas announces to her newlywed husband Aristide in front of the entire ball society that she had just cheated on him in the private room. A huge offense follows a great injury: just returned from their honeymoon, Aristide leaves his wife alone at home on the first evening to secretly meet with his former flame, the fiery Tangolita under false pretenses...

In his third consecutive operetta success in Berlin, the Jewish-Hungarian composer Paul Abraham not only tests the marriage of the Faublas, but rather turns traditional gender roles upside down. Boldly, equality is explored here - be it in love or in the profession - and the composition is driven forward to the prevalent authority of jazz. At the premiere in December 1932, the artistic Berlin of the Weimar Republic celebrated itself and its sense of life one last time with fashionable dances like the acclaimed and sung "Känguru", only to stagger towards its brutal end a month later with Adolf Hitler's appointment as Chancellor.

Libretto by Alfred Grünwald and Fritz Löhner-Beda | Music by Paul Abraham

What can he do that she can't? And does he have the right at all - or does she? The annual ball at the Hotel Savoy allows men everything and forbids women nothing. Yet the outrage is great when Marquise Madeleine de Faublas announces to her newlywed husband Aristide in front of the entire ball society that she had just cheated on him in the private room. A huge offense follows a great injury: just returned from their honeymoon, Aristide leaves his wife alone at home on the first evening to secretly meet with his former flame, the fiery Tangolita under false pretenses...

In his third consecutive operetta success in Berlin, the Jewish-Hungarian composer Paul Abraham not only tests the marriage of the Faublas, but rather turns traditional gender roles upside down. Boldly, equality is explored here - be it in love or in the profession - and the composition is driven forward to the prevalent authority of jazz. At the premiere in December 1932, the artistic Berlin of the Weimar Republic celebrated itself and its sense of life one last time with fashionable dances like the acclaimed and sung "Känguru", only to stagger towards its brutal end a month later with Adolf Hitler's appointment as Chancellor.