PERFORMERS:

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‍Elisabeth Breuer, Soprano 1
Natasha Schnur, Soprano 2
Ulrike Malotta, Alto
Julian Habermann, Tenor
Johannes Kammler, Bass
Gaechinger Cantorey
Hans-Christoph Rademann, Conductor

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Program:

‍Jean-Féry Rebel - Les Éléments
Carl Philipp Emanuel Bach - Klopstock's Morning Song on the Feast of Creation Wq 239
Georg Philipp Telemann - Die Tageszeiten TVWV 20:39

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Introduction: 6:20 PM

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Short Description:

‍A return to nature – Three innovative composers, three visions of the creation of the world, three brilliant late works make up this program. The relationship between humanity and nature, as well as the concept of a divine creative force, was a recurring theme in 18th-century literature. Music, too, engaged with this idea. Joseph Haydn's oratorio The Creation is probably the most well-known example, but before him, other composers also expressed the sensual and spiritual dimensions of nature in their unique musical languages. One such composer was Jean-Féry Rebel, a student of Lully and court musician to the French king. His symphony Les Éléments (1738) is a ballet suite suffused with tone painting. C.P.E. Bach's Klopstock's Morning Song (1783) is marked by the style of "Empfindsamkeit" and was considered one of the masterpieces of German music for two decades. Finally, Telemann takes us from morning to night in his vividly and atmospherically set cantata cycle Die Tageszeiten.

‍

PERFORMERS:

‍

‍Elisabeth Breuer, Soprano 1
Natasha Schnur, Soprano 2
Ulrike Malotta, Alto
Julian Habermann, Tenor
Johannes Kammler, Bass
Gaechinger Cantorey
Hans-Christoph Rademann, Conductor

‍

Program:

‍Jean-Féry Rebel - Les Éléments
Carl Philipp Emanuel Bach - Klopstock's Morning Song on the Feast of Creation Wq 239
Georg Philipp Telemann - Die Tageszeiten TVWV 20:39

‍

Introduction: 6:20 PM

‍

Short Description:

‍A return to nature – Three innovative composers, three visions of the creation of the world, three brilliant late works make up this program. The relationship between humanity and nature, as well as the concept of a divine creative force, was a recurring theme in 18th-century literature. Music, too, engaged with this idea. Joseph Haydn's oratorio The Creation is probably the most well-known example, but before him, other composers also expressed the sensual and spiritual dimensions of nature in their unique musical languages. One such composer was Jean-Féry Rebel, a student of Lully and court musician to the French king. His symphony Les Éléments (1738) is a ballet suite suffused with tone painting. C.P.E. Bach's Klopstock's Morning Song (1783) is marked by the style of "Empfindsamkeit" and was considered one of the masterpieces of German music for two decades. Finally, Telemann takes us from morning to night in his vividly and atmospherically set cantata cycle Die Tageszeiten.

‍

In order to anchor the topic of diversity more clearly in the classical music scene, Thomas Höft has overwritten the well-known "St. John Passion" by Johann Sebastian Bach with a completely new libretto, which instead of the story of Jesus' suffering places the story of the suffering of discriminated and murdered lesbian, gay, and trans people at the centre of the reflection.

It is not about external provocation, but about the serious question of our behaviour towards the suffering of people who were/are persecuted because of their sexuality.

‍
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.

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Kofinanziert durch das EU-Programm „Creative Europe (2021-2027)“ sowie durch das Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport.

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CAST

Ārt House 17

Susanne Elmark, Sopran
Yosemeh Adjei, Countertenor
Julian Habermann, Tenor
Markus Schäfer, Tenor (Narrator)
Dietrich Henschel, Bariton

Thomas Höft, Libretto
Michael Hell, Musical Director

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‍

‍

In order to anchor the topic of diversity more clearly in the classical music scene, Thomas Höft has overwritten the well-known "St. John Passion" by Johann Sebastian Bach with a completely new libretto, which instead of the story of Jesus' suffering places the story of the suffering of discriminated and murdered lesbian, gay, and trans people at the centre of the reflection.

It is not about external provocation, but about the serious question of our behaviour towards the suffering of people who were/are persecuted because of their sexuality.

‍
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.

‍

Kofinanziert durch das EU-Programm „Creative Europe (2021-2027)“ sowie durch das Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport.

‍

CAST

Ārt House 17

Susanne Elmark, Sopran
Yosemeh Adjei, Countertenor
Julian Habermann, Tenor
Markus Schäfer, Tenor (Narrator)
Dietrich Henschel, Bariton

Thomas Höft, Libretto
Michael Hell, Musical Director

‍

‍

‍

„Das verwunschene Glück“ (with music from the opera “Gl’incatesimi disciolti” by A. Draghi 1640 and additional musical pieces curated by Thomas Höft and Michael Hell)

Concert Performance accompanied by dancers.

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Musical Direction: Michael Hell

Dramaturgy: Thomas Höft

Choreography: Mareike Franz

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Cast:

Sophia Daneman & Johanna Rosa Falkinger, Sopran

Anna Manske, Mezzosopran

Julian Habermann & Markus Schäfer, Tenor

Dietrich Henschel, Bariton

„Das verwunschene Glück“ (with music from the opera “Gl’incatesimi disciolti” by A. Draghi 1640 and additional musical pieces curated by Thomas Höft and Michael Hell)

Concert Performance accompanied by dancers.

‍

Musical Direction: Michael Hell

Dramaturgy: Thomas Höft

Choreography: Mareike Franz

‍

Cast:

Sophia Daneman & Johanna Rosa Falkinger, Sopran

Anna Manske, Mezzosopran

Julian Habermann & Markus Schäfer, Tenor

Dietrich Henschel, Bariton

„Das verwunschene Glück“ (with music from the opera “Gl’incatesimi disciolti” by A. Draghi 1640 and additional musical pieces curated by Thomas Höft and Michael Hell)

Concert Performance accompanied by dancers.

‍

Musical Direction: Michael Hell

Dramaturgy: Thomas Höft

Choreography: Mareike Franz

‍

Cast:

Sophia Daneman & Johanna Rosa Falkinger, Sopran

Anna Manske, Mezzosopran

Julian Habermann & Markus Schäfer, Tenor

Dietrich Henschel, Bariton

„Das verwunschene Glück“ (with music from the opera “Gl’incatesimi disciolti” by A. Draghi 1640 and additional musical pieces curated by Thomas Höft and Michael Hell)

Concert Performance accompanied by dancers.

‍

Musical Direction: Michael Hell

Dramaturgy: Thomas Höft

Choreography: Mareike Franz

‍

Cast:

Sophia Daneman & Johanna Rosa Falkinger, Sopran

Anna Manske, Mezzosopran

Julian Habermann & Markus Schäfer, Tenor

Dietrich Henschel, Bariton

In order to anchor the topic of diversity more clearly in the classical music scene, Thomas Höft has overwritten the well-known "St. John Passion" by Johann Sebastian Bach with a completely new libretto, which instead of the story of Jesus' suffering places the story of the suffering of discriminated and murdered lesbian, gay, and trans people at the centre of the reflection.

It is not about external provocation, but about the serious question of our behaviour towards the suffering of people who were/are persecuted because of their sexuality.

‍
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.

‍

Kofinanziert durch das EU-Programm „Creative Europe (2021-2027)“ sowie durch das Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport.

‍

CAST

Ārt House 17

Susanne Elmark, Sopran
Yosemeh Adjei, Countertenor
Julian Habermann, Tenor
Markus Schäfer, Tenor (Narrator)
Dietrich Henschel, Bariton

Thomas Höft, Libretto
Michael Hell, Musical Director

‍

‍

‍

Der Projektkünstler Stefan Weiller präsentiert die »Letzten Lieder« in einer Neubearbeitung im Deutschen Schauspielhaus Hamburg. Für dieses dokumentarische Musik-Theater-Projekt führte der Autor in Hospizen Gespräche mit schwerstkranken und sterbenden Menschen über Musik, die ihnen in ihrem Leben etwas bedeutet hat – und noch immer wichtig ist. Die unterschiedlichsten Eindrücke bringt Stefan Weiller in intensive Geschichten, Szenen und Einsichten im Spiegel des zu Ende gehenden Lebens. Liebe und Lebenslust, Abschied, Tod und Trauer werden sinnlich verwoben. Offen, berührend, manchmal umwerfend komisch und immer wahrhaftig. Die live präsentierten Lieder werden durch Text, Musik und Video zum Gesamtwerk. Von Schlager über Pop bis Klassik.

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3 Stunden

inkl. einer Pause

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DIE JAHRESZEITEN (Hob. XXI:3)
Joseph Haydn (1732-1809)
Weltliches Oratorium nach einem Libretto von Gottfried van Swieten

Philharmonischer Chor Friedrichshafen
Männerchor Bad Saulgau Einstudierung Volker Bals
Bodensee Philharmonie
Musikalische Leitung: MD Joachim Trost

Graf-Zeppein-Haus Friedrichshafen

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Hanna Herfurtner, SOPRAN

Julian Habermann, TENOR

Rafael Fingerlos, Bariton

Joachim Trost, DIRIGENT

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