DOCSLIB.ORG

Best Performing Arts in Berlin"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Best Performing Arts in Berlin "Best Performing Arts in Berlin" Créé par: Cityseeker 8 Emplacements marqués Berlin State Opera "State Opera House" Berlin's most famous opera house, Staatsoper unter den Linden is one of the most spectacular and impressive opera houses in Europe. This neo- classical building on Unter den Linden was designed in the early 18th Century by Knobelsdorff, King Friedrich II's architect. Interestingly, it was the first major German theater not to have been attached to a palace. The by Marek Śliwecki State Opera House has been redeveloped several times over the centuries, but its beauty and wonderful performances remain the same. +49 30 2035 4555 www.staatsoper-berlin.de/ besucherservice@staatsop Unter den Linden 7, de/ihr-besuch/anfahrt/staa er-berlin.de Bebelplatz, Berlin tsoper-unter-den- linden.35/ Tempodrom Berlin "Colossal Concert Hall" The architecturally stunning Tempodrom rises from the streets of Berlin like a post-modern utopian cathedral, shining like a beacon of hope for all those in need of a dose of world-class live entertainment. Inside, on any given date, you'll find anything from classical music, literary events, rock 'n' roll shows, live comedy, children's theatre, dance parties, boxing and by Axel Mauruszat more. +49 30 74 7370 www.tempodrom.de [email protected] Möckernstraße 10, Berlin Berliner Philharmonie "World-Class Concert Hall" Located on the Kulturforum in the heart of the city, the Philharmonie is home to one of the world's greatest orchestras: the Berlin Philharmonic. The original building was destroyed in World War II and its replacement was designed by Hans Scharoun and opened in 1963 by legendary conductor Herbert von Karajan. Concert goers can always expect fantastic by Andreas Levers performances in this bright yellow and tent-shaped concert hall. Large concerts take place in the Großer Saal, while smaller concerts take place in the next-door Kammermusiksaal (Chamber Music Hall), which is joined to the main building by a foyer. +49 30 2548 8999 www.berliner-philharmoniker.de/ Herbert-von-Karajen-Straße 1, Berlin by Photo: Andreas Praefcke English Theatre Berlin "English-Language Theater at its Best" Formerly known as "Friends of Italian Opera", English Theatre Berlin is home to a range of performances from comedy to classics. With at least two productions every year, this theater is able to showcase the work of many up-and-coming writers and actors. In addition to the variety of shows, there are also several interactive workshops and programs for children. +49 30 693 5692 www.etberlin.de [email protected] Fidicinstrasse 40, Berlin Grips-Theater "Prominent Children's Theater" Grips-Theater is a great children's theater that is perfect for the whole family. The performances are always entertaining with a mixture of music, clever dialogue, talented actors, and stories that are geared towards kids. The theater showcases original productions, including the popular Linie 1 musical that originated here. by De-okin (talk) 23:48, 10 August 2008 (UTC) +49 30 397 4740 www.grips-theater.de/ [email protected] Altonaer Straße 22, Berlin Theater des Westens "Berlin's Answer to Broadway" Berlin's most successful musical theater was opened in 1895 deep in the western part of town, hence the name "Theater des Westens". Considered one of the most beautiful theaters in Germany, the building was used by the Berlin Opera in the post-war years. When the Opera moved to a new by A.Savin (Wikimedia purpose-built opera house in 1961, the Theater des Westens returned to Commons · WikiPhotoSpace) its roots, running "My Fair Lady" to great popular acclaim. Since then the theater has cemented its reputation as Berlin's best venue for musical entertainment. +49 30 2592 9503 www.stage-entertainment. event-berlin@stage- Kantstraße 12, Berlin de/unternehmen/theater-v entertainment.de ermietung/berlin/tdw.html Deutsche Oper Berlin "West Berlin's Opera House" Stop by and admire the windowless concrete 1960s facade that is the Deutsche Oper Berlin, but once you step inside you'll discover some of the best entertainment in Berlin. Deutsche Oper Berlin is Germany's second largest opera house and its repertoire is extensive and features classic German and Italian works as well as contemporary pieces. Along with by locken_rock opera, the Deutsche Oper Berlin also has ballet performances, orchestra concerts, and more. +49 30 3438 4343 www.deutscheoperberlin. [email protected] Bismarckstraße 35, Berlin de/ e Fontane-Haus "Schools & Saloons" When the need strikes to stop by an American-Western saloon while on the way to the local library or music school, be sure to head to the Fontane Haus for just such a multi-faceted experience. The complex also houses several business centers, schools, and libraries for special collections. There are several entertainment venues within the complex by Georg Slickers that offer a range of performances, from concerts to dance. The halls are available for private functions and receptions as well, and are often rented out for company parties. +49 30 9 0294 3810 www.fontane-haus.de spielstaetten@reinickendor Wilhelmsruher Damm 142 c, f.berlin.de Berlin REJOIGNEZ-NOUS A: cityseeker.com Modalités | POLITIQUE DE CONFIDENTIALITé | API | CONTACTEZ-NOUS | COPYRIGHT (C) 2020 CITYSEEKER Powered by TCPDF (www.tcpdf.org).
Load more

Recommended publications
  • Met Classics: Berlin
    Met Classics: Berlin Dear Traveler, Please join Museum Travel Alliance from May 24-30, 2021 on Met Classics: Berlin. Enjoy behind-the-scenes explorations of Berlin's most fascinating museums and art spaces, including Sammlung Boros, a dazzling private collection of contemporary art housed in an above-ground World War II-era bunker. Delight in a curator-led exclusive tour of the Jewish Museum Berlin, Europe's largest museum devoted to Judaism, housed within a zinc-paneled architectural masterpiece designed by Daniel Libeskind to reflect the tensions of German- Jewish identities. We are delighted that this trip will be accompanied by Chris Noey as our lecturer from The Metropolitan Museum of Art. This trip is sponsored by The Metropolitan Museum of Art. We expect this program to fill quickly. Please call the Museum Travel Alliance at (855) 533-0033 or (212) 302-3251 or email [email protected] to reserve a place on this trip. We hope you will join us. Sincerely, Jim Friedlander President MUSEUM TRAVEL ALLIANCE 1040 Avenue of the Americas, 23rd Floor, New York, NY 10018 | 212-302-3251 or 855-533-0033 | Fax 212-344-7493 [email protected] | www.museumtravelalliance.com BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB Travel with Met Classics The Met BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Berlin - Wikipedia
    Berlin - Wikipedia https://en.wikipedia.org/wiki/Berlin Coordinates: 52°30′26″N 13°8′45″E Berlin From Wikipedia, the free encyclopedia Berlin (/bɜːrˈlɪn, ˌbɜːr-/, German: [bɛɐ̯ˈliːn]) is the capital and the largest city of Germany as well as one of its 16 Berlin constituent states, Berlin-Brandenburg. With a State of Germany population of approximately 3.7 million,[4] Berlin is the most populous city proper in the European Union and the sixth most populous urban area in the European Union.[5] Located in northeastern Germany on the banks of the rivers Spree and Havel, it is the centre of the Berlin- Brandenburg Metropolitan Region, which has roughly 6 million residents from more than 180 nations[6][7][8][9], making it the sixth most populous urban area in the European Union.[5] Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one- third of the city's area is composed of forests, parks, gardens, rivers, canals and lakes.[10] First documented in the 13th century and situated at the crossing of two important historic trade routes,[11] Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933) and the Third Reich (1933–1945).[12] Berlin in the 1920s was the third largest municipality in the world.[13] After World War II and its subsequent occupation by the victorious countries, the city was divided; East Berlin was declared capital of East Germany, while West Berlin became a de facto West German exclave, surrounded by the Berlin Wall [14] (1961–1989) and East German territory.
    [Show full text]
  • Make & Measure in Analytical Sciences 2018
    MAKE & MEASURE IN ANALYTICAL SCIENCES 2018 BOOK OF INFORMATION October 8th–12th, 2018 School of Analytical Sciences Adlershof www.salsa.hu-berlin.de WELCOME Dear participants of the SALSA Make and Measure, It is our great pleasure to welcome all of you to our Make and Measure 2018 here at SALSA, the Graduate School of Analytical Sciences Adlershof! We hope that all of you are now looking forward to four days filled with new insights into analytical sciences, inspiring discussions, and enjoyable social events. The theme Make and Measure is a major guiding topic in the area of Analytical Sciences and in SALSA as well. Specifically, it is a prerequisite for understanding the function and dynamics of complex systems in chemistry, biology and materials sciences on the atomic and molecular scale. A synergistic and interdisciplinary integration of making new selective and sensitive chemical structures and designing new instruments and principles to measure will advance our comprehension of chemical systems, and their changes. In their work, analytical scientists, amongst them many of SALSA’s fellows, have been working on making measurable what has not been before e.g., by designing new sensing structures and probes. Being able to combine different synthesis and detection approaches and to comprehend the underlying physico-chemical principles will help to solve future problems in many areas, such as biodiagnostics, proteomics, and chemical imaging. Following the idea of our multidisciplinary graduate school, the Make and Measure brings together young researchers from different backgrounds to generate a creative and interactive learning environment. In the tutorials, you will discuss with renowned international guests about their research.
    [Show full text]
  • A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.
    [Show full text]
  • Final Thesis
    Laura Cavanagh’s Integrative Project Thesis As is often the case with travel, people look back on their trips through rose-colored glasses, focusing on the positive experiences and forgetting the negative ones. While I too am guilty of coloring my memories of a place and falsely placing every moment in a favorable light, for my integrative project I forced myself to remember both the good and bad times I had in Berlin, Germany. These experiences—sharing a traditional German meal of eggs in a mustard sauce (complete with cheap Prosecco) with my roommate; going to a Columbian restaurant to watch a German Fußball, or soccer, game during the World Cup; visiting world-renowned museums on Thursday nights; being sniffed by a homeless man; getting lost on a return walk home from work; running home from a movie in the park through buckets of freezing rain— coalesce to form my own Berlin. These visual and sensory experiences conjure up a place in my mind that is somewhat of a hybrid of my physical orientation and my mental state of being there. So much of being in Berlin was about orienting myself within the city and navigating where I was going and how I would get there. This in itself brought about varying degrees of disbelief, awe, anxiety and stupor. Using a map as my project format serves as a helpful tool for me to organize this space I have built in my memory. In my map I attempt to reincarnate this memory into elaborate paper forms that occupy a real space.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • Travel with the Metropolitan Museum of Art
    BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB Travel with Met Classics The Met BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB May 9–15, 2022 Berlin with Christopher Noey Lecturer BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB Berlin Dear Members and Friends of The Metropolitan Museum of Art, Berlin pulses with creativity and imagination, standing at the forefront of Europe’s art world. Since the fall of the Wall, the German capital’s evolution has been remarkable. Industrial spaces now host an abundance of striking private art galleries, and the city’s landscapes have been redefined by cutting-edge architecture and thought-provoking monuments. I invite you to join me in May 2022 for a five-day, behind-the-scenes immersion into the best Berlin has to offer, from its historic museum collections and lavish Prussian palaces to its elegant opera houses and electrifying contemporary art scene. We will begin with an exploration of the city’s Cold War past, and lunch atop the famous Reichstag. On Museum Island, we
    [Show full text]
  • Trude Hesterberg She Opened Her Own Cabaret, the Wilde Bühne, in 1921
    Hesterberg, Trude Trude Hesterberg she opened her own cabaret, the Wilde Bühne, in 1921. She was also involved in a number of film productions in * 2 May 1892 in Berlin, Deutschland Berlin. She performed in longer guest engagements in Co- † 31 August 1967 in München, Deutschland logne (Metropol-Theater 1913), alongside Massary at the Künstlertheater in Munich and in Switzerland in 1923. Actress, cabaret director, soubrette, diseuse, operetta After the Second World War she worked in Munich as singer, chanson singer theater and film actress, including as Mrs. Peachum in the production of The Threepenny Opera in the Munich „Kleinkunst ist subtile Miniaturarbeit. Da wirkt entwe- chamber plays. der alles oder nichts. Und dennoch ist sie die unberechen- Biography barste und schwerste aller Künste. Die genaue Wirkung eines Chansons ist nicht und unter gar keinen Umstän- Trude Hesterberg was born on 2 May, 1892 in Berlin den vorauszusagen, sie hängt ganz und gar vom Publi- “way out in the sticks” in Oranienburg (Hesterberg. p. 5). kum ab.“ (Hesterberg. Was ich noch sagen wollte…, S. That same year, two events occurred in Berlin that would 113) prove of decisive significance for the life of Getrude Joh- anna Dorothea Helen Hesterberg, as she was christened. „Cabaret is subtle work in miniature. Either everything Firstly, on on 20 August, Max Skladonowsky filmed his works or nothing does. And it is nonetheless the most un- brother Emil doing gymnastics on the roof of Schönhau- predictable and difficult of the arts. The precise effect of ser Allee 148 using a Bioscop camera, his first film record- a chanson is not foreseeable under any circumstances; it ing.
    [Show full text]
  • Chapter 3 [PDF]
    Chapter 3 Was There a Crisis of Opera?: The Kroll Opera's First Season, 1927-28 Beethoven's "Fidelio" inaugurated the Kroll Opera's first season on November 19, 1927. This was an appropriate choice for an institution which claimed to represent a new version of German culture - the product of Bildung in a republican context. This chapter will discuss the reception of this production in the context of the 1927-28 season. While most accounts of the Kroll Opera point to outraged reactions to the production's unusual aesthetics, I will argue that the problems the opera faced during its first season had less to do with aesthetics than with repertory choice. In the case of "Fidelio" itself, other factors were responsible for the controversy over the production, which was a deliberately pessimistic reading of the opera. I will go on to discuss the notion of a "crisis of opera", a prominent issue in the musical press during the mid-1920s. The Kroll had been created in order to renew German opera, but was the state of opera unhealthy in the first place? I argue that the "crisis" discussion was more optimistic than it has generally been portrayed by scholars. The amount of attention generated by the Kroll is evidence that opera was flourishing in Weimar Germany, and indeed was a crucial ingredient of civic culture, highly important to the project of reviving the ideals of the Bildungsbürgertum. 83 84 "Fidelio" in the Context of Republican Culture Why was "Fidelio" a representative German opera, particularly for the republic? This work has not always been viewed as political in nature.
    [Show full text]
  • Circling Opera in Berlin by Paul Martin Chaikin B.A., Grinnell College
    Circling Opera in Berlin By Paul Martin Chaikin B.A., Grinnell College, 2001 A.M., Brown University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in the Department of Music at Brown University Providence, Rhode Island May 2010 This dissertation by Paul Martin Chaikin is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_______________ _________________________________ Rose Rosengard Subotnik, Advisor Recommended to the Graduate Council Date_______________ _________________________________ Jeff Todd Titon, Reader Date_______________ __________________________________ Philip Rosen, Reader Date_______________ __________________________________ Dana Gooley, Reader Approved by the Graduate Council Date_______________ _________________________________ Sheila Bonde, Dean of the Graduate School ii Acknowledgements I would like to thank the Deutsche Akademische Austauch Dienst (DAAD) for funding my fieldwork in Berlin. I am also grateful to the Institut für Musikwissenschaft und Medienwissenschaft at Humboldt-Universität zu Berlin for providing me with an academic affiliation in Germany, and to Prof. Dr. Christian Kaden for sponsoring my research proposal. I am deeply indebted to the Deutsche Staatsoper Unter den Linden for welcoming me into the administrative thicket that sustains operatic culture in Berlin. I am especially grateful to Francis Hüsers, the company’s director of artistic affairs and chief dramaturg, and to Ilse Ungeheuer, the former coordinator of the dramaturgy department. I would also like to thank Ronny Unganz and Sabine Turner for leading me to secret caches of quantitative data. Throughout this entire ordeal, Rose Rosengard Subotnik has been a superlative academic advisor and a thoughtful mentor; my gratitude to her is beyond measure.
    [Show full text]
  • 100,000 People Gather at the Brandenburg Gate in Berlin to Celebrate the Fall of the Wall
    Berlin, 9th November 2019 100,000 people gather at the Brandenburg Gate in Berlin to celebrate the fall of the Wall The emotional highpoint of the week-long festival marking the “30th Anniversary of the Peaceful Revolution – Fall of the Berlin Wall” took place this evening at a stage set up at the Brandenburg Gate. Over the evening more than 100,000 visitors gathered at the symbolic Berlin landmark – joined by millions of viewers watching on screens around the world – to commemorate the fall of the Wall, one of the most important events in the history of the capital, but also for Germany and Europe. The two-hour multi-media spectacle featured musical acts, theatre performances, a light show as well as testimonies from witnesses to the historical events themselves. The event told the dramatic story of the quest for freedom during the Peaceful Revolution as well as a number of artistic contributions and statements on the themes of courage and the yearning for liberty, thereby taking up a contemporary perspective on the events. Berlin’s Governing Mayor, Michael Müller, Federal President Frank-Walter Steinmeier and Marianne Birthler gave welcome speeches. The GDR-born musicians Dirk Michaelis and Die Zöllner got the programme underway, and the orchestra of the Berlin State Opera - Staatskapelle Berlin under the baton of Daniel Barenboim played Beethoven’s 5th symphony accompanied by historical images and film footage extending from the building of the Wall and the era of East vs. West Germany all the way to the fall of the Wall in 1989. Anna Loos, Trettmann and Zugezogen Maskulin were among the other musical artists who performed against the backdrop of the massive video dome projection space.
    [Show full text]