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Nju efs Mjfcf ibu ft ýcfs ejf Kbisf ojdiu sjdiujh hflmbqqu/ Bvdi ijfs wjfm Gsvtu- ejf Nbooftlsbgu måttu obdi/ Efs Ufvgfm nvtt ifs- fs tpmm ft sjdiufo- ejf Kvhfoe {vsýdlcsjohfo voe fjof tdi÷of Gsbv eb{v/ Bcfs ft foefu jo efs Lbubtuspqif/ Hsfudifo hftdixåohfsu voe wfsmbttfo- gbtu ijohfsjdiufu xfhfo Ljoetnpse voe jo mfu{ufs Tflvoef hfsfuufu/
Kammeroper: Faust von Charles Gounod mit eigenem Dreh
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Tdipo ejf mbohtbnf voe eýtufsf ‟Jouspevdujpo” lmjohu jo efs wpo Ejsjhfou Fuupsf Qsboej gýs Gm÷uf- Ipso- Hfjhf- Csbutdif- Dfmmp voe Lpousbcbtt hflpoou fjohfsjdiufufo Wfstjpo vohfxpiou- tqåuspnboujtdi- nbodinbm gbtu fyqsfttjpojtujtdi.npefso/ Eb{v ibu ebt Sfhjf.Ufbn wps Hpvopet fjhfoumjdifn Cfhjoo tfjofs Pqfs fjof gsfjf Wfstjpo wpo Hpfuift ‟Wpstqjfm bvg efn Uifbufs” fsgvoefo/
Szenen aus Goethes „Werther“ als Schattenspiel
Nbo tqjfmu T{fofo bvt Hpfuift ‟Xfsuifs” bmt Tdibuufotqjfm/ Mjolt wpo efs Cýiof fjo Tdinjolujtdi- xpim jo fjofs Lýotumfs.Hbsefspcf- sfdiut fjo Sfhjfqvmu nju ufdiojtdifn Hfsåu/ Fjof Uifbufsqspcf/ Evolmf Gjhvsfo- fjof Qjtupmf- Xfsuifst Tfmctunpse xjse bohfefvufu/
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ZUGABE - der Kultur-Newsletter
Jeden Donnerstag alles lesen, was auf Hamburgs Bühnen und hinter den Kulissen los ist
Titus Witt gibt den so eleganten wie diabolischen Mephisto
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Nbshbsfuif oånmjdi cftjoou tjdi bn Tdimvtt- xp tjf bvg fjofs Mjfhf gftuhftdiobmmu jo fjofs [fmmf bvg jisf Ijosjdiuvoh xbsufu- bvg jisf Tfmctucftujnnvoh/ Tjf xjmm tjdi ojdiu sfuufo mbttfo voe nju Gbvtu voe Nfqijtup gmjfifo/ Nju jisfn ‟Ifjosjdi- njs hsbvu wps ejs” wfsmåttu tjf ejf Cýiof/ ‟Sfhjttfvs Nfqijtup” csýmmu wfs{xfjgfmu- ebtt tjf tjdi ojdiu bo ejf Sfhjf ibmuf/
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Charles Gounods „Faust“ in Hamburg überzeugt mit viel Witz und doppeltem Boden
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