In its new program, the Trio Belli-Fischer-Rimmer dedicates itself to the great master and his final work: The Art of Fugue. An evening of epic sonic architecture, improvisation, counterpoint, and pulsating vitality!

The Art of Fugue is performed in various sonic garments, on piano and organ, with string or saxophone quartet all the way to a large symphony orchestra. The greatness of this last score by Johann Sebastian Bach lies particularly in the impressive abstraction of form and material, which is brought to the point here and yet in no way simply trumpets hermetically as a lineup of contrapuntal techniques, but touches us as pure music, as an immediate sonic form of spiritual power. The trio approaches it in its very own way: inspiring interactions between today's perspective and origin, historical performance practices and contemporary playing culture emerge, and they make the work, about 270 years old, appear like an archaeological find in a new, present light. For this evening, Bach's music will be juxtaposed with the sound world of the Austrian composer Georg Friedrich Haas.

Program

Johann Sebastian Bach
O God, look down from heaven, BWV 741

Georg Friedrich Haas
... out of free will... connected

Johann Sebastian Bach
Jesus Christ, our savior, who turned God's wrath away from us, BWV 688 (Clavier-Übung III)

Georg Friedrich Haas
A play of shadows, for piano and live electronics

Johann Sebastian Bach
When we are in greatest distress / Before your throne I now appear, BWV 668 The Art of Fugue, BWV 1080

Participating Artists

Trio Belli-Fischer-Rimmer
Frederic Belli, trombone
Johannes Fischer, percussion
Nicholas Rimmer, piano

This world premiere is inspired by the opulent, rhythmic, visual universes of celebrated film director Peter Greenaway and the sparse, provocative plays of British author Harold Pinter. The Room invites the audience into an absurd yet familiar space where a wealth of interactions take place between complete strangers and old acquaintances. A labyrinth of relationships is magnified and exaggerated, our perception of reality is called into question, and the depths of the protagonists' psyches are laid bare. How can they understand and assert their place in this microcosm of strange social behaviors?

Choreography Caroline Finn
Set Design Michael D. Zimmermann
Costumes Andrea Kuprian
Music T.B.A.
Dramaturgy Stefan Späti

Max Reger Four Tone Poems after Arnold Böcklin op. 128
Anton Bruckner Symphony No. 7 in E major WAB 107


Following the fashion of his time, Max Reger also embarked on "an excursion into program music" in 1913, as he described his Four Tone Poems after Arnold Böcklin. With this formulation, the composer, who was known until then as a proponent of "absolute music," appeased the minds of the press and critics. He was inspired by four paintings by the Swiss painter Arnold Böcklin, which were very popular and could be found as reproductions in many living rooms. The titles of the tone poems – The Hermit Playing the Violin, By the Sea, The Isle of the Dead, and Bacchanal – almost suggest the music accompanying them. The latter depicts the phases of "storm and revelry," as Reger himself called them. Through concise rhythms, harmonic turns, and a sophisticated instrumentation, the frenzy of Dionysus becomes an exciting listening experience.

Bruckner may have also had one or two images in mind while composing his Seventh Symphony. On the one hand, it is said that he processed the impressions of the devastating fire at the Vienna Ring Theatre in December 1881, which the composer witnessed up close. On the other hand, in addition to the Ring Theatre fire, in which over 400 people died at the time, news of Richard Wagner's death on February 13, 1883, also directly affected the Symphony. Bruckner promptly added a lament at the end of the Adagio and used, as a tribute to his "unattainable ideal" – as he called Wagner himself – the so-called Wagner tubas for the first time. TLT chief conductor Lukas Beikircher is at the conductor's stand.

Musical Direction Hansjörg Sofka

Director Philipp Moschitz

Stage & Video Ayse Gülsüm Özel

Costumes Claudio Pohle

Choreography Sven Niemeyer

Dramaturgy N.N.





Flower power at the Landestheater. "My hair like Jesus wore it, Halle­lujah, I adore it," who doesn't know it, the hymn to long hair, freedom, peace, free love! With Hair, Galt MacDermot created not only an absolute cult musical that is more relevant today than ever, but also an inspiring homage to the hippie movement of the 1960s. A scandalous play as a major Broadway success. Whether pacifism, civil rights, student revolt, or protest against outdated societal norms: life celebrates its right here.

This world premiere is inspired by the opulent, rhythmic, visual universes of celebrated film director Peter Greenaway and the sparse, provocative plays of British author Harold Pinter. The Room invites the audience into an absurd yet familiar space where a wealth of interactions take place between complete strangers and old acquaintances. A labyrinth of relationships is magnified and exaggerated, our perception of reality is called into question, and the depths of the protagonists' psyches are laid bare. How can they understand and assert their place in this microcosm of strange social behaviors?

Choreography Caroline Finn
Set Design Michael D. Zimmermann
Costumes Andrea Kuprian
Music T.B.A.
Dramaturgy Stefan Späti

Max Reger Four Tone Poems after Arnold Böcklin op. 128
Anton Bruckner Symphony No. 7 in E major WAB 107


Following the fashion of his time, Max Reger also embarked on "an excursion into program music" in 1913, as he described his Four Tone Poems after Arnold Böcklin. With this formulation, the composer, who was known until then as a proponent of "absolute music," appeased the minds of the press and critics. He was inspired by four paintings by the Swiss painter Arnold Böcklin, which were very popular and could be found as reproductions in many living rooms. The titles of the tone poems – The Hermit Playing the Violin, By the Sea, The Isle of the Dead, and Bacchanal – almost suggest the music accompanying them. The latter depicts the phases of "storm and revelry," as Reger himself called them. Through concise rhythms, harmonic turns, and a sophisticated instrumentation, the frenzy of Dionysus becomes an exciting listening experience.

Bruckner may have also had one or two images in mind while composing his Seventh Symphony. On the one hand, it is said that he processed the impressions of the devastating fire at the Vienna Ring Theatre in December 1881, which the composer witnessed up close. On the other hand, in addition to the Ring Theatre fire, in which over 400 people died at the time, news of Richard Wagner's death on February 13, 1883, also directly affected the Symphony. Bruckner promptly added a lament at the end of the Adagio and used, as a tribute to his "unattainable ideal" – as he called Wagner himself – the so-called Wagner tubas for the first time. TLT chief conductor Lukas Beikircher is at the conductor's stand.

This world premiere is inspired by the opulent, rhythmic, visual universes of celebrated film director Peter Greenaway and the sparse, provocative plays of British author Harold Pinter. The Room invites the audience into an absurd yet familiar space where a wealth of interactions take place between complete strangers and old acquaintances. A labyrinth of relationships is magnified and exaggerated, our perception of reality is called into question, and the depths of the protagonists' psyches are laid bare. How can they understand and assert their place in this microcosm of strange social behaviors?

Choreography Caroline Finn
Set Design Michael D. Zimmermann
Costumes Andrea Kuprian
Music T.B.A.
Dramaturgy Stefan Späti

Music Henry Purcell

Recomposition & Sound Kenneth Winkler

Musical Direction Hansjörg Sofka

Director Bettina Bruinier

Choreography Marcel Leemann

Stage Design Volker Thiele

Costumes Chani Lehmann

Dramaturgy Diana Merkel




Love in times of war: Even before the legendary British king founds his famous Round Table, he must liberate Britain from the Saxons' occupation. The victory of the war-weary Britons seems close, when Arthur's adversary Oswald kidnaps Emmeline, Arthur's great love, who is wise but blind. A chase through an enchanted forest inhabited by spirits begins. Arthur must navigate a web of illusions to find his way to his final battle with Oswald.




With the successful adaptation by the renowned Upper Austrian author Ewald Palmetshofer of Purcell's Semi-Opera King Arthur, the series of interdisciplinary theater productions at the Tyrolean State Theater continues. In the new season as well, the boundaries between different genres will be broken in favor of a Baroque theatrical stage event.




The new adaptation of King Arthur "follows the framework of the original text, but attempts to enrich, accentuate, and free the characters and their conflicts from the present era, freeing them from their historical patina," said the author.




At the Tyrolean State Theater, actors, singers, and dancers together search for a way out of the labyrinth that seemingly leads people to cruel conflicts and violent confrontations time and time again.




In a play of illusions, reality, myth, and fairy tales intertwine - poetically and truly.

Orchestra manager Klara is on the move again! She is always there to assist the musicians of our orchestra. In our sound workshop, we practice, work, craft, sing, and dance. Each time, a different orchestral instrument and a musician from the Tyrolean Symphony Orchestra Innsbruck take center stage in this musical workshop.



This season, the harp, tuba, and cello are being introduced. Participating and trying it out for yourself is highly encouraged!

Pepíček and Aninka urgently need milk for their sick mother. But without money, no seller in the market is willing to help them. When they try to sing for a few coins, they are driven away by the evil organ grinder Brundibár. The situation seems hopeless until the cat, dog, and sparrow come to their aid …

The children's choir of the Tiroler Landestheater brings Hans Krása's opera from 1938/42, which was performed in the Theresienstadt concentration camp, to the stage of the Kammerspiele. A fable about unity and hope for young and old.

Music direction Stefan Politzka
Direction Susi Weber
Stage design Claudia Weinhart
Costumes Michael D. Zimmermann
Dramaturgy N.N.
Children's choir of the Tiroler Landestheater
Tiroler Kammerorchester InnStrumenti

Musical Direction Hansjörg Sofka

Director Philipp Moschitz

Stage & Video Ayse Gülsüm Özel

Costumes Claudio Pohle

Choreography Sven Niemeyer

Dramaturgy N.N.





Flower power at the Landestheater. "My hair like Jesus wore it, Halle­lujah, I adore it," who doesn't know it, the hymn to long hair, freedom, peace, free love! With Hair, Galt MacDermot created not only an absolute cult musical that is more relevant today than ever, but also an inspiring homage to the hippie movement of the 1960s. A scandalous play as a major Broadway success. Whether pacifism, civil rights, student revolt, or protest against outdated societal norms: life celebrates its right here.

Orchestra manager Klara is on the move again! She is always there to assist the musicians of our orchestra. In our sound workshop, we practice, work, craft, sing, and dance. Each time, a different orchestral instrument and a musician from the Tyrolean Symphony Orchestra Innsbruck take center stage in this musical workshop.



This season, the harp, tuba, and cello are being introduced. Participating and trying it out for yourself is highly encouraged!

Whether through the podcast "Betreutes Fühlen," his number 1 SPIEGEL bestseller "Besser Fühlen," or as a moderator on ZDF – Dr. Leon Windscheid fascinates people and is the most well-known psychologist in Germany. In his last live tour, he thrilled over 100,000 people in sold-out venues in Germany, Austria, and Switzerland. Now he is going on tour with his new program "ALLES PERFEKT".

And this is precisely at the right moment, as the world demands more and more from us: We have to perform at work, in bed, and on the yoga mat, look good, and smile confidently. Every child is gifted, no one wants wrinkles, therapy is only for failures. Higher. Faster. Further. The expectation of our time is perfection. We feel that this is not good for us and yet we are still running on the hamster wheel.

How can it be better? How can one achieve a life of true satisfaction?

Based on the latest findings from top research worldwide, the rising star of psychology takes his audience on a breathtaking expedition through their own minds. Sometimes with tears in their eyes from laughter, other times very quiet and thoughtful. Leon shows where the exaggerated expectations come from that so many of us feel and why the beliefs of our childhood often unconsciously put us under pressure or why it is so hard to do what truly feels good.

Scientifically grounded, Leon delivers two hours of live psychology. An evening full of thoughts that you will wish you had known before. Those who come will take something for themselves: change in small steps, a new perspective on ourselves, and above all the realization that everything is perfect when we accept that nothing can ever be perfect.

Whether through the podcast "Betreutes Fühlen," his number 1 SPIEGEL bestseller "Besser Fühlen," or as a moderator on ZDF – Dr. Leon Windscheid fascinates people and is the most well-known psychologist in Germany. In his last live tour, he thrilled over 100,000 people in sold-out venues in Germany, Austria, and Switzerland. Now he is going on tour with his new program "ALLES PERFEKT".

And this is precisely at the right moment, as the world demands more and more from us: We have to perform at work, in bed, and on the yoga mat, look good, and smile confidently. Every child is gifted, no one wants wrinkles, therapy is only for failures. Higher. Faster. Further. The expectation of our time is perfection. We feel that this is not good for us and yet we are still running on the hamster wheel.

How can it be better? How can one achieve a life of true satisfaction?

Based on the latest findings from top research worldwide, the rising star of psychology takes his audience on a breathtaking expedition through their own minds. Sometimes with tears in their eyes from laughter, other times very quiet and thoughtful. Leon shows where the exaggerated expectations come from that so many of us feel and why the beliefs of our childhood often unconsciously put us under pressure or why it is so hard to do what truly feels good.

Scientifically grounded, Leon delivers two hours of live psychology. An evening full of thoughts that you will wish you had known before. Those who come will take something for themselves: change in small steps, a new perspective on ourselves, and above all the realization that everything is perfect when we accept that nothing can ever be perfect.

Colossart Production & United European Ballet with live orchestra presents

SWAN LAKE
Ballet in 4 acts

UNITED EUROPEAN BALLET presents a fairy tale of beauty, elegance, and grace. A perfect work of art with live orchestra accompaniment. The United European Ballet presents one of the most famous ballets to the music of Pyotr Ilyich Tchaikovsky.

Soloists :
Elisabetta Formento Cavaier
Oleksii Kniazkov

A classical production with choreographic elements of incredible realism, dazzling costumes, props crafted with intricate details, and a series of enchanting melodies form this great masterpiece of classical ballet.
"Swan Lake," in particular, fascinates people worldwide, as it embodies everything that has made classical ballet famous.
The meeting of composer Peter I. Tchaikovsky with choreographer Marius Petipa was one of the happiest coincidences in ballet history.

Tchaikovsky immortalized himself with the melodies to his most famous stage work, while Petipa's sensual portrayal of the wing-flapping white swans became synonymous with elegance and grace.

UNITED EUROPEAN BALLET
This ballet company consists of 50 professional dancers who hold diplomas from the most prestigious institutions and choreographic schools from various countries.
The UNITED EUROPEAN BALLET with ORCHESTRA offers an impressive presentation of the famous classical ballet "Swan Lake".

Music: Peter I. Tchaikovsky
Choreography: M. Petipa, L. Ivanov
Libretto: V. Begichev, W. Geyer

Conductor: Ceausov

Duration: approx. 2 hours 10 minutes including a 20-minute break

The masterpiece of world literature by Antoine de Saint-Exupéry as a musical for young and old.

The "children's book for adults," as the author intended it to be, was first published over 75 years ago and has been translated into more than 110 languages.

From Saint-Exupéry's masterpiece, an breathtaking and colorful musical with magnificent music and many special effects was created in 2015, targeting the child in adults, and therefore also understood by children. A show for the whole family! The enthusiasm of audiences of all generations is overwhelming. Full of emotions and visual surprises, the message of The Little Prince is entertainingly conveyed to the audience. Magnificent voices and delightful melodies alternate with rapid dance scenes and spectacular multimedia animations.

The 12 actors, singers, and dancers bring not only the Prince and the Pilot to life, but also the well-known characters like the Rose, the Fox, and the Snake. In 2021, the music composed by Deborah Sasson was completely reorchestrated by the British successful musician Ryan Martin, who has composed and arranged music for Cirque de Soleil, America's Got Talent, Netflix, BBC, ABC, CBS, and Fox USA, among others.

The Little Prince - The Musical is a sensational show of great emotions. 100 minutes of pure entertainment for the whole family.

Concept, Text & Direction by Helgard Haug, Stefan Kaegi, Daniel Wetzel

Facing a global crisis, the focus is on global cooperation. The emergency is discussed locally - at a conference to which no one travels. The invited experts are represented by members of the audience. With no CO2 emissions, but with all the theatrical means available. The advantage of not being present becomes a shared game, experienced anew every evening. Rimini Protokoll expands the concept of theater and creates new perspectives on reality.

Production by Rimini Apparat
Co-production with Staatsschauspiel Dresden, Ruhrfestspiele Recklinghausen, HAU Hebbel am Ufer (Berlin), Goethe-Institut.

Music Henry Purcell

Recomposition & Sound Kenneth Winkler

Musical Direction Hansjörg Sofka

Director Bettina Bruinier

Choreography Marcel Leemann

Stage Design Volker Thiele

Costumes Chani Lehmann

Dramaturgy Diana Merkel




Love in times of war: Even before the legendary British king founds his famous Round Table, he must liberate Britain from the Saxons' occupation. The victory of the war-weary Britons seems close, when Arthur's adversary Oswald kidnaps Emmeline, Arthur's great love, who is wise but blind. A chase through an enchanted forest inhabited by spirits begins. Arthur must navigate a web of illusions to find his way to his final battle with Oswald.




With the successful adaptation by the renowned Upper Austrian author Ewald Palmetshofer of Purcell's Semi-Opera King Arthur, the series of interdisciplinary theater productions at the Tyrolean State Theater continues. In the new season as well, the boundaries between different genres will be broken in favor of a Baroque theatrical stage event.




The new adaptation of King Arthur "follows the framework of the original text, but attempts to enrich, accentuate, and free the characters and their conflicts from the present era, freeing them from their historical patina," said the author.




At the Tyrolean State Theater, actors, singers, and dancers together search for a way out of the labyrinth that seemingly leads people to cruel conflicts and violent confrontations time and time again.




In a play of illusions, reality, myth, and fairy tales intertwine - poetically and truly.