Winter was the Friday evening the city of Pfaffenhofen winter stage, only the outdoor temperature. Consistently Sunny and cheerful, the mood of the audience in the Packed auditorium, however, was the elementary and middle school in the “operas in Bavarian”, with which the program of the winter stage, after the crime theater and children’s concert proved to be another audience-ready variety.

For almost 35 years, Paul acoustic path inspire rhymed malapropisms of famous Operas, wherever you between Rüsselsheim and Garmisch-Partenkirchen. You’ll have three readers, a dozen or so musicians (under the direction of Andreas Kowalewitz) and three bavarisierte stage works (“Carmen”, the “Flying Dutchman” and “The magic flute”), and the success of the mixture. Gerd Anthoff, Conny Glogger und Michael Lerchenberg devote himself as an actor-the Trio are consistently in the couple of rhyme-held sound Path-verses with obvious pleasure. For additional amusement of the audience, they improvise occasionally, the roles and the Text. “Schee is at Eich!”, says Conny Glogger, and the listeners can confirm this is a compliment immediately in the opposite direction: In the most beautiful carnival mood is there a Lisp on the stage, Bouncing and gesäuselt. And if at the end of Wagner’s Flying Dutchman (“The Geisterleb’n’ is barbaric, a woman muaß, whoever’ i ‘ narrisch!”) the already on Alpen glow and Edelweiss bloom-tuned, redemption, pathos, parody and more is exaggerated, the Old and the Young a real pleasure.

Is the dialect version of the also from the venue to the Bavarian threaded Opera acts, a right fun, the Whole thing will has done – not only in the dramatic “Carmen or Wia d’Liab to Sepp to murder” – a murder of Gaudi by the music edits by Frederick Meyer. On the basis of the most famous catchy tunes of the Opera is quoted in the twelve-piece musical ensemble and processed, which keeps the stuff; the sailors ‘ chorus from the Flying Dutchman lands in addition to Prince Orlowsky in the “bat”, “the abduction from The seraglio” finds himself suddenly in the “magic flute”, seamlessly the Carmen-bullfight in Bavarian folk music, alongside Mozart and Wagner on the hits of “Donna Clara sounds at once”, and with the zither sounds peppy Dixieland is from venerable classical music. And where an Opera like “Madame Butterfly” – not too many mitpfeif pieces, you help out of hand otherwise: Instead of Puccini, the main thing is that the Orient sound then, well-known tunes from Franz Lehár’s “Land of smiles”, according to the Motto “All the Chineser san Japanese”.

“Musical face” and a Highlight of the Opera at the Bavarian is and remains the drummer. Philipp Jungk, the Pfaffenhofen audience, perhaps even as one half of the percussion Duo “Double Drums” in memory, has taken on this role following in the footsteps of Werner Hofmeister since 2018. With all the possible and impossible tools, Bird whistle directly and whistle, night pot and a thunder sheet, a bottle of wine and a hot water bottle to the Vuvuzela, sometimes posters around showing, then re-Shoe plattelnd he draws everyone’s attention and the home is the Star of the Evening.

As an encore, a short version of “Madame Butterfly” – the audience would have followed with similar enthusiasm, I also use the long version of Wagner’s entire “Ring” in one go.

photos: Lukas Sammet Inger

This post is provided by: municipality of Pfaffenhofen an der Ilm. An editorial review by FOCUS Online has not taken place.

municipality of Pfaffenhofen an der Ilm

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