Bertolt Brechts and Kurt Weill's opera Rise and Fall of the City of Mahagonny , premiered in 1930, is great fun. Weill's high-contrast score cuts together music hall songs, jazz numbers, folk music, chorals and arias. The scene offers colorful, fast-paced theater with adventurous changes of scene. The topics that are at stake range from man's great search for happiness to the impending end of the world. But the fun should get stuck in your throat in this piece, because Mahagonnyis also cynical, sarcastic and caustic in his socially critical attitude. It shows a self-destructive society sinking into anarchy, exposes capitalism as a perverted promise of freedom and shows us the depravity of human beings like in a distorting mirror. Sebastian Baumgarten's staging, which was extremely successful in the premiere series three years ago, allows the classic from the early modern music theater to run as brightly colored as biting, socially critical series of images. Baumgarten shows the excesses of an egoistic pleasure and fun society with the means of epic theater, which he reinterprets for the present with great show value. The highly demanding tenor role of the doomed hero Paul Ackermann sings once again Christopher Ventris.
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