Die Hochzeit des Jobs is the archetype of the lost student. Not only did he get through his father's money at university, he also learned something: about fencing, about alcoholic beverages and things like that.
But when he returned home, in his native principality he naturally failed the examinations of the critical officials. Now he can only become a night watchman. The previous one has just died and since the city is poor, the successor is supposed to marry his widow - her pension is saved.
Jobs, of course, has a little Kathchen to wait and under no circumstances wants to marry the ugly widow. But what he doesn't know yet and what you, who are reading this, shouldn't tell anyone else: the night watchman didn't drink himself to death at all, he's not dead at all. The scheming mayor only has sinister plans that come with money have to do and with Käthchen, whom he wants to force himself.
The story itself comes from mine life, a satire by a Bochum mining doctor from 1784; Wilhelm Busch turned it into a picture story. And the opera by Joseph Haas, one of the great composers of the mid-20th century, is called by many Lortzing's last heir.
This piece now has a strange German-German-German story.
In 1944, just before the war was shut down by one of the two great opera directors, Heinz Arnold, premiered at the Semperoper, it was played in both parts of Germany immediately after the war. For the Saxon state theaters, the production by Joachim Herz is one of the founding myths and the house of the other great opera genius, the Komische Oper Walter Felsenstein, soon brought it out: directed by Joachim Herz and with the choreography by Ruth Berghaus. The clear folklore and the fun of duping the rulers made the opera the piece of the hour - in East and West. It was played all through the 1950s - and then no more.
And now, 60 years later, you can experience Die Hochzeit des Jobs again. In Annaberg-Buchholz.