May'22141826Jun'2204101824

Venue details

Theater Münster , Neubrückenstr. 63, 48143 Münster, Germany

Full Production Cast & Crew

Cast & Crew

Conductor
Stage director
Dramaturge
Chorus master
Costume designer
Set designer
~
Orchestra
Sinfonieorchester Münster
Chorus
Opernchor des Theaters Münster

Others

Kardinal von Galen
Franz von Galen
Galens Mutter
Regens Francken
Pfarrer Coppenrath
Englischer Offizier
Gauleiter Meyer
Rabbiner Steinthal
Galens Sekretär
Gestapo-Mann

About the work

Logo Theater Münster TICKETS book directly online via the calendar: MAY 2022 Mon Tuesday Wed do Fr. Sat So 1 2 3rd 4th 5 6th 7th 8th 9 10 11 12 13th 14th 15th 16 17th 18th 19th 20th 21 22nd 23 24 25th 26 27 28 29 30th 31 or alternatively reserve here: Tel. (0251) 59 09-100 theaterkasse@stadt-muenster.de Schedule & tickets GALEN OPERA BY THORSTEN SCHMID-KAPFENBURG premiere © Oliver Berg “WE ARE ANVIL AND NOT HAMMER. IF IT IS SUFFICIENTLY TOUGH, STRONG, HARD, THEN THE ANVIL WILL LAST LONGER THAN THE HAMMER. " INFOOCCUPATION Clemens August Graf von Galen (1878 - 1946) is a unique figure because he was the only Catholic dignitary who publicly opposed National Socialism. He is therefore venerated and was even beatified in 2005. However, especially in connection with the beatification, critical voices were raised, who came up with serious accusations against Galen. He was a supporter of the war, he shared the hatred of Bolshevism with the National Socialist rulers, and he did not stand up for the persecuted Jews. In the Galen case, the dichotomy between veneration and criticism is so great that it deserves a fresh, up-to-date look at the historical person. GALEN is an opera in twenty scenes for a large ensemble and choir. It shows the internal conflict of the Münster bishop, Clemens August Graf von Galen, under the increasing pressure to which the Catholic Church was exposed during the Nazi era. This prompted Galen to "escape into the public eye" and turn against the National Socialist rulers from the pulpit in three epoch-making sermons, in particular on the occasion of the so-called "monastery tower" and the euthanasia measures. The opera does not stop at the biographical outline. By illuminating Galen's work by a person from the present, our view of a prominent protagonist of the story comes into the picture.
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