Organization

Певец

Laila Salome Fischer

Mabel

Хореограф

Mandy Garbrecht

Баритон

Andreas Sauerzapf

Albert

Меццо-сопрано

Beate Korntner

Infantin Isabella

Marylou

Бас

Bryan Rothfuss

Sam Macintosh

Marcus Günzel

Präsident Chamoix

Gräfin Inez de Ramirez

Тенор

Gero Wendorff

Prinz Stefan Andreas

Höfling Friedemann Condé

Gesangsquartett

Michael Kuhn

Andreas Pester

Georg Güldner

Дирижер

Peter Christian Feigel

Режиссер-постановщик

Cornlia Poppe

Художник-постановщик

Esther Dandani

Хормейстер

Thomas Runge

Драматург

Judith Wiemers

Staatsoperette Dresden

Orchestra

Orchester der Staatsoperette Dresden

немецкий

Märchen im Grand-Hotel

Дрезден

Германия

Kraftwerk Mitte

Märchen im Grand-Hotel Abraham

Одобрено

Hier ein kleiner Vorgeschmack, auf das was euch in unserem neuen Stück MÄRCHEN IM GRAND-HOTEL erwartet.
Wenn ihr mehr hören wollt, könnt ihr heute Abend gerne zur Vorstellung kommen.

An elegant hotel on the Côte d'Azur, in which an international crowd cavorts and European aristocrats make marriage plans to jazz band music - well served with cocktails by the industrious staff. Not unusual at first glance. But nothing is as it seems. The shy waiter Albert, who is actually the heir to the hotel, falls head over heels in love with the penniless Spanish princess Isabella, who has been expelled from her country and who in turn is betrothed to an Austrian prince. Material enough for a real Hollywood film - if you follow the arguments of Marylou, daughter of the American film producer Makintosh, who is on the verge of bankruptcy. The self-determined modern woman is determined to save her father's company from ruin, bursts into the middle of the action and, with her lack of understanding for the long outdated values ​​of the old world, upsets the fragile order of polite society. The Grand Hotel is upside down: who's catching who and how will the film end?
Carried by Paul Abraham's versatile music - from waltz to foxtrot, from tango to jazz - a joyful confusion à la Hollywood emerges. The wit of the plot, like the score, still basks in the splendor of the late Weimar Republic. Banned from the Berlin stage, Abraham and his librettists staged this parodic declaration of love for the absurdities of the operetta in 1934 while still in exile.

English

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