GEORG KREISLER: UNHEILBAR GESUND
From the series "Berlin Stories"
GEORG KREISLER: UNHEILBAR GESUND
A musical evening
Book and direction: Barbara Abend
Musical arrangement: Ute Falkenau
With: Carl Martin Spengler (acting, singing) and Jürgen Beyer (piano)
Duration: approx. 1h 45 min. (including a break after 50 min.)
PREMIERE was on 11.10.2019 at THEATER IM PALAIS Berlin
Under the title GEORG KREISLER: Unheilbar gesund, the proven team, which has already celebrated successes with the Otto Reutter evening, has once again chosen a brilliant stage author.
Carl Martin Spengler and Peter-Philipp Röhm, under the direction of Barbara Abend, dedicate themselves to the great Austrian.
Georg Kreisler was a genius, a literary-musical genius that will probably never be seen again.
What he wrote and composed was not cabaret, nor were they chansons. It was so much more than poetry and literature. There is no term for it, except perhaps the title of one of his records: Kreisleriana.
He could juggle melodies and music styles as he pleased. With words as well. His songs are always multidimensional... he could be grotesque and silly, and yet deeply sad; he could sharply criticize and was always witty.
(Eva Menasse, author)
When mentioning his name - Georg Kreisler - it immediately comes: “Poisoning pigeons in the park”. In the catalog of his 500 song creations, this song received severe criticism and toxic rejection in the Viennese media after his return from exile.
Born in Vienna, at the age of fourteen he shared the fate of the Jewish residents of Vienna, who had the fortune, at the expense of their assets, to obtain an emigration permit to the USA in 1938/39.
After a short childhood in Vienna and fleeing with his parents across the ocean, he had his breakthrough in New York and finally returned to an Austria that felt foreign to him, one that always made him shiver - The 20th century made Georg Kreisler a rootless person, “who found his home in art and language. He was a genius that will never be seen again.” (Atrium Verlag Zurich)
He lived in Berlin for 10 years and had readings and performances of his stage works, his celebrated evenings at the leading cabarets in Berlin, the “Wühlmäuse” and the “Stachelschweine”, a productive contact with the interpreter Tim Fischer, a stylistically influential Berlin (theater) history.
Over 500 songs, novels, essays, short stories, plays, and operas - he left an incredible body of work.
Admission box office / theater bar opens 60 minutes before the performance begins.
Hallo, ich bin Maya.
