Murat Yeginer DIE OPTIMISTINNEN Musical play based on the novel by Gün Tank

With "Istanbul," director Murat Yeginer and his ensemble broke records at the Old Theater! Now we continue the story of the guest workers – from the perspective of strong women.

The focus is on the women who came to Germany in the 1970s from Turkey, Spain, Italy, Greece, Yugoslavia, Morocco, and Tunisia to work here.

One of the many female guest workers is 22-year-old Nour from Istanbul. She is young, motivated, and optimistic. However, the city girl struggles with the customs of the German village where she now lives. The accommodation in the dormitory needs improvement, the working conditions in the factory are questionable, and the pay is unjust.

When Nour learns about a women's strike in the 1920s, she begins to fight for the rights of female workers together with her friends!
“With a wonderful lightness and humor, Gün Tank narrates the fate of these women. Their struggles for justice – but also their unbridled zest for life,” judged the Bavarian Broadcasting.

Now the novel is coming to the stage in its own adaptation with a German-Turkish ensemble and lots of live music at the Old Theater!

Performances from June 12 to July 18, 2026

With Ursula Berlinghof, Yasemin Cec, Selda Falke, Sorina Kiefer, Frederik Leberle, Murat Yeginer, among others.
Band Murat Bay, Apostolos Naumis, Mert Eylem Sezgin, among others.
Direction Murat Yeginer
Musical direction N.N.
Stage and costumes Beate Zoff
Choreography Sorina Kiefer
Dramaturgy Susanne Schmitt

Souvenirs, Souvenirs! Do you still remember Bill Ramsey's hit from 1960? Singer Lilian Huynen and her congenial ensemble go on a musical exploration once again, this time into the land of beloved hits, the shamelessly beautiful Schlager, and the grandest feelings. After all: Schlager perfectly encapsulates our seemingly unexpressed emotional states into easily conveyable phrases – just think of "Hurra, wir leben noch!" or "Ich will keine Schokolade, ich will lieber einen Mann." So, if you're dreaming of love, hope, and vacation, of white roses, Greek wine, or simply the little pub in our street, you're in the right place. On a stroll through unforgettable songs of yesteryear, you will not only encounter the greats of the Schlager world but may also discover a hidden gem or two. Who knows? One thing is certain: If you enjoyed our musical production "Nächster Halt: Chanson" from the 2023/2024 season, you will love this follow-up production with Lilian Huynen! A musical feel-good evening for the heart – with a built-in good mood guarantee!

Dance performance
NGU Kollektiv
"Tous sur la banquise" ( "All on the ice floe" ) is dedicated to the lives of emperor penguins and the climate change that threatens their – and ultimately our – existence. Starting from the unique social behavior of these animals, we question our own society and its structures: Among the penguins, we search for a humanity that seems to be becoming increasingly rare in our time. In them, what defines us as humans is reflected – and what we may voluntarily relinquish.
The piece combines dance, music, language, and scenography. It moves in a tension field between the concrete representation of animal life on one hand and an abstract interpretation through movement, text, and sound on the other. This creates a broad space for interpretation, opening up the question of how the human body confronts the challenges of our present.
Concept: Matthias Dengler | Co-conception, Artistic Direction + Choreography: Yahi Nestor Gahe | Co-conception, Production Management: Lilly Bendl | Dramaturgy and Texts: Magda Agudelo | Costume: Johana Gomez | Set Design: Ikheyon Park | Dance: Martina Gunkel, Lilly Bendl, Yahi Nestor Gahe | Music: Hugo Rannou | Scientific Support: Stefan Christmann | In collaboration with the sculptor: Thomas Putze

LIVING ELVIS - MY LIFE FOR THE KING
SONGS & STORIES

More than a musical reading with humor, heart, and soul
What happens when an artist not only sings but also tells stories that would otherwise remain hidden?
Nils Strassburg, one of the most internationally recognized Elvis performers of our time, reveals a side of himself this evening that is unexpected. Personal, approachable, and with a fine sense for the subtle nuances.

With Living Elvis – My Life for the King, he opens his book and invites the audience on a journey behind the scenes. Away from the bright spotlight, into the moments in between: doubts, first steps, detours, encounters – and the question of how a fascination can become a whole life.
At Songs & Stories, the boundaries between concert and narrative blur. The music comes closer, becoming more immediate, more personal. Songs by Elvis Presley appear in new, reduced arrangements and merge with the stories to create an evening that feels more like a conversation than a show.

There will be storytelling, singing, laughter – and sometimes a moment of silence. It is precisely in these moments that a special closeness arises, making this evening so unique.

Living Elvis – My Life for the King – Songs & Stories
is not a classic reading and not an ordinary concert, but an invitation to experience an artist as rarely before. An evening full of music, honest stories, and an atmosphere that lingers long afterward.

Copyright: Nils Strassburg

Doors open: 19:00

ME AND MR CASH - A theater evening with songs by Johnny Cash and June Carter

A February evening in the year 1968. Johnny Cash and his entourage are once again performing one of their sold-out shows, this time in a small Canadian town. The lively June Carter, descendant of the legendary Carter Family, is also present. After playing the final chords of their joint hit "Jackson" in front of several thousand fans, Johnny asks: "Will you marry me, June?" With spontaneity and incomparable wit, she skillfully evades a direct answer, turning the situation into a comic moment as if it were a rehearsed act. But Johnny persists - this time he doesn't give up: After 31 marriage proposals, June finally responds with a "Yes!" on that evening. Actors Lucie Mackert and Roman Roth, along with musician Thomas Maos, immerse themselves in the Carter-Cash world. They shed light on the two sides of a love in show business and showcase the many facets of the two main characters. They also bring to life important companions and family members, narrating the story of the two from numerous perspectives. Through new arrangements of well-known country classics, the three performers present a contemporary view of this piece of music history while also bringing to life bygone eras.

A co-production of Theaterhaus Stuttgart and Theater Gütersloh
DIRECTED BY Endre M. Holéczy
FEATURING Lucie Mackert, Thomas Maos, Roman Roth

Opera libretto by Georg C. Klaren based on the story "The Birthday of the Infanta" by Oscar Wilde (1889) | Ballet music by Igor Stravinsky

Two classics of modernity on a timeless theme: In “Der Zwerg” (1922) and “Le Sacre du Printemps” (1913), the images of the other and the self are ruthlessly instrumentalized by society. A court dwarf falls in love with the Spanish infanta; yet he knows nothing of his ugliness. The court and the princess play with his feelings, and when he sees himself for the first time in a large mirror, he dies of shock and shame. Zemlinsky's intricately orchestrated music with a large woodwind section, celesta, glockenspiel, and mandolins paints an impressive sound picture of the Spanish court in its golden age. The magic of spring becomes eerie when a young woman is to be sacrificed for a fertility ritual. This happens in Vaslav Nijinsky's “Le Sacre du Printemps,” one of the iconic pieces of dance history. Guido Markowitz transfers the narrative into the 21st century and designs a dark yet profoundly illuminating social portrait about the question of why people elevate themselves over others and what role our understanding of 'sacrifice' can play in that.

Introduction by the dramaturgy 20 minutes before the performance starts in the foyer.

The scientist Prospero, who devoted himself to study and the arts rather than ruling as Duke of Milan, was usurped by his brother, cast out to sea with his young daughter Miranda, and washed up on an island. Like many of Shakespeare's magical landscapes, the island serves as a testing ground and playground for newcomers. A place where man can begin anew far from civilization: the power and impotence of the human mind in its struggle with nature, of which he is a part. And all this against the dark backdrop of colonization.

In The Tempest, all of Shakespeare's major themes are gathered again. With the help of the airy spirit Ariel, Prospero conjures a storm that brings all his enemies – his treacherous brother and his allies – to him as shipwrecked souls and allows him to escape the murder plot of the poetic monster Caliban. Miranda, who has seen little of the world beyond the island, falls in love with one of the shipwrecked: Ferdinand, Prince of Naples. If Prospero, who also acts as director of his own past and future, were to forgo his revenge, the island romance would be a first step towards a general reconciliation. Shakespeare's 37th and final play, with its poetic playfulness, its desire to explore the world, its rawness, and tender melancholy, is also a legacy and a farewell from one of the greatest theater figures.

The Tempest is performed in a celebrated version at the Burgtheater Vienna by Joachim Lux for three actors, each of whom also embodies other characters – and in which, among others, Joachim Meyerhoff took part.
Performing are Johanna Engel, Christina Weiser - who will join the ensemble of the Zimmertheater permanently from the next season at the Staatstheater Kassel - and Bernhard Hurm from the Theater Lindenhof.

Prospero/ Bernhard Hurm
Trinculo

Ariel/ Christina Weiser
Ferdinand/
Stefano

Caliban/ Johanna Engel
Miranda

Direction: Thomas Bockelmann
Stage: Birgit Angele/Sabine Böing
Costumes: Ulrike Obermüller
Sound design: Jens Kilz
Dramaturgy: Dr. Stefan Tigges/Michael Volk
Choreographic and musical collaboration: Olatz Arabaolaza and Jel Woschni
Technical team: Alexander Schwab, Mike Michelius, Mia Zilk
Photos: Patrick Gerstorfer
Video: Joachim Schmid
Publishing: Rowolht Theater Verlag
Thanks to the Friends' Circle for financing the stage design.

Premiere: May 2, 2026

Performances: May 9, 16, 17, 21; June 4, 13, 25; July 3, 4, 16, 17, 18
Each at 8 PM, introduction at 7:30 PM
Zimmertheater im Löwen (Kornhausstraße 5)

What the press says:
"Reutlinger Generalanzeiger, 04.05.2026, Burlesque-melancholic 'Tempest'
by Christoph Ströhle
"A slide leads in from above and provides particularly the whirling Ariel with energetic appearances. [...] The costume changes (costumes: Ulrike Obermüller) [...] are minimal. It is above all their acting that changes in the embodiment of another character. It’s not just the body language that is different. Weiser suddenly speaks with a Hessian accent as Stefano. While Hurm, who just sensed a dawn as Prospero, gives an Swabian twang to the court jester Trinculo, who is out to kill Prospero, in the next moment. Weiser and Hurm wonderfully fill these burlesque roles (and also the serious ones) and bring the premiere audience to laughter on Saturday night. [...] Shakespeare has masterfully commanded the shift between lofty tones and coarse comedy. 'The Tempest' is considered his legacy and farewell as a playwright. [...] The Tübingen production does justice to this with thoughtful substance and overflowing playfulness. The production [...] manages to orchestrate poetic playfulness, a desire for world exploration, rawness, and melancholy artfully, thus providing good entertainment. [...] It is well brought out, despite all the streamlining, that Prospero acts as director of his own past and future. And that he embodies a man who reveals the ignorance of a colonizer towards Ariel and especially towards the enslaved Caliban. He then also incites the shipwrecks to revolt against Prospero. Johanna Engel is strong in this role (and as Miranda)."

Schwäbisches Tagblatt; 04.05.2026; Prospero in a bathrobe
by Peter Ertle
“Much essence [...] and beautiful acting theater. [...] Bernhard Hurm is suitable for Prospero partly due to the parallel of an actor who has most of his professional life behind him, but above all because of the combination of delicacy and leading role that has always been present in him. With great nuances in the back and forth of wanting and hesitating, pauses, counterplay of gesture and word, up to a shaking of the head that ultimately experiences an unexpected twist with a final 'Yes!'. In terms of the differentiation of soul movements, Hurm has found his counterpart: Christina Weiser also gets to shine with an unmistakable touch of comedy in all her roles. As Ariel, she constantly pulls on enchanting threads or imaginary strings, as she actually consists more of waves, air currents, frequencies. At times, she seems like the stage embodiment of an animated figure. As Stefano, she is allowed to become quite earthy. And the torn, but ultimately not completed murder act on Prospero could have come from a Buster Keaton film. [...] This was mainly about compressing the play and acting art. Both succeeded.”

DER VENTILATOR ENTFESSELT. Shakespeare's "Tempest" - in Tübingen 04.05.2026
by Michel Laages (critic for nachtkritik, Deutschlandfunk, etc.)
"Quite effortlessly, without tricks and showmanship, the transformations work in 'The Tempest' from Tübingen (where a fan virtuously plays the wind machine); Johanna Engel (who begins as a wild Caliban being) merely needs to take off the old hippie parka and place a flower crown on her head - she is already daughter Miranda. Christina Weiser, who initially 'blows' in as Ariel down a slide like on a playground onto the stage entirely lined with silver aluminum foil by Birgit Angele [...], undergoes the transformation to Prince Ferdinand entirely through her own body; and even as the magic spirit Ariel, she shapes the 'magic' that can transform air into music and bring the island world to sound, solely with a gentle choreography of her hands. When she later transforms into the drunken Stefano (and empowers herself to assassinate the island ruler Prospero), she only needs the base cap and the linguistic switch to the Hessian dialect, which is the closest to her biography...
Here we reach the most charming magic of the short evening - it comes from the language personally. For Bernhard Hurm, co-founder of the free ensemble project 'Theater Lindenhof' in Melchingen on the Swabian Alb and highly esteemed Holderlin specialist, presents a Prospero who could also be a village elder in Burladingen or elsewhere. The longing for revenge of the betrayed, banished former ruler appears here in a decidedly non-ruler bathrobe (which Ulrike Obermüller dressed him in, Thomas Bockelmann's lead costume designer already in Kassel); and that in Hurm, Prospero’s understandable revenge ultimately (and even more understandably) transforms into grace and forgiveness is the most natural thing in the world. [...] By the way, to see Shakespeare's 'Tempest' in Tübingen, the audience first walks into the outdoor venue of the 'Zimmertheater': into the 'Löwen', a little further up in the old town, still behind the town hall and market and opposite the city museum. 'Im Löwen' was once a cinema and even before that the synagogue; for the theater, it is - alongside vaults and 'chamber' stage - the third and (with 99 seats on the first floor of the historic building) the largest performance venue. The applause is hearty, the audience [...] pleasantly concentrated on the matter. Bernhard Hurm (the 'Lindenhof', whose co-founder he was, recently received the Theater Prize of the Federal Government) is a theater person of the finest folk theater sort, Johanna Engel is a favorite with the audience (she is currently also performing 'Prima Facie' by Suzie Miller), and Christina Weiser will also be warmly embraced by all in Tübingen from now on."
_________________
If you have any questions, our team at the theater box office is always available:
Phone: 07071 92 73-33
E-Mail: tickets@zimmertheater-tuebingen.de

Musical homage on the 100th birthday of one of the greatest entertainers of the Federal Republic of Germany. His shows reached record levels with up to 79 percent viewership. We dedicate this evening to this all-rounder with anecdotes, music, and memories of a time when families sat in bathrobes in front of the television.
Featuring: Charis Hager, Christof Küster, and Sebastian Schäfer

Of course, as a child, I enthusiastically ate dirt. Until I discovered at some point that there is an enormous culinary gain in eating or drinking its manifold fruits, in whatever form, to frolic around happily afterwards.

Meeting point Obertürkheimer Straße 6

sold out

This "Hin und Her" takes place on an old modest wooden bridge that spans a medium-sized border river, thus connecting two states in a certain way.

On one side, border guard Thomas Szamek watches at the end of the bridge, while at the opposite end stands border official Konstantin. At the center is Ferdinand Havlicek. He was deported from the country where he had lived for half a century after the bankruptcy of his drugstore. He wanted to return to his home country across the bridge. However, he had forgotten to renew his citizenship there, which is required every five years, so he can no longer enter...

"I still don't know who will compose the music for my piece. The roles are entirely comedic roles, both the female and the male. The intention of the piece can be briefly summarized as follows: It should show how easily inhuman laws can be rendered ineffective through a human gesture." (Ödön von Horvath, Wiener Allgemeine Zeitung, 14.9.33).

Direction: Florian Dehmel
Scenography: Stephen Crane
Costumes: Renáta Balogh
Composition / Musical Direction: Sebastian Huber
With: Stephen Crane | Sebastian Huber | Manuel Krstanovic | Natalja Maas | Stefani Matkovic | Philip Süs | Aki Tougiannidis

Admission shortly before the start of the performance

For more information, please call Tel. 0711 2364610

Be prepared for a literary gem, discovered here only a few years ago, now dramatized on stage at the Tri-bühne Theater. Ulrich A. Boschwitz wrote an astonishing book at the age of just 23 in the face of the Reichspogromnacht. His novel "Der Reisende," written in 1938 and first published in German in 2017, humorously showcases how quickly and uncontestedly the familiar environment can turn hostile, in an almost Kafkaesque manner:

The Jewish merchant Otto Silbermann wanders through a Germany radically transformed by National Socialism and anti-Semitism at the end of the 1930s, as a result of the Reichspogroms. He spends his days in trains, on platforms, in station restaurants, and encounters refugees and Nazis, as well as good and bad people…

The production by László Bagossy with Manuel Krstanovic in the title role promises an evening full of literary and theatrical discoveries.

Direction: László Bagossy
Set Design: Stephen Crane
Costumes: Renáta Balogh
Musical Direction: Sebastian Huber

Featuring Manuel Krstanovic

Classics of Literary History
Conversation with Ulrike Draesner and John von Düffel
Moderation: Anne-Dore Krohn, Prologue and Epilogue: Timo Brunke
Paul Celan (1920–1970) repeatedly addresses experiences of violence in his poems, finding a poetic form for the horror of the Shoah – exemplified by the famous "Death Fugue." At the same time, Adorno writes his famous dictum in 1949: "To write a poem after Auschwitz is barbaric." Although Celan lives in France, he does not want to give up the German language. For this, he is recognized, misinterpreted, and attacked. Throughout his life, he searches for language: Particularly striking is his speech "The Meridian," which he delivers on the occasion of receiving the Büchner Prize in 1960. It can be read as a key poetic text, whose title refers to a sentence by Nelly Sachs in a letter to Celan: "Between Paris and Stockholm runs the meridian of pain." He always views his poems as a message in a bottle – the recipients are uncertain.

A series of events by LpZ Stuttgart and DerDiwan Audiobook Publishing. Funded by the Ministry of Culture, Youth, and Sports of Baden-Württemberg

Unfortunately, the event is canceled.

Murat Yeginer DIE OPTIMISTINNEN Musical play based on the novel by Gün Tank

With "Istanbul," director Murat Yeginer and his ensemble broke records at the Old Theater! Now we continue the story of the guest workers – from the perspective of strong women.

The focus is on the women who came to Germany in the 1970s from Turkey, Spain, Italy, Greece, Yugoslavia, Morocco, and Tunisia to work here.

One of the many female guest workers is 22-year-old Nour from Istanbul. She is young, motivated, and optimistic. However, the city girl struggles with the customs of the German village where she now lives. The accommodation in the dormitory needs improvement, the working conditions in the factory are questionable, and the pay is unjust.

When Nour learns about a women's strike in the 1920s, she begins to fight for the rights of female workers together with her friends!
“With a wonderful lightness and humor, Gün Tank narrates the fate of these women. Their struggles for justice – but also their unbridled zest for life,” judged the Bavarian Broadcasting.

Now the novel is coming to the stage in its own adaptation with a German-Turkish ensemble and lots of live music at the Old Theater!

Performances from June 12 to July 18, 2026

With Ursula Berlinghof, Yasemin Cec, Selda Falke, Sorina Kiefer, Frederik Leberle, Murat Yeginer, among others.
Band Murat Bay, Apostolos Naumis, Mert Eylem Sezgin, among others.
Direction Murat Yeginer
Musical direction N.N.
Stage and costumes Beate Zoff
Choreography Sorina Kiefer
Dramaturgy Susanne Schmitt

For Markus Söder and Hubert Aiwanger, it's clear: Newspapers, radio, and television stations may reach many people in Bavaria, but you catch them directly and unfiltered only on Facebook, Instagram, and TikTok. After Markus Söder's accounts were shut down due to unmarked advertising for Nürnberger Rostbratwürste, it is clear: Bavaria needs its own Facebook, where the Bavarian homeland and its traditions are celebrated, and air superiority over the local taverns is reclaimed.
But where can a businessman be found to finance this?

In the small place Untergamskobenzeißgrubengernhaferlverdimmering, there is a mayor with excellent connections worldwide:
Schorsch Scheberl.
Together with a cereal oligarch from Allgäu, who now lives in Switzerland, he is founding his own social media platform named: Prost!

Bayern liebt DICH! is a current Bavarian solo cabaret with messages and ambassadors around the media circus by and with Wolfgang Krebs, who stands alone on stage, playing many different roles.

Press reviews:
“... somewhere between linguistic art, puns, and perfectly timed pauses - that’s roughly how one could describe Krebs's rhetorical performances in which he slips into prominent roles. From within, if you will, he softens the political seriousness, poking fun at the Söders, Stoibers, Seehofers, Aigners, and Becksteins in a way that allows the man known from film and television (BR) to create a psychological profile of the portrayed through parody while still permitting cheerful and friendly silliness. (...) and he has the pleasant sovereignty not to have to laugh at his own jokes. But he never even finds himself in that predicament; he is that good.” (Fränkischer Tag)
“As an impersonator, he has long achieved a perfection that nearly makes viewers doubt their perception.” (Nürnberger Nachrichten)
“Truly great stage artistry! (...) The amount of talent, work, and skill in this show is hard to measure. A seemingly endless cascade of overflowing creativity thundered down on the audience.” (Süddeutsche Zeitung)

Image: Severin Schweiger

Doors open: 7:45 PM

Two comedians, two police careers, and countless stories that are hard to believe: Dennis Boyette, a former policeman from Mannheim, known for his cheeky, direct Palatine dialect and humorous insights into real operations, meets Luan, an active policeman, family man, and comedian, who impresses with authentic experiences from his childhood, daily life, and professional career – often so crazy that you think: “You can't be serious!”

Together, the two present a unique format:
In the first half, each performs their own half-solo – one after the other, with strong stand-up, personal experiences, and humorous observations from two completely different life paths.
In the second half, they take the stage together: honest real talk, spontaneous crowd work, and conversations about job, life, operations, and all the things you never get to hear. Funny, emotional, surprising, and above all, authentic.

An evening that combines comedy, real stories, and two distinctive personalities – exciting, funny, and guaranteed to have something for everyone.

Doors & catering from 6:00 PM

A certain Mr. Faust, a scientist, despairs at the limits of the possibilities of knowledge. What holds the world and the universe together remains closed to him. Close to burnout, his alter ego in the form of a certain Mr. Mephisto reveals himself to him. Mephisto is to make the pleasurable sides of existence accessible to him, in order to find new meaning in life. On Faust's ensuing ego trip, the model of a 'world machine' in his laboratory mutates into the virtual 'wish machine' of his dreams. The play features Martina Göpel and Andreas Weiner.

WHY - WHERE TO
In 'Urfaust', Goethe laid the most important foundations for his universal world poem, which he only completed after sixty years. Although originally not intended for the stage and although countless interpretations of 'Faust' have emerged since its publication, often contradicting each other, 'Faust' has secured a permanent place as a theatrical work of art.

Dance performance
NGU Kollektiv
"Tous sur la banquise" ( "All on the ice floe" ) is dedicated to the lives of emperor penguins and the climate change that threatens their – and ultimately our – existence. Starting from the unique social behavior of these animals, we question our own society and its structures: Among the penguins, we search for a humanity that seems to be becoming increasingly rare in our time. In them, what defines us as humans is reflected – and what we may voluntarily relinquish.
The piece combines dance, music, language, and scenography. It moves in a tension field between the concrete representation of animal life on one hand and an abstract interpretation through movement, text, and sound on the other. This creates a broad space for interpretation, opening up the question of how the human body confronts the challenges of our present.
Concept: Matthias Dengler | Co-conception, Artistic Direction + Choreography: Yahi Nestor Gahe | Co-conception, Production Management: Lilly Bendl | Dramaturgy and Texts: Magda Agudelo | Costume: Johana Gomez | Set Design: Ikheyon Park | Dance: Martina Gunkel, Lilly Bendl, Yahi Nestor Gahe | Music: Hugo Rannou | Scientific Support: Stefan Christmann | In collaboration with the sculptor: Thomas Putze

Dance performance
NGU Kollektiv
"Tous sur la banquise" ( "All on the ice floe" ) is dedicated to the lives of emperor penguins and the climate change that threatens their – and ultimately our – existence. Starting from the unique social behavior of these animals, we question our own society and its structures: Among the penguins, we search for a humanity that seems to be becoming increasingly rare in our time. In them, what defines us as humans is reflected – and what we may voluntarily relinquish.
The piece combines dance, music, language, and scenography. It moves in a tension field between the concrete representation of animal life on one hand and an abstract interpretation through movement, text, and sound on the other. This creates a broad space for interpretation, opening up the question of how the human body confronts the challenges of our present.
Concept: Matthias Dengler | Co-conception, Artistic Direction + Choreography: Yahi Nestor Gahe | Co-conception, Production Management: Lilly Bendl | Dramaturgy and Texts: Magda Agudelo | Costume: Johana Gomez | Set Design: Ikheyon Park | Dance: Martina Gunkel, Lilly Bendl, Yahi Nestor Gahe | Music: Hugo Rannou | Scientific Support: Stefan Christmann | In collaboration with the sculptor: Thomas Putze

“Sinatra Songs mit dem schwäbischen Botschafter” is the title of the concert on July 17, 2026, as part of Sommer am See 2026. Look forward to the great Sinatra classics with English original lyrics and let yourself be surprised by some Swabian versions.

Wolfgang Seljé, baritone, is regarded as an outstanding Sinatra interpreter, skilled lyricist, and charming entertainer. Some wonderful Swabian lyrics set to Sinatra's melodies convey indeed one or another message. The mix of English and Swabian sung swing classics is entertaining and joyful at a high musical level. Look forward to the great Sinatra classics and some surprising “lyric changes”!!

The big“M“band is a collection of extremely talented musicians. Many come from the “Big Band Biotop LE”, Leinfelden Echterdingen. In the BigM formation, music students, professionals, and ambitious amateurs who played or still play in the federal youth jazz orchestra or the state youth jazz orchestra come together. The experienced big band expert Klaus-Peter Schöpfer leads the 18 musicians.

Copyright: Wolfgang Seljé

Doors open: 19:00 Uhr

When El Flecha Negra takes the stage, pulsating joy of life is guaranteed: With their timeless mix of Latin American rhythms, reggae, and ska, the band has earned a large audience across Europe. Most recently, the band performed their very successful 10th anniversary show with over 60 concerts. After so much euphoria, the musicians are more eager than ever for their upcoming FUEGO tour. This is reason enough for a fiery fiesta full of Latin roots and Caribbean lightness: El Flecha Negra – now with you!
In attempting to describe the music of El Flecha Negra, one can easily reach their limits. Diverse, intercultural, energetic – the list of life-affirming qualities could go on endlessly.
What is clear is that El Flecha Negra lives and breathes the rich musical tradition of South America, inspired by rhythms such as cumbia, merengue, and salsa. But their sound also includes elements of reggae, ska, and pop – and here and there, a touch of hip hop hides itself. Far from being pigeonholed into familiar genre classifications, the music of El Flecha Negra offers above all one thing: pulsating joy of life.
The five musicians from Germany, Chile, Brazil, and Peru span four countries and two continents with their songs. So it's no wonder that their sound brims with cultural richness. And not only from a musical perspective do El Flecha Negra come across as true global citizens. In their lyrics, the band also advocates for openness, tolerance, and solidarity – in Spanish and with plenty of optimism.

Doors open at 7 PM.