German National Theater and State Orchestra Weimar
The German National Theater and the Staatskapelle Weimar ( DNT for short ) is the most important stage operator in Weimar . The institution combines the music theater and the speaking stage of the German National Theater as well as the Staatskapelle Weimar orchestra . A total of six stages will be used throughout the city. All branches of the theater and orchestra also give irregular guest performances and also have appearances in the electronic media. The Free State of Thuringia and the City of Weimar are shareholders of the German National Theater and Staatskapelle Weimar GmbH - State Theater Thuringia .
The venues
- the big house , the traditional main stage on Theaterplatz (all branches) with 857 seats
- the two secondary venues, the foyer (60 to 120 seats) and the studio stage (87 seats) in the house on Theaterplatz (all categories; " cabaret ")
- the two secondary venues in the E-Werk Weimar (176 to 199 seats in the machine room , up to 87 seats in the boiler room ), a former industrial plant (all divisions)
- the Redoute , the former officers' house , in the north of the city
- the congress center new weimarhalle (concerts by the Staatskapelle Weimar)
The German National Theater
The house offers all three branches of a theater ( drama , musical theater , dance theater (exclusively guest performances; as a successor to classical ballet )) as well as concerts. It is thus one of the last theaters in Thuringia that can serve all branches of a theater ( see also section “ Weimar Model ” ).
The history of the German National Theater
The Weimar Court Theater
In Weimar, theater was played long before today's headquarters were built. It was mostly about pulling comedians who were supposed to entertain the Weimar court. The first permanently recorded sites were set up by the art-loving Duchess Anna Amalia , wife of Duke Ernst August II. Constantine of Saxe-Weimar-Eisenach . As early as 1771 Anna Amalia invited the Seylersche Drama Society with several prominent actors and playwrights, including Konrad Ekhof , to her court. The Seylersche Drama Society was considered to be "the best drama company that existed in Germany at that time [1769–1779]". After the castle fire in 1774, the troops had to leave Anna Amalia's farm. From 1776 were re comedies , German musical comedies , French theater and opera performed in amateur theatricals. The members of the amateur theater were aristocratic and bourgeois laypeople, members of the court, court ladies and singers, but also officials and ministers. Even in this founding phase, the venues were not limited to a single stage. The Redoutenhaus , a building in today's Schillerstraße ( Cafe Sperling ), not to be confused with today's Redoute , a rehearsal room of the theater on Ettersburger Straße, was used as well as the palace and natural stages of Ettersburg and Tiefurt . Even then, artistic quality was a criterion: in 1779, four years after Johann Wolfgang Goethe had taken up residence in Weimar, the prose version of Iphigenie auf Tauris , for example, was premiered in the park of Tiefurt, for which Corona Schröter in the leading role was the first professional female artist from Weimar has been.
In 1791, Duke Carl August decided to found the Weimar Court Theater in the Komödienhaus, which was built by Anton Georg Hauptmann in 1779 at the current location of the theater . Goethe was given the management. He opened it on May 7, 1791 with Iffland's play Die Jäger . Iffland was one of the most frequently played German playwrights at the time. The repertoire of the Weimar theater differed little from that of other theaters at that time - the differences lay elsewhere: Goethe made it possible for the authors to have a decisive influence on the staging of their works, thus achieving a high degree of correspondence between dramaturgical intentions and theatrical performances . In addition, Goethe ensured that a permanent theater ensemble could be formed, which, with its elaborate style of representation according to Goethe's Rules for Actors (1803), corresponded to the requirements of classical dramas. The formerly disreputable reputation of the art of acting gave way to a high esteem and social recognition of the actors as artistic personalities. On October 12, 1798, the court theater was reopened after renovation with the world premiere of Schiller's Wallenstein's camp .
Goethe's efforts to create a theater culture in Weimar were also aimed at the audience: a sensitivity for beauty and the aesthetic communication of humanistic ideals determined his educational intentions. Without the audience's preference for popular pieces such as As of August Kotzebue to dupe, Goethe made for an impressive Schedule . Under his directorship , which lasted until 1817, 4806 performances were given. That's almost 300 performances a year. How much Goethe was concerned with a comprehensive theater culture is also evidenced by his commitment to the design of the theater space. Outwardly rather inconspicuous, the interior of the Komödienhaus was converted into a friendly, shiny fairy castle ( Caroline Schlegel ) with columns, galleries, balconies, etc. at Goethe's instigation, in order to offer the audience an all-round aesthetic theater experience.
From 1799 to 1805, the year Schiller died , Goethe and Schiller, who had meanwhile moved from Jena to Weimar, worked together on the Weimar stage. Schiller staged his plays himself: the premieres of the three parts of Wallenstein (1798/99) established Schiller's fame as a playwright . With the exception of the Maid of Orleans , all of Schiller's late dramas were premiered in Weimar in order to quickly conquer the world's stages from here. The Goethe and Schiller monument by Ernst Rietschel, inaugurated in 1857, directly in front of the main entrance to the venue, symbolizes the fruitful joint work of the two poets in Weimar. It has become the symbol of the city. The poet Jean Paul had written to a friend as early as 1798, the year Wallenstein's camp was premiered : “Against the new theater (in Weimar), the other Germans are just backdrops” . Not only did the theater flourish under Goethe, music theater was also promoted by him. The audience was particularly enthusiastic about operas by Mozart - and among these the Magic Flute was the absolute favorite opera of the Weimar population, which at that time numbered no more than 6,000 people.
In 1817, after years of quarrels, Goethe gave up his position as theater director. The last trigger for his resignation seems grotesque: Karoline Jagemann , a talented actress, mistress of the Duke and an arch enemy of the poet and theater director, prevailed with her request to be allowed to appear on stage with a trained poodle, which outraged Goethe. It was a performance of Ignaz Franz Castelli's translation The Dog of Aubry from Pixérécourt's famous melodrama Le chien de Montargis (1814), in which a dog identifies its owner's murderer. The piece was considered the epitome of entertainment for a wide audience. - After Goethe's resignation, the drama lacked above-average and spectacular events. On the other hand, the musical performances attracted more and more attention, far beyond Weimar.
The Komödienhaus burned down in March 1825, but the gates of a new court theater opened in the same place as early as September of the same year.
The era of music
Maria Pawlowna , wife of Grand Duke Carl Friedrich , son and successor of Carl August, has been particularly committed to the musical life in Weimar since 1804. After Goethe's resignation, she appointed the pan-European famous Mozart student and piano virtuoso Johann Nepomuk Hummel as Kapellmeister to Weimar, who held this position until his death in 1837. Hummel gave benefit concerts for widows and orphans. The concert program was determined by the works of Mozart, Haydn and Beethoven . One of the musical and social highlights in the Weimar court theater under Hummel's direction was a concert by the famous Italian violin virtuoso Niccolò Paganini (1829).
Hummel paved the way for the “Silver Age of Music” in Weimar. But only the work of Franz Liszt , who wanted to revive the heyday of literary classical music for music, established Weimar's fame as the city of music. In 1842 Liszt became Kapellmeister in extraordinary service. In 1848 he decided entirely for Weimar and took over the office of court music director. Liszt intended to replace the era of literature associated with the names Goethe and Schiller with an era of music associated with the names Liszt and Wagner. The opera Lohengrin by the Dresden conductor Richard Wagner , who was wanted at the time , was conducted by Franz Liszt as a festival opera on the occasion of the Grand Duchess's birthday on Goethe's 101st birthday in 1850, a year after Tannhäuser had its first performance in Weimar. Many of Liszt's works were also premiered in Weimar.
For Hector Berlioz , the French composer with whom he was particularly connected to the idea of program music, the cosmopolitan Franz Liszt stood up in a unique way. Several important works by Berlioz were performed in Weimar within a few years. In 1852 and 1856, Liszt organized Berlioz Weeks, which made Weimar a new spiritual center for musical life in Germany ( Franz Brendel ). On March 1, 1856 z. B. Faust's Verdammnis performed in concert for the first time in Weimar under the direction of the composer.
In 1889 Richard Strauss became Kapellmeister in Weimar. It was here that his tone poems Don Juan and Macbeth had their celebrated premieres. His opera Guntram was performed for the first time in Weimar in 1894. Strauss also achieved great success in 1893 with the premiere of Humperdinck's fairy tale opera Hansel and Gretel .
The model theater
If there is a tradition in Weimar, then it is paradoxically that break and new beginnings have been initiated and practiced here again and again. However, the streak of luck seemed to be over at the turn of the century. Because the next departure, which could have ushered in an era of theater, failed. Around 1900 Nietzsche's work The Birth of Tragedy from the Spirit of Music (1878) was the initial spark for considerations on fundamental theater reforms. In the future, the theater should create a “festival of life” “from the spirit of music” . The dream of a total work of art formed the main idea for a “festival” on stage. Festival projects based on the Bayreuth model were intended to guarantee a national renewal of the theater. By Harry Kessler and Henry van de Velde came plans for a model theater as avant-garde alternative to Court Theater.
Conceived as a Weimar Festival, the best German actors were to perform classical and modern plays during the three summer months. One wanted to create a "Bayreuth for Dramatic Literature" in Weimar. The then director of the court theater Hippolyt von Vignau thwarted this plan with the support of conservative forces and did not shy away from publicly using the Jewish descent of the model theater defender as an argument against the project.
Since the building no longer met the requirements - both in terms of size and structure - the architect Max Littmann was commissioned in 1907 to design a new theater building. The neoclassical building, the facade of which has been preserved to this day, corresponded to the idea of a representative theater building. The inauguration of the new court theater was celebrated on January 11, 1908 as a state ceremony, at which Kaiser Wilhelm II and 70 directors of other theaters were present.
The theater as a political stage
Artistically, the court theater made little talk under the direction of Carl von Schirach (1909–1918), who relied on a classically oriented repertoire. Nevertheless, the court theater became a place of worship for the conservative educated middle class . With the proclamation of the republic and the abdication of Kaiser Wilhelm II and Grand Duke Wilhelm Ernst in 1918, the Weimar theater developed into a stage for political self-productions. On November 9, 1918, on the occasion of the 100th performance of Maria Stuart , a scandal broke out: the performance was interrupted when people chanted from the auditorium: Down with monarchist theater! Now we're doing theater! . Von Schirach was deposed by the provisional state government of the Free State of Saxony-Weimar-Eisenach, the court theater was renamed the Landestheater , and the court orchestra was now called the Weimar State Orchestra . On January 1, 1919, the writer Ernst Hardt was appointed the new director. On January 19, the day of the elections for the constituent national assembly , Hardt announced the renaming of the theater, which was to be called the German National Theater Weimar .
From February 6 to August 11, 1919, the German National Assembly met in the theater to adopt the Imperial Constitution. With the choice of location, the "spirit of Weimar" was to be claimed for the young republic. For supporters and opponents of the Republic, the theater became a place of symbolic politics and real conflicts. Tolerated by the conservative Thuringian state governments, the Nazis staged here since 1924 party meetings, 1926 in the theater of the first Nazi Party of the NSDAP held after the lifting of the ban. Ernst Hardt left the theater in 1924 after violent and defamatory protests against his performances, which were committed to the ideas of model theater, from the völkisch-national side. Arthur Schnitzler's Reigen and Oskar Schlemmer's Triadic Ballet angered the "decent Germans". Up until Hardt's departure and the expulsion of the Bauhaus to Dessau , a fruitful collaboration arose between the theater and the Bauhaus, aiming at a renewal of national culture with united avant-garde forces.
Hardt's successor, Franz Ulbrich , initially tried, despite threats of censorship and demands to "purge" the Weimar theater schedule, contemporary authors such as Ernst Toller , Carl Sternheim and others. a. keep playing. However, he increasingly compromised with the National Socialists, who were involved in the state government from 1930 and called for a “ Jew-free ” theater. From 1933, Ernst Nobbe, a NSDAP party member, took over the management, followed in 1936 by Hans Severus Ziegler , who had already campaigned for a state censorship agency in the 1920s. During the Nazi regime, mainly a classical repertoire was played, with Schiller's drama in particular being put into a National Socialist perspective. The claim to be a national stage of the future fell victim to ideological appropriation by the National Socialists. The theater played for the entertainment of the SS people in the casino of the Buchenwald concentration camp . While Franz Lehár's The Land of Smiles was applauded in the Great House, the librettist of this successful operetta , Fritz Löhner-Beda , was an inmate in the Buchenwald concentration camp, just a few kilometers away .
In autumn 1944 the theater was closed and converted into an armaments factory for the Siemens and Halske company . American high-explosive and incendiary bombs, as part of the air raids on Weimar , laid the theater in ruins on February 9, 1945, except for the facade. The Weimar Theater was typically the first German theater to be rebuilt after the war and reopened in 1948 with Faust I. On the occasion of Goethe's 200th birthday on August 28, 1949, Thomas Mann , who had been made an honorary citizen of Weimar, gave his famous speech to the Germans .
From socialist society theater to the present
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During the GDR era, the Weimar theater, and especially the drama, should bear witness to "socialist social practice as the spiritual benchmark for human development". In the 1950s, under the general management of Karl Kayser (1950–1958), Soviet revolutionary dramas were given priority on the repertoire, for which visitors from the working class and the peasantry were attracted with great success through systematic advertising. From all parts of Thuringia, groups of visitors were brought to the theater by bus and train - as was customary in the pre-war period. Classical literature was also put back on the program more frequently towards the end of Kayser's tenure. Schiller in particular was held in high regard. On his 200th birthday, the "Schiller Festival of German Youth" was held at the National Theater - which was then continued annually as the FDJ Festival .
However, even then there was harsh criticism of the agitational and bold interpretation of the classics, as it was forced by Kayser to implement the SED 's resolutions and legitimized in terms of cultural policy. Under the directors Otto Lang (1958–1973) and Gert Beinemann (1973–1987) were works by GDR composers and authors (e.g. Ottmar Gerster , Johannes R. Becher , Fritz Geißler ( Das Chagrinleder , 1981), Bertolt Brecht , Volker Braun , Peter Hacks ), but also works by Max Frisch ( Biedermann und die Brandstifter , 1965) and Friedrich Dürrenmatt ( The Visit of the Old Lady 1978) on the program. Throughout the GDR era, the German National Theater in Weimar remained a place of significant classics - Goethe, Schiller, Shakespeare - which often premiered on the occasion of poets' anniversaries, conferences of the literary societies operating in Weimar, or political anniversaries. The high number of world premieres and German premieres (often works by Eastern European authors) in both drama and music theater was remarkable. On October 25, 1990, the constituent meeting of the Thuringian State Parliament took place in the National Theater. This was opened with the overture to Egmont by Ludwig van Beethoven , played by the Staatskapelle.
With Harry Kupfer (1966–1973) and his successor Ehrhard Warneke (1973–1999), the German National Theater had two extremely successful opera directors who gained international recognition for their commitment to contemporary music theater. In the play, the three complete productions of both parts of Faust by the director Fritz Bennewitz , who has been with the house since 1960 and who also attracted international attention with his Brecht productions, deserve special mention. General manager Fritz Wendrich (1987–1994) was followed by Günther Beelitz (1994–2000). Under his general management, the classical ballet , previously represented by the chief choreographer and Palucca students Ruth Wolf (1962–86) and most recently (1986–94) Udo Wandtke by contemporary dance theater (chief choreographer: 1994–96 Joachim Schlömer and 1996–2000) the Brazilian Ismael Ivo ). From the 2000/2001 season, the dance theater was presented as a guest performance program under the responsibility of Francesca Spinazzi (2001–07) and 2010–13 by Estefania Miranda . Stephan Märki is the general director of the German National Theater and the Staatskapelle Weimar from 2000–12 . From 2000–08 Michael Schulz and from 2008–13 Karsten Wiegand are opera directors. In August 2013, Hasko Weber , coming from the Stuttgart State Theater , took over as general director; the dramaturge Hans Georg Wegner has been the opera director of the DNT since 2013.
A planned merger with the Erfurt Theater , which would have meant the abolition of the independent musical theater and drama divisions, was prevented in 2002 with the support of the Weimar citizens. With the transition to a non-profit limited company and the structural reforms carried out as a Weimar model , it was possible to preserve the independence of the traditional house as a three-branch theater and to consolidate it economically and structurally. Another step to secure the future of the house was the decision to make DNT and Staatskapelle the State Theater of Thuringia on January 1st, 2008.
The German National Theater and the Staatskapelle Weimar offer a repertoire of classical to contemporary works in the fields of music theater (opera, operetta, musical), drama and concert, enriched by dance theater guest performances by internationally renowned companies and choreographers. Invitations to important theater festivals (including Theatertreffen Berlin), nominations and prizes, important world premieres, outstanding major projects such as the production of the complete Ring des Nibelungen (director: Michael Schulz) and national and international co-productions are evidence of the company's growing artistic position.
The historical sheet music of the German National Theater (18th – 20th centuries) is in the Thuringian State Music Archive in Weimar.
The Staatskapelle Weimar
The Staatskapelle Weimar is the only A-orchestra in Thuringia (according to the tariff grouping provided for in the tariff system of the German cultural orchestras for an orchestra with this number of posts).
History and present of the Staatskapelle Weimar
The Staatskapelle and the classic city of Weimar are a historically grown connection that has long been effective far beyond Germany and enjoys a central cultural significance nationally and internationally as a guarantee for quality in the dialogue between tradition and modernity. The Staatskapelle Weimar (at times the name Weimar State Orchestra was also common) is one of the most traditional orchestras in the world. It was founded in 1491 by Elector Friedrich III. ; In 1756, Duchess Anna Amalia anchored the orchestra as a supporting musical institution in the “Classical Weimar”. Under the Hereditary Grand Duchess Maria Pavlovna, important personalities, among them the Mozart student Johann Nepomuk Hummel , headed the orchestra from the 19th century . The great role played by the court orchestra in and for Weimar is also evidenced by the commitment of Franz Liszt as court conductor (1848–1858), who initiated the world premieres of numerous contemporary works in Weimar and performed Wagner's Tannhäuser in 1849 . Wagner then entrusted Liszt with the world premiere of his Lohengrin, which was first staged in Weimar in 1850.
With Richard Strauss , from 1889 to 1894 as 2nd Kapellmeister in Weimar, a leading conductor and composer soon met again with the band and helped it to achieve a considerable qualitative upswing and a growing reputation. Strauss directed the world premiere of his first opera Guntram and the world premiere of Humperdinck's Hansel and Gretel . In addition, his orchestral works Don Juan , Macbeth and Death and Transfiguration also saw the light of day for the first time through the Weimar court orchestra. In 1919 the orchestra was appointed to the Weimar State Orchestra.
With Ernst Praetorius (1924–1933) the z. Sometimes spectacular concert planning and the opera schedule Open-mindedness for experimental contemporary creativity. Hitler's seizure of power put an end to this development. In the following years, numerous musicians and soloists of Jewish origin were released, died in concentration camps or took their own lives.
After the turn of the Second World War, the orchestra received formative accents from Hermann Abendroth , who was general music director and chief conductor until his death in 1956. Gerhard Pflüger (1957–73), Lothar Seyfarth (1973–79), Rolf Reuter (1979/80), Peter Gülke (1981/82), Oleg Caetani (from 1984 to 1987 as permanent guest conductor) and Hans-Peter Frank are as To name chief conductor until the mid-1990s. The seven-year term of office of George Alexander Albrecht ended in the summer of 2002. His main focus was on the symphonies of Gustav Mahler and the compositional work of Wilhelm Furtwänglers . He was succeeded by the Dutchman Jac van Steen (2002–2005), the American Carl St. Clair (2005–2008), the Swede Stefan Solyom (2009–2016) and the Ukrainian Kirill Karabits (2016–2019) as general music director and chief conductor of the German National Theater and the Staatskapelle Weimar.
The varied concert program with the Staatskapelle in her hometown of Weimar consists of a top-class symphony concert series of special concerts (u. A. In cooperation with the by Kari Kahl-Wolfsjäger , Bernd Kauffmann , Nike Wagner and since 2014 by Christian Holtzhauer led Weimar Arts Festival ), from film and chamber concerts , a diverse range of concerts for children and young people as well as summer open-air concert nights.
The Staatskapelle Weimar focuses on the combination of a conscious cultivation of its great traditions with innovative aspects. Numerous CD recordings impressively reflect the diverse, constantly expanding repertoire of the orchestra from Mozart to Liszt, Wagner, Strauss and Furtwängler to modern times. From 2003 the institution of a “ composer in residence ” with Christian Jost , Aribert Reimann and Wolfgang Rihm led three outstanding contemporary composers to regular collaboration with the Staatskapelle in Weimar.
Internationally renowned soloists and conductors are regular guests of the orchestra, which is in great demand far beyond the classic city. Guest concerts have led u. a. to Japan, Israel, Spain, Italy, Great Britain and Austria as well as to renowned national and international festivals and in the large concert halls of Germany. In addition to its extensive concert activities, the orchestra, which currently consists of 95 musicians, guarantees the continuation of the great late romantic opera tradition at the German National Theater Weimar / State Theater Thuringia at the highest level. The Staatskapelle Weimar contributes significantly to the fact that numerous opera productions, including various world premieres and also the ring in weimar (musical direction Carl St. Clair / Martin Hoff , direction Michael Schulz ) arouse interest and attention throughout Germany. Wagner's complete ring could also be seen in Weimar in the 2010/11 season, this time as an "extended" cycle in combination with Tristan and Isolde .
Since the beginning of the 2016/17 season, the Ukrainian conductor Kirill Karabits has been General Music Director and Chief Conductor of the German National Theater and the Staatskapelle Weimar at the head of the only A orchestra in the state of Thuringia.
At the start of the "Triennale der Moderne" on September 26, 2019 in Weimar, there was a unique concert by the Staatskapelle Weimar and the a cappella ensemble Maybebop with their bass singer Christoph Hiller from Weimar in the Weimarhalle .
The Weimar model
When, in the course of the first redesign of the cultural landscape of Thuringia in 2002/03, the Thuringian state government implemented the dissolution of the German National Theater and a merger with the Erfurt theater was to be brought about (the Staatskapelle Weimar was to be spared from the dissolution and the new opera building Erfurts, or move completely to Erfurt), there was a culture war of the DNT, supported by large parts of the Weimar population against the plans of the Thuringian state government, especially the then Ministry of Culture . At this point in time, based on a city council resolution, Erfurt had closed its drama division and its children's and youth theater. Instead, an expensive new opera house was built in 2003. Another argument against a merger was that the merger between the Gera and Altenburg theaters had not led to the “optimization effects” developed at the “green table”.
The government threatened with a "solution" by law, the theater ensemble again pointed to the possible end of the traditional cultural business at every performance - also and especially outside of Weimar - and successfully sought the support of the German and international press, the sometimes harsh criticism of The government's confrontation course. The compromise proposed by the state government in view of the nationwide and international solidarity with Weimar that the dissolution could be absorbed for a while by playing the Erfurt City Theater (working title: Theater- "Fusion" Weimar-Erfurt) was rejected. It was finally agreed to venture an experiment in Weimar that is unique in Germany to this day: the “Weimar Model”. This included (2003-2008):
- the economic autonomization of the theater through the transformation of the city's own operation into an independent GmbH and the associated strengthening of the responsibility of the theater management
- the appointment of a manager who runs the theater together with the general manager and represents it internally and externally.
- the exit from the cycle of rising tariffs with the same or reduced subsidies and consequently falling artistic and personnel budgets
- the associated material strengthening of the artistic processes
- the flexibilization of the structures at the theater as a result of the search for the artistically and at the same time economically most successful processes
- the strengthening of the self-responsibility of the theater as a company and within it of each individual employee
- the preservation of all ensembles and branches.
The Weimar model is both a reform and a solidarity model. Structural reforms are intended to enable more freedom and resources for artistic processes. It should not be about one-sided salary cuts, but about the voluntary waiver of all employees on linear wage increases. This financial waiver is intended to serve as start-up financing for reforms, which in turn is intended to strengthen the economic power of the theater business. This waiver is compensated by the granting of grandfathering for the existing jobs as well as the participation in the economic success of the theater by receiving compensation that is based on the earnings situation of the theater.
financing
As part of the restructuring and curtailment measures for the Thuringian theater landscape planned by the Thuringian Ministry of Culture in 2007, the National Theater Weimar was able to achieve the status of a state theater on January 1, 2008 due to protests and targeted negotiations . The Free State of Thuringia has thus acquired the majority of the company shares (79%) in the theater, while the City of Weimar has taken a minority stake (21%). With the new financing of the State Theater, the Weimar model expired as planned on December 31, 2008. On January 1, 2009, the theater and orchestra re-entered the tariffs.
The gross income of the DNT has grown continuously in recent years and is now around 14%. It is one of the theaters with the highest box office in the new federal states. Additional funds come from the Friends and Friends Association, on whose initiative the German National Theater and State Orchestra Weimar Foundation was set up as a non-profit community foundation . The National Theater and the Staatskapelle are to be supported in their artistic work, in improving the venues and intensifying public relations. In addition, the theater offers so-called chair sponsorship, in which a chair in the auditorium is provided with the name of the donor for a donation of 512 euros to the foundation.
literature
- K. Dittmar: The renovation of the interior of the German National Theater in Weimar. In: Zentralblatt der Bauverwaltung , Volume 60, No. 34/35 (August 24, 1940), pp. 533-540.
- Frank Hörnigk: Who is so cowardly who could still hesitate: Deutsches Nationaltheater and Staatskapelle Weimar, director Stephan Märki , Theater der Zeit, ISBN 978-3-942449-44-1 .
- Wolfram Huschke: Inspired by that glow - history of the Staatskapelle Weimar. Glaux, Jena 2002, ISBN 3-931743-50-0 .
- Axel Schröter: The historical sheet music of the German National Theater Weimar. Catalog , Music and Theater (edited by Detlef Altenburg) 6, Sinzig 2010, ISBN 978-3-89564-166-4 .
- Christian Ahrens: The Weimar Court Chapel 1683–1851. Human resources - organizational structures - artistic achievements , writings of the Academia Musicalis Thuringiae 1, Sinzig 2015, ISBN 978-3-89564-166-4 .
- The early days of the Weimar court theater under Goethe's direction (1791 to 1798) edited from the sources by Bruno Th. Satori-Neumann, writings of the Society for Theater History Volume 31 , self-published by the Society for Theater History, Berlin 1922, full text at Klassik Stiftung Weimar, Anna Amalia Library
Web links
- Internet presence of the German National Theater and Staatskapelle Weimar GmbH
- The historical sheet music of the DNT (18th - 20th century) in the university archive / Thuringian State Music Archive Weimar (search: "D-WRha" + "DNT")
- Theater bill of the Grand Ducal Court Theater Weimar
Individual evidence
- ^ DNT is finally averted from the State Theater, merger with Erfurt . www.nachtkritik.de, July 19, 2007.
- ↑ History of the Redoute , In: Nationaltheater-Weimar.de.
- ^ "Duchess Anna Amalie von Weimar and her theater," in Robert Keil (ed.), Goethe's diary from the years 1776–1782 , Veit, 1875, p. 69.
- ^ Goethe, Johann Wolfgang von: Opening of the Weimar Theater. In: Complete Works / 12. Essays on the history of culture, theater and literature; Maxims; Reflections Volume 1. Ed. By Fritz Bergemann a. Max Hecker. Leipzig: Inselverlag 1922.
- ^ H .: The new grand ducal court theater in Weimar. In: Deutsche Bauzeitung, vol. 42 (1908) No. 17, pp. 101-102; No. 18, p. 109; No. 19, pp. 117-118; No. 22, pp. 137-139.
- ↑ Pictures of Destruction. Weimar 1945. Photos by Günther Beyer . Catalog for the exhibition in the Stadtmuseum 2015. pp. 25,26.
- ↑ Christine Dössel: Back to the East . In: Süddeutsche.de . Retrieved February 19, 2012.
- ↑ OPC4 - start / welcome. Retrieved December 20, 2018 .
- ↑ https://www.weimarhalle.de/termin/eroeffnungskonzert-triennale-der-moderne-13996379/ - accessed on September 27, 2019.
Theater: Altenburg / Gera | Eisenach | Erfurt • Waidspeicher | Jena | Meiningen | Nordhausen | Rudolstadt | Weimar
Orchestra: Erfurt Philharmonic Orchestra | Thuringia Philharmonic Gotha-Eisenach | Vogtland Philharmonie Greiz Reichenbach | Jena Philharmonic | Meininger Court Chapel | Thuringian Symphony Orchestra Saalfeld-Rudolstadt | Loh Orchestra Sondershausen | Weimar State Orchestra
Coordinates: 50 ° 58 ′ 46.4 ″ N , 11 ° 19 ′ 28.9 ″ E