Prinzregententheater

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Prinzregententheater
Prinzregententheater
location
Address: Prinzregentenplatz 12, 81675 Munich
City: Munich
Coordinates: 48 ° 8 '20 "  N , 11 ° 36' 20"  E Coordinates: 48 ° 8 '20 "  N , 11 ° 36' 20"  E
Architecture and history
Construction time: 1900-1901
Opened: August 20, 1901
Spectator: 1029 seats
Architect: Max Littmann
Named after: Prince Regent Luitpold  (1901)
Internet presence:
Website: prinzregententheater.de

The Prinzregententheater is a free-standing theater building on Prinzregentenplatz in the Bogenhausen district in the east of Munich and was named after Prince Regent Luitpold . The building, erected from 1900 to 1901, was designed by the architect Max Littmann , who was extremely successful at the time . In his plans, this was based in particular on the Richard Wagner Festival Hall in Bayreuth and took over the amphitheatrical auditorium , for example . The theater, which was initially only reopened as a small solution in 1988, has had its big stage again since 1996.

Historical background

Origin of the idea

“[T] he idea of ​​a festival theater for the Wagner operas” in Munich first emerged in 1863 under King Ludwig II . At Richard Wagner's request, the design and construction planning was entrusted to the architect Gottfried Semper . However, he had to leave Munich some time later due to “his political intrigues [the city]”. The monumental building planned for the high bank of the Isar , already recorded in plans, will never be realized in Munich due to several factors. It seems that Richard Wagner prefers other tasks, such as “founding a music school or a newspaper”, over the theater project. In addition, the construction would not have been feasible from a financial point of view.

The Munich Festival Hall on the Isar, planned by Semper in 1865 but not realized

In 1892 the idea was taken up again by Karl von Perfall , "de [m] probably the most important artistic director of Munich in the 19th century". He submits his concept of a theater independent of the Hofbühne, which should make high-ranking drama accessible to the general public due to low prices, although "the representatives of the Munich magistrate", but the project is not pursued further due to lack of space and cost reasons. In the winter of the same year, Karl von Perfall was dismissed from office.

His successor Ernst von Possart arranged a Wagner cycle in the year of his appointment as artistic director in 1893, which received a very good response from visitors and the press. At the time of the performances, a nameless, brief report appears in the Münchner Neuesten Nachrichten about the forgotten project of Richard Wagner and Ludwig II of their own Munich festival theater. A further, much more detailed article is published there at a minimal distance. There is talk of "a new theater with the most modern stage technology, as well as an amphitheatrical auditorium and a concealed orchestra, both of which are essential for an adequate performance of Wagnerian works". So “the summer cycle can be repeated every year.” It is still impossible to say whether the then director Possart initiated these articles. The idea of ​​having its own Richard Wagner Festival Theater, however, is very well received by the Munich population. The readers submit possible locations to the magazine in letters: in addition to the location actually chosen later on Prinzregentenplatz, for example, a positioning at the English Garden is discussed by the readers. It is also remembered that the original model by Semper from 1863 is still there. While the journal Die Gesellschaft is also positive about the building of the festival hall, Cosima Wagner , Richard Wagner's widow and director of the Bayreuth Festival , fears competition with Bayreuth. "You see [te] Semper's project as the intellectual property of Richard Wagner and intend [t] e to take legal action against Possart's project". However, this was not necessary because the implementation of the Festspielhaus again failed due to financial resources.

Two years later, in 1895, there was a meeting between Ernst von Possart and the “representatives of the court administration and the magistrate”, in which the director once again shed light on the positive aspects of a festival hall. In addition to the financial advantages, it is crucial for Munich to build its own Richard Wagner festival theater before Berlin . The court administration agrees to support Possart in his concerns, provided that the heirs and Wagner's widow give their consent, since the Prince Regent at this time "acts as the protector of the Bayreuth Festival". At this point, in 1895, the project of the Prinzregententheater failed again.

In the summer of 1899, Possart finally had the opportunity to realize his project with private funds. The Prinzregenten-Theater GmbH was founded on December 16, 1899 with start-up capital of 800,000 marks in order to build an opera house in the still underdeveloped urban area of ​​East Munich.

Planning and construction phase

After the final decision to build a festival theater in Munich, the architect Max Littmann was commissioned with the plans for this project in August 1899. In a short period of time, he worked out five sketches to the finished draft. He presented the first in September 1899, in October of the same year the second and twelve days later the third draft was presented. He submitted sketches four and five the following November. As requested by his clients, Max Littmann's creations are very much based on the Bayreuth Festival Theater, but refuses to make a one-to-one copy.

The construction plans were finally approved in the spring of 1900, so that the construction contract could be sent to the Heilmann & Littmann store immediately . On April 27, 1900, work began, which Cosima Wagner is extremely unhappy about in public. After some discussions, however, an agreement on this project is reached on your part. “Already in the winter of the same year, the auditorium and the stage were under one roof.” From spring 1901, the focus was on the decorative elements, the interiors and the stage technology developed by Carl Lautenschläger . In August of that year, the building of the theater was handed over as planned, although some circumstances led to delays in the realization of the restaurant wing. On August 20, 1901, the Prinzregententheater was inaugurated with a ceremony and on the following day with a staging of the Meistersinger von Nürnberg .

Temporal outline

Shortly after the opening of the Prinzregententheater in August 1901, the first small changes were made. For example, at Max Littmann's request, the statues of the composers and dramatists are removed from the semicircular niches on the side walls of the auditorium and replaced with uniform, gold-plated tripod stands. In 1919, one year before the building became state property, the Munich Festival Hall assumed the “function of a people's theater”.

From the summer of 1932 the theater complex was closed and a year later it was reopened to visitors as the People's Theater . During the time of National Socialism , appropriately ideologized pieces were performed (see world premieres ). From November 11 to December 3, 1937, events accompanying the propaganda exhibition The Eternal Jew took place in the theater . The last performance before the end of the war was the opera Tiefland . At that time, significant changes were made to the interior. For aesthetic reasons, for example, and to refine the acoustics, it was decided to clad the semicircular niches that were located on the side walls of the auditorium.

During the Second World War , only the restaurant was destroyed in the air raids on Munich and the theater was shortened by one axis and rebuilt from 1957 to 1958. From 1944 to 1963 the Prinzregententheater housed the Bavarian State Opera , which was damaged by the war , as it was only slightly damaged by the war. In order to make a recording possible, the orchestra pit was first raised and the sound cover removed.

On July 8, 1945 the Munich Philharmonic gave the first concert after the end of the war, on November 15, 1945 the official performance of the opera Fidelio began and in 1950 the Munich Opera Festival resumed .

In March 1964, after the opening of the National Theater, the Prinzregententheater was declared dilapidated and closed for theater. Although the public was not granted access to the building, its premises were meanwhile used by the Bavarian State Opera, the University of Film and Television , the State Image Center and the Ballet Academy. The in-house workshops were by no means idle, but were still active.

In the following year, the initiative of the “citizens of Munich helping the Prince Regent Theater” was founded, which worked hard to restore the 1901 theater building and put it back into operation. Under two conditions, the daughter of the architect Max Littmann, Gertrud Proebst, shortly afterwards left the association with an amount of 2.6 million marks : This had to be used for the restoration of the Prinzregententheater and the construction work had to be started “before June 24, 1983 . ” August Everding's appointment as general manager on September 1, 1982 can also be seen as a decisive factor driving the goal of the“ Munich citizens' association helps the Prinzregententheater ”. Because he, too, was very interested in reviving the theater. Instead of renovating the entire building, which would cost 82 million marks, he presented the Bavarian state parliament in December 1982 with the more cost-effective variant of the "small solution" at 35 million marks. This included the renovation of the adjoining rooms, the foyer and the auditorium, as well as "the installation of an [open] play area that covers the orchestra pit and protrudes into the auditorium" measuring 16 × 10.5 m. The main aim was to return the Prinzregententheater to the form in which it was built, mainly based on contemporary photographs and plans. Since the Bavarian State Parliament agreed to this variation in 1983, construction work began in May 1985 after a generous donation. In the meantime, efforts were made to obtain further donations from the population through a variety of different campaigns. The reconstruction of the original garden hall, initially not part of Everding's construction plans, which claimed a sum of 4.4 million marks, is financed by donations. On January 9, 1988, the Prinzregententheater was reopened in the small solution.

At that time, the theater became an alternative venue for the Bavarian State Theater during the renovation of the New Residence Theater, which lasted until 1992 . In 1993 both the Bavarian State Academy and the educational project “Theater + School” were founded.

Construction work for a complete restoration of the Prinzregententheater began in 1995, with the focus being on the removal of the temporary and reconstruction of the original large stage. A year later at the festive opening on November 8, 1996, “[t] the Prinzregententheater not only had its form and function again as in 1901, but also has a new studio stage, the Academy Theater for young artists, and [bot] in the new Café Prinzipal [...] a cultural center of the east of Munich. "

During the renovation work on the Gärtnerplatztheater , its performance was temporarily moved to the premises of the Prinzregententheater.

Building description

location

The Prinzregententheater is located at Prinzregentenplatz 12 in the eastern part of Bogenhausen, approx. 2.5 km from the city center of Munich and is not far from the place where Ludwig II and Richard Wagner intended to build their unrealized festival theater in 1863. The free-standing wing of the building is built on a plot of land with an "irregular shape [s]", which can be described as a combination of rectangle and triangle or trapezoid . To the north, the terrain is marked out by Prinzregentenstrasse, the section of which was called Äussere Prinzregentenstrasse at the time of construction, to which the front side of the theater building is also facing. In the east and in the west, the area is bounded by Lucile-Grahn-Strasse and Nigerstrasse, which run perpendicular to Prinzregentenstrasse. Zumpestrasse, which is inclined to these two, defines the southern boundary of the property.

Architecture and building description

The monumental building of the Prinzregententheater "is divided into three clearly separated functional areas: The transverse restaurant wing is dominated by the main structure of the theater building, which in turn is differentiated into the lower audience wing and the stage area characterized by the high stage tower."

The architect Max Littmann accentuates the auditorium, which can be described as wedge-shaped, with a “high roof structure as the core area”. This is surrounded by three lower roofed tracts, which are located on the side and on the back of the auditorium. While the side positioned longitudinal tracts houses the "audience and stage area connect" the three-story, the acting side of the theater construction codetermining and the curvature of the auditorium modeled after handling part of the upper floor the "antechambers of the lodges", and "the main floor a pump room ." At its ends there is a "block-like protruding staircase pavilion" on the right and left, which leads to the entrances to the two upper parquet rings of the auditorium. The lower tiers can be reached via the main floor. Max Littmann emphasizes the middle of the pedestal, which is also the center of the front view, by means of a "higher rectangular porch". The architect divides this building into three zones by means of a centrally positioned, minimally front window front. The mounted in this area "of pillars and columns supported Balcony " is on the ground floor a covered porch for the three windows on the upper floor respective entrance doors. In order to emphasize the center again, Max Littmann puts a triangular gable above the window axes . This contains a relief , which shows a "three-legged flaming sacrificial bowl on a laurel-wrapped base" in the middle of two sphinxes . The middle section is additionally decorated with the inscription "Der Deutschen Kunst" in capital letters and in gold, which is located directly below the relief, as well as the genii placed between the arched windows . In addition to these on the more simply designed side parts of the central pavilion, there is a relief each, which thematizes the "elements of music and dance". Four young men are shown playing music on the left, four women dancing on the right. Four statues made by Heinrich Waderé are enthroned above the porch of the front view and “embody (from left to right) the arts of music, song, tragedy and comedy combined in the theater .” There is one at the highest point of the entire building complex on the roof of the stage building Lyra , which is based on comical and tragic masks.

The Prinzregententheater can hardly be assigned to an art-historical style. Even the architect Max Littmann was very imprecise on this subject. While Bernd-Peter Schaul speaks of a " gracising classicism ", H. Habel describes the building as "stylistically most likely as a synthesis of neo-renaissance and antiquity with art nouveau echoes ".

Interior design and furnishings

Auditorium

The auditorium of the Prinzregententheater has a sector-shaped floor plan and can be described as an “impressive combination of architectural elements from Art Nouveau and Classicism”. Overall, the hall offers seats for 1083 visitors, of which 4 are wheelchair and 54 box seats. This is a so-called amphitheatrical room, as the parquet continuously expands towards the rear with the number of seats. Max Littmann opted for mahogany-colored seating for the interior , which is based on Art Nouveau and covered with a velor fabric in a golden tone. The rows of seats are adapted to the curved walkway and are divided into six rings, each consisting of four to five rows of seats. Each of these parquet sections is assigned its own entrance in the side walls, which means that they are divided vertically into six parts. Horizontally they are to be divided into a base zone, which is roughly coffered, a main floor, which is defined by a large arrangement of columns , and an attic zone . While the four lower entrances differ slightly from one another in terms of height, but are still located in the basement itself, the entrances five and six above extend into the intercolumns of the main floor. The architect had the six semicircular niches in the main zone bordered by the columns furnished with a blend of linen and cotton in a gray-green tone, with the bottom four each housing a gold-plated tripod basin on a base. Max Littmann takes up the column order of the sides in the design of the rear wall, which contains nine single-storey boxes. Through the use of pillars, he again delimits the three courtyard boxes in the middle, which already differ from the foreign boxes on the side due to their forward position. The royal box located in the center is additionally emphasized by its additional space and the double framing pillars standing next to it. While two putti with a small coat of arms are located above these columns , a large coat of arms held by two lions is attached in the middle above the royal box.

The ceiling of the hall by the painter Julius Mössel , which is almost completely in its original state, represents a "colorful velum", which can best be described as a "light, carpet-like grotesque painting". This is segmented like the curve of the parquet rings and the vertical division of the side walls by narrow strips.

stage

The stage area of ​​the Prinzregententheater extends over 29 × 23 m, thus measuring a total of 667 m² and includes a "separable back stage" While the portal width can vary between 11 and 13 m, the maximum portal height is 10 m.

The orchestra pit, based on the ideal of the Richard-Wagner-Festspielhaus in Bayreuth, is lowered and half sunk under the stage area. It covers an area of ​​165 m² with two movable orchestral platforms and can accommodate up to 95 musicians.

Of the "stage construction and machinery" originally designed by Carl Lautenschläger in 1900, only a fraction could be retained in the course of the extended solution in 1995.

Garden room

The garden hall with its colonnade architecture is stylistically assigned to Art Nouveau and "belongs to the foyer area of ​​the theater". The hollow vault that characterizes the room is designed in a floral theme by Elmar Albrecht , who was based as much as possible on the original work of the painter Julius Mössel. For press conferences and small-scale theater performances, this room offers space for a maximum of 250 visitors.

More rooms

The eastern and western foyer, as well as all the corridors of the Prinzregententheater, have the originally preserved gray-yellow terrazzo floor , which the architect Max Littmann regularly interrupts with red and gray mosaic lines. The technique of stuccolustro is used in the wall design of these rooms and the stairwells . The evenly used yellow-gold color extends "to the ceiling or vault approach" of the rooms and thus forms a contrast to the ceiling paintings in the foyers, which are very colorful. While in the western foyer above the marble imitation you will find a "grotesque ornament painting" on the walls and the ceiling, the coffered area in the eastern foyer is decorated by an animal and mythical creature from the ancient world painted on yellow , designed by Elmar Albrecht.

Another special feature is the white Carrara marble existing bust of the Prince Regent Luitpold represents the sculptor Heinrich Waderé. This is located in a niche in the ground floor of the walkway, which with a maintained in gold mosaic is stored.

classification

The architect Max Littmann commissioned to design and plan the Prinzregententheater is one of the busiest architects of his time and, with his brother-in-law Jakob Heilmann, ran the construction company Heilmann & Littmann, which is one of the most important construction companies in southern Germany . Both in and outside his adopted home of Munich, the cityscape of which he shaped enormously with his buildings, numerous buildings were built under his name. Littmann did not specialize in a specific genre, but created buildings for almost every function, for example hospitals, restaurants and even department stores. Then as now, he received special recognition for his theater buildings, which are considered his main creations and to which he owes “the reputation of the theater building specialist and reformer”. Littmann's first project in this area was the Prinzregententheater in Munich.

During the planning of the project, which was initially accepted for business reasons, Littmann's interest in theater construction was aroused for the first time. From 1904 he took part in many competitions and by 1908 a considerable number of theaters were built, so that from this time on we can speak of Littmann's strong interest in this area.

His masterpiece of this genre is the Royal Court Theater in Stuttgart , whose competition he won in 1908 and which was built in 1912.

Compared to the Richard-Wagner-Festspielhaus

As requested by his clients, the architect Max Littmann oriented himself when designing the Prinzregententheater at the Richard-Wagner-Festspielhaus in Bayreuth. Due to the far-reaching similarities, the literature sometimes even speaks of a Munich copy of the Semper building. The different construction methods of the two theaters represent a striking difference. While the Bayreuth Festival Hall is almost entirely timber-framed , the Munich theater is a solid construction made of cast stone .

Both buildings have an amphitheatrical, sector-shaped auditorium, which is formed in the Prinzregententheater by using sloping side walls. In Bayreuth, on the other hand, it is a rectangular floor plan, which is defined by inserting the side walls of walls standing at right angles. Max Littmann also opts for seats that are 5 cm wider, which means that 300 seats are not required "with the same floor space".

There are also discrepancies in the choice of material for the original stage machinery. A wooden construction was still used in the Bayreuth Festival Hall, which was built earlier, while Munich preferred a steel version.

The architect explained most of the changes to the Prinzregententheater in relation to its model because of the “new fire protection requirements that have existed since 1881 after the catastrophic fire in the Vienna Ring Theater ”.

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  • Facade detail

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World premieres

Important events in the Prinzregententheater

Special guest performances

The now 20-year-old choir "Gospels at Heaven" from Munich has performed here several times, most recently on May 18, 2019 for the anniversary concert.

literature

  • Bavarian Theater Academy August Everding in the Prinzregententheater (Hrsg.): 100 years of the Prinzregententheater. Festschrift. Knürr, Munich approx. 2002, ISBN 3-928432-30-3 .
  • Robert Braunmüller, Jürgen Schläder: Tradition with a future. 100 years of the Prinzregententheater. Ricordi, Feldkirchen near Munich 1996, ISBN 3-931788-00-8 .
  • Bern Peter Schaul: The Prinzregententheater in Munich and the reform of the theater building around 1900 - Max Littmann as a theater architect. Bavarian State Office for Monument Preservation. Munich 1987, DNB 880342498 .
  • Klaus Seidel: The new Prinzregententheater. Festschrift for the reopening of the Prinzregententheater in Munich on January 9, 1988. Knürr, Munich 1988, DNB 958758638 .
  • Georg Jacob Wolf: Max Littmann. 1862-1931. Knorr & Hirth, Munich 1931, DNB 361525400 .

Web links

Commons : Prinzregententheater  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b CHronik 1863–1900. In: theaterakademie.de. Retrieved January 26, 2018 .
  2. ↑ s. Wolf 1931, p. 40.
  3. ↑ s. Wolf 1931, p. 31.
  4. ↑ Seidel, n.d., pp. 32-33.
  5. ↑ Seidel n.d., pp. 31-33.
  6. ↑ s. Seidel n.d., p. 33.
  7. ↑ s. Seidel n.d., p. 54.
  8. ↑ s. Seidel n.d., p. 39.
  9. ↑ s. Seidel n.d., p. 40.
  10. ↑ s. Seidel n.d., p. 41.
  11. ↑ a b Information ( Memento from September 24, 2015 in the Internet Archive ). In: prinzregententheater.de .
  12. ↑ s. Seidel n.d., p. 71.
  13. ↑ a b c Prinzregententheater . In: theaterakademie.de . Retrieved January 26, 2018.
  14. ↑ s. Seidel n.d., p. 57.
  15. ↑ s. Seidel n.d., pp. 52, 54.
  16. ↑ s. Seidel n.d., p. 46.
  17. ↑ Seidel n.d., p. 46.
  18. ↑ s. Seidel n.d., p. 46.
  19. ↑ a b garden room . In: theaterakademie.de . Retrieved January 26, 2018.
  20. ↑ s. Seidel n.d., p. 68.
  21. ↑ Seidel n.d., p. 61.
  22. ↑ s. Seidel n.d., pp. 61-62.
  23. ↑ Seidel n.d., p. 62.
  24. ↑ s. Seidel n.d., pp. 62, 64.
  25. ↑ s. Seidel n.d., p. 62.
  26. ↑ s. Wolf 1931, p. 35.
  27. ↑ s. Wolf 1931, p. 35.
  28. ↑ s. Wolf 1931, p. 39.
  29. ↑ s. Wolf 1931, p. 40.
  30. ↑ s. Wolf 1931, p. 40.
  1. ↑ a b Braunmüller / Schläder 1996, p. 13
  2. ↑ s. Braunmüller / Schläder 1996, pp. 12-14
  3. ↑ Braunmüller / Schläder 1996, p. 15
  4. ↑ a b Braunmüller / Schläder 1996, p. 16
  5. ↑ Braunmüller / Schläder 1996, p. 17
  6. ↑ Braunmüller / Schläder 1996, pp. 17-18
  7. ↑ a b c Braunmüller / Schläder 1996, p. 19
  8. ↑ Braunmüller / Schläder 1996, pp. 17-19
  9. ↑ a b Braunmüller / Schläder 1996, p. 20
  10. ↑ Braunmüller / Schläder 1996, pp. 19-20
  11. ↑ Braunmüller / Schläder 1996, pp. 9-10
  12. ↑ a b c d e f Braunmüller / Schläder 1996, p. 25
  13. ↑ Braunmüller / Schläder 1996, p. 27
  14. ↑ Braunmüller / Schläder 1996, p. 11
  15. ↑ Braunmüller / Schläder 1996, p. 34
  16. ↑ Braunmüller / Schläder 1996, p. 201
  17. ↑ Braunmüller / Schläder 1996, p. 226
  18. ↑ Braunmüller / Schläder 1996, p. 7
  19. ↑ Braunmüller / Schläder 1996, pp. 9, 20, 24
  20. ↑ Braunmüller / Schläder 1996, p. 22
  21. ↑ Braunmüller / Schläder 1996, pp. 13, 35
  22. ↑ Braunmüller / Schläder 1996, p. 29
  1. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater n.d., p. 25
  2. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, pp. 25–26
  3. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, pp. 10, 29
  4. ↑ a b c d e Bavarian Theater Academy August Everding in the Prinzregententheater o. J., p. 34
  5. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, pp. 34–37
  6. ↑ a b Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 38
  7. ↑ a b c Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 29
  8. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, pp. 29, 61
  9. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 62
  10. ↑ a b c Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 54
  11. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 66
  12. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 70
  13. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 51
  14. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 73
  15. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater n.d., p. 78
  16. ↑ a b Bavarian Theater Academy August Everding in the Prinzregententheater no year, pp. 54, 81–82
  17. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater n.d., p. 84
  18. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, pp. 55, 85
  19. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater n.d., p. 86
  20. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater n.d., p. 22
  21. ↑ a b c d e f g h Bavarian Theater Academy August Everding in the Prinzregententheater o. J., p. 30
  22. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, pp. 30–32
  23. ↑ a b c d e f g Bavarian Theater Academy August Everding in the Prinzregententheater o. J., p. 45
  24. ↑ a b c Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 43
  25. ↑ a b Bavarian Theater Academy August Everding in the Prinzregententheater o. J., p. 5
  26. ↑ a b c Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 32
  27. ↑ a b Bavarian Theater Academy August Everding in the Prinzregententheater n.d., p. 132
  28. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 133
  29. ↑ a b Bavarian Theater Academy August Everding in the Prinzregententheater n.d., p. 55
  30. ↑ a b Bavarian Theater Academy August Everding in the Prinzregententheater n.d., p. 135
  31. ↑ Bavarian Theater Academy August Everding in the Prinzregententheater n.d., p. 52
  32. ↑ a b Bavarian Theater Academy August Everding in the Prinzregententheater n.d., p. 46
  33. ↑ a b Bavarian Theater Academy August Everding in the Prinzregententheater o. J., p. 7
  34. ↑ a b Bavarian Theater Academy August Everding in the Prinzregententheater no year, p. 8
  35. ↑ a b Bavarian Theater Academy August Everding in the Prinzregententheater no year, pp. 10–11