Ludwigsburg Festival | 2022 Programme by Ludwigsburger Schlossfestspiele

FEST SPIEL OUVERTÜRE

FAUST ALEXANDRE GABETTA KANTOROW BEZUIDENHOUT SOLO

FUTURE PRESENCE MOZART

MOZART MOZART KLARINETTEN STREICH QUINTETT QUINTETT

ERDE AN ZUKUNFT

PATKOP LES ADIEUX

GRAN PARTITA WERTHEIM

HILLE PERL TANZMUSIK

STEGREIF ORCHESTER #BECHANGE

H-MOLL MESSE BACH

SPOKEN MOMENTS POETRY

DIDO AND AENEAS

KRONOS FOR FUTURE

ART OF FUGUE

BRAD HWANG RESIDENZ

IL DILUVIO UNIVERSALE

MANDEL RING QUARTETT

DIÁLOGOS FLAMENCO BARROCO

MALAKOFF KOWALSKI APHORISMS

THE COMMON STORIES

GENERATION ZUKUNFT MUSIK

STRASSEN MUSIK FESTIVAL

ROTHKO STRING QUARTET

HUMAN REQUIEM BRAHMS

DIE FEST UNVOLLENDETE SPIEL REVOLUTION ZENTRUM

EDIVALDO HAUSCHKA ENCOUNTER

FREI LUFT MUSIK

PINA BAUSCH SACRE

DEPTH MOVEMENT WORKSHOP

EINSTÜRZ ENDENEU BAUTEN

MINI MAL MUT

MOVING PICTURE 946-3

GOLD BERG BACH

JAN LISIECKI BEETHOVEN

WOOSTER GROUP B-SIDE

GLOBAL BREATH COMPOSERS

AYANNA WITTER JOHNSON

PURCELL ENSEMBLE MENDELSSOHN CONTINUUM MAYER ORFEO

NIGL PASHCHENKO VANITAS

PROHASKA EMCKE LAFOLIA

VOCES SUAVES MADRIGALE

ACIS AND GALATEA

THE 3RD BOX

MISSA SOLEMNIS BEETHOVEN

L’ARTE MONDO OBERLINGER

GRAN PARTITA WOLFEGG

FEST SPIEL MATINEE

STILE ANTICO LOBGESANG

ELB TONAL PERCUSSION

MONREPOS OPEN AIR

МИР НА ЗЕМЛІ

VREDE OP AARDE

PAQJA NË TOKË

МІР НА ЗЯМЛІ

MIR NA ZEMLJI

PEACE ON EARTH

FRED PÅ JORD

FRIEDE AUF ERDEN

KAPAYAPAAN SA LUPA

POKÓJ NA ZIEMI

PAIX SUR LATERRE

FRED PÅ JORDEN

МИР НА ЗЕМЯТА

MIER NA ZEMI

RAHU MAAILMA KOHAL

RAUHA MAAN PÄÄLLÄ

MIERS UZ ZEMES

PACE PE PĂMÂNT

YER YUZIDA TINCHLIK

PAZ EN LA TIERRA

MÍR NA ZEMI

BÉKÉS A FÖLDÖN

FRIDDEN OP DER ÄERD

AMANI HAPA DUNIANI

FRIÐUR Á JÖRÐU

PAX IN TERRA

PAU A LA TERRA

МИР НА ЗЕМЛЕ

PACO SUR LA TERO

PACE SULLA TERRA

DÜNYADA BARIŞ

PAZ NA TERRA

ЖЕР ЖYЗІНДЕГІ ТЫНЫШТЫK

PAĊI FIDDINJA

МИР НА ЗЕМЛІ

VREDE OP AARDE

PAQJA NË TOKË

МІР НА ЗЯМЛІ

MIR NA ZEMLJI

PEACE ON EARTH

FRED PÅ JORD

FRIEDE AUF ERDEN

KAPAYAPAAN SA LUPA

POKÓJ NA ZIEMI

PAIX SUR LATERRE

FRED PÅ JORDEN

МИР НА ЗЕМЯТА

MIER NA ZEMI

RAHU MAAILMA KOHAL

RAUHA MAAN PÄÄLLÄ

MIERS UZ ZEMES

PACE PE PĂMÂNT

YER YUZIDA TINCHLIK

PAZ EN LA TIERRA

What do we want to set in motion? Greeting by Artistic Director Jochen Sandig Foreword by Minister of State for Culture and Media Claudia Roth Foreword by Lord Mayor of Ludwigsburg Dr. Matthias Knecht

6 16

A Festival for All Festival Programme 2022

25 35

Speech to the Youth of Germany Write with us! Ways and Aims

94 97 100

Tickets and Info Vouchers, Subscriptions, Discounts Seating Plans Arrival Gastronomy and Accommodation T&Cs Thanks Patronage, Team, Supervisory Board, Board of Trustees Circle of Friends, Participation Supporters

102 103 104 106 108 110 112

Imprint Festival Calendar

125 126

114 117 118

What d want t in mot 6

do we to set tion? 7

What do we want to set in motion?

Stile Antico → p. 90

We would like to see the classical music industry take greater responsibility for the way it impacts the environment and incorporate sustainability into international touring to continue to be able to perform music across the globe.

Patricia Kopatchinskaja Violinist → p. 43

Kronos Quartet → p. 51 Sollte die Frage nicht eher heißen: Was können wir (über haupt noch) bewegen? Die sich beschleunigende Klima erhitzung und Umweltvergiftung stellen Leben auf unserem Planeten infrage. Die Reaktion beschränkt sich auf Ausreden und Weiterwursteln. Was uns bleibt, ist in hochgemutem Pessimismus so lange wie möglich den wunderbaren Garten der Kultur zu pflegen und zu beleben.

I imagine a sustainable fabric of musical wonder using the string quartet form as thread. The human sonic history of the string quartet turns despairing, hopeless fear into an energized force leading us forward. I want Kronos to make these sorts of experiences for our audiences.

Christian Zech Tutor → p. 68

Bewegung – das Beschreiten des Weges! Denn es gibt momentan zu viel Bewegung nur um ihrer selbst willen, um Stillstand zu vermeiden. Aber wenn wir ehrlich sind: Es ist von allem zu viel. Also nehmen wir doch den Weg, der gleich vor der Haustür beginnt. Was nah ist, muss nicht provinziell sein, denn es geht uns nah, wenn wir genau hinschauen. Weniger aber sinnvollere Bewegung, das wäre bewegend. Act local!

Alondra de la Parra Conductor → p. 84

La Folia Barockorchester → p. 79

We want to move people into action: From standing still to dancing hard, from being passive to active. We want to shift our gaze towards our deepest emotions and the most genuine part of who we are.

In Zeiten, in denen eine Ausein andersetzung mit Krankheit und Tod stattfindet, wird Musik zeitlos und ein emotionaler Halt für die Menschen. Diesen selbst als Musiker zu empfinden und durch unsere Musik zu transportieren, ist das, was uns antreibt.

Hanni Liang Pianist → p. 47 Sasha Waltz Choreografin → S. 48 Die Welt ist zum Gestalten da, nicht zum Ertragen. Und so möchte ich mit der Musik anstiften und zu einem menschlicheren Mitein ander bewegen. Zu einer Gesell schaft, die herausfindet, was sie in der Vielfalt eint. Zu einer Welt, mit der ich gemeinsam im Denken und Handeln die Klimaziele erreichen will. Und die Kunst hat die Kraft, all das zu bewegen.

We want to create a positive feeling of community through movement. Empower people to feel active and respected in life. Make them see that their voice and actions make a difference. Art, music and dance can bring people together – no matter where they come from or their background. Especially when art leaves the institutions and ventures into the cities and communal spaces, reaching out to people who do not have access.

Julian Prégardien Tenor → p. 84

Das, was wir bewegen, ist in der Regel erst einmal nicht sichtbar. Ich meine damit sowohl die Luft, die wir Musiker auf verschiedene Art und Weise zum Schwingen bringen, und auch das, wo unsere Schwingungen räsonieren – Verzeihung! – resonieren. Nämlich eben nicht vorwiegend im Vernun ftteil unseres Ichs.

What do we want to set in motion?

Vitali Alekseenok Conductor → p. 63 Konstantin Dupelius Composer → p. 55

Hannah Ganter Contributor -> p. 83 Wir wollen Friedensarbeit leisten und aktiv Erinnern. Erinnern an Konflikte, die in der deutschen Aufmerksamkeit an den Rand gedrängt werden. An die deutsche Verantwortung innerhalb dieser Konflikte bis heute. An universale wie spezifische Ursprünge von Hass, Gewalt und Segregation, um deren Wurzel entreißen zu können, Traumata überwinden zu können, Dekolonisierung zu beschleunigen und Frieden in gebrochenen Gesellschaften zu festigen.

Jeder Mensch wird in Schubladen gesteckt, ob freiwillig oder unfreiwillig. Wir wollen, dass Leute ihre eigene Schublade aufmachen und reinschauen. Dass sie das dann immer wieder mit Freude tun, weil sie danach sehen, dass sie sich an viel weniger Normen halten müssen, als sie vorher dachten. Und dass sie ihr Geschlecht, wie auch immer sie es gerade definieren, viel freier ausdrücken können.

Wir wollen Menschen sensibilisieren und einfühlsamer machen. Angesichts des Krieges in der Ukraine wollen wir Menschen Kultur statt Krieg anbieten und Gefühle statt Waffen.

Gijs Leenaars Conductor → p. 60

Wir wollen ein neues Erleben von Wahrnehmung und Begegnung ermöglichen; nicht quantitativ oder oberflächlich, sondern in der Qualität der Verbindung mit unserem Publikum, mit den Menschen. Unser musikalisches wie ideelles Anliegen, Chormusik anders erfahrbar zu machen, ist Kern unseres »human requiems«, mit dem wir uns freuen, zu Gast sein zu dürfen!

Mandelring Quartett → p. 52

Ludwigsburg Festival’s Circle of Friends -> p. 117

Freiburg Baroque Orchestra → p. 83 Wir wollen mit unserer Musik die Herzen unserer Zuhörer berühren, ihrem Geist Flügel verleihen und sie mit positiver Energie aufladen.

Als freies, basisdemokratisches Orchester ist es für uns selbstverständlich, gesellschaftliche Themen aufzugreifen und ein nachhaltiges, gleichberechtigtes Ensemble zu gestalten. Unsere Mitglieder kommen aus vielen Ländern der Welt, was sich auch in unseren vielfältigen Program men widerspiegelt. Wir möchten dem Publikum zeigen, dass Musik vergangener Jahrhunderte immer noch frisch ist und problemlos in die Jetztzeit transpor tiert werden kann.

Hans-Christoph Rademann Conductor → p. 40

Der Freundeskreis der Ludwigs burger Schlossfestspiele engagi ert sich, um Menschen für Kunst und Kultur – insbesondere für die Musik – zu begeistern und die Festspiele in ihrem wegweisenden Konzept finanziell zu unterstützen. Wir wollen Menschen von jung bis alt zusammenbringen, gemein sam unter Freund*innen den Austausch pflegen und zugleich ein starker Partner und Identitätsstifter für die Schlossfestspiele sein.

»BachBewegt!« heißt das Musikvermittlungsprogramm der Internationalen Bachakademie Stuttgart. Es fördert junge Menschen und lässt sie wachsen, indem sie große Kunstwerke tanzen und singen, im Brücken schlag mit der Gaechinger Cantorey. Dabei werden sie durch die Musik in ihrem Innersten bewegt und beim aktuellen Projekt »Die Schöpfung« noch dazu ermutigt, unsere wunderbare Welt zu bewahren. Hier immer weiterzugehen, bewegt mich.

What do we want to set in motion?

Timo Brunke Poet → p. 47

Filippo Gorini Pianist → p. 51

The substance of our music making should always stay the same: it is devotion to the great composers of the past and present, staying true to the heritage of their great art. But we should constantly change the form: who do we play for, where, and why. There should be meaning in every our action, and love and passion towards the world of today. This, I think, is the way forward!

Ich suche nach einem neuen Fluidum der Sprache für den zivilisatorischen Zusammenhalt, über Milieu- und Bildungsgrenzen hinweg. Das Abenteuer des irdischen Überlebens vor Ort möchte ich mitgestalten, auf der Basis guter Nachbarschaft, Tiere, Pflanzen, Luft und Land mit eingeschlossen.

Rothko String Quartet → p. 59

In einer komplizierten, von Krisen gebeutelten Welt glauben wir – vielleicht naiv, aber hoffnungsvoll im Herzen – an die Kraft des Streichquartetts. Musik kann Wandel bestärken, sogar initiieren: Mit gesellschaftlich relevanten Themen und unterrepräsentierten Komponistinnen wollen wir unseren Teil dazu beitragen.

Elbtonal Percussion → p. 90

Musik bedeutet Gefühl, Kommu nikation, Offenheit und Wissen. Attribute, die für Elbtonal Percus sion zugleich in der Musik und im Sein unentbehrlich sind und in unserer Gesellschaft erhalten bleiben sollten. Wenn wir uns im Konzertsaal mit offenen Ohren, Toleranz und Respekt begegnen, ist es möglich, diese besondere Magie entstehen zu lassen, um im Alltag etwas gelassener zu sein.

Marco Blaauw Trumpeter -> p. 72

AIR One of the things that connects all people on this planet: The air we breathe!

Mahler Chamber Orchestra -> p. 39 ⁄ 40 ⁄ 43

RIAS Kammerchor Berlin → p. 47 ⁄ 83

Vor allem wollen wir uns wieder bewegen und mit unserem Gesang die Menschen in Deutschland und ganz Europa erfreuen. Chorgesang ist das größte gemein schaftliche Instrument, das es gibt. Wir wollen vor allem nach den beiden grauen Corona-Jahren wieder die Herzen unserer Hörer*innen erheben und Freude schenken.

Malakoff Kowalski Pianist → p. 56 At the Mahler Chamber Orchestra, we try to make a ripple effect in our field by investing in outreachand educational programs as well as finding ways to reduce the ecological footprint of our touring activities. Finding a deeper connection to our audience and broadening that audience into more segments of society is what drives us.

Brad Hwang Visual artist → p. 26

Die Menschen, die unserer Musik zuhören – die wollen wir bewegen. Wenn die Musik niemanden bewegt, steht es schlecht um sie. Sie ähnelt dann einem Körper ohne Herzschlag. Wer möchte schon so leben? Ohne Puls und ohne Atem?

Vom Frieden muss eine größere Ansteckungsgefahr ausgehen – stärker als von Krieg und Gewalt. Dafür möchte ich intime Räume schaffen, indem wir über Monologe und Dialoge, durch aktives Zuhören und Nachdenken miteinander in einen lebendigen Austausch treten, damit sich gute Ideen pandemisch vermehren können. 13

Jochen Sandig Artistic Director

Dear Festival Guests, now moving into its tenth decade, the Ludwigsburg Festival has evolved into a colourful and many-faceted »festival of the arts, democracy and sustainability«. Inspired by Wolfgang Amadeus Mozart and with a special closeness to the spirit of humanism, it was founded fourteen years after the end of the First World War. Only a few years later, however, the world was shaken by an even bigger war that shattered all dreams of peaceful co-existence and destroyed the visions of the humanists. The Ludwigsburg Festival is still informed by the spirit of reconciliation characteristic of the post-war years. Similarly, it is associated with a historic event whose sixtieth anniversary we will be celebrating on 9 September this year: the »Speech to the Youth of Germany« delivered by Charles de Gaulle in 1962 in the cour d’honneur of the Ludwigsburg Palace. After two years of the pandemic and in a mood of joyful anti cipation we have developed an artistic programme inspired by the major issues of our time. While it reflects our concerns about human existence, our fears, our powerlessness and our outrage, it also creates social spaces for grief, for conso lation, and above all for joy, hope and faith in the future. On 24 February 2022 – shortly before the finalization of the 16

Festival brochure you now have in your hands – the unimagi nable happened: Putin attacked Ukraine. A war of aggression in Europe! Now, nothing is as it was before. We are in an epoch-defining state of change. The architecture of Europe an peace has been shaken to its foundations. While we can hardly see what the consequences will be, it depends upon us all to determine the direction we will be going in. Can we take the utopia of Friedrich Schiller – made into music by Ludwig van Beethoven in his Ninth Symphony – and make it reality? Can we at last embrace one another as sisters and brothers? As the one great family of humanity? On streets and squares the world over, people are coming out to demonstrate for peace – as in the inter-faith gathering with prayer for peace on Marktplatz in central Ludwigsburg, seen in the photograph on the double spread preceding this page. That the active pursuit of freedom, peace and practical democracy is something indestructible is especially clear in time of war. Freedom and peace are not simply given to us – they have to be fought for on a day-to-day basis. While this may come as a shock, it is a realization that has the potential to change our world and will, I hope, help us to make man kind’s great dream come true: the dream of a better future, of a »contagious « freedom and of global peace. And this is where we see the task we share with our partners from the political, economic, social and cultural worlds. We have to act, and as we get down to doing so, the central question on our minds is one we would like to share with you: »What do we want to set in motion?«. The German word Zusammenkunft – »coming together« – contains the word Zukunft – »future«. I invite you to join us in striving to shape the future in the here and now. In the name of whole Ludwigsburg Festival team I welcome you from the bottom of my heart. 17

Claudia Roth Minister of State for Culture and the Media

The Ludwigsburg Festival is a renowned institution of its kind and has been so for almost a hundred years. It has always been a festival of the arts and from now on it is also to be a festival of democracy. Because art and democracy have one particular thing in common, namely, freedom, which is also their common precondition. Day by day, events in Ukraine, Belarus, Georgia and Russia give us dramatic reminders of the extent to which art and democracy are interdependent. For wherever and whenever freedom and democracy come under the boot of totalitarian and autocratic regimes, art and artistic freedom suffer too. Art’s particular qualities – beauty, vulnerability, freedom of expression – only survive in a state of freedom, not in one of permanent oppression and adver sity, and not in the service of political propaganda. I am grateful to Ludwigsburg Festival director Jochen Sandig and his team that even in past years they promoted shared ventures with artists from Belarus and Ukraine, with the project »Echoes – Voices From Belarus«, for example, which was a co-production with the festival »ECLAT«, or with the Ukrainian conductor Oksana Lyniv, who opened the festival last year and this year is to take the helm for the »Festival 18

Overture« under the motto »No More War«. And in June the concert project »The Unfinished Revolution« with Vitali Alekseenok and the Festival Orchestra will have a special focus on the democracy movement in Belarus. I am very happy about the Festival’s readiness to respond to the appeal issued by the Federal Government of Germany. We cannot and must not accept the attacks launched on peace and artistic freedom by autocrats and despisers of democracy. For culture and art have no tanks and no big guns at their disposal. Their strength lies in the human being: in artists and in their talents and urge to express themselves, communicate and engage in dialogue and exchange. They are in danger when all those things are taken away from them or when their freedom and lives are threatened by war, as they are now in Ukraine. And this is why I appeal to theatres, concert promoters, museums and cultural institutions to find space for more art from Ukraine, from Belarus, from Georgia. And to find space for art from Russia too, for artists are under threat in all these countries. In Russia as elsewhere, artists, scientists and academics are raising their voices and condemning the at tack on Ukraine – and in so doing are putting their freedom, work and lives in danger. In all these countries, men and women who have fought for democratic reforms are now having to see their dream of freedom being threatened by war and violence. I call upon you to help the artists in and from these countries and to work together with them – in a shared festival of the arts, of democracy and of peace.

Dr. Matthias Knecht Lord Mayor of the City of Ludwigsburg

Ludwigsburg is one of a number of outstanding cultural localities in the Stuttgart region. From the city’s beginnings in the eighteenth century, the arts played a formative role in its history and they continue to do so today, as is shown by the rich and unusual cultural programme the city now offers. Art and culture constitute a major part of our urban social life and have a major part to play in our future. They bring life to our city and make it attractive for a wide variety of different stakeholders. By offering inspiration and by pursuing a crea tive and productive scepticism, art and culture enable peo ple to »look outside the box« and access new ideas and points of view. At the same time, they do this in a manner that appeals to the senses and is positively charged and tolerant. Art and culture can give us strength to develop a positive attitude towards the future, an attitude that does not hold back but allows change and actively shapes it. In the present situation in Europe, culture can be an important voice, calling urgently for peace and building bridges to bring peoples together in peace. As the town’s oldest and most important cultural event, the Ludwigsburg Festival has a particularly important role to play in this respect, standing as it does for both tradition and 20

innovation. With its current programme it is once again striking out on unusual paths and calling upon us all to have the courage to be innovative. It is dealing with big issues of our day, asking uncomfortable questions, and seeing culture as an opportunity to become actively involved in world affairs. This involves campaigning for environmental sustain ability and fighting for the safeguarding of democratic achievements. Culture has high ambitions and great poten tial – and the Ludwigsburg Festival is aware of culture’s power. In times when humanity faces great challenges, this commitment is a testimony that cannot be ignored and offers orientation for us all.

A Festival for All

FEST SPIEL ZENTRUM Once again in 2022 it is our pleasure to invite you to enjoy our free concerts in a relaxed atmosphere at our festival centre. From 5 May to 5 June all our events in the Order Hall will be relayed acoustically in the cour d’honneur of the Ludwigsburg Palace. The events this applies to are marked with a symbol. Once again, d&b audio will be ensuring superb sound quality. And there’ll also be Meet & Greets with many of our performers. You’ll find information about this at the events themselves and on our website and media channels. Enjoy live music and a glass of wine in the open air and take advantage of being able to buy tickets at the festival centre. We look forward to seeing you!

Sponsored by

»Change and transition are loved by those who live«

BRAD HWANG RESIDENCE Sung-Uk Brad Hwang’s art frames timeless existential questions and observations. Born in Seoul, South Korea, in 1966, Hwang studied art at the University of California with Charles Ray, Chris Burden and Paul McCarthy, and sculpture in Baltimore with Sal Scarpitta. Breathing new life into everyday objects and all kinds of materials, the artist creates mechani cal and social sculptures – very much on the model of Joseph Beuys – as well as installations designed to encourage participation and encounter. In 2021 Hwang developed a work entitled »Wir kamen zum Weben und wurden verwoben« (We came to weave and were woven) in Ludwigsburg. With the construction of a hugging machine and a mobile loom he confronted us with the yearning for human contact and the quest for social connectedness. From 11 May to 13 June Sung-Uk Brad Hwang will be living in Ludwigsburg and creating work at the Kunstzentrum Karlskaserne. His work is concerned Sponsored by

with the absolute nature of constant change that is inherent in life and all living beings. The food we eat is subject to constant transformation: it is sown, har vested, processed, eaten – energy is created and transmuted. Human beings are also subject to this constant process of transformation that does not even end with death. Cooking also celebrates this inevitability. Hwang seeks to challenge this observa tion with a counter-statement in the form of a selfbuilt bread oven, with the intention of consciously participating in the process that one honours and venerates.

Curtain up for our Digital Stage

Last season we raised the curtain on our Digital Stage on a grand scale, and alongside Digital May we were able to share a hybrid festival experience with a wealth of broadcasts, introductions, interviews and documentaries. But this year our longing for face-toface human encounters is so great that our primary emphasis in the 2022 season will be on direct on-site contact. Nevertheless, we certainly don’t want to dispense with digital opportunities and will be inviting you to take a look behind the virtual curtain to experi ence new formats from afar and learn more about this year’s exciting festival season. Looking beyond the season, the future also has thrilling digital projects in store. We invite you to browse and are looking forward to seeing you in Ludwigsburg.

www.schlossfestspiele.de/en/digitale_buehne

The Digital Stage is developed in partnership with

Open-Air

FRI MAY 6

FRI MAY 13

FRI MAY 20

FRI MAY 27

FRI JUNE 3

FRI JUNE 10

FRI JUNE 17

FRI JUNE 24

FRI JULY 1

FRI JULY 8

FRI JULY 15

6 pm

FREI LUFT MUSIK Ludwigsburg’s historic market-place has always been a special place for cultural encounters. In the town’s baroque »living-room«, local residents exchange ideas and meet people from outside. Inspired by this, every Friday at 6 pm the market square becomes a musical meeting place for soloists from the Festival Orchestra and other surprise guests. With contri butions from different genres, there is something for everyone. Find out who you can look forward to on our website!

Sponsored by

6 pm

THU MAY 5 8 pm

FEST SPIEL OUVERTÜRE »No More War« FRANZ XAVER MOZART Variations for Piano and Orchestra, FXWM IV:3 WOLFGANG AMADEUS MOZART Piano Concerto No. 23 in A-major, K. 488 PETER TSCHAIKOWSKY Symphony No. 6 in B-minor, op. 74 »Pathétique« (incl. cadenza)

Orchestra of the Ludwigsburg Festival Iddo Bar-Shaï Piano Oksana Lyniv Musical Direction

last composition and a heavyweight in the symphonic repertoire. There are few works in music history that can match its cathartic effect. The legendary Adagio of the final movement of the »Pathétique« resembles a Requiem, leading us back to our grief and allowing us to empathize with the suffering of the numerous victims of war.

Forum am Schlosspark, Ludwigsburg 15A ⁄ 38 ⁄ 48 ⁄ 66 ⁄ 78 ⁄ 89 € Sponsored by

»The world is shocked. Art and music are silenced by grief. All moral values, all the European liberties, our entire cultural heritage and the developments of the past century have been destroyed – a new, terrible war has devoured one of Europe’s states.« The reaction of Ukrainian conductor Oksana Lyniv to the violence of war in her homeland stands for all the rage, grief and fear global society is experiencing. Now more than ever it is important for the arts and cultural scene to raise its voice after the long hiatus forced by the pandemic: »No more war!« That is the motto of the »Fest Spiel Ouvertüre« open ing the anniversary season of the Ludwigsburg Festival: an explicit concert for peace. Together with the Israeli pianist Iddo Bar-Shaï, Oksana Lyniv takes the stage again, leading an emotional programme offering the audience a world of consolation and hope while acknowledging the darker side of our existence, its pain and suffering. Wolfgang Amadeus Mozart’s Piano Concerto No. 23 in A-major reminds us that nothing is more valuable than life. Particularly the second movement delves into a profound, yearning melancholy, only to re-emerge with virtuoso joyfulness. The Sixth Symphony is Piotr Tchaikovsky’s

FRI MAY 6

SAT MAY 7

FAUST GABETTA BEZUIDENHOUT

ALEXANDRE KANTOROW SOLO

JOSEPH MARTIN KRAUS Overture to »Olympie« incidental music to JOHAN HENRIK KELLGREN’S Tragedy, VB 33 LUDWIG VAN BEETHOVEN Concerto in C-major for Piano, Violin, Violoncello and Orchestra, op. 56 »Tripelkonzert« LUDWIG VAN BEETHOVEN Symphony No. 5 in C-minor op. 67

FRANZ LISZT»Weinen, Klagen, Sorgen, Zagen«, p. 179 – Prelude after Johann Sebastian Bach, BWV 12 ROBERT SCHUMANN Sonata No. 1 in f-sharp-minor, op. 11 FRANZ LISZT Sonetto del Petrarca No. 104 »Pace non trovo,« S 161/5; »Abschied, russisches Volkslied« S 251; »La lugubre gondola,« S 200/2 ALEXANDER SKRJABIN »Vers la flamme, poème«, op. 72 FRANZ LISZT Après une lecture de Dante, fantasia quasi sonata, S 161/7

8 pm

Isabelle Faust Violin Sol Gabetta Violoncello Kristian Bezuidenhout Piano Basel Chamber Orchestra Giovanni Antonini Musical Direction Ludwig van Beethoven’s Triple Concerto’s unusual instrumentation was unique in its time and stood out from his oeuvre. It focuses on a trio that oscillates between virtuosity and harmony with chamber music finesse. For this special dynamic, the Basel Chamber Orchestra and its director Giovanni Antonini have gathered international stars: Isabelle Faust, Sol Gabetta and Kristian Bezuidenhout. The Fifth Symphony in C minor, which Beethoven composed around the same time, follows this work, full of lightness and joy of playing. Enthusiastic about the ideals of the French Revolution, he imbues his composition with calls for freedom, equality and brotherhood. Originally planned for 2020, this inspir ing concert programme will finally take place. After the opening concert on May 5 with the Festival Orchestra, it will usher in the 2022 season. Forum am Schlosspark, Ludwigsburg 15A ⁄ 28 ⁄ 42 ⁄ 55 ⁄ 65 ⁄ 75 € Sponsored by

8 pm

Alexandre Kantorow Piano Hardly a literary work has influenced human notions of the otherworld so profoundly as Dante Alighieri’s »Divine Comedy« of 1321. To reach paradise, one must first descend to the depths of hell in order to pass through purgatory and attain redemption in heaven. This trajectory will be traced by pianist Alexandre Kantorow, the latest winner of the renowned Tchai kovsky Piano Competition, in his concert. Thus, Franz Liszt’s arrangement of Johann Sebastian Bach’s »Weinen, Klagen, Sorgen, Zagen« was an attempt at coming to terms with the death of his daughter, while Alexander Scriabin’s »Vers la flamme, poème« threatens the ineluctable, fiery destruction of the world – a subject more topical than ever, given today’s climate crisis. Robert Schumann’s first piano sonata veers between lightness of touch and the torments of love: as an expression of intimate affection, it was dedicated to Clara, who was to become his wife. The recital ends with Liszt’s so-called »Dante Sonata«, which summarizes the evening’s trajectory in one single work. Ordenssaal, Residenzschloss Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 €

SUN MAY 8

MOZART STREICH QUINTETT

MOZART KLARINETTEN QUINTETT

WOLFGANG AMADEUS MOZART Sonata in B-flat-major for bassoon and violoncello, K. 292 CLAUDE VIVIER Pièce pour violon et clarinette WOLFGANG AMADEUS MOZART String Quintet in G-minor, K. 516

FRANCIS POULENC Sonata for clarinet and bassoon BOHUSLAV MARTINŮ Three Madrigals for violin and viola JEAN FRANÇAIX Divertissement for bassoon and string quintet WOLFGANG AMADEUS MOZART Clarinet Quintet in A-major, K. 581

11 am

Timothy Summers Violin N.N. Violin Joel Hunter Viola N.N. Viola Stefan Faludi Violoncello Vicente Alberola Clarinet Guilhaume Santana Bassoon In the first festival week, the Mahler Chamber Orchestra demonstrates the versatility of a chamber ensemble several times. Between a virtual-reality installation and a staged performance with Patricia Kopatchinskaja, its members offer two intriguing chamber music programmes. The first works are by two composers who share the fate of an early death at the age of only 35: Wolfgang Amadeus Mozart and Claude Vivier. Even if Mozart’s Sonata for Bassoon and Cello breathes a carefree, virtuoso spirit, Sunday morning will also witness the melancholy of Vivier’s piece for violin and clarinet. This continues in parts of the main work of the day. Mozart follows his thirtyminute String Quintet in G-minor with his Quintet in C-major, answering with a duller, more emotional undertone. The seven members of the Mahler Chamber Orchestra pour heart and soul into the overall dramaturgy of this matinee, which ends on a more optimistic note. Ordenssaal, Residenzschloss Ludwigsburg 15A ⁄ 25 ⁄ 35 ⁄ 45 € With Combiticket 20% discount for both quintets Followed by a Meet & Greet

7 pm

Anna Matz Violin Alexandra Preucil Violin Maite Abasolo Candamio Viola Christophe Morin Violoncello N.N. Double bass Vicente Aberola Clarinet Guilhaume Santana Bassoon Everything began with a Mozart Society, at least for us as the Ludwigsburg Festival. The music historian and lover Wilhelm Krämer founded the »Mozart gemeinde« in 1932 and masterfully opened the Ludwigsburg Palace to a broad audience. He made Wolfgang adeus Mozart’s works the core of his 38-year tenure. The concert series that would turn into a comprehensive festival almost 90 years later began with a chamber music concert. At the time, the Wendling Quartet performed Mozart’s String Quartet in G-major, the Divertimento for String Trio in E-flat-major and the Clarinet Quintet in A-major. The latter is now revived at the same performance venue by a quintet of members of the Mahler Chamber Orchestra. Nine decades later, the Ordenssaal can no longer be accused of being »chilly as a grotto«; especially not when the programme with which the excellent chamber musicians conclude their concert weekend is as vivid and entertaining as this one. Ordenssaal, Residenzschloss Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 € With Combiticket 20% discount for both quintets

SAT MAY 7

12 am–7 pm

SUN MAY 8

12 am–7 pm

MON MAY 9 6 pm

FUTURE PRESENCE MOZART

ERDE AN ZUKUNFT

»Virtual-Reality: Mozart String Quintet«

»Die Schöpfung: Erde an Zukunft«

WOLFGANG AMADEUS MOZART »Allegro« from String Quintet in G-minor, K. 516

Dorothee Mields Soprano Julian Habermann Tenor Tobias Berndt Bass Gaechinger Cantorey Hans-Christoph Rademann Musical Direction Choir with students from the region Stuttgart Sabine Layer Musical Direction Children’s Choir

Timothy Summers Violin Anna Matz Violin Florent Brémont Viola Joel Hunter Viola Stefan Faludi Violoncello Henrik Oppermann 3D Sound Specialist The games industry has always been ahead of the curve in making use of VR technology. But it’s not just games developers that are fascinated by the decep tively real 3D simulations – the arts have also em braced these new technologies; behind the clunky headsets are possibilities that unfurl like new worlds. A quintet from the Mahler Chamber Orchestra and 3D specialist Henrik Oppermann open up a new dimension of chamber music to their audience with the help of VR headsets: a high-resolution spatial scan of the Elisabethkirche in Berlin becomes a score for an interactive soundscape against which Mozart’s famous G Minor string quintet unrolls. The listening experience can be influenced with one’s own body. So what does that mean exactly? While the recording reproduces the natural acoustic conditions of a live performance, it also allows one to wander freely around the space and interact with the musicians, the instruments and the sounds in real time. Festinbau Room 113, Residenzschloss Ludwigsburg 10 € A production of the Mahler Chamber Orchestra and Henrik Oppermann/ Schallgeber. The production is supported by the Federal Government Commissioner for Culture and the Media within »Neustart Culture«. Sponsored by

The large-scale choral project »Die Schöpfung: Erde an Zukunft« is part of the Internationale Bach akademie Stuttgart’s arts communication programme »BachBewegt!Singen!« which was founded to open up access to music for young people. For this, com poser and cultural manager Karsten Gundermann has adapted Joseph Haydn’s »Creation« for the present day. His aim was to create a large artwork that would move people deeply and encourage them to take responsibility for our endangered environment. A total of 1,500 pupils have joined him and worked on this musical masterpiece for several months. In May 2022 the project will be made accessible to the general public on seven occasions, each involving 200 partici pants, in the Greater Stuttgart area. A highlight in the project will also be celebrated at the Ludwigsburg Forum when the pupils join up with the Gaechinger Cantorey under Hans-Christoph Rademann and invite the audience to sing with them. July 2022 will see the appearance of a documentary film about the project as a whole. Forum am Schlosspark, Ludwigsburg Information and tickets are available at: www.forum.ludwigsburg.de A project of the International Bach Academy in cooperation with dm-drogerie markt and the Ludwigsburg Festival.

WED MAY 11 8 pm

FRI MAY 13 7 pm

KOPATCHINSKAJA LES ADIEUX

HILLE PERL TANZMUSIK

LUDWIG VAN BEETHOVEN Symphony No. 6, op. 68 »Pastorale«, »Marcia Funebre« from Symphony No. 3, op. 55 »Eroica« ROBERT SCHUMANN »Thema« from Ghost Variations, WoO 24, »Langsam« from Violin Concerto in D-minor, WoO 23 DMITRI SCHOSTAKOWITSCH »Passacaglia« from Violin Concerto No. 1 in A-minor, op. 77

Works by MARIN MARAIS, MONSIEUR DE SAINTE-COLOMBE, ANTOINE FORQUERAY a.o.

Patricia Kopatchinskaja Violin, Concept, Direction Mahler Chamber Orchestra Lani Tran-Duc Stage Design Tabea Rothfuchs, Ruth Stofer Video Markus Güdel Light Design, Technical Direction Katharina Pelosi Sound Design In »Les Adieux«, Patricia Kopatchinskaja intones a scenic-musical mourning of our declining planet. It is time to say goodbye to the magnificent and sonorous flora and fauna that were the violinist’s first musical teachers – if humans continue as before; not without the hope that the Paris Climate Agree- ment and t he Agenda 2030 are taken seriously. Kopatchinskaja interweaves Beethoven’s nature-loving »Pastorale« with movements from Shostakovich’s Second Violin Concerto, Robert Schumann’s Violin Concerto and his »Ghost Variations «. In a subtle interplay with stage design and video projections, a sword of Damocles hovers over the desperate lament of coming adieux and farewells.

Hille Perl Viola da gamba Andreas Arend Theorbo The French »Sun King« Louis XIV was infamous for the splendour and excess of his court – including in terms of art. Musical and choreographic riches revolved around the French royal personage like the planets around the sun. In addition to opulent court ballets, Louis XIV regularly held concert soirées for smaller gatherings, and these were known especially for their music for viols. The internationally renowned viola da gamba specialist Hille Perl has chosen a selection of these pieces for her perfor mance in Haigerloch. Together with theorbo player Andreas Arend, she presents a plethora of suites and other dance pieces conceived by child prodigies, dance masters, viol virtuosos and multi-instrumental ists of the 17th century. An atmospheric visit to the Sun King’s realm. Schlosskirche, Haigerloch 15 ⁄ 20 €

Forum am Schlosspark, Ludwigsburg 15A ⁄ 28 ⁄ 42 ⁄ 55 ⁄ 65 ⁄ 75 € Subscription »Beethoven hoch drei« (p. 103) A co-production of the Mahler Chamber Orchestra, the Ludwigsburg Schlossfestspiele, the Stiftung Berliner Philharmoniker and the Elbphilharmonie. The production is generously supported by the German Federal Government Commissioner for Culture and the Media through »NEUSTART KULTUR«, with the kind support of Rudolf Augstein Foundation. Sponsored by

FRI MAY 13

SAT MAY

GRAN PARTITA WERTHEIM

STEGREIF ORCHESTER #BECHANGE

WOLFGANG AMADEUS MOZART Serenade in B-flat-major for twelve winds and double bass, K. 361 »Gran Partita« FRANZ SCHUBERT String Quintet in C-major, D 956, op. post. 163

»Klänge der Nachhaltigkeit« (Sounds of Sustainability)

7:30 pm

Gustavo Surgik, Meike Brandenbusch Violin Robin Porta Viola Ana-Helena Surgik, Vache Bagratuni Violoncello Andreas Vogel, Eloi Enrique Oboe Manfred Lindner, Leif-Marek Müller Clarinet Andreas Kowalczyk, Hagen Bickel Basset horn Michael Roser, Stefanie Rahm Bassoon N.N. Horn Nina Valcheva Double bass The epithet »Gran Partita« under which Wolfgang Amadeus Mozart’s Serenade in B-flat-major has become popular was not invented by the composer himself. Rather, Mozart himself described his work as a »great wind piece of a very special kind«, refer ring mainly to its dimensions: with 13 instruments and seven movements, the work easily exceeded the boundaries of what was considered traditional music for winds. Amidst the picturesque atmosphere of Burg Wertheim, the work alternates between faster, playful episodes and slower, solemn passages – sometimes from one moment to the other. A short walk takes the audience to the Abbey Church, where one of Franz Schubert’s last compositions will be heard. Deeply shocked by Beethoven’s death and himself gravely ill, impoverished and underappreciated, Schubert distilled all his profundity and desperation in his String Quintet. Full of dramatic contrasts and imbued with tragically transcendent beauty, it pene trates the soul – yet remains strange and elusive. Burg and Stiftskirche, Wertheim 12A ⁄ 28 €

8 pm

WILHELMINE VON BAYREUTH Excerpts from »Argenore« and »Allegro« from flute sonata in A-minor, arranged and recomposed by NINA KAZOURIAN and TABEA SCHRENK STEGREIF.orchester With its visionary impulses the STEGREIF.orchester stands out in the German orchestral landscape. Its new project »#bechange« also takes an artistic and political stance. Maintaining a skilful balance between improvisation and the classical canon, it also campaigns for the dissemination of the United Nations’ seventeen Sustainable Development Goals. The orchestra is premiering its production at the Ludwigsburg Festival. It is arranged around works by Wilhelmine von Bayreuth, incorporating the musical impressions that have emerged from various workshops held in Germany’s southern Länder. With improvisation and movement, and dispensing with sheet music and conductor, the musicians let all the elements of a concert hall flow together in a sustain able symphony of sound. Forum am Schlosspark, Ludwigsburg 15A ⁄ 25 ⁄ 33 ⁄ 42 ⁄ 51 ⁄ 59 € Subscription »Welt im Wandel« (p. 103) The production is funded by the Federal Government Commissioner for Culture and the Media. In cooperation with PODIUM Esslingen. Sponsored by

SUN MAY 15

SPOKEN MOMENTS POETRY

H-MOLL MESSE BACH

»Typ. Mensch. Charakter.« (Type. Man. Character.)

JOHANN SEBASTIAN BACH Mass in B-minor, BWV 232

YORK HÖLLER »Monogramme« – 14 character pieces for piano and texts of the PARTICIPANTS

Robin Johannsen Soprano Marie-Claude Chappuis Mezzo-soprano Benno Schachtner Countertenor Sebastian Kohlhepp Tenor Andreas Wolf Bass

4 pm

Hanni Liang Piano, Concept Timo Brunke Poet, Author, Concept A concert experience drawing out the creative potential of all those involved? That is the goal of »spoken moments poetry«. For more than two months, pianist Hanni Liang and concert poet Timo Brunke have been leading intense workshops with those participating in this special concert. The focus here is on diversity and cultural participation. No matter people’s background or whether they are in front of, behind or on stage: all those involved partici pate jointly in the success of the concert, enriching the musical programme with their own texts, spoken contributions, technical support and far more. In artistic dialogue, the contributions and York Höller’s contemporary composition »Monogramme« explore the poetry of interhuman relations. After an artful project film was created last year, this poetry concert now awaits real-life discovery and a shared experience. Reithalle Kunstzentrum Karlskaserne, Ludwigsburg 15 € Festival guests under 18 receive a free ticket.

7 pm

RIAS Kammerchor Berlin Akademie für Alte Musik Berlin René Jacobs Musical Direction If the B-minor-Mass had remained a so-called Kyrie-Gloria Mass, its genesis would be told quickly. But it was to take another 16 years before Johann Sebastian Bach signed his last great vocal work with the words »Fine. DSGL«. Deo Soli Gloria – to the glory of God only Bach struggled with its completion until the very end; perhaps that is how high the demand for perfection was for the combination of his Christian and artistic credos. Solemnly, the Akademie für Alte Musik Berlin under the direction of René Jacobs and the RIAS Kammerchor Berlin bring to Ludwigsburg the very project with which their devoted collaboration began 30 years ago. Forum am Schlosspark, Ludwigsburg 15A ⁄ 25 ⁄ 33 ⁄ 42 ⁄ 51 ⁄ 59 € Sponsored by

Sponsored by

FRI SAT MAY 20 MAY 21 8 pm

8 pm

SUN MAY 22 7 pm

DIDO AND AENEAS Opera in a prologue and three acts by HENRY PURCELL, Text by NAHUM TATE after the 4th canto of the »Aeneis« by Vergil Sasha Waltz Choreography, Staging Marie-Claude Chappuis Dido Nikolay Borchev Aeneas Aphrodite Patoulidou Belinda Luciana Mancini Second Woman Yannis Francois Sorceress James Way 1st Witch, Sailor Michael Smallwood 2nd Witch, Spirit Sasha Waltz & Guests Vocalconsort Berlin Akademie für Alte Musik Berlin Christopher Moulds Musical Direction Thomas Schenk, Sasha Waltz Stage Design Christine Birkle Costume Thilo Reuther Lighting Design

The legendary choreographic opera »Dido and Aeneas« by Sasha Waltz opens with a leap into the depths of the sea. The underlying musical theatre work by Henri Purcell condenses the heroic epos into a few elements of action: the gods disapprove of the encounter between the queen of Carthage and the Trojan prince, sabotaging their love. Only just united, the couple is forced to separate; a human tragedy unfolds in which the unspeakable desperation of two isolated individuals transforms love into hatred. When Aeneas leaves Dido, the queen of Carthage, she bids farewell to her love and life in her famous lament. Sasha Waltz has rethought the oldest love story in English opera, using the language of dance. Delving into the tension-filled tales and multi-layered emo tional worlds, the choreographer combines the musical theatre work with the theatrical possibilities of dance. Spatial separations vanish; the title figures are embodied by singers and dancers at the same time. With a multi-genre ensemble, Sasha Waltz’s production goes far beyond mere illustration of the action. Together with the Akademie für Alte Musik Berlin and the Vocalconsort Berlin under the baton of Christopher Moulds, dance and opera merge in a unique artistic form.

Forum am Schlosspark, Ludwigsburg 15A ⁄ 38 ⁄ 48 ⁄ 66 ⁄ 78 ⁄ 89 € Subscription »Tanz und Ritual« (p. 103) A production by Sasha Waltz & Guests and the Akademie für Alte Musik Berlin in co-production with the Staatsoper Unter den Linden Berlin, the Grand Théâtre de la Ville de Luxembourg and the Opéra National de Montpellier. Sasha Waltz & Guests is supported by the Senate Department for Culture and Europe. The event is sponsored by

SAT MAY 21

SUN MAY 22

KRONOS FOR FUTURE

ART OF FUGUE

»50 for the Future: The Kronos Learning Repertoire«

JOHANN SEBASTIAN BACH The Art of Fugue, BWV 1080

Works by TERRY RILEY, PHILIP GLASS, ANGÉLIQUE KIDJO, SOO YEON LYUH, ALEKSANDRA VREBALOV a.o.

Filippo Gorini Piano

8 pm

Kronos Quartet David Harrington Violin John Sherba Violin Hank Dutt Viola Sunny Yang Violoncello Many well-known pieces in music history were written on commission. The Kronos Quartet continues this tradition with its project »50 for the Future«: in order to expand the limited string quartet repertoire of the 21st century, they have asked 50 composers from all over the world for new works. Both the works already written since 2015 and those yet to be composed take a participatory approach: their scores are accessible for free and complemented by listening samples and interviews. This expands not only the repertoire, but also contemporary performance practice – a rich contribution to string quartets of the future. The Kronos Quartet offers in-depth master classes, both in Ludwigsburg and elsewhere. Its collaboration with local string quartets will be given a platform before and during this concert as well.

5 pm

Asked to describe what has occupied him during the past years of the pandemic, pianist Filippo Gorini answers: a »journey into Bach’s last work«. Whether in conversation with fellow musicians or by creating his own film material, his research goes beyond a purely artistic exploration of Johann Sebastian Bach’s last great instrumental cycle, resembling a docu mentary instead. The work’s profundity ultimately aroused Gorini’s wish to explore every minute detail of the 14 fugues and four canons. By complementing them with sonnets and haikus written for this context, he interprets Bach’s musical testament as a living organism, building a bridge to contemporary culture through poetry. Ordenssaal, Residenzschloss Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 € Followed by a Meet & Greet

Ehrenhof, Residenzschloss Ludwigsburg 15A ⁄ 35 €

In case of bad weather, the event will occur in the Louis-Bührer-Saal. Please inform yourself from May 19th in our ticket office or online.

Sponsored by

THU MAY 26

THU FRI MAY 26 MAY 27

IL DILUVIO UNIVERSALE

MANDEL RING QUARTETT

MICHELANGELO FALVETTI »Il diluvio universale« Dialogue for five voices and five instruments, Libretto by VINCENZO GIATTINI

»À la carte«

8 pm

Mariana Flores Soprano Valerio Contaldo Tenor Matteo Bellotto Bass Julie Roset Soprano Ana Vieira Leite Soprano Anthea Pichanick Alto Kacper Szelążek Countertenor Chœur de Chambre de Namur Cappella Mediterranea Leonardo García Alarcón Musical Direction Leonardo García Alarcón is a master of rediscoveries: »Il diluvio universal« had been forgotten for over three centuries before the conductor brought it back to life with his Cappella Mediterranea in 2010. The retelling of the Old Testament Flood and the salvation of biodiversity by Noah’s ark brims with imagination and gripping drama. García Alarcón describes the oratorio by the Baroque composer Michelangelo Falvetti as a rousing »deluge of emotions«. Between rising tide and raging waves, a maelstrom emerges that appeals even more clearly to our actions against the backdrop of the mounting catastrophic floods. Forum am Schlosspark, Ludwigsburg 15A ⁄ 25 ⁄ 33 ⁄ 42 ⁄ 51 ⁄ 59 € Cappella Mediterranea is supported by the Ministry of Culture – DRAC Auvergne Rhône Alpes, the Auvergne-Rhône-Alpes Region, the City of Geneva, a Swiss family foundation, a Geneva private foundation, and by its Circle of Friends and its Circle of Entrepreneurs with Diot-Siac, Chatillon Architects, Synapsys, Quinten and 400 Partners. Madame Aline Foriel-Destezet is the main sponsor of the Cappella Mediterranea. The Chœur de Chambre de Namur is supported by the Federation Wallonia-Brussels, the National Lottery, the City and Province of Namur. Sponsored by

8 pm

Works by JOSEPH HAYDN, PETER TSCHAIKOWSKY, JEAN RIVIER, JOHANNES BRAHMS, CLAUDE DEBUSSY, DMITRI SCHOSTAKOWITSCH a.o. Mandelring Quartett Sebastian Schmidt Violin Nanette Schmidt Violin Andreas Willwohl Viola Bernhard Schmidt Violoncello Although concerts depend on people gathering to experience music together, the audience is rarely actively involved, especially when it comes to the selection of works. Yet why not ask the audience what it would like to hear? Following the principle of »ordering à la carte«, the audience has a democratic choice of which string quartets are to be played in this concert. The Mandelring Quartet offers nine exquisite pieces, all of them not only ground-breaking in string quartet history, but also key works in the ensemble’s long success story. Are you in the mood for the classical originality of Joseph Haydn? Would you like to know how much magical colour Claude Debussy was able to draw from four instruments? Or would you prefer to hear Dmitri Shostakovich open the gates to Russian modernism? The choice is yours. Ordenssaal, Residenzschloss Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 € Sponsored by

SAT MAY 28

SAT SUN MAY 28 MAY 29

DIÁLOGOS FLAMENCO BARROCO

THE COMMON STORIES

»De Viejos Y Nuevos Sones«

»Soundtrack of Our Wars«

Academia del Piacere Fahmi Alqhai Viola da gamba Rocío Marquez Vocals Rami Alqhai Viola da gamba Dani de Morón Flamenco guitar Agustín Diassera Percussion

Hope Azeda Concept, Scenography, Text Konstantin Dupelius Concept, Composition Nedim Zlatar Concept, Composition, Text Benjamin Bajramović, Vernesa Berbo, Tete Loeper Text Justine Loddenkemper Costumes Emina Omerović Dramaturgy Amanda Akaliza, Benjamin Bajramović, Snežana Bogićević, Konstantin Dupelius, Peace Jolis, Rosette Karimba, Moise Mutangana, Jihad Niyonkuru, Serge Rugamba, Asmir Šabić, Leonardo Šarić, Donia Sbika, Nedim Zlatar Performance

8 pm

Originating with Andalusia’s »gitanos« and looking back on centuries of history, flamenco is the quintes sence of Spanish music today. Passionate, painful, but also full of boundless joy, flamenco grapples with humanity’s great issues: death, redemption, courage and compassion. It is engraved within collective memory, yet has undergone change after change and assimilated new influences. In Ludwigsburg, this cultural heritage is now juxtaposed with Spanish baroque music whose melodies crossed the seas from Andalusia to South America, leading to a style all its own there. Performed by vocalist Rocío Márquez, viola da gamba player Fahmi Alqhai and his ensemble Accademia del Piacere, these baroque chaconas, marionas and tangos meet flamenco, creating a vivid confluence of tradition and renewal. Alte Kelter, Bietigheim 15A ⁄ 35 € Sponsored by

8 pm

7 pm

In the 1990s ethnic and political conflicts convulsed the Balkans and Rwanda. Leaving deep scars in these societies, their legacies and narratives continue to have an effect. Genocide and war are over, but ethnic tensions still exist in all countries. Bosnia, a land divided forever? Rwanda, the land of exemplary reconciliation? Germany, a land of peaceful coexist ence? This multi-national documentary musical production is based on personal experiences and efforts towards healing and peace in a shattered world. Collaboration by artists from the fields of music, dance, theatre and literature as well as the exchange of personal experiences enable deeply human stories to be told. Kunstzentrum Karlskaserne, Ludwigsburg 15A ⁄ 25 € A co-production of Oyoun – Kultur NeuDenken Berlin, Mashirika Performing Arts and Media Company Rwanda, Sarajevo War Theatre Bosnia-Herzegovina. Supported by the TURN2 Fund of the Federal Cultural Foundation and the Federal Government Commissioner for Culture and the Media. In cooperation with The Grey Stories Ludwigsburg, Kunstzentrum Karlskaserne Ludwigsburg, Stiftung Entwicklungs-Zusammenarbeit Stuttgart, Partnerschaftszentrum Baden-Württemberg-Burundi. Funded by the impulse program »Culture despite Corona« of the Ministry of Science, Research and the Arts Baden-Württemberg.

SAT MAY 28

FRI SAT SUN JUNE 3 JUNE 4 JUNE 5

MALAKOFF KOWALSKI APHORISMS

STRASSEN MUSIK FESTIVAL

»Aphorisms« »Onomatopoetika« »My First Piano«

After two years of pandemic it’s about to happen again: finally the Internationale Straßenmusikfestival Ludwigsburg will be taking place again at the »Blooming Baroque« garden show in Ludwigsburg. Every day from 6 to 11 pm over the Whitsun weekend live performances can be seen on twelve stages located all over the grounds around the Residence, from the large main stage in front of the palace to the atmospheric Pavilion at the centre of the park, and even extending into the city centres of Ludwigsburg and Stuttgart. Forty musicians and bands from all over the world play music from all genres: singer/ songwriters, rock/pop, Latin, hip-hop and country and western. And on the Friday they’ll be joined by the Rothko String Quartet, who will be giving another concert at the Ludwigsburg Festival on the Saturday. Having proved highly popular last year, there’ll be a public vote on which acts will appear at the closing concert. Anybody can choose their favourites, either by using the voting cards provided at the venues or by voting online on the festival website.

8 pm

Malakoff Kowalski Piano The idea of reducing musical content to its essence leads the composer and pianist Malakoff Kowalski to create veritable piano poetry. Musically inspired by Johannes Brahms, Alexander Scriabin and 1950s and 1960s jazz, Kowalski’s compositions are notable for their calm sonic portraits and a tonal idiom of condensed expressivity. Musical rests are of central importance: as »spaces to sink into« they offer a kind of refuge from the continuous state of overstimu lation today’s society is subject to. In addition to his new programme »Aphorisms«, Kowalski also intro duces excerpts from his piano suite »Onomatopoetika« (2020) and his album »My First Piano« (2018). Ordenssaal, Residenzschloss Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 € Followed by a Meet & Greet

6 pm

Informations and Tickets can be found at www.strassenmusikfestival.de

FRI JUNE 3

SAT JUNE

GENERATION ZUKUNFT MUSIK

ROTHKO STRING QUARTET

Works by GUSTAV HOLST a.o.

»The Giving Tree«

Eberhard-Ludwigs-Gymnasium Stuttgart Goethe-Gymnasium Ludwigsburg Helene-Lange-Gymnasium Markgröningen Jugendmusikschule Ludwigsburg

CAROLINE SHAW »Plan & Elevation: The Grounds of Dumbarton Oaks« MADDALENA CASULANA »O Notte« KATE MOORE »Cicadae« GABRIELLA SMITH »Carrot Revolution« EMILIE MAYER »Adagio« from String Quartet in G-minor, op. 14

6 pm

A collaborative experience instead of the classic concert situation – that was the main concern of the young people involved in the project when they were working on a concept for the evening over the course of several workshops. As the generation of the future, the secondary school students from Ludwigsburg, Markgröningen, Stuttgart and the Jugendmusikschule Ludwigsburg have delivered an important impetus towards the shaping of future concert formats. In collaboration with artistic ensem bles from their schools they came up with an overall dramatic framework to give exciting shape to the seventeen Sustainable Development Goals and the question »What do we want to set in motion?«. The fruit of creative and committed young people, the aim of »Generation Zukunft Musik« is to touch and reso nate with people, giving rise to a sense of community. Forum am Schlosspark, Ludwigsburg 15 € Festival guests under 18 receive a free ticket. Sponsored by

8 pm

Rothko String Quartet Joosten Ellée Violin William Overcash Violin Marc Kopitzki Viola Jakob Nierenz Violoncello Nature provides everything necessary for life. But human beings are insatiable and always want more than they already have. Sooner or later our greed will have exhausted the earth’s resources. A parable of this sort of exploitation can be seen in Shel Silver stein’s famous book »The Giving Tree«, in which a generous tree gives everything it has to an ungrateful boy until all that is left is a stump. Inspired by this story and taking its name for their new programme, the Rothko String Quartet lets nature put humankind in the dock. As prosecutor and accused in one, the quartet presents works of music from the Renais sance to the present day – all written by female composers – that give the gardens, forests, seas and animals voices of their own. Ordenssaal, Residenzschloss Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 € Followed by a Meet & Greet In Cooperation with the PODIUM Esslingen. Sponsored by

THU FRI JUNE 9 JUNE 10 8 pm

8 pm

HUMAN REQUIEM BRAHMS JOHANNES BRAHMS »Ein deutsches Requiem« op. 45 for solos, choir and piano for four hands Iwona Sobotka Soprano John Brancy Baritone Angela Gassenhuber Piano Philip Mayers Piano Rundfunkchor Berlin Gijs Leenaars Musical Direction Justus Barleben Musical Co-Direction Jochen Sandig Director, Concept Ilka Seifert Dramaturgy Sasha Waltz Dramaturgy Davide Camplani Artistic collaboration, Repetition Claudia de Serpa Soares Artistic collaboration Repetition Brad Hwang Stage Design Jörg Bittner Lighting, Technology »Blessed are those who mourn, for they shall be comforted« (Matthew 5:4) Johannes Brahms composed his »Deutsches Requiem« not as a mass for the dead, but as a gripping work of consolation for the living. Jochen Sandig takes the composer at his word and trans forms it into a »Human Requiem« and a concert event for everyone. His staged, choreographed production turns the profoundly human and inter religious message of the Requiem into a sensual experience, focusing on love which overcomes pain and grief, celebrating life in its finite nature. The Rundfunkchor Berlin under Gijs Leenaars creates miracles on this interdisciplinary evening, for all its singers fill the space with their voices as soloists. The Liederhalle in Stuttgart is transformed into an open space of community and collective catharsis. 60

The separation of stage and auditorium is lifted; the audience is confronted with sound from the stage, but experiences it from all sides. Text, body, space and sound merge in a total work of art. Created in 2012 at the Radialsystem in Berlin, the production has toured to Adelaide, Amsterdam Athens, Brussels, Granada, Hamburg, Hong Kong, Istanbul, Paris, Rotterdam and New York, meeting with overwhelming responses. The New York Times voted the production one of its ten best concerts of the year, calling Brahms’ Requiem an »anthem of our times« – our mortality unites all humans in one fate. In April 2021 the moving production also brought together those participating in the memorial service for the victims of the coronavirus pandemic which President Frank-Walter Steinmeier hosted.

Kultur- und Kongresszentrum Liederhalle, Stuttgart 25A ⁄ 50 € Subscription »Tanz und Ritual« (p. 103) A production of the Rundfunkchor Berlin in cooperation with Sasha Waltz & Guests and Radialsystem Berlin. Sponsored by

SAT JUNE 11 8 pm

DIE UNVOLLENDETE REVOLUTION FRANZ SCHUBERT Symphony No. 7 in B minor, D 759 »Unfinished« TŌRU TAKEMITSU »Air« for flute solo KANSTANTIN YASKOU »Attempt in genealogy« OLGA PODGAISKAYA »The City is a River« another poem setting by ANONYM Orchester der Ludwigsburger Schlossfestspiele Guillermo González Flute Ilya Silchukou Bass Baritone Vitali Alekseenok Musical Direction »We met not as originally planned with conductor’s baton and flute in a concert hall but with funeral flowers beside a bloodstain on the streets of Minsk.« Vitali Alekseenok’s encounter with Maria Kalesnikava didn’t go as anticipated. Both are from Belarus and since emigrating have become important figures on the cultural scene in Germany. During the Belarus presidential election in August 2020 they returned to their home country to join the mass protests against autocratic incumbent Alexander Lukashenko and his blatant election fraud. All across Belarus, people shook off years of lethargy and began clamouring for change. The regime reacted with oppression and gruesome violence; as a result Kalesnikava is now one of many unlawfully detained individuals. Belaru sians countered this with a disarming creativity and lack of violence, pitting their innocence against bloodshed. This particular, very moving kind of protest took this courageous people beyond the initial event of the presidential election, even though the numbers participating have been decimated by detainment or flight. As long as Lukashenko is in power, there is no victory; meanwhile a »European history of the present« is being written, one that is largely disregard ed by peaceful and democratic countries such as Germany. Vitali Alekseenok is known to us as a conductor. While his experiences in Minsk have had a huge influence on him and the way he makes music, he is torn apart in side by the fact that he can do nothing for

this country with his concerts. In »Die weißen Tage von Minsk« (The White Days of Minsk) he has written a chronicle of the Belarusian revolution, with the aim of drawing attention to the situation in Belarus. »Do you rejoice with us? Do you suffer with us?« asks the Belarusian poet Valzhyna Mort in her preface to his book. However, with his evening programme at the Ludwigsburg Forum, Alekseenok is doing far more than simply creating empathy. In three contemporary poem settings by Belarusian composers the audience can experience at first hand the poetic and musical approaches – hymnic, imploring, desperate – that are being used to process the dire and distressing conditions in Belarus. The stillness embodied in Tōru Takemitsu’s piece for flute entitled »Air« matches the peaceful quality of the Belarusian revolution. Its aim remains unreached, something that is also expressed in Franz Schubert’s »Unfinished Symphony«.

Forum am Schlosspark, Ludwigsburg 15A ⁄ 28 ⁄ 42 ⁄ 55 ⁄ 65 ⁄ 75 € Subscription »Welt im Wandel« (p. 103) Sponsored by

SUN JUNE 12

FRI SAT SUN JUNE 17 JUNE 18 JUNE 19

EDIVALDO HAUSCHKA ENCOUNTER

DEPTH MOVEMENT WORKSHOP

Edivaldo Ernesto Dance Hauschka Piano

Edivaldo Ernesto Dance

7 pm

When two artists of different genres meet, this frequently leads to extraordinary results. When the two are such remarkable personalities as dancer Edivaldo Ernesto and composer and pianist Volker Bertelmann – aka Hauschka – fireworks of creativity can safely be predicted. Their collaboration began in 2013 as part of the series UM:LAUT at the Radial system in Berlin. As then, the two of them meet determined to build their performance from sponta neous and direct reactions. Without the security of pre-arranged choreographies or compositions, Edivaldo Ernesto and Hauschka improvise a dialogue between dance and music – convinced that allowing mistakes enables them to create the unexpected. Often, after all, it is imperfection that has the potential to unfold enormous attractivity and beauty. Reithalle Kunstzentrum Karlskaserne, Ludwigsburg 15A ⁄ 25 €

How does one overcome personal limitations? How can a venue influence a dance performance? What defines your dance? Based on these and many other questions, the dancer and improvisation artist Edivaldo Ernesto has developed a method of his own which has found acclaim all over the world. From June 17 to 19, he offers an intense course for dancers in Ludwigsburg. »Depth Movement Intensive« is about releasing energies, overcoming limitations and delving deep into one’s personal dance vocabulary. Group dynamics, partnering, multi-directional micronarrative movement – Edivaldo Ernesto supports dancers in working on new paths to enrich their own dancing, understanding the possibilities of new qualities of movement and rhythms. The workshop is realised in cooperation with the Tanz & Theaterwerkstatt Ludwigsburg. All information can be found at: www.tanzundtheaterwerkstatt.de

FRI SAT SUN JUNE 17 JUNE 18 JUNE 19 8 pm

8 pm

7 pm

PINA BAUSCH SACRE »Das Frühlingsopfer« by PINA BAUSCH »common ground[s]« by GERMAINE ACOGNY and MALOU AIRAUDO »Das Frühlingsopfer« Pina Bausch Choreography Rolf Borzik Stage Design, Costume Hans Pop Collaboration Music by IGOR STRAWINSKY Josephine Ann Endicott, Jorge Puerta Armenta, Clémentine Deluy Artistic Direction Restaging Ditta Miranda Jasjfi & Çağdaş Ermiş, Barbara Kaufmann, Julie Shanahan, Kenji Takagi Rehearsal Directors »common ground[s]« Germaine Acogny Co-Choreography, Dance Malou Airaudo Co-Choreography, Dance Fabrice Bouillon LaForest Composition Petra Leidner Costume Zeynep Kepekli Light Design Sophiatou Kossoko Dramaturgy

Aiming to present Pina Bausch’s creative output not only to a broad audience worldwide, but to a new generation of dance creators as well, the Pina Bausch Foundation also licences her choreographies to international companies and dancers. This led to the creation of a double bill with the École des Sables and Sadler’s Wells London on which »Das Frühlings opfer« is interpreted by dancers from 14 African countries who came together especially for this production. The evening opens with the new duet »common ground[s]« by Germaine Acogny, founder of the École des Sables, and Malou Airaudo, one of the first dancers to join the Tanztheater Wuppertal. The two dancers, both past the age of 70, met for the first time when developing this work; still they quickly established a joint choreographic basis, which Airaudo described as gentle, calm and respectful. The expressive riches of decades of dance experience lent the duo a profundity which is a perfect match for »Das Frühlingsopfer«, now almost 50 years old itself. Forum am Schlosspark, Ludwigsburg 15A ⁄ 28 ⁄ 42 ⁄ 55 ⁄ 65 ⁄ 75 € Subscription »Tanz und Ritual« (p. 103) A production by the Pina-Bausch-Foundation, the École des Sables & Sadler’s Wells. A Pina Bausch Foundation, École des Sables & Sadler’s Wells production coproduced with Théâtre de la Ville, Paris; Les Théâtres de la Ville de Luxembourg; Holland Festival, Amsterdam; Festspielhaus, St Pölten; Ludwigsburg Festival; Teatros del Canal de la Comunidad de Madrid, Adelaide Festival and Spoleto Festival dei 2Mondi. The project is funded by the German Federal Cultural Foundation, the Ministry of Culture and Science of the German State of North Rhine-Westphalia, and the International Coproduction Fund of the GoetheInstitut, and kindly supported by the Tanztheater Wuppertal Pina Bausch. The german premiere is sponsored by

TUE JUNE 21

THU JUNE 23

EINSTÜRZ ENDENEU BAUTEN

MINI MAL MUT

»Tour 2022«

»Maximaler Mut mit minimaler Musik«

Einstürzende Neubauten Blixa Bargeld Vocals N.U. Unruh Percussion Alexander Hacke Bass Jochen Arbeit Guitar Rudolf Moser Percussion

Schule am Favoritepark, Ludwigsburg Naturparkschule, Oberweissach Grundschule Burgholzhof, Stuttgart Gemeinschaftsschule, Leutenbach Reinhold-Nägele-Realschule, Weinstadt

8 pm

Die Nerven Julian Knoth Vocals, Bass Max Rieger Vocals, Guitar Kevin Kuhn Drums Even a belated anniversary is a joy: After several postponements, Einstürzende Neubauten finally gets the opportunity to celebrate their 40th anniversary in a fitting manner. Between Vienna and Lisbon, their only stop in Baden-Württemberg is Ludwigsburg. The Stuttgart post-punk band Die Nerven will be the opening act at the MHPArena. Some time has passed since Einstürzende Neubauten released their studio album "Alles in Allem" in May 2020, but the excep tional band from Berlin still inspires with its originality and presentness two years later.

MHPArena, Ludwigsburg 50 € Sponsored by

6 pm

Christina Eychmüller Violin, Tutor Henrike Löchte Piano, Tutor Melanie Heintel Violin, Tutor Christian Zech Guitar Tutor From courageous, minimalist chaos, ideas are born; ideas lead to motifs, and these motifs finally con stitute musical wonders. This is a process explored by about 100 students from various schools, experiencing personally how performers playfully become com posers. The principles of minimal music offer a perfect introduction, given their maximal possibilities. After all, music means much more than just reproducing existing works: it offers a huge blank canvas for sounds and is open to everyone, independent of their level of proficiency. After eight workshops, the stu dents present what they have jointly experienced and created at the Musikhalle. Musikhalle, Ludwigsburg 15 € Festival guests under 18 receive a free ticket. In Cooperation with creARTE e.V.

FRI JUNE 24

JAN LISIECKI BEETHOVEN

GOLD BERG BACH

LUDWIG VAN BEETHOVEN Overture from »The Creatures of Prometheus«, op. 43 Piano concerto No. 4 in G major, op. 58 Piano concerto No. 5 E-flat major, op. 73 »Emperor«

JOHANN SEBASTIAN BACH »Goldberg Variations« Aria with various changes, BWV 988

8 pm

Jan Lisiecki Piano, Musical Direction Chamber Orchestra of Europe

Urban Strings Georg Kallweit Violin, Viola Margret Köll Harp Elina Albach Cembalo, Organ

Making the communal character of Europe audible – that august goal was Claudio Abbado’s when he founded the Chamber Orchestra of Europe in 1981, uniting a selection of the world’s leading instrumen talists in one chamber orchestra. In Jan Lisiecki, the Canadian pianist with Polish roots, the ensemble has found an ideal partner. Under his leadership, the musicians take the measure of Ludwig van Beethoven’s cosmos. Jan Lisiecki has found his place among the great interpreters of Beethoven’s piano concerti, as his complete recording of 2020 proves. At the Ludwigsburger Forum, both he and the Chamber Orchestra of Europe make their Schloss festspiele debut, offering the Piano Concerti Nos 4 and 5 and the overture to the ballet »Die Geschöpfe des Prometheus«. Those familiar with his style know that he never imitates or sounds like any other pianist – Lisiecki’s interpretations stand alone.

»Purists’ blood will run cold … a version with plenty of potential for controversy.« Of all the masterworks in the world, the ensemble Urban Strings has chosen the pinnacle of baroque keyboard music, Johann Sebastian Bach’s »Goldberg Variations«, to create a modern adaptation. Originally written for a keyboard instrument, the pieces are here performed by harp, harpsichord, organ, violin and viola. The idea behind this diverse instrumentation is to highlight the work’s contrapuntal dimensions through a spatial concept. By dividing the music into individual instru ments dispersed throughout the Ordenssaal venue, the special characteristics of Bach’s voice leading are illustrated – and the audience becomes a listen ing part of the ensemble. Within this intimate sonic atmosphere, the »Goldberg Variations« can be experienced in a manner that the original version cannot provide.

Forum am Schlosspark, Ludwigsburg 15A ⁄ 28 ⁄ 42 ⁄ 55 ⁄ 65 ⁄ 75 € Subscription »Beethoven hoch drei« (p. 103)

Ordenssaal, Residenzschloss Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 € Followed by a Meet & Greet

Sponsored by

A production of the Köthener Bachfesttage 2018 in cooperation with Radialsystem and Folkert Uhde Konzertdesign. Sponsored by

FRI JUNE 24

SAT SUN JUNE 25 JUNE 26

MOVING PICTURE 946-3

GLOBAL BREATH COMPOSERS

»Moving Picture 946-3 Kyoto Version«

Works by GEORGE LEWIS, MILICA DJORDJEVIC, LIZA LIM and ISABEL MUNDRY

8 pm

A film by GERHARD RICHTER and CORINNA BELZ. Composition by REBECCA SAUNDERS Marco Blaauw Trumpet Sebastian Schottke Sound Direction Moving images arising from countless coloured strips combined with the sound of a trumpet: there’s nothing simple in this interaction. As soon as the first tone of Marco Blaauw’s trumpet combines with the film »Moving Picture 946-3«, an almost hypnotic process of profound immersion beyond the dimen sion of space begins. Image and sound open up another dimension, developing a spherical dynamics of their own that becomes a constant driver of associa tions. The atmospheric composition by Rebecca Saunders and the film work by Corinna Belz and Gerhard Richter invite the viewer/listener to become part of the complex work of art themselves. The method of visual repetition is based on a proven mathematical principle devised by contemporary artist Richter and represents the productive climax of a six-year phase of research and development. Scala, Ludwigsburg 10 € Sponsored by

8 pm

7 pm

Works by AYANNA WITTER-JOHNSON, DAI FUJIKURA and RAVEN CHACON Marco Blaauw Trumpet Markus Schwind Trumpet Bruce Collings Trombone Christine Chapman Horn, Sound Direction Dirk Rothbrust Drums Ayanna Witter-Johnson Vocals, Cello Whether as a hunting signal or military fanfare – for more than 18,000 years, the sound of the trumpet has acquired multiple connotations throughout the course of human history. Is it possible to send a trumpet sound round the world which is understood by musicians everywhere? Marco Blaauw chose this question for his research project, examining traditions, customs and sounds of the instrument in a treasure hunt that has taken him around the world. Now his research enters a new phase. As part of the »Global Breath Composers Project«, Blaauw works with selected composers exploring the trum pet’s full sonic spectrum. Including several world premieres and further intriguing pieces, the audience can let itself be mesmerized by the versatile trumpet sound on two different concert evenings. The special guest on Sunday is the multi-talented Ayanna Witter-Johnson. The singer, cellist and composer also appears in a late-night performance at the Scala on the previous evening. Introduction one hour before the start. Ordenssaal, Residenzschloss Ludwigsburg 15A ⁄ 25 ⁄ 35 ⁄ 45 € With combination ticket 20% discount on both concerts On sunday, followed by a Meet & Greet

SAT JUNE 25

THU JUNE 30

AYANNA WITTER JOHNSON

ENSEMBLE CONTINUUM ORFEO

Ayanna Witter-Johnson Vocals, Cello, Piano

An Arrangement of the opera »L’Orfeo« by CLAUDIO MONTEVERDI, SV 318

10 pm

Ayanna Witter-Johnson is a veritable multi-talent. Born in England, the Jamaican artist trained in classical composition, but her music moves seam lessly between classical and jazz, reggae, soul and R&B. She amalgamates anything with a bass line and groove – »I mix everything I am«. As a singer, songwriter, pianist and cellist, Witter-Johnson’s music represents and celebrates her heritage, culture and identity. Her unique musical idiom and uncom promising texts take listeners on intimate journeys. Thus, her most recent album »Road Runner« is about finding her own creative voice. Dancehall Riddims influenced the main cello riff in »Rise Up« – a song for the young Black generation reminding us all to rise up and embrace our own history. An impulse to leave the humdrum behind and unfold moments of beauty. Scala, Ludwigsburg 15A ⁄ 25 € Sponsored by

8 pm

Elina Albach Harpsichord, Organ Lambert Colson Zinc, Recorder Liam Byrne Viola da gamba Philipp Lamprecht Percussion An opera entitled »L’Orfeo« without Orpheus, the singer? The version created by Elina Albach and her ensemble CONTINUUM offers just that. The four performers embark upon the mythical journey into the underworld, exploring the essence of the work – without singing. The story is a highly popular artistic subject, especially in musical theatre: to this day, more than 60 Orpheus operas have been written since the genre first came into being around the year 1600. Not the least reason is that the myth of Orpheus is about the human voice. And that is precisely where harpsichordist Albach begins. To dissociate Monteverdi’s great opera from the voice is the point of the project. The radically condensed chamber-music version features the familiar baroque music on multiple instruments, despite the small number of performers, revealing a version of the singer’s myth that is all the more intriguing for forego ing vocalism. Ordenssaal Residenzschloss, Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 € Followed by a Meet & Greet Sponsored by

FRI JULY 1

SUN JULY 3

PURCELL MENDELSSOHN MAYER

NIGL PASHCHENKO VANITAS

»Eclipse«

»Vanitas«

HENRY PURCELL Excerpts from »The Fairy Queen« FELIX MENDELSSOHN BARTOLDY Excerpts from the Overture from »Ein Sommernachtstraum«, op. 21 EMILIE MAYER Symphonie No. 2 in E-minor

LUDWIG VAN BEETHOVEN »An die ferne Geliebte«, op. 98 WOLFGANG RIHM »Vermischter Traum« FRANZ SCHUBERT »Die Taubenpost«, D 957; »Die Forelle«, D 550; »Der Wanderer an den Mond«, D 870; »Im Freien«, D 880; »Die Sommernacht«, D 289; »Abendstern«, D 806; »Fischerweise«, D 881; »Der Winterabend«, D 938; »Die Sterne«, D 939; »An die Musik«, D 547; »Abschied«, D 475

8 pm

ensemble reflektor Holly Hyun Choe Musical Direction Women continue to be underrepresented in many sectors. This is not generally true for music. At no time in history was there a lack of musical creations or cultural activity by women. Still, there is an entire world of music history which was buried, a fact reflected in the lack of well-known female virtuosos. When searching for great female composers, Emilie Mayer’s name comes up fairly quickly. How come a musician so respected and successful during her lifetime was forgotten immediately after her death, unlike many of her male colleagues? And how is it possible that her works disappeared from the concert scene, only to resurface in the 21st century? Inspired by these questions, the ensemble reflektor positions Mayer exactly where she belongs: amidst her great colleagues. Forum am Schlosspark 15A ⁄ 25 ⁄ 33 ⁄ 42 ⁄ 51 ⁄ 59 € Subscription »Welt im Wandel« (p. 103) In Cooperation with the PODIUM Esslingen. Sponsored by

7 pm

Georg Nigl Baritone Olga Pashchenko Fortepiano At first glance, the term »art song« is misleading: despite its high artistic and technical demands, its origins lie in folk song. Concentration on the essential is its nature, raising the question of the futility and transience of our own actions – or vanitas. Baritone Georg Nigl and pianist Olga Pashchenko interpret selected songs by Franz Schubert and Ludwig van Beethoven’s cycle »An die ferne Geliebte« in an intimate setting, breaking emotions down into filigree threads. They juxtapose these works with the song cycle »Vermischter Traum«, written especially for Nigl by the contemporary composer Wolfgang Rihm. Here, in his first work written after a severe illness, Rihm examines the same fundamental issues of human existence which the art song has been exploring for three centuries: love, death and loneliness. Ordenssaal Residenzschloss, Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 €

THU FRI JULY 7 JULY 8

THU JULY 7

WOOSTER GROUP B-SIDE

PROHASKA EMCKE LAFOLIA

»THE B-SIDE: Negro Folklore from Texas State Prisons. A Record Album Interpretation«

»Celebration of Life in Death – Hoffnung und Trauer in Zeiten der Pandemie«

The Wooster Group Eric Berryman, Jasper McGruder, Philip Moore Performance Kate Valk Direction Elizabeth LeCompte Production Design Ryan Seelig Lighting Eric Sluyter Sound Robert Wuss Video Enver Chakartash Costumes Gareth Hobbs Musical Direction

Carolin Emcke Reading Anna Prohaska Soprano La Folia Barockorchester

8 pm

Since 1975 the Wooster Group has been bringing together artists from a wide variety of disciplines and is internationally regarded as an innovative pioneer of radical experimental theatre. In their highly acclaimed programme »THE B-SIDE« the ensemble explores the album »Negro Folklore from Texas State Prisons«, issued in 1965 – a collection of convict work songs and spirituals, recorded and collected by Bruce Jackson. With stories of lost loves, violence and physical labour that repeats itself ad infinitum the three performers give a stage to the prisoners’ voices, thus themselves becoming a mouthpiece for a tradition that goes back to the beginnings of slavery and racist oppression. The act of listening becomes a process that speaks to and heightens all the senses – and the only objects the Wooster Group needs to achieve this are a desk, a microphone and an audio board. Kammertheater, Stuttgart Information and tickets are available at: www.schauspiel-stuttgart.de

8 pm

After more than two years, Covid-19 has become part of everyday life. But what exactly was the mood like in the spring of 2020, when all the switches were thrown in society, politics and above all in the private sphere? Veering between standstill and agitation, the world entered an unparalleled state of emergency. What at the time seemed slow, arduous and uncertain now appears almost frenzied and intensive from our pandemic-habituated perspective. In her »Journal – Tagebuch in Zeiten der Pandemie« (Journal – A Diary in Times of the Pandemic) Carolin Emcke has record ed her impressions of that initial phase. Thinking beyond the reality of life in her Berlin apartment, she includes the political, social and socio-psychological structures that cross-brace society on a global level in her survey. In 2022 Emcke’s analyses, questions and hopes have found a special echo: together with the Baroque orchestra »La Folia« the soprano Anna Prohaska takes up this resonance, complementing it with musical impulses from eight centuries. Ordenssaal Residenzschloss, Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 € Followed by a Meet & Greet Sponsored by

In Cooperation with Schauspiel Stuttgart. Sponsored by

FRI JULY 8

FRI SAT SUN JULY 8 JULY 9 JULY 10

VOCES SUAVES MADRIGALE

ACIS AND GALATEA

HEINRICH SCHÜTZ »Aus tiefer Not schrei ich zu dir«, SWV 235, from: »Becker Psalter« JOHANN HERMANN SCHEIN »O Herr, ich bin dein Knecht«, »Ich lasse dich nicht« and »Die mit Tränen säen«, from: »Fontana d’Israel« (Israelsbrünnlein); »Erbarm Dich mein, o Herre Gott«, from: »Opella nova – Geistliche Konzerte. Erste Abteilung« SAMUEL SCHEIDT »Aus tiefer Not schrei ich zu dir«, from: »Geistlicher Concerten IV« a.o.

GEORG FRIEDRICH HÄNDEL »Acis and Galatea«, HWV 49a Libretto by JOHN GAY, ALEXANDER POPE and JOHN HUGHES

8 pm

Voces Suaves The »three famous S« – Heinrich Schütz, Johann Hermann Schein and Samuel Scheidt – were consid ered »the best three composers in Germany during their lifetime«, according to the composer and writer Wolfgang Caspar Prinz. Born in the consecutive years of 1585, 1586 and 1587, the artists, who were also close friends, left their mark on 17th-century music history. The vocal ensemble Voces Suaves has developed a programme highlighting some of the composers’ most well-known works on the occasion of the 350th anniversary of Schütz’ death. Themati cally, they revolve around the theme of longing and praise of the divine, and the music is oriented strongly towards the tonal idiom of the Italian madrigal, then considered modern and expressive. These »sacred madrigals« by Schütz and Schein are combined with Scheidt’s vocal and organ music, i.e. polyphonic sacred songs – illustrating the diversity of musical languages in the German states at the time. Schlosskirche Residenzschloss, Ludwigsburg 15A ⁄ 25 ⁄ 35 ⁄ 45 € Followed by a Meet & Greet

8 pm

Keri Fuge Galatea Joshua Ellicott Acis Benedikt Kristjánsson Damon Andreas Wolf Polyphemus Gaechinger Cantorey Hans-Christoph Rademann Musical Direction Three is one too many – the classic love triangle in a nutshell. A slightly more detailed account of the plot of »Acis and Galatea« could be summarized as follows: The shepherd Acis and the nymph Galatea are in love. But the Cyclops Polyphemus desires the nymph. Envy and jealousy are followed by loss, only for love to prevail in the end. Four centuries after its premiere, Handel’s »little opera« (as he called it) remains one of the composer’s most frequently performed stage works. The orchestra and choir of the Gaechinger Cantorey under Hans-Christoph Rademann promise a spirited and atmospheric performance of H andel’s masterpiece. Schlosstheater Residenzschloss, Ludwigsburg Information and tickets are available at: www.forum.ludwigsburg.de A project of the International Bach Academy in cooperation with the Forum am Schlosspark and the Ludwigsburg Festival.

SUN JULY 10

WED JULY 13

THE 3RD BOX

MISSA SOLEMNIS BEETHOVEN

»Male, female, diverse – and now? A dance piece about possibilities«

LUDWIG VAN BEETHOVEN Missa Solemnis D-Dur, op. 123 for solos, choir, orchestra and organ

7 pm

Music by SORA SAM Monica Gillette Staging, Choreography Gary Joplin Staging, Choreography Kit, Luk, ALMA, Tao-zhi, Balthazar, Hannah Dance Charlotte Morache Set Design Michael Kaiser Dramaturgy Isabella Kammerer Production Management

8 pm

Birgitte Christensen Soprano Sophie Harmsen Alto Maximilian Schmitt Tenor Johannes Weisser Bass RIAS Kammerchor Freiburger Barockorchester Anne Katharina Schreiber Concertmaster René Jacobs Musical Direction

Since 2019, in Germany, individuals who do not identify as »male« or »female« have had the opportunity of selecting »diverse« as a third sex. But there have been »diverse people« long before the third box was added to official forms. Based on the reality of their own lives, in »THE 3RD BOX« young people ask the question: how open is the society in which we live in 2022? With techniques from dance and performance art the members of the ensemble explore their own bodies as social, cultural and biological bodies. Through the eyes of these young diverse individuals old concepts are challenged, intensively interrogated and reassem bled to form new models. The piece will also be shown at the Baden-Württembergische Theatertage in Heilbronn on 8 July.

Conductor René Jacobs describes the Missa Solemnis in D major as brilliant and humble at the same time. Ludwig van Beethoven invested four years of meti culous research into music history and theology into the piece and finally freed the liturgical text from its strict conventions creating a rather personal musical interpretation. The RIAS Chamber Choir, four soloists and the Freiburger Barock Orchestra under the direction of René Jacobs will fill the Friedenskirche with the »most sincere Mass setting«, according to Jacobs. And will let the Mass »go to the heart«, as Beethoven wished in his original dedication inscription.

Probebühne Akademie für Darstellende Künste, Ludwigsburg 10A ⁄ 15 €

Friedenskirche, Ludwigsburg 15A ⁄ 29 ⁄ 45 ⁄ 55 € Subscription »Beethoven hoch drei« (p. 103)

A production of the Junges Theater Freiburg. Sponsored by

Sponsored by

THU JULY 14

SAT JULY 16

L’ARTE MONDO OBERLINGER

MONREPOS OPEN AIR

»Eternal Breath – Ein Atem durch die Zeit«

Julian Prégardien Tenor Orchestra of the Ludwigsburg Festival Alondra de la Parra Musical Direction

8 pm

Works by HILDEGARD VON BINGEN, ANTONIO VIVALDI, WILLY MERZ, DOROTHÉE HAHNE a.o. Dorothee Oberlinger Recorders Anna Friederike Potengowski Stone Recorders Georg Wieland Wagner Percussion L’arte del mondo Werner Ehrhardt Violin, Musical Direction As a protagonist of Ancient Music or a compulsory part of elementary school education – the recorder is a familiar, albeit unpopular instrument. When Dorothee Oberlinger, however, plays her often underrated instrument, it shines as a glamorous soloist. The virtuoso musician owns approximately one hundred recorders of all sizes, brilliantly rendering a diverse repertoire ranging from medieval times to contemporary pieces. Together with Anna Friederike Potengowski, a special ist in prehistorical bone flutes, the percussionist Georg Wieland Wagner and the ensemble L’arte del mondo, she has put together a breath-taking kaleidoscope of sound over the course of human history. This also includes the history of the recorder and flute – human breath transformed into sound through the ages. Ordenssaal Residenzschloss, Ludwigsburg 15A ⁄ 35 ⁄ 45 ⁄ 55 € Followed by a Meet & Greet Sponsored by

9 pm

From 8 pm Orchestra of the Goethe Gymnasium Ludwigsburg LUDWIG VAN BEETHOVEN Symphony No. 7 in A-major, op. 92 ARTURO MÁRQUEZ »Danzón No. 2« FELIX MENDELSSOHN BARTHOLDY Overture from »Ein Sommernachtstraum«, op. 21 SAMUEL BARBER »Knoxville: Summer of 1915«, op. 24 PAUL DUKAS »Der Zauberlehrling« After two years of pandemic we can’t wait to celebrate the 25th Monrepos Open Air. You’ll also have been longing for the first encounter between the festival orchestra and conductor Alondra de la Parra together with tenor Julian Prégardien. On this summer evening the musicians will be exploring a thrilling gamut of emotions, from dreams and high spirits to the joy of dance. Patience and humour in challenging times were also evinced by Beethoven during the composi tion of his 7th Symphony. By this time the composer was already severely afflicted by his deafness and yet still gave birth to a joyful symphony in the key of A major. Richard Wagner famously saw in it the »apoth eosis of dance« – in his eyes the symphony was simply not of this world. Beethoven’s rich harmonies combine with works by Arturo Márquez, Samuel Barber and Paul Dukas and culminate in an artistic firework display. Festinwiese, Seeschloss Monrepos 15A ⁄ 40 ⁄ 45 ⁄ 60 ⁄ 70 € Sponsored by

SAT SEP 17

SUN SEP 18

GRAN PARTITA WOLFEGG

FEST SPIEL MATINEE

FRANZ SCHUBERT String Quintet in C-major, D 956, op. post. 163 WOLFGANG AMADEUS MOZART Serenade in B-major for twelve winds and double bass, K. 361 »Gran Partita«

Works by CARL MARIA VON WEBER, FRIEDRICH WITT, FRANÇOIS HENRI JOSEPH CASTIL-BLAZE, WOLFGANG AMADEUS MOZART, JOSEPH HAYDN, MÁTYÁS SEIBER and FRANZ KROMMER

8 pm

Martina Gedeck Reading Gustavo Surgik, Meike Brandenbusch Violin Robin Porta Viola Ana-Helena Surgik, Vache Bagratuni Violoncello Andreas Vogel, Eloi Enrique Oboe Manfred Lindner, Leif-Marek Müller Clarinet Andreas Kowalczyk, Hagen Bickel Basset Horn Michael Roser, Stefanie Rahm Bassoon N.N. Horn Nina Valcheva Double Bass The key of C-major is considered »cheerful and pure«. All the more remarkable that Franz Schubert chose this harmonic framework for his String Quintet, written when his life circumstances were desperate. Deeply perturbed by Beethoven’s death and severely ill, impoverished and misjudged himself, he concen trated all his profound and desperate feelings in this work. Full of dramatic contrast and with a tragic, otherworldly beauty of sound, the music fills the soul – yet remains beyond our grasp. Wolfgang Amadeus Mozart’s Serenade in B-flat-major alter nates between fast, playful and slow, sustained passages. In the piece, which became popular under the title »Gran Partita«, Mozart transcends the limitations of traditional wind pieces by employing larger forces and adding more movements than usual. The concert also features texts read by the actress Martina Gedeck between movements, expanding the sonic atmosphere of the Rittersaal with completely new associations.

11 am

Manfred Lindner, Leif-Marek Müller Clarinet Michael Roser, Stefanie Rahm Bassoon Stefan Helbig, Karen Schade Horn Nina Valcheva Double bass Dissonant Mozart? That’s not a typo. In his »Musical Joke«, the classical composer permitted himself that exact thing: a joke, translated in several places into odd harmonies, bad intonation and ungallant writing. Wolfgang Amadeus Mozart was targeting instrumen talists he considered arrogant and incompetent as well as amateur composer colleagues – creating a piece whose humour is as infectious today as it was then. Between the two parts of the matinee, this Sextet sweetens the intermission outside the Alte Pfarr in Wolfegg. The rest of the Sunday morning will be filled by members of our Festival Orchestra with other works of the First Viennese School, as well as the romantic profundity of the Overture to »Freischütz« by Carl Maria von Weber and the avant-garde tonality of Mátyás Seiber’s Serenade for Wind Sextet. Alte Pfarr, Wolfegg 15 ⁄ 30 ⁄ 35 €

Rittersaal, Wolfegg 25 ⁄ 35 ⁄ 45 ⁄ 55 € 89

SUN SEP 18

SUN SEP 25

STILE ANTICO LOBGESANG

ELB TONAL PERCUSSION

»The Mystic Rose«

Works by KEIKO ABE, CASEY CANGELOSI, IVAN TREVINO, AUREL HOLLO, THIERRY DE MEY a.o.

6 pm

Works by FRANCISCO GUERRERO, ROBERT PARSONS, WILLIAM BYRD, WILLIAM CORNYSH, ORLANDE DE LASSUS, CLAUDIO MONTEVERDI a.o. Stile Antico Poetry is the essence of the rich and symbolic language employed to venerate Mary, Mother of God. Salutations such as »thou refuge of sinners« or »thou vessel of the spirit« express her role in salvific history, or are derived from Biblical images. This also applies to the expression »thou mysterious rose«, going back to the development of a rose symbolism in connection with Jesus Christ and Mary. In Wolfegg, the British vocal ensemble Stile Antico presents its eponymous programme: »mystic rose« features wonderful Marian chants from three centuries and four countries. The twelve vocalists have made a name for themselves with vivid and moving perfor mances of renaissance polyphony. The selections include settings of the four great Marian antiphons sung throughout the ecclesiastical year: moving miniatures such as the »Ave Maria« by Cristóbal de Morales or William Cornysh’s canticle »Salve Regina«. Schlosskirche, Schloss Wolfegg 15 ⁄ 30 ⁄ 35 €

7 pm

Elbtonal Percussion Jan-Frederick Behrend Percussion Stephan Krause Percussion Francisco Manuel Anguas Rodriguez Percussion Sönke Schreiber Percussion Rhythm rocks, whether produced by drums or repurposed everyday objects, or made more melodi cally on marimbas and vibraphones: the rich spec trum of percussion gets everyone going and Elbtonal Percussion know just how to exploit this. For the last twenty-five years the Hamburger Ensemble with its crossover expertise has toured all across the world. The four musicians combine pop, jazz, world music and classical music with a touch of live elec tronics, creating a spectacle that has the audience sitting on the edge of their seats. On their first visit to the Ludwigsburg Festival Elbtonal Percussion are bringing their concept album »HAMBURG«, giving insights into their musical exploration of the Hanseatic city in the north. Alongside arrangements, for example of Keiko Abes’s well-known marimba concerto »The Wave«, they will be performing a thrilling mix of genres and sounds. Kursaal, Bad Imnau 15 ⁄ 20 ⁄ 25 €

Charles de Gaulle Speech to the Youth of Germany on 9 September 1962

»I congratulate you all! Firstly, I congratulate you on being young. One only has to see the fire in your eyes, feel the vigour of your declarations, sense the personal passion within every one of you and recognize the élan shared by all your group to be convinced that this enthusiasm has made you into people chosen to be masters of life and of the future. And furthermore I congratulate you on being young Germans, that is to say, the offspring of a great people. Yes indeed, a great people. A people that has made great mistakes in the course of its history but has also sent out intellectual, scientific, scholarly, artistic and philosophical waves across the world, and has enriched humankind with innumerable products of its power of invention, its technology and its work; a people that in its peacetime work and in the tribulations of war has brought forth achievements that are treasure troves of courage, discipline and organization. The French people appreciates this fully, for it also knows what it means to be enterprising and creative, to work hard, to give and to suffer. Finally I congratulate you on being the youth of today. As you embark upon your careers, the human race is beginning a new life. Driven on by an obscure power, on the basis of an unknown law, the material things of this life are subject to an ever more rapid process of transformation. Your generation is seeing and will continue to see the overall results of scientific discoveries and the development of machines bringing about upheavals in 94

people’s physical life conditions. But your generation should not make this wonderful new field that is opening up for you into the exclusive preserve of the privileged few. It should be made accessible to all our fellow human beings. You should strive to ensure that progress becomes a common asset, so that it contributes to the promotion of the good, the just and the beautiful, everywhere and especially in the lands such as our own that are the definers of civilization. In this way, pro gress is to help the thousands of millions living in developing countries to conquer hunger, poverty and ignorance and to attain full human dignity. However, life in this world harbours dangers, which are all the greater when what is at stake is ethical and social in character. The important thing is to know whether as a result of the upheavals people will become slaves in the collectivity, or not; whether it is their fate simply to be driven on in the great anthill, or not; and whether they will be able to gain complete mastery of progress and thus become freer, more dignified, and better human beings. This is the crucial point in the great conflict that has divided the world into two separate camps and which demands of the peoples of Germany and France that they remain faithful to their common ideal, support it with their political policies, and – if necessary – defend it and fight in order to bring it to victory! Now, this solidarity that has become perfectly natural is something that we must organize. This is the task of the 95

governments. But above all, we must give it content that will enable it to survive – and this should be the task of youth in particular. While our two states have the task of promoting economic, political and cultural cooperation, you young people and the youth of France have the task of encouraging all social milieus in your and our societies to move ever closer together, to get to know each other better, and to forge closer ties and bonds. The future of our two countries – which is the foundation stone on which the unity of Europe can and must be built and the greatest trump card for the free dom of the peoples – lies in mutual esteem, trust and friend ship between the peoples of France and Germany.«

Write with us a Speech from the Youth of Germany!

This year, Ludwigsburg sees the sixtieth anniversary of a very important event: on 9 September 1962, in the inner courtyard of the Residence, Charles de Gaulle delivered his »Speech to the Youth of Germany« in front of some twenty thousand listeners. Looking to the future and striking an exceptionally positive tone, the French President found words of friendship that were intended to establish a stable, united Europe after a past marked by enmity and war. A short time later, the ongoing reconciliation between the two countries was sealed in the Elysée Treaty. De Gaulle asserted that to maintain this peace would call for a great deal of work – on the economic, political and cultural levels on the part of the governments, and on the social and individual levels on the part of young people.

Against the background of Charles de Gaulle’s »Speech to the Youth of Germany«, an interesting question has occurred to us: What would a speech from the youth of today sound like? What wishes, goals and criticisms might the young voices of today wish to express? In the coming months, the Ludwigsburg Festival wishes to find time and space to bring a speech of this kind into being. For a start, members of the Ludwigsburg Youth Municipal Council have volunteered to take part in the project. We will be pleased to hear from other young people who are keen on the idea of taking part and working on drafting a »Speech from the Youth«. If you are interested, please register with an email to: Education@schlossfestspiele.de.

It is a testimony to positive developments that FrancoGerman friendship has deepened since that time and the two countries are now far from constituting a threat to each other or to Europe as a whole. But Europe’s wounds, never entirely healed, are reopening in other places. In Eastern Europe there have been a number of conflicts and wars since the Second World War. Two years ago saw the beginning of the resist ance movement in Belarus, which is still going strong and provoking painful retaliation. And while this programme brochure was being put together, the world was shocked by Vladimir Putin’s military attack on Ukraine. Does Europe wish to stand on the stable foundation of mutual friendship and respect? Or in place of stability based on ideals, will it prefer the goal of a political fortress with the drawbridge raised against the outside world? In 2015/16, many refugees in need of help experienced Europe more as the latter than the former. While Charles de Gaulle’s wishes for the future have come true for Germany and France, in Europe as a whole there is still much to be done. 97

Ways and Aims The Ludwigsburg Festival is reacting to the epoch- making upheavals caused by the climate crisis, the pandemic and the new war in Europe by transforming it into a »festival of the arts, democracy and sustaina bility«. One of the most long-standing festivals in Germany is thus stepping up to the historic challenge of playing a part in the great transformation and taking an exemplary stance in the present in order to shape a diverse, peaceful and sustainable society together with all those who wish to make an active contribution. Minister of State for Culture and Media Claudia Roth has called on all cultural institutions to cooperate in efforts to overcome local and global crises. On a regional level we also draw on the guidelines on development policy issued by BadenWürttemberg which state that »cultural institutions have a special responsibility to communicate subjects related to development policy in ways that engage and stimulate audiences«. Music and dance are universal languages that unite people in common understanding. As a concept, the »Baden-Württemberg International Festival« faces both outwards to the world at large as a festival of understanding among nations as well as inwards to local communities as a participative field of social solidarity. The Festival seeks to create new connec tions between the arts. In this regard it not only creates innovative formats but also pursues new avenues to reach out to the whole spectrum of society in all its diversity: a festival for everyone. Our aim is to develop our important historical tradition through the Festival’s present positioning and take that tradition into the future. The important issues of our time thus become the foundations for the overall framework of the Festival, a responsibility we feel passionately about. In 1962 in his speech given in the cour d’honneur of Ludwigsburg Palace, Charles de Gaulle reminded us that a future with a dignified, free and better life for all can only be imagined in association with ethical and social responsibility. For this reason the Festival focuses on the values of sustainability, as formulated on a global scale in the United Nations’ 2030 Agenda for Sustainable Development. Here we come full circle, as a major part in shaping the Sustainable Development Goals was played by former Federal President Horst Köhler, 100

honorary citizen of Ludwigsburg, who together with his wife Eva Luise Köhler is also the official patron of this year’s festival. Our commitment to implementing the aims of the 2030 Agenda on a social, ecological and economic level manifests itself in our programmes, purchasing decisions, handling of natural resources, mobility concepts and the choice of strategic partnerships with foundations and leading commercial enterprises. As a member of the »Aktionsnetzwerk Nachhaltigkeit in Kultur und Medien«, what we will be concentrat ing on in the near term is reducing our carbon footprint to contribute to the now far-distant goal of limiting global warming to 1.5 degrees. Just as we want to attract a diverse audience to our festival, we also wish to be a workplace that reflects this diversity. To this end, within the framework of the Baden- Württemberg regional programme for enhancing the inclusiveness of our cultural institutions, we are also participating in the »Interkulturelle Qualifizierung vor Ort« programme.

The 17 Goals The 17 Goals by the 2030 Agenda for Sustainable Development Goal 1 End poverty in all its forms everywhere. Goal 2 End hunger, achieve food security and improved nutrition and promote sustainable agriculture. Goal 3 Ensure healthy lives and promote well-being for all at all ages. Goal 4 Ensure inclusive and equitable quality education and promote lifelong learning opportunities for all. Goal 5 Achieve gender equality and empower all women and girls. Goal 6 Ensure availability and sustainable management of water and sanitation for all. Goal 7 Ensure access to affordable, reliable, sustainable and modern energy for all. Goal 8 Promote sustained, inclusive and sustainable economic growth, full and productive employment and decent work for all. Goal 9 Build resilient infrastructure, promote inclusive and sustainable industrialization and foster innovation. Goal 10 Reduce inequality within and among countries. Goal 11 Make cities and human settlements inclusive, safe, resilient and sustainable. Goal 12 Ensure sustainable consumption and production patterns. Goal 13 Take urgent action to combat climate change and its impacts. Goal 14 Conserve and sustainably use the oceans, seas and marine resources for sustainable development. Goal 15 Protect, restore and promote sustainable use of terrestrial ecosystems, sustainably manage forests, combat desertification, and halt and reverse land degradation and halt biodiversity loss. Goal 16 Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels. Goal 17 Strengthen the means of implementation and revitalize the global partnership for sustainable development.

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Tickets and info Ticket office and sale by mail Ludwigsburger Schlossfestspiele Palais Grävenitz Marstallstraße 5, 71634 Ludwigsburg Mon till Fri 10–3 pm Telefon +49 (0) 7141 939 636 karten@schlossfestspiele.de Ticket sale by phone Kartentelefon +49 (0) 7141 939 636 Outside our business hours, we will forward your call directly to the freephone ticket hotline of our partner Easy Ticket Service. Online booking www.schlossfestspiele.de/en/ In principle, there are no fees for online bookings. You can print out your ticket by yourself via print@home. Please note that no discounts can be booked online. Payment Tickets may be paid for by SEPA direct debit, credit card (MasterCard, VISA) or in cash at the ticket office. At the box office, only cash payment ist possible. In the Forum am Schlosspark you can pay by EC card. Fees A shipping and handling fee of €4.30 is charged per order (or €6.40 for a card value of €250 or more). No fees are charged for a print@home order. Ticket return Please check your tickets immediately. Later com plaints cannot be considered. In principle, neither exchange nor return of tickets is possible. However, if an event is cancelled, you can of course have your money refunded (see also p. 110). Reservations Please get your reserved tickets at least 30 minutes before the start of the performance. The ticket price must be paid even if reserved tickets won’t be picked up.

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Accessibility If you have any questions about the accessibility of our venues, please contact the ticket office. Easy Ticket Service Telephone +49 (0)711 255 55 55 Mon till Fri 10–6 pm, Sat 9–2 pm Tickets are also available at over 70 Easy-Ticket ticket offices in Baden-Württemberg. You can find those near you at www.easyticket.de.

Ticket offices in Ludwigsburg and Stuttgart Ticketservice in the Tourist Information Ludwigsburg MIK – Museum Information Kunst Eberhardstraße 1, 71634 Ludwigsburg Tue till Sat 10–6 pm, closed on holidays CITY-MUSIC Ticketvertriebs GmbH Schillerplatz 8, 71638 Ludwigsburg Phone +49 (0) 7141 92 15 13, Fax +49 (0) 7141 92 15 01 Mon till Wed 10–2 pm, Thu 10–6 pm Ludwigsburger Kreiszeitung Customer Centre Körnerstraße 14–18, 71634 Ludwigsburg Phone +49 (0) 7141 13 03 11, Fax +49 (0) 7141 13 04 00 Mon till Thu 9–5 pm, Fri 9–3 pm, Sa 9–1 pm Stuttgart Marketing GmbH i-Punkt Ticket office Königstraße 1A, 70173 Stuttgart Phone +49 (0) 711 222 81 11, Fax +49 (0) 711 222 82 53 Mon till Fri 9–8 pm, Sat 9–6 pm, Sun 10–4 pm Phone hours: Mon till Fri 9–5 pm, Sat + Sun 10–4 pm Kulturgemeinschaft Stuttgart e.V. Willi-Bleicher-Straße 20, 70174 Stuttgart Phone +49 (0) 711 224 77 20, Fax +49 (0) 711 224 77 23 Mon till Fri 10–6 pm Members of the Kulturgemeinschaft Stuttgart receive reduced tickets including VVS authorisation for selected events. Further ticket offices can be found on our website at www.schlossfestspiele.de/en/ → Your visit

Vouchers

Discounts

With a voucher of any value you leave the recipient free to choose. Our classic gift all year round is available from the ticket office, by telephone on +49 (0) 7141 939 636 and online.

Proof of eligibility is required for the purchase of reduced tickets. Each ID entitles the holder to one reduced ticket for each event. Reductions, which cannot be combined, are available only at the Festival ticket office. Festival guests in training pay only €15 per ticket up from category 2 (gekennzeichnet mit A). Those tickets are sponsored by the Ruprecht-Foundation.

Subscriptions Beethoven hoch drei (Three times Beethoven) »Kopatchinskaja Les Adieux« May 11 p. 43 »Jan Lisiecki Beethoven« June 24 p. 71 »Missa Solemnis Beethoven« Juli 13 p. 83 20% discount Tanz und Ritual (Dance and ritual) »Dido and Aeneas« May 22 »Human Requiem Brahms« June 9 »Pina Bausch Sacre« Juni 19 20% discount

p. 48 p. 60 p. 67

Welt im Wandel (World in transition) »Stegreif Orchester #Bechange« May 14 »Die unvollendete Revolution« Juni 11 »Purcell Mendelssohn Mayer« Juli 1 20% discount

p. 44 p. 63 p. 76

Last Minute Festival guests in training receive remaining tickets at the box office from 30 minutes before the start of the event at €10. People with disabilities People with a degree of disability of 80 or more receive a 50% reduction. (except events with con sumption). People with a B in their ID card receive a free ticket as an accompanying person. StuWiCard Holders of the »Studierenden Willkommen Karte« (StuWiCard) they can use their credit with us. Ludwigsburg Card Ludwigsburg Card holders receive one free ticket per season for selected events. Only available at our ticket office.

Individual Subscription You can put together your own individual and personal subscription package by choosing at least three events from this season’s programme and receive a 10% discount on your ticket order.

Tickets for festival guests in training are sponsored by

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Seating plans Theatersaal Forum am Schlosspark

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Arrival Public transport Ludwigsburg can be reached from Stuttgart in 15 minutes by the S-Bahn lines S4 (towards Marbach/ Backnang) and S5 (towards Bietigheim). Regional trains on the Stuttgart–Heilbronn/Heidelberg, Stuttgart–Karlsruhe and Stuttgart–Würzburg lines also stop at Ludwigsburg station. The walk from the station to the venues Forum am Schlosspark (approx. 10 minutes) and Residenzschloss (approx. 15 minutes) is signposted. You can reach the Residenzschloss by bus with lines 421 (direction Neckarweihingen), 427 (direction Hoheneck) and 430 (direction Poppen weiler). You can reach the Karlskaserne by bus line 421 (direction Oßweil Mehrzweckhalle). For your journey by public transport, we recommend using the »StadtTicket«. You can find more information on the VVS website. Taxi We recommend our partner company: The Taxi Lounge Dagmar Hausser, Telephone +49 (0) 7141 90 45 45. Advance bookings are possible. Arrival by car Ludwigsburg is connected to the A 81 motorway via two exits. Coming from Munich/Stuttgart, take the Ludwigsburg Süd exit, and coming from Würzburg/ Heilbronn, take the Ludwigsburg Nord exit. From Stuttgart and Heilbronn, Ludwigsburg is also easily accessible is also easy to reach via the B27 trunk road. The route to the city centre is signposted. Parking There are numerous parking facilities available for our festival guests in the immediate vicinity of the venues. You can find our parking recommendations on the site plan. Palace’s courtyard Schlossstraße 30 Only for evening events at the Residenzschloss, open from one hour before the event begins. Evening fee: €4 Garage Schloss/Marstall Charlottenstraße Mon till Sun 24/7, Rate 1. hour: 1 €, each additional hour: €1,20, Daily maximum rate: €10 (sundays €5) Parking space Forum/Bärenwiese Friedrich-Ebert-Straße Mon till Sun 24/7, Evening fee: Mon till Sun 6 pm till 7 am: €3. To avoid waiting times, you can buy the

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evening fee before the event. Please note that parking is restricted during the Giant Ferris Wheel operation (until the end of May) and the Ludwigsburg Horse Market (9–16 May). City Hall Garage Mathildenstraße 27/1 Mon till Sun 6:30 am till 10:30 pm, Sun and holidays 10–8 pm, exit 24 hours, rate from 7 pm: 1. hour €1, each aditional hour: €0,50 Garage Akademiehof Akademiehof 15 Mon till Sat 7 am till 10:30 pm, Sun and holidays 10–8 pm, exit 24 hours, rate from 7 pm: 1. hour €1, each additional hour: €0,50 Garage Solitude Solitudestraße 24 Mon till Sat 6:30 am till 10:30 pm, Sun and holidays 10–8 pm, exit 24 hours, rate from 7 pm: 1. hour €1, each additional hour: €0,50 Parking space at Kunstzentrum Karlskaserne Hindenburgstr. 29/1 Mon–Sun free of charge only during evening events in the Kunstzentrum Karlskaserne. Journey to the Monrepos Open Air With public transport Free shuttle buses run from the Favoritepark and Freiberg S-Bahn stops and from Ludwigsburg train station (bus platform 18). Parking spaces The P+R car park on Reuteallee is available free of charge, as are parking spaces at the Pädagogische Hochschule and the neighbouring schools. Free shuttle busses depart from the bus stop Pädagogi sche Hochschule. Parking is also possible on the Bärenwiese in Ludwigsburg city centre (FriedrichEbert-Straße). Free shuttle busses will also depart from the bus stop at the Forum am Schlosspark. The shuttle busses will depart from each of the above- mentioned bus stops between 5:30 and 8:45 pm to the open-air grounds and back again after the concert until 0:30 am. Parking spaces (€5) are available directly opposite the entrance to Seeschloss Monrepos on the L1138 in dry weather. Please follow the signs.

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Eat and drink Snacks Drinks Coffee and cake Lunch Warm meals

Arabica – Kaffee & Lebensart Selected coffees, exquisite chocolates Holzmarkt 2 71634 Ludwigsburg Phone +49 (0) 7141 972 77 06 www.arabica-ludwigsburg.de BØNNE Café & Bar Café with Scandinavian ambience Eberhardstraße 16 71634 Ludwigsburg Phone +49 (0) 7141 473 90 03 www.boenne-ludwigsburg.de Café Schlosswache Swabian Cuisine Schlossstraße 30 71634 Ludwigsburg Phone + 49 (0) 7141 279 57 10 www.cafeschlosswache.de Chaplins Bar Cocktail bar in an over 300 year old vaulted cellar Schlossstraße 17 71634 Ludwigsburg Phone +49 (0) 7141 92 92 11 www.chaplins.bar Georges Restaurant Wine restaurant with Mediterranean cuisine Wilhelmstraße 16 71636 Ludwigsburg Phone +49 (0) 7141 972 77 74 www.georges-ludwigsburg.de

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Grävenitz – Bar. Biergarten. Café Homemade cakes and snacks Marstallstraße 5 71634 Ludwigsburg Phone +49 (0) 7141 642 74 53 www.das-graevenitz.de Gutsschenke – Schlosshotel Monrepos Regional cuisine in a historic atmosphere Monrepos 22 71634 Ludwigsburg Phone +49 (0) 7141 30 25 60 www.schlosshotel-monrepos.de/ gutsschenke DANZA im Forum am Schlosspark Restaurant and wine bar Stuttgarter Straße 33 71638 Ludwigsburg Phone +49 (0) 7141 97 79 70 www.danza-restaurant.de

Lavazza Bar Ludwigsburg Die Hofapotheke Meditteranean and greek cuisine Holzmarkt 8 71634 Ludwigsburg Phone +49 (0) 7141 685 01 14 www.lavazza-ludwigsburg.de/ die_hofapotheke ohne PlaPla Ludwigsburg’s first unpackaged shop – sustainable and regional products Lindenstraße 2 71634 Ludwigsburg Phone +49 (0) 7141 505 95 91 www.ohneplapla.de Osteria Pitellis Italian cuisine Marstallstraße 1 71634 Ludwigsburg Phone +49 (0) 7141 992 43 55 www.osteria-pitellis.de

La Qualita Trattoria & Vinothek with delica tessen and exquisite wines Asperger Straße 10 71638 Ludwigsburg Phone +49 (0) 7141 92 70 30

Pizzeria Restaurant Pavarotti Italian cuisine Bietigheimer Straße 8 71634 Ludwigsburg Phone +49 (0) 7141 92 11 44 www.restaurant-pavarotti.de

Lange am Markt Modern cuisine from seasonal products Marktplatz 4 71634 Ludwigsburg www.kochschule-lange.de

Post-Cantz Swabian restaurant Eberhardstraße 6 71634 Ludwigsburg Phone +49 (0) 7141 92 35 63 www.post-cantz.de Seybold’s Kleine Auster Gourmet fish restaurant Eberhardstraße 14 71634 Ludwigsburg Phone +49 (0) 7141 92 33 73 www.seybolds-fischhalle.de

Accomodations Weinstube Klingel Swabian cuisine Eberhardstraße 8 71634 Ludwigsburg Phone +49 (0) 7141 92 69 68 www.weinstubeklingel.de Ygrec Modern greek cuisine Mathildenstraße 12 71638 Ludwigsburg Phone +49 (0) 7141 299 61 70 www.ygrec.de

Schlosshotel Monrepos **** Domäne Monrepos 22 71634 Ludwigsburg Phone +49 (0) 7141 30 20 www.schlosshotel-monrepos.de

Parkhotel Schillerhöhe Schillerhöhe 14 71672 Marbach am Neckar Phone +49 (0) 7144 90 50 www.parkhotel-schillerhoehe.de

Nestor Hotel **** Stuttgarter Str. 35/2 71638 Ludwigsburg Phone +49 (0) 7141 96 70 www.ghotel-group.de/hotels/ ludwigsburg Hotel Bergamo *** Bauhofstraße 4 71634 Ludwigsburg Phone +49 (0) 7141 689 23 99 www.hotel-bergamo.de NH Ludwigsburg *** Pflugfelder Straße 36 71636 Ludwigsburg Phone +49 (0) 7141 150 90 www.nh-hotels.com BEST WESTERN Hotel Favorit *** Gartenstraße 18 71638 Ludwigsburg Phone +49 (0) 7141 97 67 70 www.hotel-favorit.de Hotel City Oase Lb *** Friedrichstraße 43 71638 Ludwigsburg Phone +49 (0) 7141 913 37 77 www.cityoaselb.de HARBR Hotel Ludwigsburg*** Leonberger Straße 6 71638 Ludwigsburg Phone +49 (0) 7141 298 799 0 www.harbr.de Maritim Hotel Stuttgart **** Seidenstraße 34 70174 Stuttgart Phone +49 (0) 711 94 20 www.maritim.de 109

Terms & Conditions General Terms and Conditions (GTC) of the Ludwigsburger Schlossfestspiele gGmbH Internationale Festspiele Baden-Württemberg (hereinafter referred to as Ludwigsburger Schlossfestspiele) (»Ticket GTC«) 1. Scope, conclusion of contract 1.1 These Ticket Terms and Conditions apply to all concerts organised by the Ludwigsburger Schlossfestspiele (Marstallstraße 5, 71634 Ludwigsburg; hereinafter »Organiser«) and govern the relationship between the visitor (hereinafter »you«, »Buyer«, »Ticket Holder«) and the Organiser (hereinafter »Visitor Contract«). By purchasing aticket, the Buyer concludes an event and Visitor Contract with the Organiser and acquires the right to attend the event. In the event of the purchase of several tickets in one sales transaction, the Buyer represents the other visitors, and the Organiser concludes a Contract with each visitor for attendance at the event. The visitor acknowledges the rights and obligations in these GTCs. 1.2 The contract between you and us is concluded via our sales partners (such as CTS Eventim, Easy Ticket Service, local ticket presales, etc., hereinafter »Sales Partners«), who arrange the sale of the tickets on our behalf and for our account. In addition to the GTC discussed herein, the GTC of our Sales Partners shall also apply. In the event of deviating provisions, however, the GTC of the Organiser shall take precedence. In addition, separate instructions, in particular from Sales Partners, regarding events (e.g. the personalisation of tickets, exclusion of transferring, date of dispatch, etc.) must be observed. 1.3 The ticket purchase price, which consists of the basic ticket price, advance booking fee, system fee and other fees, and in each case including statu tory VAT (hereinafter referred to as the »Ticket Purchase Price«), is due for payment immediately after conclusion of the Contract and is due to the Organiser in full. The Sales Partners may also charge additional fees on their own behalf. 1.4 The tickets are sold through our Sales Partners under reservation of ownership, i.e., the tickets remain the property of the Organiser until the Ticket Purchase Price has been paid in full and do not entitle the Holder to admission to the booked event until then. 1.5 Attendance of an event with a discounted ticket is only possible if the reason for the discount still exists at the time of the event and can be proven at the time of admission. Otherwise, the right to attend the event only exists if the Ticket Holder pays the difference between the reduced and the normal ticket price. 1.6 The risk of accidental loss shall pass to the Buyer when the ticket is handed over to the shipping department. In the event of a subsequent loss, no refund of the Ticket Purchase Price will be made and no replacement tickets will be issued. 1.7 Deviating or supplementary general terms and conditions of third parties, in particular those of the Buyer, shall not become part of the contract without the prior written consent of the Organiser, unless otherwise agreed above (cf. Section 1.2). 2. Admission; admission control 2.1 Admission to the event is only possible with a valid ticket. The ticket must be shown upon initial entry. Visitors who leave the event area will not be granted re-entry. 2.2 Upon entry to the event, a security check may be carried out by the on-site security staff.

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2.3 The Organiser reserves the right to refuse a visitor admission to the event for good cause. Good cause shall include, but not be limited to, the possession of dangerous objects, the appearance of being under the influence of alcohol or drugs and the demonstration of a homophobic, sexist or otherwise intolerant attitude. Admission will also be refused in the event of a visitor jeopardizing the safety of a minor. If one of the aforementioned good causes for refusing admission exists, the tickets cease to be valid, and the admission price will not be refunded. 3. Transfer of tickets 3.1 For security reasons, in order to achieve a nationwide supply of tickets at socially acceptable prices and to prevent the resale of tickets at excessive prices, and in particular to avoid ticket speculation, the Organiser may restrict the distribution of tickets. 3.2 The Ticket Holder expressly undertakes and warrants that the purchase and use of tickets shall be for private purposes only. The purchase of tickets for commercial (i.e., for profit) resale is prohibited. The visitor is explicitly prohibited from a) offering admission tickets for sale publicly at auctions (especially on the internet), b) transferring tickets for a higher price than the original price paid. A price premium of up to 10% to compensate for transaction costs incurred is permissible, c) selling or transferring tickets to commercial resellers and/or ticket dealers; d) using tickets for commercial or trade purposes without the prior written consent of the Organiser. 3.3 Should the Organiser determine that the Ticket Holder has violated one or more of the provisions in Section 3, the Organiser may block the tickets in question and either refuse the customer/Ticket Holder admission to the event or expel him/her from the event premises, refuse any future sale of tickets of any kind to the visitor, issue a ban from the premises, and/or demand payment of an appropriate contractual penalty of up to a maximum of € 2,500.00 for each violation. The exact amount of the contractual penalty shall be determined by the Organiser in each individual case at its reasonable discretion and, in the event of a dispute, shall be reviewed by the court with subject-matter jurisdiction for its appropriateness. The Organiser shall offset any contractual penalty against any claims for damages due to the infringement. 3.4 Private transfer of an admission ticket for noncommercial reasons, in particular in individual cases of illness or other such circumstances which prevent the attendance of the visitor, is permissible if there is no case of inadmissible transfer within the meaning of Section 3.2. 4. Cancellation, postponement or abandonment of the event 4.1 The Organiser expressly reserves the right to cancel or postpone the event for reasons beyond its control (e.g., illness of artists, force majeure, an external, unforeseeable, uncontrollable event such as war, terrorist attack, strike, catastrophic weather conditions, epidemic, pandemic). The above force majeure events also include all cancellations due to a continuation, recurrence, deviation or first outbreak of epidemics and pandemics, such as the COVID-19 pandemic, regardless of whether a regulatory ban or recommendation leads to the cancellation. Sections 4.2 and 4.3 shall apply

accordingly if the Organiser, after due consideration of all the circumstances, comes to the conclusion that an event must be cancelled due to a pandemic, in particular due to a danger to life and limb of the event participants or visitors, due to restrictions on admission into the country which affect the participants in or visitors of the event, or due to contract cancellations by third parties, such as subcontractors, for whom the Organiser is unable to procure a replacement. There are no mutual claims for damages. 4.2 If the Organiser cancels the event in accordance with Section 4.1, the ticket becomes invalid. 4.3 If the Organiser reschedules the event in accordance with 4.1, the tickets shall remain valid, unless the visitor exercises his right of return. A claim for refund of the ticket purchase price exists only in the case of return. The claim must be made to the Organiser by midnight on the day before the rescheduled event at the latest and is governed by Section 4.5. If the visitor is unable to meet the deadline for reasons for which he/she is not responsible, the visitor must provide evidence of this accordingly. 4.4 For the implementation of the return, please also refer to the general terms and conditions of the respective Sales Partners. 4.5 If the conditions set out in 4.1, 4.2 and 4.3 apply, the basic ticket price including VAT will be refunded, provided the original ticket has been received. Generally, fees paid (e.g. advance booking fees and system fees) will not be refunded. The Organiser declares the offset against any claim for reimbursement of the fees based on its claim for value replacement, which exists in the same amount due to the respectively rendered services (e.g. agency services, use of the ticket system, etc.). The return of the ticket and refund of the ticket price is only possible within three weeks after the cancelled concert at the advance booking office where the tickets were purchased. After expiry of the period specified in 4.5, the right to reimbursement shall lapse. 4.6 The event will be held in all weather. However, should weather conditions give rise to fears of danger to life, limb or health of visitors, artists or staff, the event will be cancelled immediately. In this case, as well as in the case of cancellation of the event for other reasons of force majeure, due to official order or court decision, a claim for reimbursement exists in conjunction with presentation of the original ticket according to Section 4.5 if less than half of the scheduled performance/ screening time was played. No replacement will be granted if the ticket is lost. 4.7 With regard to the fees charged by the respective Sales Partner and their possible reimbursement in the event of cancellation or postponement, please refer to the general terms and conditions of the Sales Partner in question. 4.8 The above provisions shall in no way affect the rights to which you are entitled in the event of a breach of duty for which the Organiser is responsible. In addition to this, please take into account the regulation outlined in Section 5. 5. Limitation of liability 5.1 Claims for damages are excluded. Excluded from this are claims for damages asserted by the Buyer arising from injury to life, limb or health or from the breach of essential contractual obligations (cardinal obligations) as well as liability for other damage based on an intentional or grossly negligent breach of duty on the part of the Organiser, its legal

representatives or vicarious agents. Material contractual obligations are those whose fulfilment is necessary to achieve the objective of the contract. 5.2 In the event of a breach of material contractual obligations, the Organiser shall only be liable for the foreseeable damage typical of the contract if this was caused by simple negligence, unless it is a matter of claims for damages on the part of the Buyer arising from injury to life, limb or health. 5.3 The restrictions of Sections 5.1 and 5.2 also apply in favour of the Organiser’s legal representa tives and vicarious agents if claims are asserted directly against them. 5.4 The Organiser is not liable for external services (e.g. gastronomic services) and any resulting damage, but the service provider in question is directly liable. 6. Allocation of other seats 6.1 The Organiser reserves the right to allocate the Ticket Holder a seat within the confirmed price category other than the one allocated with the ticket. In this case, no claims of the Ticket Holder and Purchaser can be asserted against the Organiser. 6.2 In addition, the Organiser reserves the right to allocate the Ticket Holder a seat in a different price category than that allocated with the Ticket if it is not possible for the Organiser to provide the seat shown on the Ticket for reasons beyond its control. If the price category is higher, this does not give rise to any claims on the part of the Ticket Holder and Buyer. If, on the other hand, it is a lower price category, the Buyer is entitled to a refund of the difference to the price stated on the ticket. The Buyer is to assert the claim against the Organiser. 7. Recordings of visitors to the event 7.1 For the purposes of public reporting on and promotion of the event, the Organiser or third parties commissioned or otherwise authorised by it in each case (e.g. radio, press) may, in accordance with Sec. 6 para. 1 clause 1 f) of the General Data Protection Regulation, independently make image and sound recordings which may show the visitor as a spectator at the event in question. These image and sound recordings may be processed, utilised and publicly reproduced by the Organiser and third parties authorised by the Organiser (e.g. radio, press) in accordance with Sec. 6 para. 1 p. 1 f) of the General Data Protection Regulation. If a visitor purchases tickets not only for himself but for other persons, the visitor must ensure that the contents of this Section 7 as well as Section 9 are disclosed to the Ticker Holder in question. The provisions on the permissibility of disclosure pursuant to Section 3 remain unaffected. 7.2 Mobile phones, tablets and similar devices with recording functions may be carried, but the making of sound, photo and film recordings is prohibited. 7.3 Any exploitation, in particular the dissemination and making publicly available (e.g. on the internet, via social media, etc.) of sound, photo and film recordings made with the aid of mobile devices, tablets and similar devices contrary to Section 7.2 is prohibited. Reference is made to Section 7.5. 7.4 Other recording devices and cameras of any kind are prohibited from being taken into the auditorium. In the event of infringements, the Organiser is entitled to confiscate recording devices and cameras and to retain them until the end of the event. Reference is made to Section 7.5. 7.5 In the event of infringements of Section 7.3 and/ or Section 7.4, a contractual penalty payable to

the Organiser shall become due, without prejudice to further claims, the amount of which shall be determined by the Organiser at its reasonable discretion and, in the event of a dispute, shall be subject to review by the relevant regional court. 8. Obligations of the customer while attending the event 8.1 It is strictly prohibited to bring to the event the following objects: – dangerous objects such as weapons of any kind, objects that can be used as projectiles (especially bottles and cans), gas containers, pyrotechnic articles (e. g. flares, fireworks or sparklers); – backpacks and large bags (maximum size: 21 x 30 cm, A4 sheet); – umbrellas (because of obstruction of others’ view, in the event of rain please bring appropriate clothing). In this case, the Organiser is entitled to prohibit you from participating in the event and to expel you from the premises. You are not entitled to any claims against the Organiser in this case. 9. Programme and start times The programme with the starting times will be published on the notice board and in the Ludwigsburger Schlossfestspiele publications as well as on the Ludwigsburger Schlossfestspiele website www.schlossfestspiele.de. Information in the press is not binding. 10. Performer changes We reserve the right to make minor changes to the programme and to the announced performers. In the event of significant changes to the programme, the visitor may withdraw from the contract in accordance with Section 4.5. There are significant changes to the programme a) if the event is tailored to a famous artist or ensemble and he/she is replaced; b) when a particular programme is announced and the majority of it is exchanged.

12. No right of withdrawal No right of withdrawal or return: Even if the Organiser offers admission tickets via distance communication within the meaning of Section 312c (2) of the German Civil Code (BGB) and thus a distance contract may exist pursuant to Section 312c (1) of the German Civil Code, there is no right of withdrawal of the visitor when purchasing an admission ticket pursuant to Section 312g (2) No. 9 of the German Civil Code. This means that there is no two-week right of withdrawal or return. Each submission of an offer or order for tickets is therefore binding immediately after confirmation by the Organiser and obliges the customer to accept and pay for the tickets ordered. 13. Dispute resolution 13.1 Online dispute resolution pursuant to Section 14 para. 1 of the Online Dispute Resolution Regulation: The European Commission provides a platform for online dispute resolution (ODR), which you can find at http://ec.europa.eu/consumers/odr/. 13.2 Information on dispute resolution procedures before consumer conciliation bodies (§ 36 of the Act on Alternative Dispute Resolution in Consumer Matters): The Ludwigsburger Schlossfestspiele gGmbH is not willing and not obliged to participate in dispute resolution proceedings before a consumer conciliation board. Covid-19 Restrictions The current contact restrictions of the state of Baden-Württemberg apply. The visitor takes part in the offered event at his or her own risk. In the event of symptoms the visitor is requested to refrain from attending the event on his or her own responsibility.

11. Applicable law, data privacy, jurisdiction 11.1 The Visitor Contract shall be governed by the laws of the Federal Republic of Germany to the exclusion of the UN Convention on Contracts for the International Sale of Goods. The statutory provisions on the restriction of the choice of law and on the applicability of mandatory provisions, in particular of the state in which the customer has his habitual residence as a consumer, shall remain unaffected. 11.2 The contract shall remain binding in its remaining parts even if individual points are legally invalid. The ineffective points shall be replaced by the statutory provisions, if any. However, insofar as this would constitute an unreasonable hardship for one of the contracting parties, the contract as a whole shall become invalid. 11.3 All transmitted data will be processed in compliance with the relevant data protection regulations. The Organiser’s data privacy regulations are available at schlossfestspiele.de/en/ datenschutz. In addition, the data protection provisions of the respective Sales Partner apply. 11.4 The exclusive place of jurisdiction for all disputes arising from and in connection with these GTC is – to the extent permitted by law – Ludwigs burg, Germany.

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Patrons 2022 Eva Luise Köhler and Prof. Dr. Horst Köhler Former Federal President

Team Jochen Sandig Artistic & Managing Director ⁄ Gabriele Zerweck Head of Artistic Planning and Production & Second Managing Director ⁄ Sabine Bestvater Authorized Signatory, Head of Administration & Finances ⁄ Elfi Carle Consultant of the Director & Development ⁄ Maren Wolter Administration Assistant ⁄ Anja Knörzer Administration ⁄ Bartosz Pollok Administration, Visitor Service & Ticket Sales ⁄ Nina Fischbach Project Manager Artistic Planning & Production ⁄ Theresa Kern Project Manager Artistic Planning & Production ⁄ Maeva Leipert Assistant Artistic Planning & Production ⁄ Marie Fürste Trainee Artistic Planning & Production ⁄ Larissa-Marleen Schmid Trainee Artistic Planning & Production ⁄ Raffaela von Salis Strategic Communication & Development ⁄ Max-Joseph Gross Digital Transformation ⁄

Dr. Bettina Sluzalek Chief Dramaturg ⁄ MariaLuisa Villena Ossa Dramaturg ⁄ Hannah Duffek Assistant Dramaturgy, Education & Marketing ⁄ David Meier Trainee Dramaturgy ⁄ Christine Diller Head of Press & Marketing ⁄ Lea Tatsch Marketing & Communication ⁄ Esther Janiesch Associate Social Media Management & Online Communication ⁄ Angela Milosevic Trainee Press, Marketing & Sales ⁄ Susanne Schmidt Visitor Service & Ticket Sales ⁄ Petra Niccoli Associate Visitor Service & Ticket Sales ⁄ Alexander Mahr Technical Project Manager ⁄ Markus Zwanziger Technical Project Manager Facility Manager & Safety Officer ⁄ Tobias Waldmann Assistent Sales & Facility ⁄ Michaela Drobar-Jahns Housekeeping

Supervisory Board Dr. Matthias Knecht Lord Mayor of the City of Ludwigsburg (Chairman) ⁄ Petra Olschowski (State Secretary in the Ministry of Science, Research and the Arts Baden-Württemberg (Deputy Chairwoman) ⁄ Dietmar Allgaier District Administrator of the County of Ludwigsburg ⁄ Claudia Diem Member of the Management Board of BW Bank (Deputy Chairwoman) ⁄ Prof. Ernst Elitz Founding Director Deutschlandradio ⁄ Jochen Haller Former Managing Director of the IHK Ludwigsburg (Member of the Ludwigsburg Festival’s Circle of Friends) ⁄ Albrecht 114

Kruse Managing Director of SATA GmbH & Co KG ⁄ Florian Lutz Ludwigsburg City Council ⁄ Christoph Peichl Head of the Department of Policy Matters, Theatre, Festival, Orchestra and Literature Promotion in the Ministry of Science, Research and the Arts Baden-Württemberg ⁄ Wiebke Richert Head of the Art and Culture Department of the City of Ludwigs burg (Secretary) ⁄ Renate Schmetz First Mayoress of the City of Ludwigsburg (Treasurer) ⁄ Gabriele Seyfang Ludwigsburg City Council ⁄ Prof. Dr. Michael Vierling Ludwigsburg City Council

Board of Trustees S.K.H. Michael Herzog von Württemberg [Patron] ⁄ Albrecht Kruse Managing Director of SATA GmbH & Co. KG [Chairman] ⁄ Claudia Diem Member of the Management Board of BW Bank [Deputy Chair woman] ⁄ Ute Stihl Lawyer [Deputy Chairwoman] ⁄ Hans Jochen Henke Lawyer, former State Secretary [Honorary Chairman] ⁄ Helmut Nanz † [Honorary Chairman] ⁄ Prof. Wolfgang Gönnenwein † Former artistic director of the Ludwigsburg Festival A M B A S S A D O R Steffen Bilger Member of the German Bundestag ⁄ Dr. Heinrich Götz Mayor of the town of Haigerloch ⁄ Dr. Ulrike Groos Director of the Kunstmuseum Stuttgart ⁄ Jürgen Kessing Lord Mayor of the City of Bietigheim-Bissingen ⁄ Prof. Dr. Ralf Kitzberger Lawyer [Chariman of the Freundes kreis der Ludwigsburger Schlossfestspiele e. V.] ⁄ Dr. Matthias Knecht Lord Mayor of the City of Ludwigsburg ⁄ Peter Müller Mayor of the munici pality of Wolfegg ⁄ Petra Olschowski State Secretary in the Ministry of Science, Research and the Arts Baden-Württemberg ⁄ Prof. Thomas Schadt Managing Director of the Filmakademie Baden- Württemberg GmbH ⁄ Christoph Schmitz Head of the Music Department of Deutschlandfunk ⁄ Werner Spec ⁄ Markus Herrera Torrez Lord Mayor of the City of Wertheim ⁄ Matthias Wissmann President of the International Organization of Motor Vehicle Manufacturers (OICA), Partner WilmerHale ⁄ Sigrid Zimmerling Managing Director of the IHK Ludwigsburg

P A T R O N S Senator E. h. Dr. Helmut Baur Consul General of Malaysia ⁄ Hans-Jürgen Fink ⁄ Thomas Fischer Chairman of the Supervisory Board of MANN+HUMMEL GmbH ⁄ Dr. Wolfgang Frank Lawyer & Notary (ret.) ⁄ Jochen Haller ⁄ Senatorin h. c. Dorothea Haller-Laible Honorary Consul of the Republic of Kazakhstan for Baden-Württemberg ⁄ Bernd Hertweck Chairman of the Management Board of Wüstenrot Bausparkasse AG ⁄ Dr. Ralf Hofmann Vorsitzender der Geschäftsführung and Marc Zimmermann Managing Director of MHP Management- und IT-Beratung GmbH ⁄ Adolf Katz Manager and owner of the bakery and confectionery Adolf KATZ ⁄ Jens Kenserski Managing Director pulsmacher GmbH ⁄ Ulrich Kraft Managing Director of ARTA Management für das Handwerk GmbH & Co. ⁄ Dr. Nicola Leibinger-Kammüller Managing Director of TRUMPF GmbH + Co. KG / Prof. Dr. Wulf D. von Lucius ⁄ Lutz Meschke Deputy Chairman of the Executive Board and Member of the Executive Board Finance and IT of Dr. Ing. h. c.F. Porsche AG ⁄ Helmut Cornelius Nanz Managing Director of Nanz Stiftung & Co. KG ⁄ Thomas Palus Chairman of the Board of Managing Directors of Volksbank Ludwigsburg eG ⁄ Ralf Pöndl Heinrich Schmid GmbH & Co. KG ⁄ Dr. Winfried Porsch Lawyer Dolde Mayen & Partner ⁄ Joachim E. Schielke Chairman of the Management Board of the Wüstenrot Stiftung ⁄ Dr. Heinz-Werner Schulte Chairman of the Management Board of Kreissparkasse Ludwigsburg ⁄ Gerhard Ulmer Ungeheuer & Ulmer KG GmbH & Co. ⁄ Andreas Veit Managing Director Wohnungsbau Ludwigsburg GmbH ⁄ S. D. Johannes Fürst zu Waldburg-Wolfegg und Waldsee ⁄ Eberhard P. Wensauer Managing Director of Wensauer & Partner Werbeagentur GmbH

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Friends get arts into motion! For over twenty years now, the Circle of Friends has been a constant and loyal companion to and sup porter of the Ludwigsburg Festvival. Through its idealism and financial commitment, it makes a major contribution to what is an exceptional and forward- looking festival programme. The Friends take responsibility for enabling young people to enjoy access to art and music, and last year they financed the flexible seating in our festival centre. In the middle of the cour d’honneur of the Residence, visitors can sit in the open air and enjoy performances relayed directly from the palace. For the Friends, it is an important priority to support the »Baden-Württem berg International Festival« by promoting the bring ing together of a wide variety of cultural and artistic positions. International artists are invited to over come the barriers between artistic fields. In 2022 as in previous years, the Ludwigsburg Festival team is continuing to work on realizing a festival of the arts, democracy and sustainability. During the festival season from May to July, it is offering performances

in a wide range of formats both in and around Ludwigsburg and also on its Digital Stage. Convinced of the creative power of art, the Friends feel a special bond with the festival and its programme. Members enjoy a close relationship with the festival, receive preferential treatment when purchasing tickets, can attend personal programme presentations and work introductions, and have the chance to meet artists appearing in the festival. As ambassadors and disseminators, they spread enthusiasm for the Ludwigsburg Festival in society at large. We cordinally invite you to become a member of this committed network and to experience the festival at close range. We look forward to further exchange and dialogue. If you have questions concerning the Friends, you are welcome to call us on +49 (0) 7141–939 670 or write us an email at: freunde@schlossfestspiele.de.

Participation We are enthusiastic both about the arts and about interest in the big questions of our time. And we find that these two enthusiasms go well together. For in both cases, an important role is played by different forms of expression (and by the challenge of under standing them), by questions and answers, and by thinkers and doers. But above all, we have a particular enthusiasm for people who want to engage in working together on a future worth living for. At the Ludwigs burg Festival, work on this future is carried out in accordance with the United Nations’ 17 Sustainable Development Goals and with a particular priority on curiosity, creativity and intergenerationalism. It is our conviction that we can only make a difference to the future if we are already thinking about it now. In order to put this belief into practice, we set particular store both by offering programmes for a young public and, more importantly, by opening ourselves up to

that young public’s creative potential and facilitating cultural sharing in the framework of the participatory formats of the 2022 season. In »Spoken Moments Poetry«, people of various ages and from various backgrounds are developing a shared concert experience with the poetry of human relations in the very foreground. In the concert »Generation Zukunft Musik«, school students are using their ideas about concert formats of the future to determine how the concert is actually mounted. In »Mini Mal Mut«, pupils from four schools are becom ing originators of music and discovering through the principles of minimal music how small ideas can grow into big projects. In the participatory dance project »THE 3RD BOX«, teenagers and young adults look at LGBTIQ issues and take the reality of their own lives as a basis for asking critical questions about how open our society really is.

Sponsored by

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What to we want to set in motion? Success can no longer be measured solely by economic indicators. What counts today and will count in the future is the contribution we make to dealing with challenges in our society. An important starting point: to constantly focus on the purpose of one’s own actions. Only by doing this can one build up an unmistakable, distinctive identity and at the same time achieve continuous further development. We at MHP create the basis for our customers, partners and employees to realize their full potential – and to make tomorrow’s world an even better place to live in. This is also true of our partnership with the Ludwigsburg Festival. In absolute accord with our purpose: enabling you to shape a better tomorrow.

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What do we want to set in motion? Sustainability is a global task. But we can only rise to the challenges of the future if we act together and everyone accepts and bears responsibility. As part of the community of shared values, Porsche sets an example through its commitment to a sustainability strategy that promotes positive effects in society. For us, economic success and social responsibility go hand in hand. We can confidently claim to be creating a spirit conducive to promoting sustainable thinking and acting in business and in society. And our partnership with the Ludwigsburg Festival is an important element in this endeavour.

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What do we want to set in motion? At SATA, »German Engineering« stands for 115 years of tradition and products of the highest practical value. In the light of the pandemic, changes in the world economy, climate change and new market demands, we are all called upon to increase our efforts and levels of commitment and promote the right balance between economic success, environmental awareness and social responsibility. And that is the goal for which we strive.

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What do we want to set in motion? When the goals are clean mobility, clean air and clean water, there is no mine or yours – only ours. At MANN+HUMMEL we are working with a global team on the most modern sustainable solutions for making make our planet cleaner. To separate the useful from the harmful – that is our mission. And has been for over 80 years. We are convinced: filtration is making the future. Because filtration is sustainability. That is what we understand as our responsibility.

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What do we want to set in motion? The Kreissparkasse Ludwigsburg and its foundation »Art, Culture and Education« set many cultural ideas and projects into motion that would otherwise not be realized. For the benefit of all artists and art-lovers in the Ludwigsburg district.

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What do we want to set in motion? After two years largely without cultural events, we would like to make a commitment to demonstrate our belief that art and culture are major contributors to better quality of life in our region.

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What do we want to set in motion? As a pioneer in building society savings, Wüstenrot has worked com mittedly for the common good of the individual and of society since 1924. We constantly re-invent Wohnen – the way people live and dwell. At Wüstenrot, we call this #wohnenheisst. We enable people to invest in their future sustainably by saving and becoming owners of their own living space – and thus help them to make their dreams come true.

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Publisher Ludwigsburger Schlossfestspiele gGmbH – Internationale Festspiele Baden-Württemberg, Palais Grävenitz, Marstallstraße 5, 71634 Ludwigsburg, Telephone +49 (0) 7141 93 96 36, Fax +49 (0) 7141 93 96 97, E-Mail: info@schlossfestspiele. de, www.schlossfestspiele.de/en/ Festival direction Jochen Sandig, Gabriele Zerweck, Sabine Bestvater Editorial Ludwigsburger Schlossfestspiele Texts Jochen Sandig, Dr. Bettina Sluzalek, Maria-Luisa Villena Ossa, Hannah Duffek, David Meier Collaboration Christine Diller, Angela Milosevic Translations Alexa Nieschlag, Sophie Kidd, John Nicholson Design Daniel Wiesmann Büro für Gestaltung, Berlin, Jule Erner, Robert Radziejewski Print Druckhaus Götz GmbH, Ludwigsburg Paper 240 g/m² Munken Lynx, 90 g/m² Munken Lynx rough / Arctic Paper Circulation 35.000 Editorial Deadline 28. Februar 2022 (Subject to changes) Photo credits Cover page: Dido and Aeneas © Sebastian Bolesch, folding page inside: Pina Bausch Sacre © Maarten Vanden Abeele; p. 14/15: Friedensgebet auf dem Ludwigsburger Marktplatz © Jochen Sandig; p. 22/23: Anna Prohaska with Veronika Eberle, Alisa Weilerstein & Iddo Bar-Shaï © Reiner Pfisterer; p. 24: Festival centre © Jochen Sandig; p. 27: Brad Hwang © Jochen Sandig; p. 28: Schlosstheater © Rafael Kroetz, Barbara Hannigan © Reiner Pfisterer; p. 31: Gustavo Surgik © Reiner Pfisterer; p. 32/33: Oksana Lyniv & Orchester der Ludwigs burger Schlossfestspiele © Reiner Pfisterer; p. 34: Oksana Lyniv © Oleh Pavliuchenkov; p. 37: Alexandre Kantorow © Sasha Gusov; p. 38: Wolfgang Amadeus Mozart © Wikimedia Commons Public Domain; p. 41: Future Presence Mozart © Geoffroy Schied; p. 42: Patricia Kopatchinskaja © Marco Borggreve; p. 45: STEGREIF.orchester © Bernd Schoelzchen; p. 46: René Jacobs

© Philippe Matsas; p. 49: Dido & Aeneas © Bernd Uhlig; p. 50: Kronos Quartet © Jay Blakesberg; p. 53: Arche Noah © Wikimedia Commons Public Domain; p. 54: Academia del Piacere © Javier Diaz de Luna; p. 57: Malakoff Kowalski © Julija Goyd; p. 58: Weltkugel © Wikimedia Commons Public Domain; p. 61: Human Requiem Brahms © Phil Dera; p. 62: Maria Kalesnikava © Wikimedia Commons Public Domain; p. 65: Edivaldo Ernesto © Cesar Martins; p. 66: Germaine Acogny & Malou Airado in »common ground[s]« © Maarten Vanden Abeele; p. 69: Einstürzende Neubauten © Mote Sinabe; p. 70: Jan Lisiecki © Christoph Köstlin; p. 73: Marco Blaauw © Klaus Rudolf; p. 74: Ayanna Witter Johnson © Nick Howe; p. 77: Georg Nigl © Anita Schmid; p. 78: Anna Prohaska © Marco Borggreve; p. 81: Voces Suaves © Markus Räber; p. 82: Ludwig van Beethoven © Wikimedia Commons Public Domain; p. 85: Alondra de la Parra © Edits Costa Brava; p. 86/87: Monrepos Open Air © Potsdamer Feuerwerk GmbH/Jan Schugardt; Werner Kuhnle; p. 88: Martina Gedeck © Karel Kühne; p. 91: Stile Antico © Marco Borggreve; p. 92/93: Charles de Gaulles © Presse- und Informationsamt der Bundesregierung/Simon Müller; p. 98/99: Stegreif Orchester #bfree © Reiner Pfisterer; p. 116: Engel © Rafael Kroetz We would like to thank all the photographers and agencies who have provided us with pictures. Bibliography p. 94–96: »Speek to the Youth of Germany« quoted from: Über die Freundschaft hinaus – Deutsch- französische Beziehungen ohne Illusionen, ed. by Deutsch-Französisches Institut Ludwigsburg, Stuttgart 1988, p. 64–66. Translation: John Nicholson. If you no longer wish to receive this and other Ludwigsburg Festival brochures by post, please contact to our ticket office.

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MAY THU 5.5.

FEST SPIEL OUVERTÜRE

FRI 6.5.

FREI LUFT MUSIK

SAT 7.5.

SUN 8.5.

STEGREIF ORCHESTER #BECHANGE

SUN 15.5.

SPOKEN MOMENTS POETRY H-MOLL MESSE BACH

8 pm Forum am Schlosspark → p. 35 6 pm Marktplatz → p. 30

FAUST GABETTA BEZUIDENHOUT

8 pm Forum am Schlosspark → p. 36

FUTURE PRESENCE MOZART

12 am–7 pm Festinbau → p. 40

ALEXANDRE KANTOROW SOLO

8 pm Ordenssaal → p. 36

MOZART STREICH QUINTETT

11 am Ordenssaal → p. 39

FUTURE PRESENCE MOZART

12 am–7 pm Festinbau → p. 40

MOZART KLARINETTEN QUINTETT

7 pm Ordenssaal → p. 39

MON 9.5.

ERDE AN ZUKUNFT

6 pm Forum am Schlosspark → p. 40

WED 11.5.

KOPATCHINSKAJA LES ADIEUX

8 pm Forum am Schlosspark → p. 43

FRI 13.5.

FREI LUFT MUSIK

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SAT 14.5.

6 pm Marktplatz → p. 30

HILLE PERL TANZMUSIK

7 pm Schlosskirche Haigerloch → p. 43

GRAN PARTITA WERTHEIM

7:30 pm Burg and Stiftskirche Wertheim → p. 44

FRI 20.5.

SAT 21.5.

SUN 22.5.

THU 26.5.

FREI LUFT MUSIK

6 pm Marktplatz → p. 30

DIDO AND AENEAS

8 pm Forum am Schlosspark → p. 48

KRONOS FOR FUTURE

8 pm Ehrenhof → p. 51

7 pm Forum am Schlosspark → p. 48

IL DILUVIO UNIVERSALE

8 pm Forum am Schlosspark → p. 52

FREI LUFT MUSIK MANDEL RING QUARTETT

MALAKOFF KOWALSKI APHORISMS SUN 29.5.

THE COMMON STORIES

8 pm Alte Kelter Bietigheim → p. 55 8 pm Karlskaserne → p. 55

8 pm Ordenssaal → p. 56

7 pm Karlskaserne → p. 55

JUNE FRI 3.6.

FREI LUFT MUSIK STRASSEN MUSIK FESTIVAL

5 pm Ordenssaal → p. 51

DIDO AND AENEAS

DIÁLOGOS FLAMENCO BARROCO THE COMMON STORIES

7 pm Forum am Schlosspark → p. 47

8 pm Forum am Schlosspark → p. 48

ART OF FUGUE

SAT 28.5.

4 pm Karlskaserne → p. 47

DIDO AND AENEAS

MANDEL RING QUARTETT FRI 27.5.

8 pm Forum am Schlosspark → p. 44

GENERATION ZUKUNFT MUSIK SAT 4.6.

STRASSEN MUSIK FESTIVAL ROTHKO STRING QUARTET

8 pm Ordenssaal → p. 52

6 pm Marktplatz → p. 30

6 pm Ludwigsburg → p. 56

6 pm Forum am Schlosspark → p. 59 6 pm Ludwigsburg → p. 56

8 pm Ordenssaal → p. 59

6 pm Marktplatz → p. 30

SUN 5.6.

STRASSEN MUSIK FESTIVAL

8 pm Ordenssaal → p. 52

THU 9.6.

HUMAN REQUIEM BRAHMS

8 pm Liederhalle Stuttgart → p. 60

FRI 10.6.

FREI LUFT MUSIK

6 pm Marktplatz → p. 30

HUMAN REQUIEM BRAHMS

8 pm Liederhalle Stuttgart → p. 60

6 pm Ludwigsburg → p. 56

SAT 11.6.

DIE UNVOLLENDETE REVOLUTION

SUN 12.6.

EDIVALDO HAUSCHKA ENCOUNTER

7 pm Karlskaserne → p. 64

FRI 17.6.

DEPTH MOVEMENT WORKSHOP

Karlskaserne → p. 64

SUN 26.6.

GLOBAL BREATH COMPOSERS

7 pm Ordenssaal → p. 72

6 pm Marktplatz → p. 30

THU 30.6.

ENSEMBLE CONTINUUM ORFEO

8 pm Ordenssaal → p. 75

FREI LUFT MUSIK PINA BAUSCH SACRE SAT 18.6.

DEPTH MOVEMENT WORKSHOP PINA BAUSCH SACRE

SUN 19.6.

DEPTH MOVEMENT WORKSHOP PINA BAUSCH SACRE

8 pm Forum am Schlosspark → p. 63

8 pm Forum am Schlosspark → p. 67

8 pm Ordenssaal → p. 72

10 pm Scala → p. 75

JULY FRI 1.7.

FREI LUFT MUSIK PURCELL MENDELSSOHN MAYER

7 pm Forum am Schlosspark → p. 67

SUN 3.7.

NIGL PASHCHENKO VANITAS

THU 7.7.

WOOSTER GROUP B-SIDE

8 pm MHP Arena → p. 68

THU 23.6.

MINI MAL MUT

6 pm Musikhalle → p. 68

FRI 24.6.

FREI LUFT MUSIK

6 pm Marktplatz → p. 30

MOVING PICTURE 946-3

AYANNA WITTER JOHNSON

Karlskaserne → p. 64

EINSTÜRZ ENDENEU BAUTEN

GOLD BERG BACH

GLOBAL BREATH COMPOSERS

Karlskaserne → p. 64

TUE 21.6.

JAN LISIECKI BEETHOVEN

SAT 25.6.

8 pm Forum am Schlosspark → p. 71 8 pm Ordenssaal → p. 71

8 pm Scala → p. 72

PROHASKA EMCKE LAFOLIA FRI 8.7.

FREI LUFT MUSIK WOOSTER GROUP B-SIDE VOCES SUAVES MADRIGALE ACIS AND GALATEA

6 pm Marktplatz → p. 30

8 pm Forum am Schlosspark → p. 76

SAT 9.7.

ACIS AND GALATEA

SUN 10.7.

THE 3RD BOX

8 pm Schlosstheater → p. 80

7 pm Probebühne Akademie für Darst. Künste → p. 83

ACIS AND GALATEA

8 pm Schlosstheater → p. 80

WED 13.7.

MISSA SOLEMNIS BEETHOVEN

8 pm Friedenskirche → p. 83

THU 14.7.

L’ARTE MONDO OBERLINGER

FRI 15.7.

FREI LUFT MUSIK

SAT 16.7.

MONREPOS OPEN AIR

8 pm Ordenssaal → p. 84

6 pm Marktplatz → p. 30

8 pm Festinwiese Seeschloss Monrepos → p. 84

SEP

7 pm Ordenssaal → p. 76

8 pm Kammertheater Stuttgart → p. 79

SAT 17.9.

GRAN PARTITA WOLFEGG

8 pm Rittersaal Wolfegg → p. 89

8 pm Ordenssaal → p. 79

SUN 18.9.

FEST SPIEL MATINEE

11 am Alte Pfarr Wolfegg → p. 89

6 pm Marktplatz → p. 30

8 pm Kammertheater Stuttgart → p. 79

SUN 25.9.

STILE ANTICO LOBGESANG

6 pm Schlosskirche Wolfegg → p. 90

ELB TONAL PERCUSSION

7 pm Kursaal Bad Immnau → p. 90

8 pm Schlosskirche → p. 80

8 pm Schlosstheater → p. 80 Acoustic transmission to the court of the Ludwigsburg Palace.

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Continuing online

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