Due to the great success and strong demand for tickets, the Volksoper is postponing an additional performance of Lass uns die Welt vergessen – Volksoper 1938 (instead of Die letzte Verschwörung) on Sunday, 18 February 2024, 18:00 (Prices A).
Tickets already purchased remain valid. The U30 discount remains valid.
We kindly ask you to communicate this important information for our subscribers and optional subscribers in your media and to include it in your programme notes. We therefore also ask you to forward this information to the programme editors.
Lass uns die Welt vergessen – Volksoper 1938 deals with a dark chapter in the history of the Volksoper; we were all the more pleased that this evening, which is so important to us, was received with such great interest and attention by the audience and the press. Countless positive responses and sold-out performances were the result. Tonight - on 25 January - would have been the last performance of the production this season, but due to the continuing high level of interest, we have decided to schedule an additional performance of this piece on 18 February 2024 to enable all those who have not yet been able to get tickets or would like to see the performance a second time to attend.
To mark the 125th anniversary of the Volksoper, we are examining our own past and telling the stories of those people who were persecuted, expelled and murdered between 1938 and 1945. Dutch theatre and film director Theu Boermans has written the play Lass uns die Welt vergessen - Volksoper 1938 especially for this purpose: a world premiere with existing music. In March 1938, while the ensemble was rehearsing the operetta Gruß und Kuss aus der Wachau by Jara Beneš, Hugo Wiener, Kurt Breuer and Fritz Löhner-Beda, current political life invaded the Volksoper. The cheerful entertainment and escapism of the operetta collide with the cold political reality of the Nazi era. The Israeli composer and in-house conductor Keren Kagarlitsky reconstructed the score of Gruß und Kuss aus der Wachau, supplementing it with music branded "degenerate" and her own compositions. The ensemble members of today play the ensemble members of the past.
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