Visit Dessau / Program at the Anhaltisches Theater
Theater-Highlights from 19. – 25.01.2026
Jan. 19, 2026 | 7:30 p.m. | Dessau Jazz Nights #5 – Konstantin Kölmel | Main Hall/Restaurant
Jazz that touches the soul. Grooves that move you. Solos that inspire. Europe’s jazz talents united: With virtuosity and expressiveness, the Konstantin Kölmel Project brings a distinctive sound to the stage – from delicate saxophone solos to rousing reinterpretations of hits by Michael Jackson and Stevie Wonder. The Konstantin Kölmel Project combines groove jazz, funk, and R&B into a powerful sound that evokes emotions while offering musical depth. With an ensemble of highly talented musicians from cities ranging from Baden-Baden to Munich, Zurich, and Amsterdam, the band brings together some of the most extraordinary talents in European jazz. Saxophonist Nikola Bankov, voted one of the “30 under 30” most promising artists in his home country by Forbes, plays with greats such as Randy Brecker and Billy Cobham. Kilian Sladek, former singer of the German National Youth Jazz Orchestra, lends each composition a distinctive touch with his expressive vocals and sensitive lyrics. The band brings with them their new album, featuring guest star trombonist Nils Landgren.
January 22 & 23, 2026 | 7:30 p.m. | 3rd Symphony Concert – Mozart, Mahler | Main Stage
Mozart and Mahler Wolfgang Amadeus Mozart: Piano Concerto in C major, K. 467 Gustav Mahler: Symphony No. 4 in G major
Gustav Mahler: Symphony No. 4 in G major: Compared to its symphonic sisters, Gustav Mahler’s Fourth Symphony, premiered in 1901, is a “small” work. It lasts less than an hour and dispenses with heavy brass. As in his Second and Third Symphonies, Mahler uses a text from Arnim Brentano’s collection Des Knaben Wunderhorn for the third and last time here. He originally planned the song Das himmlische Leben (The Heavenly Life) as the concluding seventh movement of his monumental Third Symphony. It ultimately became the starting point for the composition of the Fourth, which transports us, not without ambiguity, into an idyllic, serene, seemingly naive sphere. “It is the serenity of a higher world, foreign to us, that has something eerie and gruesome about it. In the last movement (…) the child,which, in its doll-like state, already belongs to this higher world, as everything is meant to be” (Mahler). The finale is this simple verse song, sung by a solo soprano – “like a fairy-tale sky painted by a child’s hand” (Eberhard Klemm). Wolfgang Amadeus Mozart: Piano Concerto in C major, K. 467: The first part of the evening features one of Mozart’s most famous piano concertos, the C major Concerto, K. 467. The composer premiered it on March 10, 1785, at his own academy, where his father Leopold was also present. Leopold later wrote to his daughter Nannerl that he had been moved to tears by the beauty of the work and the applause it received. In addition to the undeniable
qualities of this music, the film industry also contributed greatly to the popularization of the work in the 20th century: the Andante of the second movement, with its wonderful magical sound, was used in both the 1967 Swedish feature film Elvira Madigan and a 1977 James Bond film.
January 23 & 24, 2026 | 7:30 p.m. | Raum für Klang 6 – musica magnetica | Bauhaus Museum Dessau
Electronic music of the 20th and 21st centuries
New music at the Bauhaus Museum Dessau. The history of electronic music is at least as old as that of the Bauhaus. The early electronic instruments still played today, the theremin, the ondes Martenot, and the trautonium, were developed between 1919 and 1930. Later, the Hammond organ and synthesizer followed; today, computers generate music. The evening highlights compositions by Paul Arma, who curated the musical work at the Bauhaus Dessau in 1931/32 and became a pioneer of new music in France after 1933.
Musicians from the Anhalt Philharmonic Orchestra, composer Yana Shliabanska, and lighting designer Guido Petzoldt take the audience on a multisensory journey and explore the many facets of electronic music. With the support of the IDEAMA Collection, ZKM I Center for Art and Media Karlsruhe In cooperation with the Bauhaus Dessau Foundation
January 23 & 24, 2026 | 8 p.m. | Jeeps | Altes Theater/Studio
Play by Nora Abdel-Maksoud
Finally: inheritance tax reform is on the horizon! From now on, inheritances in Germany will no longer go to the beneficiaries named in the will, but will be raffled off among the country’s citizens and thus radically redistributed. Nora Abdel-Maksoud creates this fictional scenario in her darkly humorous comedy Jeeps. The radical inheritance tax reform is entrusted to the best of all authorities: the job center, with all its bureaucracy. In the play, case workers Gabor and Armin, responsible for the new inheritance lottery, meet Hartz IV recipient Maude and founder Silke, who feels cheated out of her father’s inheritance, which he worked hard to earn. A heated exchange ensues about issues of fairness, privilege, social justice, financial security, and the structures of society. A quirky, satirical, and incredibly funny play about a topic that is always socially explosive: Who does the money belong to?
Performance rights: schaefersphilippen Theater und Medien GbR
January 24, 2026 | 5 p.m. | Die Fledermaus | Main Stage
Operetta by Johann Strauss (son)
Years ago, Gabriel von Eisenstein, an idler, played a prank on his friend Dr. Falke. After attending a masked ball together, von Eisenstein left his drunk friend Falke asleep in the city park in an embarrassing bat costume, so that the next morning Falke had to stagger home in his costume, mocked by passers-by. Now the time has come for the bat’s revenge, and for Dr. Falke’s plan to succeed, all the characters must play their assigned roles. A welcome excuse to live out their true inner desires.
The success of Jacques Offenbach’s operettas in Vienna led many composers to compose German operettas based on his model. However, hardly anyone came as close to him as Johann Strauss with his Fledermaus. The interplay of scenic momentum, subtle wit, and socio-psychological accuracy—supported by Strauss’s rousing music, which ranges from waltzes to polkas to mazurkas—makes Fledermaus the queen of operetta. Through his exhilarating music, Strauss not only enables the masked characters to break out of their dreary, real lives by dancing and singing, but also allows the audience to escape everyday life, because “happy is he who forgets what cannot be changed.”
January 25, 2026 | 5 p.m. | The Robber Hotzenplotz | Main Stage
Winter fairy tale by Otfried Preußler for ages 6 and up
The robber Hotzenplotz has stolen Kasperl’s grandmother’s coffee grinder. It was a birthday present from Kasperl and his friend Seppel. It can also play Grandma’s favorite song, “Alles neu macht der Mai” (Everything is new in May). While Sergeant Dimpfelmoser hesitates, Kasperl and Seppel set out to find Hotzenplotz’s robber’s cave and retrieve the coffee grinder. To avoid being recognized, they swap their headgear. But the robber Hotzenplotz manages to capture Kasperl and Seppel. Believing Kasperl to be Seppel, Hotzenplotz sells him to the evil wizard Petrosilius Zwackelmann, who needs a servant to peel potatoes. Since the wizard’s castle is under a spell, Kasperl is initially unable to escape.
Since the wizard’s castle is under a spell, Kasperl is initially unable to escape. While secretly wandering around the castle, he encounters a toad in the cellar vaults, which reveals itself to be the enchanted fairy Amaryllis. The toad knows how to break the spell surrounding the castle and asks him to fetch fairy herb so that he can release her from her evil spell. Kasperl sets off to help the enchanted fairy. Will he and Seppel succeed in freeing the fairy, putting a stop to the evil wizard, handing over the robber Hotzenplotz to Sergeant Dimpfelmoser, and returning the grandmother’s beloved coffee grinder?
Performance rights: Bühnenverlag Weitendorf, Hamburg The production is generously supported by DB Fahrzeuginstandhaltung GmbH.
Image: Claudia Heysel
Text: ATD