#München 7

[str4wanzerin]

Eine Hommage an die wohl schönste Freundschaft der Deutschen Fernsehgeschichte: Felix und Zagreb aus "München 7".

Nein, ich gebe nicht auf, bis mehr Leute diese wundervolle Serie schauen! 😆

[annahamiltonsstuff]

Also ich schau so München 7, und dann

Ist das da Ivo???

Und wenn ja, wieso hängt denn im Hotel am Markt ein Bild von ihm?

[germancrimezine]

📝 writing preview: @str4wanzerin - München 7

🔎 Vorbestellungen hier!

[leonsliga]

Gotta keep the hair nice and floofy

[whileiamdying]

Review: Marina Abramovic Summons Maria Callas in ‘7 Deaths’

Part mixtape and part séance, this opera project by the famed performance artist attempts to unite two divas across time.

Marina Abramovic’s “7 Deaths of Maria Callas,” in Munich, includes opera excerpts and short films such as this one, inspired by “Otello.” (Leah Hawkins is onstage at left, with Abramovic in bed.)Credit...Wilfried Hösl

By Joshua Barone July 28, 2021

7 Deaths of Maria Callas

MUNICH — In Leos Carax’s new film, “Annette,” the husband and wife played by Adam Driver and Marion Cotillard are described in inverse terms. As a comedian, he kills every night; as an opera star, she dies.

That’s of course a reductive view of opera. But the alignment of the art form and demise persists in the popular imagination, and guides “7 Deaths of Maria Callas.” A dramaturgically misguided séance of a project by the performance artist Marina Abramovic, it played to its largest in-person audience yet on Tuesday at the Bavarian State Opera here, after a heavily restricted run and livestream last year. It is bound for Paris and Athens in September, then Berlin and Naples — and who knows where else, with Abramovic’s celebrity behind it.

“7 Deaths” is a meeting of divas in which Callas is invoked through a series of the arias for which she was notable. She is then inhabited onstage and in short films — the summoning of a spirit who, Abramovic argues, is still very much with us.

In the work, Abramovic inhabits Maria Callas, miming to a recording of “Casta Diva.”Credit...Wilfried Hösl

She’s right. Callas died in 1977, yet lives on in a still-robust stream of albums, art books and, yes, hologram concerts. She was known even to a public beyond opera as tabloid fodder, especially because of her affair with Aristotle Onassis — a love triangle involving Jacqueline Kennedy, his eventual wife. But her pop celebrity emerged from her being an indelible artist, who contributed to the 20th-century resurrection of bel canto repertoire with a transfixing stage presence. Even when silent, she emoted with the entirety of her face, arrestingly expressive with just a small hand gesture. Her voice failed her too early, but she embodied the “Tosca” aria “Vissi d’arte”: “I lived for art.”

That voice caught the attention of a young Abramovic, who has said that she first heard Callas on the radio when she was a 14-year-old in Yugoslavia. Since then she has been haunted by their similarities: They share astrology signs, toxic relationships with their mothers and, she told The New York Times last year, “this incredible intensity in the emotions, that she can be fragile, and strong at the same time.”

In the opera’s initial run, Adela Zaharia, left, sang an aria from “Lucia di Lammermoor.” On Tuesday, it was sung by Rosa Feola, in a standout performance.Credit...Wilfried Hösl

In that interview, Abramovic noted one essential difference: how they reacted to losing the loves of their lives. Callas, in her view, died of a broken heart — a heart attack, to be exact — but Abramovic, so shattered that she stopped eating or drinking, eventually survived by returning to work.

All this background about “7 Deaths” is clearer than the work itself, in which Callas is never present enough to persuasively intertwine with Abramovic, who upstages the great diva throughout. That’s the insurmountable flaw of the project, and the main reason it doesn’t belong in an opera house.

“7 Deaths” is best experienced in person; the spatial audio design and immersive, big-screen film element made its 95-minute running time a breeze on Tuesday, compared with the tedious livestream last year. But its use of live performers relegates them to mere soundtrack, while also erasing Callas from her own history.

This might have been more satisfying as a set of video installations, something like Julian Rosefeldt’s “Manifesto.” If Abramovic’s homage were accompanied by Callas’s storied recordings, the goal of joining and blurring divas could be more naturally achieved. Instead, “7 Deaths,” directed by Abramovic with Lynsey Peisinger, never quite approaches actual drama in its succession of arias and films, then its dreamy re-creation of Callas’s final moments in her Paris apartment.

Nadezhda Karyazina, left, sang the role of Carmen last year against a backdrop of a video with Willem Dafoe, left onscreen, and Abramovic. On Tuesday, Samantha Hankey sang it.Credit...Wilfried Hösl

The piece does include new music, by Marko Nikodijevic — ably conducted, along with the opera excerpts, by Yoel Gamzou. The overture begins with haunting bells and slippery melodies whose glissandos render them distant memories of unplaceable tunes. Behind a scrim, Abramovic lies still in a bed under soft lighting; not since Tilda Swinton has an artist so easily gotten away with sleep as performance.

Then swirling clouds are projected onto the scrim — a tacky recurring “visual intermezzo,” as it is called in the credits — and a maid enters. She is the first of seven singers who dress identically and whose arias follow introductions in the form of poetic texts prerecorded by Abramovic.

The characters are never named, but opera fans will recognize them instantly: Violetta Valéry from “La Traviata” (Emily Pogorelc); Desdemona from “Otello” (Leah Hawkins); Cio-Cio-San from “Madama Butterfly” (Kiandra Howarth); and the title protagonists of “Tosca” (Selene Zanetti), “Carmen” (Samantha Hankey), “Lucia di Lammermoor” (Rosa Feola) and “Norma” (Lauren Fagan).

Their onstage appearances are an insult to the singers, who feel like interchangeably anonymous musical accompaniment to the short films — though Feola’s Lucia was defiantly present, a performance that captured the role’s emotional force and vocal acrobatics, even stripped of its dramatic context.

In the work’s coda, Abramovic imagines herself in Callas’s Paris apartment on the day she died.Credit...Wilfried Hösl

A spotlight remains throughout on the sleeping Abramovic, as behind her the short films — starring her and a game Willem Dafoe, and directed by Nabil Elderkin — provide not reflections on Callas but (on a superficial level) the arias themselves, and (on a more thoughtful one) the nature of operatic artifice.

In their embrace of excess, these videos flirt with winking camp. As Abramovic falls from a skyscraper in slow motion, inspired by “Tosca,” her enormous earrings dance in zero gravity; when Dafoe wraps thick snakes around her neck to strangle her like Desdemona, their slithering bodies smear her lipstick. Her Carmen is a bedazzled matador, while in the “Norma” film she and Dafoe trade gender roles, with him in a glittering gown and the penciled eyebrows of Marlene Dietrich.

Little, if anything, is said here about Callas, but after the seventh aria, Nikodijevic’s music returns — now rumbling and tumultuous, with singers and instrumentalists perched in the theater’s boxes — as the scene changes to her apartment on the day of her death. It’s realistic yet suggests a place beyond, the window opening not to a streetscape but to a pale blue emptiness.

In this long coda, Abramovic’s prerecorded voice both gives her directions for onstage movement and imagines Callas’s final thoughts in a collage of non sequiturs resembling a mad scene. She contemplates her luxurious bedding, “Ari” Onassis, her gay friends (Luchino Visconti, Pier Paolo Pasolini, Franco Zeffirelli, Leonard Bernstein). Then, at some point, she leaves through a door. The maids come in, dispassionately clean the room and drape black fabric over the furniture.

One of them lingers, opening a turntable and dropping the needle on a record of “Casta Diva.” The sound is scratchy, but a distinct voice comes through: Callas, for the first time. Abramovic returns to the stage, in a sparkling gold gown, and mimes the performance — an outstretched hand, a downcast look. The two divas unite at last, too late.

7 Deaths of Maria Callas

Performed Tuesday at the Bavarian State Opera, Munich.

Joshua Barone is the assistant performing arts editor on the Culture Desk and a contributing classical music critic. More about Joshua Barone

A version of this article appears in print on July 29, 2021, Section C, Page 8 of the New York edition with the headline: Summoning the Spirit of a Diva. Order Reprints | Today’s Paper | Subscribe

[gutachter]

Auftraggeber hält Prüfprogramm nicht ein: Hersteller haftet nicht für Überflutungsschäden!

1. Eine dichte Rohrverbindung ist mangelhaft, wenn sie unverpresst undicht (sog. Zwangsundichtigkeit) sein soll. 2. Sind die Rohrverbindungen nur dann unverpresst undicht, wenn der ausführende Unternehmer das vom Hersteller vorgegebene Prüfprogramm einhält, haftet der Hersteller nicht wegen eines Produktfehlers für einen Wasserschaden. Quelle und Volltext: ibr-online.de

[thomas-mvller]

Jamal Musiala (1') Harry Kane (7') Nicolai Remberg (13' OG) Harry Kane (43') Michael Olise (65') Harry Kane (90'+1') Holstein Kiel | 1 - 6 | FC Bayern München 2024/2025 Bundesliga - matchweek 3

[garadinervi]

Alfred Jensen, Sun is the Hidden Number, (gouache on paper cotton board), 1965 [Daniel Blau, München. © Estate of Alfred Jensen / ARS, New York]

Exhibition: Alfred Jensen – A.R.Penck. Geometrie und Theorie in Farbe und Form, Daniel Blau, München, March 26 – May 7, 2024

[free-piza]

München, 80er, Disco-Ära: Die queere Szene blüht und Weltstars wie Freddie Mercury machen hier Party. Aber plötzlich ist Schluss. Ein mysteriöses Virus erreicht die Stadt. In "I Will Survive" sprechen wir mit den Menschen, die als Erste und vielleicht am härtesten von der AIDS-Krise getroffen wurden. Der Podcast erzählt von ihrer Angst, ihren Verlusten und ihrem Widerstand in einer Zeit, als Bayern als einziges Bundesland auf Ausgrenzung statt auf Aufklärung setzt. Und es geht um die Frage: Welches Vermächtnis haben die Menschen von damals der queeren Community heute hinterlassen?

Diese Podcast-Minidoku hat 7 Folgen und ist sehr sehr gut gemacht und super interessant. Vor allem wenn man, wie ich, so gut wie nichts über lokale Politik zu der Zeit wusste. Ich bin da durchgerauscht wie nichts, kann ich nur empfehlen.

[ltwilliammowett]

Lädine

A Lädine is a vessel that was used throughout Europe's inland waters, but its main use was on Lake Constance. Incidentally, its little sister was called a Segmer. These vessels were used to transport all kinds of goods from the 14th - 20th century. The word "Lädine" contains the Alemannic "Lädi" (cargo, load), while "Segmer" is the ancient Greek/Roman technical term for the load of pack animals, which was reloaded onto these ships in the eastern part of Lake Constance after crossing the Bernhardino Pass.

A Lädine had a flat bottom, a square sail, oars and a wide leeward. The construction of both types was standardised, but the dimensions differed in the five countries bordering Lake Constance. The carrying capacity of a Lädine was up to 150 tonnes with a mast height of 24 metres, a length of 32 metres and a width of 4 metres. The draught was 1.17 metres to 1.46 metres, the leeboard 35 centimetres to 42 centimetres. The four types of Segmer had a load capacity of between 7 tonnes and 75 tonnes and were up to 20 metres long.

Replica Lädine St Jodok with the coat of arms of Immenstaad on the square sail.

Due to this design and their utilisation, they were no manoeuvre wonder. When the wind was calm, you either had to row, tow or punt on the shore to get to your destination. A headwind meant waiting in the harbour, as it was not possible to cross without a keel. Historical sources often contain complaints about violations of Christian Sunday rest, as people preferred to make use of the available wind rather than rowing or piling up for a long and arduous journey.

Unfortunately, they lost their significance in the course of the 19th century with the advent of steamers and the railway and slowly disappeared from service in the 20th century.

Dietmar Bönke: Schaufelrad und Flügelrad. Die Schiffahrt der Eisenbahn auf dem Bodensee. München 2013

[str4wanzerin]

Felix: Is any of this legal?

Zagreb: I’m sure it’s legal somewhere.

Felix: And here?

Zagreb: Not even remotely.

[annahamiltonsstuff]

München 7 ist philosophisch schon auf einem anderen Level da können Plato, Goethe oder Dante heim gehen.

Xaver: du richst des iaz mid deiner Frau.

Felix: aber des is ned mei Frau... I hob doch nix mid da Magdalena

Valentino: aber sie mid dir!

[katasstrophy]

kaiser gets soooo silly around you i swear ... like youre walking around in your heels and short skirt and kaisers trailing behind you like a helpless lil thing ... asking you stuff like "do you need help," "shall i lift that for you", and youre just staring at him because girl ... is he the same guy??? tries to show you one of the attacks he made for münchen and you're not paying any attention, and HE KNOWS while you just murmur a low "hmm, whatever, thats nice," condescendingly and he gets hard . the idea of europe's best soccer players working 24/7 for someone who couldn't give a fuck less??? thats kaisers type ong. give him minimal attention play hard to get walk all over him because this man is whipped !

GIRL IS HE THE SAME GUY 😭😭😭 that one got me because literally. kaiser has the most attention-grabbing (and unfortunately sexy) outward appearance known to mankind — princely blonde hair that ends in cerulean blue, matching the rose ink circling down the length of his muscled arm, red eyeliner, a body every one of his devoted fans salivates over — and yet you have to do a double take each time he saunters up to you trying desperately to win your affections, recognition finally flooding your senses only to level him with a haven't i rejected you before? it drives him up the fucking walls. 

the things that have gotten him everything in life so far — the fame, the talent, the insufferable charm and ego — don't even leave so much as a dent of an impression on you, and it leaves him with a shameless tent in his pants each time.

ignore him, trample all over his pride and he gives into the chase like the loyal dog ness was once to him, crawling on his knees and panting for a scrap of your attention that, if you're generous enough to gift him, brings him higher elation than any other vices he once enjoyed. succumb to his advances — to which, one day, you will; there's simply no other alternative in kaiser's head — and he's free to ravage and punish his newfound empress to his foul, twisted little heart's content.

either way, he gets to taste victory. because michael kaiser always wins. 

[fashionbooksmilano]

Bertolt Brecht beim Photographen

Photographien von Konrad Reßler

Herausgegeben und mit einem Essay von Michael Koetzle

Gina Kehayoff Verlag, München 1998, 100 pages, 22x28,5cm, 3-929078-59-7

euro 35,00

email if you want to buy booksinprogressmilano@yahoo.it

Bert Brecht im Atelier des "Hofphotographen" Konrad Reßler

Brecht fotografato nello studio del fotografo Konrad Reßler

06/01/24

[zadig-fate]

Making the long solo drive back to Berlin today and it's slowly sinking in that this was really my last JO show of the year and I won't be seeing them again until March. It feels strange after basically following these boys around for an entire month.

It felt weird to say goodbye to the fandom friends I've made on these tours and know we won't see each other again for months. Especially @thisismyobsessionnow and @safursey, who came to feel like fixtures in my life after spending the last ~3 days (only 3 days???) together nearly 24/7, travelling, queuing, planning, vibing.

I'll never forget our "Escape from München" story, driving 12 hours overnight across western Europe with these ladies through a snowstorm and torrential rain while updating each other on JO's parallel journey in real time, wondering whether the concert we were travelling to would actually happen.

I joke all the time that I can't believe my life has come to this, travelling around Europe and queuing in the cold at stupid early hours of the morning to see five Slovenian boys play songs I've heard a hundred times, but it's actually been an amazing experience that I'll never forget.

I'm especially grateful for all the amazing friends I've made on- and offline through this band. Bojan described the fandom a couple days ago as a "family... ish" and it really is. I can't wait to see everyone in person again in March, and to fangirl (gn) together online in the meantime. 🫶🏻

[thomas-mvller]

Harry Kane (13') Leon Goretzka (19') Harry Kane (45'+7') Thomas Müller (47') Jamal Musiala (61') Serge Gnabry (66') Harry Kane (70') Leon Goretzka (90'+2') FC Bayern München | 8 - 1 | 1. FSV Mainz 05 Bundesliga - matchweek 25