Göttingen
Make yourself comfortable in the cinema seat: experience the Berliner Philharmoniker live on the big screen! The year-end concert with Kirill Petrenko and Alexander Malofeev Can "serious music" be humorous? Absolutely! The Berliner Philharmoniker and chief conductor Kirill Petrenko prove it in the 2026 New Year’s Eve Concert: in his sparkling Symphonie classique, Sergei Prokofiev parodies the music of Haydn and Mozart. Viennese Classicism was also on Dmitri Shostakovich’s mind when he wrote his witty Concerto for Piano, Trumpet and String Orchestra. Alongside solo trumpeter David Guerrier, pianist Alexander Malofeev, born in 2001, makes his debut here. Kirill Petrenko also unleashes a fireworks display of mischief with Richard Strauss’s Till Eulenspiegel’s Merry Pranks. Experience this lively turn of the year live in the cinema! Berliner Philharmoniker Kirill Petrenko conductor Alexander Malofeev piano David Guerrier trumpet Otto Nicolai The Merry Wives of Windsor: Overture Dmitri Shostakovich Concerto for Piano, Trumpet and String Orchestra in C minor, Op. 35 Sergei Prokofiev Symphony No. 1 in D major, Op. 25 "Symphonie classique" Richard Strauss Till Eulenspiegel's Merry Pranks, Op. 28 Johann Strauss (Son) The Gypsy Baron: Overture
What do eight classical musicians from the Merlin Ensemble Vienna do with astrophysicist Harald Lesch? A journey through space and time. Antonio Vivaldi’s "The Four Seasons," composed 300 years ago, equip us with an annual pass and an environmental ticket between Earth and orbit. Lesch and Vivaldi take us on a musical and scientific journey through time, beginning with the formation of the Earth and its seasons and leading up to today’s climate change. In the end, Harald Lesch looks at the dramatic changes to the Earth and our climate from orbit – all the way to the apocalypse? Current politics do not escape unscathed either. Harald Lesch Narrator / Merlin Ensemble Vienna / Martin Walch Violin & Direction
Three debuts, one linguistically furious evening: In Muri Darida’s “King Cobra” (dtv 2026), Lazi travels to Hungary in pursuit of a rifle and a family history made up of silence, liquor, and secrets. In Son Lewandowski’s “The Routines” (Klett-Cotta 2026), elite sport reveals itself as a system between discipline and hairspray, one that wears people down more than it celebrates them. And in Sophia Merwald’s “Bulky Waste” (park x ullstein 2026), a vacant lot becomes a utopia: a women’s shared flat, astro TV, and paprika soup — until the demolition notice comes knocking at the front door of Lusthansa. Together with literary mediator Amelie May, the three talk about their debuts, which pleasantly crash into the far too cozy bookshelf.
At last the time has come: The Smurfs are conquering the musical stage. Everyone knows them, the cheerful blue creatures created in Belgium in 1958 who went on to conquer the world from there. The brand-new musical “The Smurfs” will be live on large and small stages from spring 2027. And exclusively from Why Not Events! Look forward to an exciting adventure with Papa Smurf, Smurfette, and the little blue friends with their endearing quirks and abilities – and of course their adversary Gargamel, whose only goal is to destroy the cheerful Smurfs together with their village Smurf Village. Brand-new songs and an original stage show will win over the hearts of musical fans, evoke beautiful childhood memories across generations, and captivate young and old alike. Look forward to the smurfiest family musical of all time! The world premiere LIVE on a major tour. Tickets available at www.eventim.de and at all Eventim advance booking offices.
While Michael Kohlhaas exacts bloody revenge, “Michaela Kohlhaas” (Suhrkamp 2026) fights with words, sabotage, and exaggeration. Faced with the injustice done to her, she travels through the country cursing, only to keep running up against the same limits: resistance is not tolerated — least of all that of a woman. Heike Geißler’s rewriting of Kleist’s famous novella searches for atonement, restitution, and a wholly different ordering of the world. With support from the Deutsches Theater Göttingen, the author takes aim at the loving rebel at the Literaturhaus at the start of Kleist Year 2027. In cooperation with the Deutsches Theater Göttingen.
The audience in Göttingen already knows Moritz Neumeier: after a celebrated performance on February 4, 2026, the comedian is now returning to the Stadthalle. On Tuesday, February 23, 2027, Neumeier will be back in Göttingen with his new program “PUR.” Doors open at 6 p.m., and the show starts at 7 p.m. “PUR” is an evening about everything — and at the same time about what remains when you leave everything else out. Moritz Neumeier talks about truth, doubt and contradictions, about children and responsibility, overwhelm and therapy. His humor is direct, raw and brutally honest. Neumeier speaks openly about his everyday life and also about personal topics such as his depression. In doing so, he achieves something that makes his performances special: even with serious and difficult subjects, there is still room for big laughs. He repeatedly leads his audience to the line between “I really shouldn’t find this funny right now” and the liberating laughter that comes anyway. Neumeier is one of those comedians who are not too proud on stage to make themselves the butt of the joke. With just a few gestures and an unvarnished style of language, he generates enormous energy in the hall. His comedy format “falsch, aber lustig” now reaches millions of fans. Neumeier is also active in many areas away from the stage. Together with Till Reiners, he produces the weekly podcast “Talk ohne Gast” on Fritz. In 2025, his first children’s book, “Kleiner Papa, großer Papa,” was also published by Oetinger Verlag, followed by two more books in 2026. With “PUR,” Neumeier is likely to strike a ch
The stage is set for the perfect crime — or is it just for a damn good story? At the True Crime Slam, spoken-word artists from Berlin’s poetry slam scene present real criminal cases and fictional thrillers — but who is telling the truth? The audience decides! Real cases meet invented crimes: true files versus blood-soaked fantasy. Tension hangs in the air, drifting through the room like cold smoke, raising goosebumps on bare skin and provoking dark laughter where it should really hurt. Fact and fiction engage in a merciless duel — every detail an argument, every punchline a stab — and in the end it is not the law that decides, but the audience’s verdict. Don’t worry: it won’t be left alone with this responsible task. Crime experts integrated into the show provide advice and support.
