Hans Werner Henze's El Cimarrón brings political music theater to Bonn
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El Cimarrón: A musical theater about freedom and resistance
On November 14, 2026, the dialogue space Kreuzung at St. Helena in Bonn will transform into a resonance chamber for an extraordinary connection of music theater, recital, and political narrative. Hans Werner Henze's El Cimarrón leads into the life story of the escaped slave Esteban Montejo and makes personal memory audible as an intense stage experience.
A voice against silence
The work, created in 1969/70, is based on Montejo's autobiographical account recorded by the Cuban ethnologist Miguel Barnet. Hans Magnus Enzensberger adapted and shaped the material for the music. Thus, a production emerges where historical experience, political consciousness, and musical avant-garde intertwine.
Music theater between rhythm and narrative
Henze develops an open dramaturgical form beyond traditional opera conventions. Voice, flute, guitar, and percussion engage in a tense dialogue. The acoustics of the dialogue space, the precise articulation of the vocal part, and the changing timbres give the performance an immediate, almost physical intensity.
A work of political explosive power
El Cimarrón is one of the striking examples of politically engaged music in the 20th century. The composition not only tells of flight and oppression but also of self-affirmation, memory, and the difficult path to an apparent freedom. Henze's directorial and musical language combines scenic action with concertante concentration.
Cast and artistic direction
Nicholas Isherwood takes on the voice and artistic direction. Camilla Hoitenga performs the flute part, Tal Botvinik plays guitar, Oded Geizhals handles percussion. Isherwood has performed the vocal work multiple times in the presence of the composer and is among the prominent interpreters of contemporary vocal music.
A special evening for the Henze anniversary
The Bonn performance is in the spirit of the 100th birthday of Hans Werner Henze. Between sharply contoured rhythms, speaking voice, and chamber musical precision, a theatrical atmosphere arises that draws the audience directly into the story. Audience reactions are likely to be particularly strong where music does not illustrate, but bears witness.
Conclusion: Visitors can expect a concentrated, moving, and politically alert music theater experience. El Cimarrón connects theatrical art, new music, and historical memory into a performance that resonates long after the last sound. Those who wish to experience contemporary music theater live should not miss this evening at the dialogue space Kreuzung at St. Helena.
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