{"id":22217,"date":"2025-10-28T11:40:04","date_gmt":"2025-10-28T10:40:04","guid":{"rendered":"https:\/\/www.neukoellneroper.de\/?post_type=play&p=22217"},"modified":"2025-11-21T16:25:25","modified_gmt":"2025-11-21T15:25:25","slug":"the-biggest-crime","status":"publish","type":"play","link":"https:\/\/www.neukoellneroper.de\/en\/performance\/the-biggest-crime\/","title":{"rendered":"The Biggest Crime"},"content":{"rendered":"\n
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\u00a9 Femizide stoppen! (@femizide_stoppen)<\/figcaption><\/figure>\n\n\n\n

Almost every third day in Germany, a woman is killed because of her gender. The perpetrators are always men, most often from the immediate social environment. These murders represent the catastrophic, dehumanizing endpoint of psychological and physical violence against partners and ex-partners, daughters, and mothers within patriarchy. Femicide is carried out under the societal guise of a \u201ccrime of passion.\u201d On stages across the country, femicides are additionally presented night after night as a \u201cgood murder,\u201d a \u201cbeautiful murder,\u201d as it is called in Alban Berg\u2019s opera Wozzeck<\/em>.<\/p>\n\n\n\n

The music theatre performance CRIME OF PASSION by Berlin-based performer and singer Anthony H\u00fcseyin investigates the killing of women on the opera stage, its historical roots, and its presence in our everyday lives. Fatma Aydemir, Alvina Chamberland, and Martha-Luise Urbanek also engage with violence against FLINTA+ in their artistic, literary, performative, and journalistic practices \u2013 both on a personal and structural level. On the occasion of the International Day for the Elimination of Violence against Women, and following H\u00fcseyin\u2019s performance, they will collectively approach the topic of femicide<\/p>\n\n\n\n

Free admission \u2013 in English<\/p>\n\n\n\n

WITH<\/strong> Fatma Aydemir, Alvina Chamberland, Anthony H\u00fcseyin and Martha-Luise Urbanek <\/p>\n\n\n\n

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Fatma Aydemir \u00a9 Bahar Kaygusuz<\/figcaption><\/figure>
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Alvina Chamberland \u00a9 Tiresia<\/figcaption><\/figure>
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Anthony H\u00fcseyin \u00a9 Peter van Heesen<\/figcaption><\/figure>
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Martha-Luise Urbanek \u00a9 Reiner Nicklas<\/figcaption><\/figure><\/div>\n\n\n\n

Fatma Aydemir<\/strong> is a novelist and columnist for the British daily newspaper The Guardian. Her novels Ellbogen<\/em> (2017) and Dschinns<\/em> (2022) have received multiple awards and adaptations. Her play Doktormutter Faust<\/em> premiered in 2023. She is also co-editor of the literary magazine Delfi.<\/p>\n\n\n\n

Alvina Chamberland<\/strong> is a Swedish-US American author of predominantly literary autofiction novels. In 2015 Bokf\u00f6rlaget ETC published her co-authored book Allt som \u00e4r Mitt: V\u00e5ldt\u00e4kt, Stigmatisering och Uppr\u00e4ttelse<\/em> (English translation: All that is mine: Rape, Stigmatization and Reparation). The book received a grant from the Swedish Arts Council. In September 2018 her novel Utel\u00e5st \u2013 Uppv\u00e4xt- nostalgi f\u00f6r freaks<\/em> (Locked Out \u2013 A nostalgic account of growing up for freaks) a parody of the coming of age-genre, was published by Dockhaveri F\u00f6rlag. She resides between Athens and Berlin and has no real hobbies, only intensity and serenity. Her English language debut novel Love the World or Get Killed Trying (2024), was heralded by Shakespeare and Co. Paris as one of the 121 greatest books of the 21st century.<\/p>\n\n\n\n

Anthony H\u00fcseyin<\/strong> is a non-binary musician and performer of Kurdish-Turkish and Arab heritage. Born in Urfa and raised in Istanbul, Anthony studied classical singing and jazz vocals, completing a Master\u2019s degree in jazz singing in the Netherlands. Anthony currently lives in Berlin and creates art that intertwines music, performance, and activism.<\/p>\n\n\n\n

The young mezzo-soprano Martha-Luise Urbanek<\/strong> has been engaged at the Volkstheater Rostock since the 2025\/26 season, where she will appear among others as H\u00e4nsel in Humperdinck\u2019s H\u00e4nsel und Gretel<\/em> and Isa in Tschick<\/em>. Previously, she sang and performed at the Mecklenburg State Theatre Schwerin as part of the opera studio, taking on roles such as Valencienne in The Merry Widow<\/em> and Merc\u00e9d\u00e8s in Carmen<\/em>. In Schwerin, Vienna, and Berlin she was also part of Florentina Holzinger\u2019s opera performance Sancta<\/em>. Urbanek additionally seeks challenges in interdisciplinary music theatre projects within the independent scene, collaborating with the dance and vocal ensemble CHOREOS, the Berlin music theatre collective glanz&krawall, and the theatre and cultural collective Freigeister Rostock e.V. She is a recipient of the Deutschlandstipendium and the Lions Music Prize. In 2024 she was nominated by the specialist magazine Opernwelt as \u201cYoung Singer of the Year.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Almost every third day in Germany, a woman is killed because of her gender. The perpetrators are always men, most often from the immediate social environment. These murders represent the catastrophic, dehumanizing endpoint of psychological and physical violence against partners and ex-partners, daughters, and mothers within patriarchy. Femicide is carried out under the societal guise […]<\/p>\n","protected":false},"featured_media":22212,"parent":0,"template":"","meta":{"_subtitle":"
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