the rest is noise

How relevant for our system is the classical music production machinery? Has the corona lockdown, the silence of the concert halls, the sudden end of the restless concert business given us an insight into what place classical music actually has in our social, political, Central European system? The Salzburg Festival has been and still is often described as a "world art centre on Austrian soil". We were trying to open up another "headquarter", a kind of "factory", in which a group of dancers and musicians is questioning this and possibly creating a new construction of this world art. Dancing and using improvised contemporary musical elements, they ask themselves the question: what remains of music and the desire to listen to music, when more and more familiar parameters, such as the glass of champagne at break time, the dress codes, the program booklets are omitted and even the sounds become noises? And who are the people who actually play classical instruments?
From the off, musicians can be heard, describing what is going on inside them before they play the first note, what they feel when they play it, what is "systemically relevant" to them and their thoughts about questionable sponsorship.

In between, videos show the garderobiere and former master tailor of the costume department from the Festspielhaus, Erika Kronreif, who talks about her work and observations "behind the scenes" and her encounters with the audience.

Rehearsed and shown the performance has so far been held in the empty old „Trachtenfabrik", (costume manufacture), an abandoned warehouse which provided a very impressive and fitting setting for this theme.