Oh, how gloriously it cracks and pops when you bite into a fresh apple! At the same time, this fruit is so culturally charged that it can evoke a wide range of associations, from the biblical Fall of Man to William Tell’s arrow shot at the apple atop his son’s head. Composer and sound artist Cathy van Eck combines both of these: in In Paradisum, a miniature piece of musical theater is developed from an everyday scene. Richard Barrett, on the other hand, works with disconcerting shifts between the sonic and the visual: a violin is played, but initially without an instrument — the sound comes from a tape. Which is why it sometimes seems to be out of sync with the performer’s arm movements or can suddenly transform into the buzzing of an insect. To mark the opening of her residency as “artiste étoile,” Winnie Huang shows the widely varying ways in which musical expression and physical gestures can be combined. And she will launch a collaborative work that was created especially for her by Jessie Marino and Constantin Basica: a “long journey from the core of an apple to the Gates of Hell” and “a multidimensional phantasmagoria in sight, sound, and staging.”