Führerhauptquartier Wolfsschlucht II or W2 was the codename used for one of Adolf Hitler's World War II Western Front military headquarters located in Margival, 10 km northeast of Soissons in the department of Aisne in France. It was one of many other Führer Headquarters throughout Europe but was used only one time by Adolf Hitler, June 16 and 17, 1944 for a meeting with Field Marshals Rommel and von Rundstedt about the Normandy Front.

Coordinates: 49°26′48.07″N 3°24′27.77″E / 49.4466861°N 3.4077139°E / 49.4466861; 3.4077139

Georg Hann (January 30, 1897 - December 9, 1950) was an Austrian operatic bass-baritone, particularly associated with the comic (singspiel) German repertory.

Born in Vienna, he studied at the Music Academy there with Theodor Lierhammer. He joined the Munich State Opera in 1927, and remained with this theatre until his death. He also appeared regularly at the Vienna State Opera and the Salzburg Festival, quickly establishing himself as a leading buffo interpreter, notably in roles such as Leporello, Falstaff, Kecal, Ochs, La Roche (role he created in 1942), etc.

He made guest appearances at the Berlin State Opera, La Monnaie in Brussels, the Paris Opéra, the Royal Opera House in London, La Scala in Milan.

He did not limit himself to comic roles but also sang Sarastro, Pizzaro, Gunther, Amfortas, Daland and tackled a few Italian roles as well notably Wurm, Alfio, Tonio, as well as Mefistophele in Gounod's Faust.

Hann died in Munich aged only 53.

Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 4–5 June 1826) was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.

Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotiv technique to a hitherto-unprecedented degree, while Oberon anticipated Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.

A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück (Concert Piece) in F minor, which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, was later orchestrated by Berlioz, while his Polacca Brillante was later orchestrated by Liszt.