Rosenstolz, the beloved German pop duo from Berlin, emerged in the early 1990s with a sound that blended catchy pop melodies with the soulful flair of chanson. Formed by singer AnNa R. (Andrea Rosenbaum) and songwriter-keyboardist Peter Plate amid Berlin’s queer underground scene, the duo crafted music that wore its heart on its sleeve. Over two decades, Rosenstolz transformed from cult favorites into chart-topping stars, all while staying true to themes of love, loss, and living authentically.
In their early days, Rosenstolz played smoky clubs and LGBTQ+ community centers, les enfants terribles of a newly reunified Berlin. AnNa’s background in East Berlin cabarets and Plate’s passion for synth-pop combined to create something unique: songs at once theatrical and deeply personal. At one of their first gigs in 1992, a restless crowd at the SchwuZ gay club booed the unknown duo – yet AnNa and Peter persisted  . By the late ’90s, their perseverance paid off. Rosenstolz were no longer just an underground secret; they nearly represented Germany in the Eurovision Song Contest in 1998, and their 2000 album Kassengift (“poison to the cash registers,” a tongue-in-cheek title) hit number one, heralding their breakthrough into the mainstream. The name Rosenstolz itself (roughly “pride of roses”) hinted at the duo’s ethos – a mix of delicate vulnerability and bold pride – and soon, audiences across the country were embracing that ethos as their own.
As the new millennium progressed, Rosenstolz’s music evolved in scope and ambition. Their 2002 album Macht Liebe (“Make Love”) flirted with electronic beats and New Wave influences, even as the band remained rooted in raw emotion. During the lead-up to the 2003 Iraq war, Rosenstolz debuted the song “Laut” (“Loud”) – an impassioned anti-war protest in pop form – underscoring that their artistry was as much about conscience as catharsis. In 2004, the duo released Herz (“Heart”), a record that would cement their status as German pop icons. Blending stirring ballads with upbeat anthems, Herz yielded the hit single “Liebe ist alles” (“Love Is Everything”), a soaring, melancholic love song that became a generational anthem. With AnNa’s unmistakable voice pleading and affirming that love is everything, the track struck a chord from radio charts to wedding playlists, and even crossed borders – it was later covered in French and English, spreading Rosenstolz’s message of love beyond German. The accompanying arena tour saw 150,000 fans singing along to every word, often moved to tears by the sheer emotional honesty of the performances. In those moments, Rosenstolz concerts felt less like pop shows and more like communal celebrations of feeling – a safe space to be unabashedly sentimental. Even the mayor of Berlin at the time, Klaus Wowereit, an openly gay leader, was spotted in the audience singing along, a testament to how widely Rosenstolz’s music resonated.
Throughout their career, Rosenstolz maintained a delicate balance between glamour and vulnerability. AnNa R. would take the stage with theatrical flair – at times donning chic cabaret-inspired outfits or a playful punky style – but when she sang, her emotional nakedness could hush thousands. Peter Plate, often at the keyboard with a boyish grin or tears in his eyes, brought a gentle sincerity that anchored the songs’ sincerity. The German press coined the term “Mondänpop” (sophisticated pop) to describe their early style , noting how Rosenstolz mixed the melodrama of classic chanson and even schlager kitsch with modern pop sensibilities. Indeed, they were never afraid of grand emotions or even a touch of kitsch – as long as it was genuine. In Rosenstolz’s repertoire, you’ll find quirky up-tempo tunes with tongue-in-cheek lyrics alongside string-laden torch songs where AnNa’s voice might crack with real heartbreak. This unapologetic embrace of vulnerability became a hallmark of their art. In one song, AnNa might belt out a triumphant declaration of self-worth – “Ich bin ich” (“I Am Me”), a 2006 hit – and in the next, descend into the depths of sorrow on a ballad of lost love. For a generation of listeners, especially those who felt different or misunderstood, Rosenstolz offered music that said: it’s okay to feel everything, to be fully yourself, and to cry or dance or both at once.
Crucially, Rosenstolz always wore their social conscience as proudly as their hearts. The duo consistently used their platform to champion love and acceptance. In 1999, at a time when Germany was fiercely debating the recognition of same-sex partnerships, Rosenstolz released “Ja, ich will” (“Yes, I Do”) – a joyous duet with lesbian comedian Hella von Sinnen that explicitly advocated for marriage equality. In the song’s music video, AnNa and Peter stood arm-in-arm with their real-life partners, defiantly celebrating queer love for all to see . The track became an empowerment anthem in the LGBTQ+ community – and a bold statement to society that love is love, years before same-sex marriage became legal reality. Not everyone was ready for such frank advocacy in 1999; some conservative voices derided the song as “propaganda.” But Rosenstolz didn’t flinch. They followed their conviction that pop music could be protest – music as resistance – whether against homophobia or war or injustice. Years later, in recognition of their outspoken support for AIDS charities and LGBTQ+ rights, AnNa R. and Peter Plate were awarded the Order of Merit of the Federal Republic of Germany in 2011. It was a formal honor for what fans had long known: Rosenstolz’s work saved lives not just by raising funds, but by raising spirits. Their songs about hope, like the uplifting “Gib mir Sonne” (“Give Me Sun”) in 2008, offered light to those struggling in darkness, including many affected by the AIDS crisis. Few pop acts of their era so consistently intertwined the personal and the political, making love a rallying cry in both the romantic and societal sense.
The cultural impact of Rosenstolz within Germany – and especially within Germany’s queer community – cannot be overstated. They proved that a duo rooted in queer club culture could conquer the pop mainstream without toning down their message or emotion. In their audience, flamboyant gay club kids stood next to suburban parents, all singing the same chorus. Rosenstolz built bridges between subculture and mass culture, embodying a unified hope for understanding. Their influence can be seen in the next generation of German artists who celebrate identity and vulnerability in equal measure. Much like international trailblazers such as Pet Shop Boys or George Michael, Rosenstolz opened doors for LGBTQ+ representation in pop – but they did it in a uniquely German way, singing in their mother tongue about the dreams and sorrows of everyday people. They also weren’t afraid to collaborate with their heroes and contemporaries: from inviting punk icon Nina Hagen and British synth-pop legend Marc Almond to guest on a single , to writing songs for younger artists, Rosenstolz showed a generosity of spirit that made them widely respected among fellow musicians. And yet, despite all the awards and record sales, AnNa and Peter always came across as refreshingly humble – two friends who still seemed a bit amazed that so many people cared about their little songs born in a Berlin apartment.
In September 2011, on the 20th anniversary of the band’s founding, Rosenstolz released the triumphant single “Wir sind am Leben” (“We Are Alive”). It was both a celebration and a reassurance – arriving after Peter Plate’s recovery from a severe burnout that had paused their work, the song felt like a victorious declaration of survival. The chorus, “We are alive, we are free, we are not alone”, rang out like an anthem of resilience. It was as if Rosenstolz were reminding everyone, after hardship, life and love prevail. Fittingly, that would be the last studio album the duo released together. In 2012, AnNa R. and Plate announced an indefinite break from Rosenstolz, each embarking on new creative paths. Fans were sad but understanding – after two decades of pouring their souls out on stage, the pair had earned a respite. They left open the door for a future reunion, and in the meantime their legacy only grew. Rosenstolz’s songs kept playing on the radio, at pride parades, at funerals and birthdays alike – wherever people needed to feel a little more understood and a little less alone.
Then, in March 2025, came a heartbreaking coda: AnNa R. passed away unexpectedly at the age of 55, leaving the music world in shock. The news of her death reverberated far beyond the fan community. It felt like Germany lost not just a pop singer, but a voice of its collective heart. Tributes poured in from all corners – from longtime fans sharing how AnNa’s lyrics carried them through their darkest times, to fellow artists and public figures acknowledging the doors she had opened. Peter Plate’s own farewell to his dear friend was achingly poignant. “I will miss you every second,” he wrote, reminiscing about the night they first met when he was “enraptured by her voice” and knew they were destined to make magic together. Even in mourning, there was immense gratitude: for the countless live moments where AnNa’s crystalline voice and warm presence lifted everyone up, and for the courage she showed in living and singing her truth. AnNa R.’s legacy is one of unmistakable vocals and unyielding authenticity – a reminder that a song from the heart can ripple outward and touch millions.
Though AnNa is no longer with us and Rosenstolz’s story has paused, their music continues to shine brightly. The cultural landscape they helped shape – one more accepting of queer artists, one more open to emotional honesty – endures. Young German musicians still cite Rosenstolz as inspiration, whether they are crafting impassioned pop ballads or speaking out for equality. And ordinary listeners, too, continue to find solace and strength in Rosenstolz’s catalogue. “Liebe ist alles” still consoles the brokenhearted; “Ja, ich will” still rings out at Pride events as a celebration of love’s triumph; and “Ich bin ich” still empowers those learning to accept themselves. In a world that can often feel cold or divisive, the songs of Rosenstolz remain a warm embrace.
Ultimately, the story of Rosenstolz is about the transformative power of art born from sincerity. AnNa and Peter showed that pop music can be as poetic and profound as any art form – that a three-minute song, if infused with real feeling, can become a lifeline. They dared to be emotional in a cynical time, to be openly queer in a heteronormative industry, and to speak of hope amid despair. In doing so, they gave countless people permission to do the same. Rosenstolz’s journey – from a tiny apartment studio in Berlin to the biggest stages in the German-speaking world – is a testament to what can happen when artists stay true to themselves and to the communities that uplift them. Their music, full of yearning and yes, pride, stands as both resistance and affirmation: resistance against hate, war, and indifference, and a heartfelt affirmation of life, love, and the freedom to be oneself. Even as we say goodbye to AnNa R., the echo of her voice and the spirit of Rosenstolz live on – reminding us, in every chorus and every tear shed, that love is everything, and music will always carry that love.