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CANCELLED until 19 April: AntikristNew production

Deutsche OperBismarckstraße 35, Berlin, 10627, Germany
March 21, 26, 31, April 17, 24 at 19:30
Performers
Deutsche Oper Berlin
Stephan ZiliasConductor
Ersan MondtagDirector, Set Designer, Costume Designer
Thomas LehmanBassSatan
Jörg SchörnerTenorVoice of God
Jacquelyn StuckerSopranoEcho of Spirit of Mystery
Irene RobertsMezzo-sopranoSpirit of Mystery
Thomas BlondelleTenorThe Mouth Speaking Great Things, Lie
Anna BuslidzeMezzo-sopranoDespondency
Flurina StuckiSopranoThe Great Whore
Michael KönigTenorThe Scarlet-Coloured Beast
Seth CaricoBass-baritoneHate
Lars GebhardtDramaturgy
Jeremy BinesChoirmaster / chorus director
Berlin Deutsche Opera Chorus
Orchestra of the Deutsche Oper Berlin

The Antichrist enters a godless world. Summoned by Lucifer himself he reveals himself in many forms: through arrogance, discontent, lust, deceit and hatred humanity is tested and tempted in the "battle of all against all". Yet the voice of God ultimately puts an end to the Antichrist: "Hephata!" / "Open yourself!" – the world seems cleansed.

Rued Langgaard's "church opera", composed in the early 1920s and fundamentally revised until 1930, is a monolith of the composer's works, which has no dearth of exciting and unusual pieces. Starting from the Revelation to John he drafts an eschatologically defined mystery play that cannot conceal the zeitgeist of the fin de siècle. His highly symbolic text rife with associations can thus be read with the appropriate historical pessimism. Yet the shimmering music – shaped by the late Romantic, great orchestral sounds, yet always falling in on itself, and from which prosaic and austere details emerge – brings hope into the dark world. The artistic maverick Langgaard found in this a personal style reminiscent of Strauss and Wagner without neglecting his contemporaries Hindemith and Schönberg.

Director Ersan Mondtag is holding his Berlin opera debut – the immensely powerful imagery of the winner of multiple "Junior Director of the Year" [Theater heute] distinctions, whose works have been seen at numerous theatre conferences, seems to be made for Langgaard's eschatological mysteriousness through its over-aestheticisation.

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