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Rued Langgaard (1893 – 1952)

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.

u. a. Andrew Dickinson als Die Lüge, Flurina Stucki als Die große Hure
u. a. Andrew Dickinson als Die Lüge, Flurina Stucki als Die große Hure © Thomas Aurin

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. Based on 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 dazzling 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 makes 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 shown at numerous theatre conferences, seems to be made for Langgaard's eschatological mysteriousness through its over-aestheticization.

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Additional information
Church opera in two acts and six scenes; revised version, BVN 192 (1930)Libretto by Rued Langgaard Scenic premiere on 2 May 1999 at the Tiroler Landestheater in InnsbruckPremiere at the Deutsche Oper Berlin on 30 January, 2022

Recommended from 16 years on







Pre-performance lecture (in German): 45 minutes prior to each performance
Participating artists
Stephan Zilias (Musikalische Leitung)
Ersan Mondtag (Inszenierung, Bühne)
Annika Lu Hermann (Kostüme)
Ersan Mondtag (Kostüme)
Rainer Casper (Licht)
Jeremy Bines (Chöre)
Rob Fordeyn (Choreografie)
Carolin Müller-Dohle (Dramaturgie)
Thomas Lehman (Luzifer)
Jonas Grundner-Culemann (Gottes Stimme)
Valeriia Savinskaia (Das Echo der Rätselstimmung)
Irene Roberts (Die Rätselstimmung)
Clemens Bieber (Der Mund, der große Worte spricht)
Maire Therese Carmack (Der Missmut)
Flurina Stucki (Die große Hure)
AJ Glueckert (Das Tier in Scharlach)
Andrew Dickinson (Die Lüge)
Jordan Shanahan (Der Hass)
Thomas Lehman (Eine Stimme)
Ashley Wright (Tänzer*innen)
Joel Donald Small (Tänzer*innen)
Derrick Amanatidis (Tänzer*innen)
Giorgia Bovo (Tänzer*innen)
Vasna Felicia Aguilar (Tänzer*innen)
Yuri Shimaoka (Tänzer*innen)
Juan Corres Benito (Tänzer*innen)
György Jellinek (Tänzer*innen)
Shih-Ping Lin (Tänzer*innen)
Ulysse Zangs (Tänzer*innen)
Sakura Inoue (Tänzer*innen)
Ana Dordevic (Tänzer*innen)
Chor der Deutschen Oper Berlin (Chöre)
Orchester der Deutschen Oper Berlin (Orchester)
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Deutsche Oper Berlin