Our times appear to be a sheer endless present – a continuing state of crisis, where the future is perceived more as a threat than a promise. Simultaneously, new demands on this possible future are constantly being voiced, demands that stem from the day-to-day impotence felt by every individual faced with the overwhelming problems. The new music theater work opera, opera, opera! revenants and revolutionsconfronts this ambivalent situation: At a point far in the future, a choir with partial amnesia converses with themselves and with a cyborg about where they come from, how everything came about, and where they are headed to. Are we in an ice age or a war? Where were we on the last day? In an airplane? No, on a train platform – or part of a furious fisherman choir in the middle of a grand opera in 1830, which supposedly triggered a revolution and the founding of Belgium. The cyborg is tormented by stored memories and searching for answers, and the choir also grapples with its condition. Fragments, infestations, individual and collective remembrances arise from its murky memory. In the face of these moments, questions are posed over and over again: Which social potential does a mutual voice still have? Where should all of these historical turning points and utopian desires go in light of the rubble and human failures? The opera will be conceived and staged in a collective development process in cooperation with Ole Hübner’s Oper Halle (composition); Thomas Köck (libretto); Michael v. zur Mühlen (director); Martin Miotk (set designer); Maria Huber (dramaturge); Jakob Boeckh (conceptual designer); and Kornelius Paede (dramaturge). The musical direction is in the hands of the accomplished conductor Michael Wendeberg. Following the world premiere in Munich the production will celebrate its premiere at Oper Halle on June 5, 2020.

Our times appear to be a sheer endless present – a continuing state of crisis, where the future is perceived more as a threat than a promise. Simultaneously, new demands on this possible future are constantly being voiced, demands that stem from the day-to-day impotence felt by every individual faced with the overwhelming problems. The new music theater work opera, opera, opera! revenants and revolutionsconfronts this ambivalent situation: At a point far in the future, a choir with partial amnesia converses with themselves and with a cyborg about where they come from, how everything came about, and where they are headed to. Are we in an ice age or a war? Where were we on the last day? In an airplane? No, on a train platform – or part of a furious fisherman choir in the middle of a grand opera in 1830, which supposedly triggered a revolution and the founding of Belgium. The cyborg is tormented by stored memories and searching for answers, and the choir also grapples with its condition. Fragments, infestations, individual and collective remembrances arise from its murky memory. In the face of these moments, questions are posed over and over again: Which social potential does a mutual voice still have? Where should all of these historical turning points and utopian desires go in light of the rubble and human failures? The opera will be conceived and staged in a collective development process in cooperation with Ole Hübner’s Oper Halle (composition); Thomas Köck (libretto); Michael v. zur Mühlen (director); Martin Miotk (set designer); Maria Huber (dramaturge); Jakob Boeckh (conceptual designer); and Kornelius Paede (dramaturge). The musical direction is in the hands of the accomplished conductor Michael Wendeberg. Following the world premiere in Munich the production will celebrate its premiere at Oper Halle on June 5, 2020.

Our times appear to be a sheer endless present – a continuing state of crisis, where the future is perceived more as a threat than a promise. Simultaneously, new demands on this possible future are constantly being voiced, demands that stem from the day-to-day impotence felt by every individual faced with the overwhelming problems. The new music theater work opera, opera, opera! revenants and revolutionsconfronts this ambivalent situation: At a point far in the future, a choir with partial amnesia converses with themselves and with a cyborg about where they come from, how everything came about, and where they are headed to. Are we in an ice age or a war? Where were we on the last day? In an airplane? No, on a train platform – or part of a furious fisherman choir in the middle of a grand opera in 1830, which supposedly triggered a revolution and the founding of Belgium. The cyborg is tormented by stored memories and searching for answers, and the choir also grapples with its condition. Fragments, infestations, individual and collective remembrances arise from its murky memory. In the face of these moments, questions are posed over and over again: Which social potential does a mutual voice still have? Where should all of these historical turning points and utopian desires go in light of the rubble and human failures? The opera will be conceived and staged in a collective development process in cooperation with Ole Hübner’s Oper Halle (composition); Thomas Köck (libretto); Michael v. zur Mühlen (director); Martin Miotk (set designer); Maria Huber (dramaturge); Jakob Boeckh (conceptual designer); and Kornelius Paede (dramaturge). The musical direction is in the hands of the accomplished conductor Michael Wendeberg. Following the world premiere in Munich the production will celebrate its premiere at Oper Halle on June 5, 2020.