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Antikrist
Date details
- Date Thursday, 24/April/2025 19:30 (1 more date)
- Venue Deutsche Oper Berlin
- Address Bismarckstraße 35, 10627 Berlin-Charlottenburg
- Price from €29.90
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U Deutsche Oper
Part of:
Antikrist
Antikrist – Andrew Dickinson als Lüge, Flurina Stucki als Die große Hure und andere. Thomas Aurin
© Thomas Aurin
![Rued Langgaard: Antikrist – Ruth Tromboukis]()
Rued Langgaard: Antikrist – Ruth Tromboukis
© Ruth Tromboukis
![Aus der Premiere: Antikrist – Ruth Tromboukis]()
Aus der Premiere: Antikrist – Ruth Tromboukis
© Ruth Tromboukis
![Werkstattbesuch 2: Antikrist – Ruth Tromboukis]()
Werkstattbesuch 2: Antikrist – Ruth Tromboukis
© Ruth Tromboukis
![Werkstattbesuch: Antikrist – Ruth Tromboukis]()
Werkstattbesuch: Antikrist – Ruth Tromboukis
© Ruth Tromboukis
![Antikrist – Thomas Lehman als Luzifer, Flurina Stucki als Die große Hure, AJ Glueckert als Das Tier in Scharlach Thomas Aurin]()
Antikrist – Thomas Lehman als Luzifer, Flurina Stucki als Die große Hure, AJ Glueckert als Das Tier in Scharlach Thomas Aurin
© Thomas Aurin
![Antikrist – Thomas Lehman als Luzifer, Clemens Bieber als Der Mund, der große Worte spricht Thomas Aurin]()
Antikrist – Thomas Lehman als Luzifer, Clemens Bieber als Der Mund, der große Worte spricht Thomas Aurin
© Thomas Aurin
![Antikrist – Gina Perregrino als Der Missmut Thomas Aurin]()
Antikrist – Gina Perregrino als Der Missmut Thomas Aurin
© Thomas Aurin
![Antikrist – Jordan Shanahan als Der Hass Thomas Aurin]()
Antikrist – Jordan Shanahan als Der Hass Thomas Aurin
© Thomas Aurin
![Antikrist – u. a. Jonas Grundner-Culemann als Gottes Stimme Thomas Aurin]()
Antikrist – u. a. Jonas Grundner-Culemann als Gottes Stimme Thomas Aurin
© Thomas Aurin
![Antikrist – Irene Roberts als Die Rätselstimmung, Valeriia Savinskaia als Das Echo der Rätselstimmung Thomas Aurin]()
Antikrist – Irene Roberts als Die Rätselstimmung, Valeriia Savinskaia als Das Echo der Rätselstimmung Thomas Aurin
© Thomas Aurin
![Antikrist – Clemens Bieber als Der Mund, der große Worte spricht Thomas Aurin]()
Antikrist – Clemens Bieber als Der Mund, der große Worte spricht Thomas Aurin
© Thomas Aurin
![Antikrist – Gina Perregrino als Missmut Thomas Aurin]()
Antikrist – Gina Perregrino als Missmut Thomas Aurin
© Thomas Aurin
![Antikrist – Flurina Stucki als Die große Hure Thomas Aurin]()
Antikrist – Flurina Stucki als Die große Hure Thomas Aurin
© Thomas Aurin
![Antikrist – Flurina Stucki als Die große Hure Thomas Aurin]()
Antikrist – Flurina Stucki als Die große Hure Thomas Aurin
© Thomas Aurin
![Antikrist – AJ Glueckert als Das Tier in Scharlach Thomas Aurin]()
Antikrist – AJ Glueckert als Das Tier in Scharlach Thomas Aurin
© Thomas Aurin
![Antikrist – Jordan Shanahan als Hass, Flurina Stucki als Die große Hure Thomas Aurin]()
Antikrist – Jordan Shanahan als Hass, Flurina Stucki als Die große Hure Thomas Aurin
© Thomas Aurin
![Antikrist – Irene Roberts als Die Rätselstimmung, Valeriia Savinskaia als Das Echo der Rätselstimmung Thomas Aurin]()
Antikrist – Irene Roberts als Die Rätselstimmung, Valeriia Savinskaia als Das Echo der Rätselstimmung Thomas Aurin
© Thomas Aurin
![Antikrist – Thomas Lehman als Luzifer, Jonas Grundner-Culemann als Gottes Stimme Thomas Aurin]()
Antikrist – Thomas Lehman als Luzifer, Jonas Grundner-Culemann als Gottes Stimme Thomas Aurin
© Thomas Aurin
![Antikrist – Andrew Dickinson als Die Lüge, Flurina Stucki als Die große Hure Thomas Aurin]()
Antikrist – Andrew Dickinson als Die Lüge, Flurina Stucki als Die große Hure Thomas Aurin
© Thomas Aurin
![Antikrist – Jonas Grundner-Culemann als Gottes Stimme Thomas Aurin]()
Antikrist – Jonas Grundner-Culemann als Gottes Stimme Thomas Aurin
© Thomas Aurin
Langgaard's monolithic work creates an eschatological mystery play that pays homage to the fin de siècle with music reminiscent of Strauss and Wagner, but which does not deny Hindemith and Schönberg. Ersan Mondtag not only directs ANTIKRIST, but also designs the scenic set in his typical powerful expressionist style ... Conductor: Stephan Zilias; Director: Ersan Mondtag; With Kyle Miller, Jonas Grundner-Culemann, Maria Vasilevskaya, Arianna Manganello, Thomas Cilluffo, Martina Baroni, Flurina Stucki, Thomas Blondelle, Philipp Jekal a. o.
About the workThe Antichrist makes his entrance into a godless world. Sent by Lucifer into the world, he adopts many guises. Mankind is tested and tempted by pride, lust, lies, despondency and hatred in an “all-against-all altercation”. Langgaard’s opera is suffused with fin de siècle atmosphere and pessimism, warning of catastrophe and denouncing the vices of the modern age: egotism, arrogance, frivolity. Langgaard, though, was also an optimist, convinced of the transformative, transcendental power of art and the importance of music as a thread connecting people to the godhead. So it is that the world is freed of all evil and sorrow in the culminating chorus scene in ANTIKRIST.
The work, composed in the early 1920s, drastically revised up until 1930 and referred to by Langgaard as his “church opera”, is a monument within the oeuvre of the Danish composer, which itself is dotted with striking and unusual compositions. Based on John’s Book of Revelation, it is a mystery play dominated by apocalyptic references which does little to conceal the turn-of-the-century mood – and the associative libretto can be analysed from today’s historical perspective. A spark of hope in the darkness is provided by the dazzling music, a score that is Late Romantic and orchestral in influence but constantly collapsing or distilling into austere details. This is the solitary artist Langgaard discovering his personal style, one that, albeit reminiscent of Strauss and Wagner, is also a nod to his contemporaries Hindemith and Schönberg. The symbolism of the text, the switching and changing music and the muscularity of the whole makes ANTIKRIST one of the most remarkable experiments in 1920s opera.
About the productionIn the eyes of multi-award-winning director Ersan Mondtag, Langgaard’s opera foretelling a doomsday frenzy is a parable of our own times. His visually arresting production touches on issues such as social fragmentation, the roughening of public discourse and the increasingly bitter climate debate. These concerns are not permitted to out-do the scintillating richness of Langgaard’s music, much of which is purely orchestral: Rob Fordeyn’s choreography is a riveting physical rendition of the score. In his super-aestheticised, expressionist visuals Mondtag is referencing the fine art from the period of ANTIKRIST’s creation, presenting a surreal world in which the laws of physics seem to have been suspended. In his late-capitalist-era urban landscape the world is on the verge of collapse: a car plummets from above, satanic figures swirl around, people are tested and set loose on each other. The punchy, exaggeratedly fantastical images of the director, whose ANTIKRIST in 2022 was his first opera to be staged in Berlin, are perfectly suited to Langgaard’s end-time mystery.
About the workThe Antichrist makes his entrance into a godless world. Sent by Lucifer into the world, he adopts many guises. Mankind is tested and tempted by pride, lust, lies, despondency and hatred in an “all-against-all altercation”. Langgaard’s opera is suffused with fin de siècle atmosphere and pessimism, warning of catastrophe and denouncing the vices of the modern age: egotism, arrogance, frivolity. Langgaard, though, was also an optimist, convinced of the transformative, transcendental power of art and the importance of music as a thread connecting people to the godhead. So it is that the world is freed of all evil and sorrow in the culminating chorus scene in ANTIKRIST.
The work, composed in the early 1920s, drastically revised up until 1930 and referred to by Langgaard as his “church opera”, is a monument within the oeuvre of the Danish composer, which itself is dotted with striking and unusual compositions. Based on John’s Book of Revelation, it is a mystery play dominated by apocalyptic references which does little to conceal the turn-of-the-century mood – and the associative libretto can be analysed from today’s historical perspective. A spark of hope in the darkness is provided by the dazzling music, a score that is Late Romantic and orchestral in influence but constantly collapsing or distilling into austere details. This is the solitary artist Langgaard discovering his personal style, one that, albeit reminiscent of Strauss and Wagner, is also a nod to his contemporaries Hindemith and Schönberg. The symbolism of the text, the switching and changing music and the muscularity of the whole makes ANTIKRIST one of the most remarkable experiments in 1920s opera.
About the productionIn the eyes of multi-award-winning director Ersan Mondtag, Langgaard’s opera foretelling a doomsday frenzy is a parable of our own times. His visually arresting production touches on issues such as social fragmentation, the roughening of public discourse and the increasingly bitter climate debate. These concerns are not permitted to out-do the scintillating richness of Langgaard’s music, much of which is purely orchestral: Rob Fordeyn’s choreography is a riveting physical rendition of the score. In his super-aestheticised, expressionist visuals Mondtag is referencing the fine art from the period of ANTIKRIST’s creation, presenting a surreal world in which the laws of physics seem to have been suspended. In his late-capitalist-era urban landscape the world is on the verge of collapse: a car plummets from above, satanic figures swirl around, people are tested and set loose on each other. The punchy, exaggeratedly fantastical images of the director, whose ANTIKRIST in 2022 was his first opera to be staged in Berlin, are perfectly suited to Langgaard’s end-time mystery.
Artists/Collaborators: Stephan Zilias (Musikalische Leitung), Ersan Mondtag (Inszenierung, Bühne, Kostüme), Annika Lu (Kostüme, Kostümmalerei), Jeremy Bines (Chöre), Rainer Casper (Licht), Rob Fordeyn (Choreografie), Carolin Müller-Dohle (Dramaturgie), Kyle Miller (Luzifer), Jonas Grundner-Culemann (Gottes Stimme), Maria Vasilevskaya (Das Echo der Rätselstimmung), Arianna Manganello (Die Rätselstimmung), Thomas Cilluffo (Der Mund, der große Worte spricht), Martina Baroni (Der Missmut), Flurina Stucki (Die große Hure), N. N. (Das Tier in Scharlach), Thomas Blondelle (Die Lüge), Philipp Jekal (Der Hass), Kyle Miller (Eine Stimme), Ashley Wright (Tänzer*innen), Giorgia Bovo (Tänzer*innen), Ana Dordevic (Tänzer*innen), Sakura Inoue (Tänzer*innen), Vasna Felicia Aguilar (Tänzer*innen), Yuri Shimaoka (Tänzer*innen), Joel Donald Small (Tänzer*innen), Shih-Ping Lin (Tänzer*innen), György Jellinek (Tänzer*innen), Miguel Angel Collado (Tänzer*innen), Chor der Deutschen Oper Berlin (Chöre), Orchester der Deutschen Oper Berlin (Orchester)
Runtime: Thu, 24/04/2025 to Fri, 02/05/2025
Pre-performance lecture (in German): 45 minutes prior to each performance
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