Anke Krabbe

On his military campaign abroad, an eccentric king is more concerned with conquering women than land. He always gets his way, until one day he falls for his brother’s secret lover. Xerxes’ tactics, which he changes as often as his opulent costumes, allow his opponents little time to rest. This results in a ‘baroque Muppet Show,’ as the celebrated Norwegian director Stefan Herheim describes his spectacular stage production. After a bewildering series of games of love and intrigue, Handel’s opera ends with the insight that life is a theatre in which one cannot always choose one’s own role.

The Emperor of Atlantis declares a war of all against all and proclaims that his old ally Death will spearhead the campaign. Offended by the Emperor’s insolence, Death refuses to let anyone die, wreaking havoc throughout the world. Der Kaiser von Atlantis's origin as the only surviving opera composed in a Nazi concentration camp elevates it to a unique memorial against forgetting. Yet in the Deutsche Oper am Rhein’s production, the parable of living death is never cautionary, but ominous, disturbingly comical and deeply human.