As part of the series ‘LAUT:SPRECHER – Viktor Ullmann and Simon Laks in Dark Times,’ this double bill evening of opera drew parallels between Viktor Ullmann's Der Kaiser von Atlantis oder Die Tod-Verweigerung (1944) and Simon Laks' ‘L'Hirondelle inattendue’ (1965).
Ullmann's opera, composed in the Theresienstadt ghetto, a compelling musical document of the Nazi period. Peter Kien's libretto offers a grotesque parody of totalitarian rule, in which Death refused to do his duty, bringing the war to a standstill. Ullmann's multi-layered score, characterised by musical breaks and satirical allusions, combines ‘German’ traditions with sounds denigrated by the Nazis, painting a sharp picture of the reality of life at that time. Simon Laks, who survived incarceration in Auschwitz, created L'Hirondelle inattendue, an opéra-bouffe that, despite its cheerful exterior, hints at the shadows of his past. Premiered in 1965, the work captivated audiences with its impressionistic colours, wit and lightness, behind which, however, a deep existential experience resonates.
The Salzburg production placed both works in a subtle visual setting: a slightly raked stage with black and white sections referred to the historical context of Ullmann's work, while striking costumes by Caroline Ulmar and Lucas Bertin opened up a wide range of associations. Overall, the production combined historical awareness with artistic power and presented two impressive operas that reveal new levels of meaning when juxtaposed.
