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The timeless, rarely performed drama about witch-hunts, power games between wife and husband, mother-in-law and daughter-in-law and prejudice is brought to life captivatingly on the stage of the Deutsche Oper.

A microtonal multimedia opera: Young twins, Max and Gabriel, climb a mountain to reach a glacier. Although they resemble each other, they are fundamentally different in their characters.

Mathis der Maler is the central composition of Paul Hindemith’s output for music theater. The reception began with its successful premiere of a symphony of three orchestral parts from the opera, in March of 1934 in Berlin. That was still before the composer was attacked in the National-Socialist press which prompted a defense of Furtwängler’s in a newspaper article titled “The Hindemith Case”. The opera wasn’t premiered until May 1938, in Zurich, where the Hindemith’s had emigrated to, before moving on to the United States. Much as Mathis, who found his political engagement in the Peasant’s War and his calling to paint solely for the glory of God to collide with the expectation to positions himself on religious matters during the Reformation, Hindemith found himself torn between his refusal to propagate for the Nazis, his urge to follow his inner voice, and the demand that he position himself against the regime. These highly acclaimed performances from 2012 at Theater an der Wien with Opera Star Roland Koch in the title role is finally now available here.

Hindemith's Mörder, Hoffnung der Frauen (Murderer, Hope of Women) is an opera in one act based on Oskar Kokoschka's play by the same title written in 1907. It was the first in a triptych of expressionist influenced one-act operas, the others being Das Nusch-Nuschi (1921), and Sancta Susanna (1922). It was first performed on 4 June 1921, at the Landestheater, Stuttgart under Fritz Busch.

The conductor György Vashegyi and his ensembles, the Orfeo Orchestra and the Purcell Choir, are fluent in various fields of baroque and classical music, with a particular predilection for French baroque opera.

Comme nombre de ses pairs, Mendelssohn, Mahler, Furtwängler, Markevitch ou Boulez, le chef d'orchestre hongrois Antal Doráti fut aussi un compositeur fécond. Comme pour certains d'entre eux, sa réputation de chef a surpassé celle du créateur.