MESSIAH

Arguably his most famous work among German audiences, he composed it at a turning point in his career. After failing financially with his opera endeavours, the already famous composer increasingly turned to the dazzling genre of the oratorio, with its magnificent choral work. He produced numerous compositions, often drawing on mythological subjects. Unlike very theatrical oratorios such as Semele, Jephtha, or Saul, MESSIAH focuses entirely on the contemplative character of the Old and New Testament verses that librettist Charles Jennens selected for the text. In the German-speaking world, MESSIAH thus became the epitome of the genre, the quintessential oratorio.

Taking the deeply held belief that music lets you take control of your destiny even in a seemingly hopeless situation, director Damiano Michieletto joins forces with choral soloists from the Komische Oper Berlin—along with several hundred singers from choirs across Berlin—to come together in creating a powerful plea for hope.

RECOMMENDED READING

In his book Decisive Moments in History, Stefan Zweig recounts with literary inventiveness and convincing truthfulness how George Frideric Handel was ‘resurrected’ through his composing of MESSIAH.

Part 1

A young woman lives in fear of a worrying medical test result (Sinfonia). In the prime of her life, she had dreamed of a rosy future with her husband (»Ev’ry valley«). She could also always rely on the support of her parents (»And he shall purify«). After a computer tomography (Pifa), however, she receives the devastating diagnosis from her doctor: it is an incurable, fatal brain tumor that gives her only a few months to live. An agonizing death
is inevitable, and there is the additional danger of completely losing her physical autonomy at any time. The tumor and the woman’s fear keep growing (»He shall feed his flock like a shepherd«)—the disease takes full possession of her (»His yoke is easy«).

Part 2

To guarantee her a dignified death, the woman opts for a medically assisted suicide. With a heavy heart, the family accepts the woman’s imminent death (»He was despised«). While the physical pain becomes increasingly noticeable, there is also emotional suffering now: the woman is treated with hostility
by people who cannot accept her decision to die in a self-determined manner. This leads to a dramatic mass protest (»He trusted in God«), in which the woman is supported by her family, especially her angered husband (»Thy rebuke hath broken his heart«). But she can no longer be dissuaded from her decision—the possibility of a medically assisted suicide (»How beautiful are the feet of them«) gives her a new lease on life: through her realization that she is allowed to determine the end of her own life, the woman finds her personal redemption (»Hallelujah«).

Part 3

The woman spends the last moments of her life surrounded by her family. A laurel plant gradually begins to green and thrive, giving the family new strength (»The trumpet shall sound«). The mother speaks comforting last words (»If God be for us«), whereupon the woman dies peacefully. The laurel plant has become a paradisiacal garden (»Worthy is the lamb«).