Karl Kraus’ apocalyptic chronology of the First World War meets Mahler’s riven sounds and Eisler’s sharp tones. Music and language are woven into a mirror that reflects our modern day. What does the end sound like? Will we recognise it?

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When the opera closes its doors and the lights go off in the foyer, the house’s hidden rooms come to life – the dressmaking studio between glowing sewing machines, the backstage between storing curtains, the Tischlerei in dim light. Baritone Georg Nigl opens up these secret spaces for three intimate encounters between song and text.