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1949. Grafenberg in Brandenburg shortly before the foundation of the GDR. Here lives Michel Hollmann and works in roadmaking. His purpose in life are his wife Lotte and the two children Gerda and Heinz, for whom he is reconstructing a summerhouse into a “nest”. In Grafenberg, his siblings are living as well: His brother Karl, the mayor, and sister-in-law Edith, who works in a textile factory, with their son Jürgen. Edeltraut, his sister, has married the lamp fabricant Berthold Bennert and leads a well-off life. They as well have a son: Harald. Part of the family are further sister Hanna and brother-in-law Hermann, who is a fisherman on one of the local lakes and conducts a tenacious private war against old Stegewald and his presumptive prince-electoral rights. They are living their lives with their large and small conflicts, with different intentions, and yet remain connected always.

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Rarely has a theatrical world premiere been so warmly received as Dutch National Opera’s production of Arnold Schönberg’s late-Romantic Gurre-Lieder in 2014. The production fulfilled a fervent wish of principal conductor Marc Albrecht. The music of Gurre-Lieder is timeless, and so is its subject: a passionate, yet forbidden love. The story harks back to a Scandinavian saga, situated in Gurre. King Waldemar loves the girl Tove, who is a mysterious character, connected to both the world of people and the world of birds. The queen is jealous and has Tove killed. The Wood Dove tells of this in a moving song and the king accuses God of cruelty. A nightmarish scene follows, of a fierce army killed in battle, which rampages like a horde of ghosts. The radiant dawn at the end of Gurre-Lieder shows the insignificance of human destiny compared to the power of nature.

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