Weill and Brecht’s opera, Aufstieg und Fall der Stadt Mahagonny, has carved out a place for itself in the German repertory, which puts pressure on directors to find new ways to stage it. Benedikt von Peter and set designer Katrin Wittig have risen to the challenge by using the entire theater, including the lobby and the street outside, for the action (photos below). Unwary spectators will find seats removed from the auditorium, cameras following the singers, video monitors placed everywhere, audiences seated on the floor, and the orchestra all alone on stage. Conductor Markus Poschner and the cast have come in for their share of praise, but the staging makes the production novel, even revolutionary.
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