Le Grand Macabre Tickets

Berliner Philharmonie, Berlin, Germany

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Available Dates: 28 Aug, 2026 (1 events)

Important Info

Type: Opera

City: Berlin, Germany

Duration: 2h 20min

Sung in: English

Titles in: English,German

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Choose the date to see the peformers

Creators

Composer: György Ligeti

Director: Frederic Wake-Walker

Librettist: György Ligeti

Librettist: Michael Meschke

Overview

The Musikfest Berlin opens with Le Grand Macabre by György Ligeti and at the same time celebrates the 75th anniversary of the Berliner Festspiele. Ligeti’s only opera is a profoundly-black parable of war and the end of the world, but ultimately humour gains the upper hand and indirectly also helps in overcoming the fear of death. It is therefore no surprise that this satire is one of the most frequently performed works of contemporary music theatre. Nicholas Collon leads the way through Ligeti’s grotesque doomsday scenario as the chief conductor of the Finnish Radio Symphony Orchestra, assisted by the Helsinki Chamber Choir and an international ensemble of soloists. Thanks to the Helsinki Festival, Ligeti’s “anti-opera”, as the composer himself called it, will be heard for the first time in Finland just a few days previously.

Le Grand Macabre, based on a play by the surrealist dramatist Michel de Ghelderode, combines elements from absurdist theatre, the medieval dance of death and an untrammelled funfair extravaganza. In an interview from 1956, Ghelderode commented: “I have stood the figure of death on its head in Grand Macabre. I have transformed it into a comedic model: that was my revenge.” Ligeti, who personally witnessed the horrors of the Second World War and came very close to death on a number of occasions, places his opera in the fictitious Breughelland, a totalitarian-ruled, corrupt and utterly run-down republic possessing features originating from the images of the Flemish Renaissance painter Pieter Bruegel. Alongside Mescalina, wife of the court astrologer Astradamor, with her collection of giant spiders, and Gepopo, the head of the secret police, this is where the Grand Macabre Nekrotzar, a demagogue and highly dubious character, performs his evil deeds. When the deadline of his prophesised apocalypse arrives, all inhabitants survive – with the exception of the Grand Macabre himself who had always maintained that he was the reincarnation of Death.

Since the 1960s, music by György Ligeti has repeatedly been performed at the Berliner Festwochen, and later at the Musikfest Berlin: “My homeland is actually Berlin, as strange as that may sound. […] The city has become highly interesting through its proximity between West and East”, commented the composer in 2003. Now Le Grand Macabre will open the Musikfest Berlin as a simultaneous celebration of the 75th anniversary of the Berliner Festspiele. Since its foundation as the Berliner Festwochen in the Western part of the city in 1951, the festival has always functioned as a connecting bridge between political systems, shaped the cultural dimensions of reunification and since 2001 has also had its own venues: the Haus der Berliner Festspiele and the Gropius Bau.

History

Premiere of this production: 12 April 1978, Royal Swedish Opera, Stockholm

Le Grand Macabre is the only opera by Hungarian composer György Ligeti. The opera has two acts, and its libretto – based on the 1934 play La balade du grand macabre by Michel De Ghelderode – was written by Ligeti in collaboration with Michael Meschke, director of the Stockholm puppet theatre. The original libretto was written in German as Der grosse Makaber but for the first production was translated into Swedish by Meschke under its current title (Griffiths and Searby 2003). The opera has been performed also in English, French, Italian, Hungarian and Danish. Only a few notes need be changed to perform the opera in any of these languages.

Synopsis

Act 1
Scene 1

This opens with a choir of 12 jarring car horns, played with pitches and rhythms specified in the score. These suggest, very abstractly, a barren modern landscape and a traffic jam of sorts. As the overture ends, Piet the Pot, "by trade wine taster," in the country of Breughelland (named after the artist that loosely inspired it), appears to deliver a drunken lament, complete with hiccups. He is accompanied by bassoons, which become the representative instrument for his character. The focus switches to two lovers, Amanda and Amando, who are played by two women even though they represent an opposite-sex couple. Nekrotzar, prince of Hell, hears the lovers from deep inside his tomb and subtly joins their duet. The lovers, confused, discover Piet and become enraged, believing he is spying on them. Piet protests that he "spoke no word, so who spoke? The almighty?" The lovers hide in the tomb to make out.

Nekrotzar emerges, singing a motif, exclaiming "away, you swagpot! Lick the floor, you dog! Squeak out your dying wish, you pig!" Piet responds in kind, with confused drunken statements, until Nekrotzar at last tells him to "Shut up!". Piet must become Death's slave and retrieve all of his "instruments" from the tomb. As Nekrotzar's threats grow deadlier, Piet accepts them with only amused servility, until he is told his throat is to be "wracked with thirst." He objects, because his master had "spoke of death, not punishment!" As Nekrotzar explains his mission, accompanied by percussive tone clusters in the lowest octave of the piano and the orchestra, a choir joins in, admonishing "take warning now, at midnight thou shalt die." Nekrotzar claims he will destroy the earth with a comet God will send to him at midnight. A lone metronome, whose regular tempo ignores that of the rest of the orchestra, joins in. Nekrotzar, making frenzied proclamations, dons his gruesome gear, accompanied by ever more chaotic orchestra, women's choir, and a bass trombone hidden on a balcony, his characteristic instrument. He insists that Piet must be his horse, and Piet's only protest is to give his final cry, "cock-a-doodle-doo!" As they ride off on their quest, the lovers emerge and sing another duet, vowing to ignore the end of time completely and enjoy each other's company.

Scene 2

This begins with a second car horn prelude, which announces a scene change to the household of the court astronomer, Astradamors, and his sadistic wife, Mescalina. "One! Two! Three! Five!" exclaims Mescalina, beating her husband with a whip to the rhythm of shifting, chromatic chords. Astramadors, dressed in drag, unenthusiastically begs for more. She forces him to lift his skirt, and strikes him with a spit. Convinced she has killed him, she begins to mourn, then wonders if he's really dead. She summons a spider, apparently her pet, accompanied by a duo for harpsichord and organ – Regal stops. Astradamors rises, protesting that "spiders always give [him] nausea." As punishment for attempting to fake death, she forces him to take part in an apparent household ritual, a rhythmic dance termed "the Gallopade." This ends with the astronomer kissing her behind, singing "Sweetest Sunday" in falsetto.

Mescalina orders her husband to his telescope. "Observe the stars, left, right. What do you see up there? By the way, can you see the planets? Are they all still there, in the right order?" She addresses Venus with an impassioned plea for a better man, accompanied by an oboe d'amour. As she falls asleep, Astradamors quietly claims he would "plunge the whole universe into damnation, if only to be rid of her!" Right on cue, Nekrotzar arrives, announced by his trumpet, as Venus speaks to Mescalina. Venus informs Mescalina that she has sent "two men," and Nekrotzar steps forward, claiming to be the "well-hung" man Mescalina requested. They perform a stylized lovemaking, as Venus screeches her approval and Piet and Astradamors add their commentary. Nekrotzar suddenly bites Mescalina's neck, killing her, and insists that Piet and his new servant "move this thing [her corpse] out of the way." Driving triplets launch into the trio's humorous rant, "fire and death I bring, burning and shrivelling." Nekrotzar orders his "brigade" to "attention" and they prepare to set off for the royal palace of Prince Go-go. Before doing so, Astradamors destroys everything in his home, proclaiming "at last, I am master in my own house."

Act 2
Scene 3

This opens with doorbells and alarm clocks, written into the score like the car horns earlier. These seem to represent the rousing of Breughelland as Death approaches. The curtain opens to the throne room, where two politicians dance a lopsided waltz and exchange insults in alphabetical order. "Blackmailer; bloodsucker!" "Charlatan; clodhopper!" "Driveller; dodderer!" "Exorcist; egoist!" "Fraudulent flatterer!" The prince arrives and begs them to put "the interests of the nation" over selfishness. They do so, but force Go-go to mount a giant rocking horse for his "riding lesson." The snare drum leads variations of military march-like music as the politicians contradict one another's advice, finally telling the prince "cavalry charge!" "As in war!" Go-go, who alternatingly refers to himself in the royal first-person plural, says, "We surrender!" and falls off his horse, to which the black minister says, over-significantly, "thus do dynasties fall." The prince recalls that war is barred in their constitution, but the politicians proclaim the constitution to be mere paper. Their manic laughter is accompanied by burping noises from the low brass. They move on to "posture exercises: how to wear a crown, with dignity." The politicians give him more conflicting advice as Go-go hesitates, accompanied by his characteristic instrument, the harpsichord. When Go-go puts on the crown, the politicians order him to memorize a speech and sign a decree (which raises taxes 100%), arguing over every insignificant issue the whole time. Each time the prince objects, they harmoniously threaten "I shall resign," a possibility of which Go-go seems to be terrified. The prince grows hungry, so the politicians tempt him with a gluttonous feast (to which the fat but boyish monarch sings an impassioned ode). With food in mind, Go-go finally asserts himself and says "we will accept your resignations" after dinner.

Gepopo, chief of espionage, sung by the same soprano who performed Venus, shows up with an army of spies and hangmen. Her high, wailing aria consists of "code language": tumbling, repetitive, hacked up words and phrases. Go-go comprehends the message: the people are planning an insurrection because they fear a great Macabre. The politicians go out on the balcony to try to calm the people with speeches, one after the other, but Go-go laughs at them as they are pelted by shoes, tomatoes, and other objects. He appears on the balcony and the people are enthusiastic, shouting "Our great leader! Our great leader! Go Go Go Go!" for over a minute. Their slow chant is gradually accelerated and rhythmically and intervallically transformed, drowning out the Prince's remarks (only his gestures are visible). However, Gepopo receives a dispatch (a comic process in which every spy inspects and authenticates it by pantomime) and warns Go-go with more code language that a comet is drawing closer and a true Macabre is approaching. The politicians try to play it off as alarmism, but promptly flee the stage when a solitary figure approaches from the direction of the city gate. Go-go proclaims that he is "master in [his] own house" and calls on "legendary might, hallmark of Go-gos" for the tough times ahead. Gepopo warns the prince to call a guard (in her usual "code" style), but it is only Astradamors, who rushes to greet the prince. The two dance and sing "Huzzah! For all is now in order!" (a false ending), ignoring the people's frantic pleas. A siren wails and a bass trumpet announces danger. Go-go is ordered to go "under the bed, quick!" Nekrotzar wordlessly rides in on the back of Piet as "all Hell follows behind." The processional takes the form of a passacaglia, with a repeating pattern in timpani and low strings (who play a parodic imitation of Movement 4 from Beethoven's 'Eroica' Symphony), a scordatura violin (playing a twisted imitation of Scott Joplin's 'The Entertainer'), bassoon, Sopranino Clarinet and piccolo marching with the procession, and slowly building material in the orchestra.

"Woe!" exclaims Nekrotzar from the balcony. "Woe! Woe!" respond the terrified people. He presents death prophecies such as "the bodies of men will be singed, and all will be turned into charr'd corpses, and shrink like shriveled heads!" His bass trumpet has been joined on the balcony by a little brass ensemble, which punctuates him with two new motifs. The people, several of whom have been disguised the whole time as audience members in opera clothes, beg for mercy. Piet and Astradamors, who have been looking for an excuse to drink, ask the prince of death to eat Go-go's feast with them, a "right royal-looking restaurant." Piet suggests "before we start to dine, I recommend a drop of wine." The pair, who, as his servants, are unafraid of Nekrotzar, dance around playfully insulting him and encouraging him to drink wine. He does so, intoning "may these, the pressed out juices of my victims, serve to strengthen and sustain me before my necessary deed." The three dissolve into a grotesque dialogue, the timpani and orchestra hammering inscrutable off-beats. Nekrotzar says only "Up!" over and over again as he guzzles wine. Finished drinking and utterly incapacitated, he rants and raves about his achievements. "Demolished great kings and queens in scores / no one could escape my claws / Socrates a poison chalice / Nero a knife in his palace." The string music that played while he killed Mescalina is reiterated. Midnight draws near, but Nekrotzar can't stand up. Go-go emerges from hiding, is introduced to "Tsar Nekro" as "Tsar Go-go," and the four perform stripped-down comedy sketches accompanied by stripped-down music. Nekrotzar tries to mount the rocking horse, commanding "in the name of the Almighty, I smite the world to pieces." He retains only a shred of his formerly terrifying nature, but the end of the world is represented by a rough threnody in strings followed by swelling crecendos and decrescendos in the winds. The comet glows brightly and Saturn falls out of its ring in the stage's brightly lit sky.

Scene 4

Calming chords and low string harmonics are accompanied by prominent harmonica, setting the scene for the post-cataclysmic landscape. Piet and Astradamors, believing they are ghosts, float away into the sky. Go-go emerges and believes he is the only person left alive, but "three soldiers, risen from the grave to plunder, loot, and pillage all the good God gave" emerge. They order the "civilian" to halt, and refuse to believe Go-go's claim that he is the prince and he will give them "high decorations, silver and gold, and relieve [them] of official duties." Nekrotzar emerges, disgruntled, from an upturned cart, but his annoyance and confusion that some people seem to have survived is quickly replaced with terror as Mescalina emerges from the tomb. Rough tone clusters in woodwinds and percussion set off their slapstick chase scene, which is joined by Go-go, the soldiers, and the politicians, dragged in by one of the soldiers on a rope. They proclaim their innocence, but Mescalina accuses them of all kinds of atrocities, and they sling mud back at her. "But who invented the military coup?" "Yes, and who invented mass graves?" There is a massive fast-paced fight, and all collapse. Astradamors and Piet float by, and Go-go invites them for a drink of wine. "We have a thirst, so we are living!" they realize as they sink back to earth. Nekrotzar is defeated; they have all survived. In a very curious "mirror canon" for strings, he shrinks until he is infinitesimally small and disappears. The Finale features all tonal chords arranged in an unpredictable order. The lovers emerge from the tomb, boasting about what good they did. The entire cast encourages the audience: "Fear not to die, good people all. No-one knows when his hour will fall. Farewell in cheerfulness, farewell!"

Venue Info

Berliner Philharmonie - Berlin
Herbert-von-Karajan-Str. 1

The Berliner Philharmonie is a concert hall in Berlin, Germany and home to the Berlin Philharmonic Orchestra. The Philharmonie lies on the south edge of the city's Tiergarten and just west of the former Berlin Wall. The Philharmonie is on Herbert-von-Karajan-Straße, named for the orchestra's longest-serving principal conductor. The building forms part of the Kulturforum complex of cultural institutions close to Potsdamer Platz.

The Philharmonie consists of two venues, the Grand Hall (Großer Saal) with 2,440 seats and the Chamber Music Hall (Kammermusiksaal) with 1,180 seats. Though conceived together, the smaller hall was opened in the 1980s, some twenty years after the main building.

Hans Scharoun designed the building, which was constructed over the years 1960–1963. It opened on 15 October 1963 with Herbert von Karajan conducting Beethoven's 9th Symphony. It was built to replace the old Philharmonie, destroyed by British bombers on 30 January 1944, the eleventh anniversary of Hitler becoming Chancellor. The hall is a singular building, asymmetrical and tentlike, with the main concert hall in the shape of a pentagon. The height of the rows of seats increases irregularly with distance from the stage. The stage is at the centre of the hall, surrounded by seating on all sides. The so-called vineyard-style seating arrangement (with terraces rising around a central orchestral platform) was pioneered by this building, and became a model for other concert halls, including the Sydney Opera House (1973), Denver's Boettcher Concert Hall (1978), the Gewandhaus in Leipzig (1981), Walt Disney Concert Hall in Los Angeles (2003), and the Philharmonie de Paris (2014).

Jazz pianist Dave Brubeck and his quartet recorded three live performances at the hall; Dave Brubeck in Berlin (1964), Live at the Berlin Philharmonie (1970), and We're All Together Again for the First Time (1973). Miles Davis's 1969 live performance at the hall has also been released on DVD.

On 20 May 2008 a fire broke out at the hall. A quarter of the roof suffered considerable damage as firefighters cut openings to reach the flames beneath the roof. The hall interior sustained water damage but was otherwise "generally unharmed". Firefighters limited damage using foam. The cause of the fire was attributed to welding work, and no serious damage was caused either to the structure or interior of the building. Performances resumed, as scheduled, on 1 June 2008 with a concert by the San Francisco Symphony Youth Orchestra.

The main organ was built by Karl Schuke, Berlin, in 1965, and renovated in 1992, 2012 and 2016. It has four manuals and 91 stops. The pipes of the choir organs and the Tuba 16' and Tuba 8' stops are not assigned to any group and can be played from all four manuals and the pedals.