The Magic Mountain

Opera in two acts Libretto: Małgorzata Sikorska-Miszczuk after Thomas Mann In the original German A production of Nowy Teatr, Teatr Wielki - Polish National Opera Co-producer: National Centre For Culture Poland Partner: Malta Festival Poznań Premiere: 20 November 2026 Nowy Teatr The premiere of Paweł Mykietyn’s The Magic Mountain in 2015 was the highlight of the season. The libretto, written by award-winning playwright Małgorzata-Sikorska Miszczuk, is based on Thomas Mann's novel. The opera, however, is not a synopsis of the famed work. Instead, it channels the book's energy and evokes the atmosphere in Europe before the cataclysm of World War I. The Magic Mountain is a story about love, betrayal, revenge, and death. Its protagonist, Hans Castorp, arrives at the Berghof sanatorium in Davos, Switzerland, for a course of treatment. Ultimately, however, the purpose of his stay turns out to be different from what he hoped: instead of recovery, Hans must prepare for his departure. The opera's cast reflects the entire lineup of characters from Mann’s novel, painting the social and philosophical context for the protagonist's coming of age, while attempting to diagnose the state of the pre-WWI era, which in certain respects resembles our chaotic reality, full of tense anticipation for an event that could alter the course of history. The libretto's starting point is a character Mann barely mentions: a deceased American woman who stayed in Hans's room before him and becomes the man's bridge between life and death. The opera has an oneiric quality, which transports the audience into a symbolism-laden reality straddling the worlds of the living and the dead. Mykietyn’s music perfectly corresponds with the allusive libretto and the eclecticism of the contemporary era. It encompasses a variety of styles and idioms: serious arias, swinging backing vocals, rock improvisation, pop songs, and the sounds of the city and nature. The whole is set within an electronic soundscape that charts the passage of time with relentless precision and helps to create an extraordinary experience of a world situated on the border between reality and dreams. In an unprecedented move, the composer decided to forego a live orchestra. The score is played through loudspeakers, allowing him to create a rich sound palette that combines instrumental and electronic elements. Following the premiere of its first production, directed by Andrzej Chyra and designed by Mirosław Bałka, Mykietyn’s opera was hailed as one of the most significant Polish musical productions of the 21st century.