{"id":12875,"date":"2026-02-21T19:30:28","date_gmt":"2026-02-21T18:30:28","guid":{"rendered":"https:\/\/mathis-nitschke.com\/?p=12875"},"modified":"2026-03-05T17:57:56","modified_gmt":"2026-03-05T16:57:56","slug":"kassandra","status":"publish","type":"post","link":"https:\/\/mathis-nitschke.com\/en\/kassandra\/","title":{"rendered":"Kassandra"},"content":{"rendered":"<h4>KASSANDRA<\/h4>\n<p>Interdisciplinary theatre \/ Music by Stephan Behrisch and Mathis Nitschke \/ Text by Nadja Loschky and Yvonne Gebauer based on the novella by Christa Wolf. \/ Funded within the framework of Fonds Neues Musiktheater<\/p>\n<p><em>Cassandra is not only the daughter of King Priam, but also a seer. When the Greeks destroy her hometown of Troy after ten years of war and take her captive, she draws her own personal conclusions in the face of her own death.<\/em><\/p>\n<p><iframe loading=\"lazy\" title=\"KASSANDRA Theater Bielefeld\" src=\"https:\/\/player.vimeo.com\/video\/1170734428?dnt=1&amp;app_id=122963\" width=\"1140\" height=\"641\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p><strong>Kassandra<\/strong> Christina Huckle<br \/>\n<strong>E-Cello<\/strong> Mathis Mayr<br \/>\n<strong>Bielefeld Opera Chorus<\/strong><br \/>\n<strong>Bielefeld Philharmonic Orchestra<\/strong><br \/>\n<strong>Premiere<\/strong> February 21, 2026, <strong>Stadttheater Bielefeld<\/strong><\/p>\n<p><strong>Musical Director<\/strong> Anne Hinrichsen<br \/>\n<strong>Director<\/strong> Nadja Loschky<br \/>\n<strong>Conceptual Collaboration<\/strong> Yvonne Gebauer<br \/>\n<strong>Set Design<\/strong> Katharina Schlipf<br \/>\n<strong>Costume Design<\/strong> Irina Spreckelmeyer<br \/>\n<strong>Sound Programming<\/strong> J\u00f6rg H\u00fcttner<br \/>\n<strong>Lighting<\/strong> Johann Kaiser-Kranefoed<br \/>\n<strong>Dramaturgy<\/strong> J\u00f3n Philipp von Linden<br \/>\n<strong>Chorus Master<\/strong> Hagen Enke<\/p>\n<p><strong>Info &amp; Tickets<\/strong> <a href=\"https:\/\/www.buo-bielefeld.de\/theater\/veranstaltung\/kassandra\" target=\"_blank\" rel=\"noopener\">https:\/\/www.buo-bielefeld.de\/theater\/veranstaltung\/kassandra<br \/>\n<\/a><\/p>\n<figure id=\"attachment_12863\" aria-describedby=\"caption-attachment-12863\" style=\"width: 1140px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1785_\u00a9JRH-small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-daze_wrapper_width wp-image-12863\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1785_\u00a9JRH-small-1140x759.jpg\" alt=\"\" width=\"1140\" height=\"759\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1785_\u00a9JRH-small-1140x759.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1785_\u00a9JRH-small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1785_\u00a9JRH-small-1024x681.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1785_\u00a9JRH-small-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1785_\u00a9JRH-small-1536x1022.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1785_\u00a9JRH-small-2048x1363.jpg 2048w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><figcaption id=\"caption-attachment-12863\" class=\"wp-caption-text\">Christiane Huckle as KASSANDRA, production photos: Joseph Ruben Heicks<\/figcaption><\/figure>\n<h4>Origin<\/h4>\n<p>I want to share how this project came into being \u2014 because for me it is an exemplary case of how music theatre can be made differently: less as a finished work one simply \u201cdelivers\u201d, and more as something that genuinely develops through collaboration.<\/p>\n<p>Over the course of my career I\u2019ve had the chance to work several times with orchestra and choir: film music around 2008, and then the two large one-act operas <a href=\"https:\/\/mathis-nitschke.com\/en\/jetzt\/\"><em>Jetzt<\/em><\/a> and <a href=\"https:\/\/mathis-nitschke.com\/en\/happy-happy\/\"><em>Happy Happy<\/em><\/a> at the Op\u00e9ra National de Montpellier (2012\/2014) \u2014 orchestra, choir, soloists, the full apparatus.<\/p>\n<p>When a hundred, two hundred people suddenly work together in one space, and the core of that huge machine is a score from your own hand, it\u2019s a hard-to-describe, almost overwhelming feeling. And it doesn\u2019t really let go of you.<\/p>\n<p>At the same time, I was never a \u201cborn opera person\u201d. For a long time I had little connection to classical singing \u2014 and even less to the opera system: its subjects, its rituals, its often astonishing reactionary inertia.<\/p>\n<p>I only truly understood this genre through making it \u2014 and only then experienced the disappointments that others have been describing for decades: how the exciting things briefly flare up, only to be swallowed again by institutional conservatism.<\/p>\n<p>In early 2024 I had the chance to articulate this tension in a lecture at the FIMT (Music Theatre Institute Bayreuth):<br \/>\n\u201cNew Musical Experiences Through New Technologies \u2014 or: What Is Opera, Actually? A Search.\u201d<\/p>\n<p>The text has since been published in a volume from that lecture series:<br \/>\n<strong>ACT: Opera and Co. for the Future!?<\/strong><br \/>\n<a href=\"https:\/\/ojs.uni-bayreuth.de\/index.php\/act\/issue\/view\/58\" target=\"_blank\" rel=\"noopener\">https:\/\/ojs.uni-bayreuth.de\/index.php\/act\/issue\/view\/58<\/a><\/p>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1906_\u00a9JRH-small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-12865\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1906_\u00a9JRH-small-1140x758.jpg\" alt=\"\" width=\"1140\" height=\"758\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1906_\u00a9JRH-small-1140x758.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1906_\u00a9JRH-small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1906_\u00a9JRH-small-1024x681.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1906_\u00a9JRH-small-680x452.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1906_\u00a9JRH-small-1536x1022.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1906_\u00a9JRH-small-2048x1363.jpg 2048w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n<p>Summer 2024. Holiday in Venice. St. Mark\u2019s Square. I\u2019m in a completely private moment \u2014 and suddenly the director Nadja Loschky calls me, introduced by the dramaturg Yvonne Gebauer.<\/p>\n<p>Nadja tells me about her project: <em>Kassandra<\/em> after the novel by Christa Wolf. A spoken theatre monologue \u2014 but conceived across disciplines, with orchestra and choir. From the beginning it was planned around the actress Christina Huckle.<\/p>\n<p>The original plan was to work with existing music from the classical canon. My role would have been to connect these pieces: transitions, sound design, links \u2014 so that the evening would feel coherent.<\/p>\n<p>I didn\u2019t find that uninteresting. But I said fairly quickly: if I\u2019m part of this, I would rather compose the evening through.<\/p>\n<p>And that\u2019s how this project began.<\/p>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1558_\u00a9JRH-small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-12886\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1558_\u00a9JRH-small-1140x760.jpg\" alt=\"\" width=\"1140\" height=\"760\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1558_\u00a9JRH-small-1140x760.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1558_\u00a9JRH-small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1558_\u00a9JRH-small-1024x683.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1558_\u00a9JRH-small-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1558_\u00a9JRH-small-1536x1024.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1558_\u00a9JRH-small-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n<p>It took time before it was truly \u201con the road\u201d, financially and organisationally. The theatre applied for funding \u2014 and received it \u2014 from the State of North Rhine-Westphalia, Fonds f\u00fcr Musiktheater. Many thanks for that.<\/p>\n<p>When it finally became concrete, I actually had no time. <a href=\"https:\/\/crps.ai\" target=\"_blank\" rel=\"noopener\">CORPUS<\/a> (my AI music project) was already fully in motion, and I was honestly unsure how to do this with the intensity it would require.<\/p>\n<p>And this is exactly where the real core of this work lies: I did not make the music alone. Quite the opposite.<\/p>\n<h4>Composition as collaborative process<\/h4>\n<p>I\u2019ve been working closely with <a href=\"https:\/\/jorghuttner.com\/\" target=\"_blank\" rel=\"noopener\">J\u00f6rg H\u00fcttner<\/a> for years. It\u2019s a very tight collaboration \u2014 originally rooted in synthesiser programming, but long since fully compositional. With <a href=\"https:\/\/mathis-nitschke.com\/en\/maya\/\">MAYA<\/a> (2017) this way of working began: material is generated together, and I shape it into a composition that is curated rather than \u201cwritten from a single hand\u201d.<\/p>\n<p>And it goes even further back: one of the first pieces that emerged like this was a work with the cellist <a href=\"https:\/\/ensemble-mosaik.de\/about\/mathis-mayr-cello\/\" target=\"_blank\" rel=\"noopener\">Mathis Mayr<\/a>, almost 30 years ago. The fact that Mathis is now also part of <em>Kassandra<\/em> is not a coincidence to me.<\/p>\n<p>When the question came up \u2014 how do we do this with orchestra and choir? \u2014 there was a connection that had been there for a long time: <a href=\"http:\/\/www.stefanbehrisch.de\/\" target=\"_blank\" rel=\"noopener\">Stefan Behrisch<\/a>. For years there had been a mutual curiosity. We had been circling the idea of working together. This time, it fit.<\/p>\n<p>We had many preliminary conversations, conceptual discussions \u2014 and based on these, Stefan drafted a catalogue of compositional material before there even was a final text.<\/p>\n<p>The composition is loosely oriented around the modes of Olivier Messiaen \u2014 less as a stylistic quotation, more as a structural tool. The music is organised in blocks: large sound fields, clearly distinguishable states, within which density, duration, and energy can be flexibly shifted.<\/p>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1496_\u00a9JRH-small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-12888\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1496_\u00a9JRH-small-1140x760.jpg\" alt=\"\" width=\"1140\" height=\"760\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1496_\u00a9JRH-small-1140x760.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1496_\u00a9JRH-small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1496_\u00a9JRH-small-1024x683.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1496_\u00a9JRH-small-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1496_\u00a9JRH-small-1536x1024.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_1496_\u00a9JRH-small-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n<p>This music then fed directly into our conceptual discussions with the directing team. And out of that process the text version emerged \u2014 which in turn allowed me to articulate and shape the material specifically for this evening.<\/p>\n<p>Central motifs are time and standstill: layered, opaque masses of sound; a nervously ticking pulse; a looming acceleration of time into panic; moments of release, emptiness, solitude. The choir is used not only singing, but also whispering and speaking; the orchestra often becomes a breathing sound surface. The music carries the monologue \u2014 it does not comment on it, and it does not console. It remains \u2014 even where it seems to fall silent \u2014 as time made tangible.<\/p>\n<p>I\u2019ve accompanied the entire development process from a music-dramaturgical perspective, and I\u2019m still in rehearsals every day. And in the end, I\u2019m also doing what I was originally asked to do: connecting the pieces \u2014 sound collages, transitions, frictions, atmospheres that hold the evening together. These sound compositions were again created in close collaboration with J\u00f6rg.<\/p>\n<p>And then there is one more ingredient that is decisive for this evening: Mathis Mayr on cello. He is present in the piece as an improvising performer \u2014 live on stage. His contribution is not pre-written. It emerged in rehearsals, in direct interplay with Christina.<\/p>\n<blockquote><p>What makes me happy about this project is simple: here, music theatre is a genuinely collaborative process, in a way I usually associate more with spoken theatre. And at the same time it remains music theatre \u2014 with all the force that orchestra and choir can have.<\/p><\/blockquote>\n<hr \/>\n<h4>Press Reviews<\/h4>\n<p style=\"text-align: left;\">&#8220;This is what makes the Bielefeld &#8216;Kassandra&#8217; \u2013 in all its darkness, its forays into the abyss \u2013 an extraordinary piece of theatre, because much comes together: the music, the chorus, Huckle&#8217;s uncompromising performance. But also because not too much comes together: The music is sometimes strongly present, but often serves as a soundtrack that amplifies what is happening on stage. Christa Wolf&#8217;s text, freed from mustiness, can resonate into the present. The chorus, which is present but also reduced to what is essential. The ensemble finds a good balance in &#8216;Kassandra&#8217; between the individual elements, which are thus able to have an even stronger impact.&#8221; (<a href=\"https:\/\/www.die-deutsche-buehne.de\/kritiken\/bielefeld-wolf-nitschke-behrisch-loschky-kassandra\/\" target=\"_blank\" rel=\"noopener\">Die deutsche B\u00fchne<\/a>)<\/p>\n<p>&#8220;What Kassandra was not allowed to experience \u2013 listening to one another, constructive and respectful collaboration \u2013 here it becomes an event.&#8221; (<a href=\"https:\/\/deropernfreund.de\/theater-bielefeld\/bielefeld-kassandra-mathis-nitschke-und-stefan-behrisch\/\" target=\"_blank\" rel=\"noopener\">Der Opernfreund<\/a>)<\/p>\n<p>&#8220;The Bielefeld &#8216;Kassandra&#8217; is a mixture of oratorio and theatre. Composers Mathis Nitschke and Stefan Behrisch have previously worked for concert halls, theatres, film and pop bands. They work with repeating phrases without falling into the trance of minimal music. The chorus often murmurs individual words barely audibly, then explosively whips out names of war victims or individual sentences in driving rhythms. This is sometimes reminiscent of Carl Orff&#8217;s &#8216;Carmina Burana&#8217;.<br \/>\nThe underscoring of the spoken passages is highly effective. The Bielefeld Philharmoniker, conducted with both vigour and sensitivity by Anne Hinrichsen, create evocative resonant spaces, while cellist Mathis Mayr engages with the actress in an improvisatory manner. Every evening is different. The creative process of this production is particularly interesting: the composers did not arrive in Bielefeld with a finished score \u2013 the piece was shaped during rehearsals on the basis of their sketches. This would not be possible at every music theatre, but in Bielefeld there is a tradition of openness and a spirit of experimentation.&#8221; (<a href=\"https:\/\/tdz.de\/artikel\/875015bc-2a0e-4801-a36c-01d478a7c8ad\" target=\"_blank\" rel=\"noopener\">Theater der Zeit<\/a>)<\/p>\n<p>&#8220;One encounters Christa Wolf&#8217;s &#8216;Kassandra&#8217; as a powerful text, given form here by a strong \u2013 indeed, very strong \u2013 actress within an equally strong stage design \u2026 What need is there for music? And yet: the sounds from the orchestra pit reach us as audience members on a different, additional emotional level beyond words and image. In this case above all because the music never comes across as verbose or heavy-handed.&#8221; (<a href=\"https:\/\/www.nmz.de\/kritik\/oper-konzert\/dichter-dunkler-dramatischer-abend-mit-toenen-der-verbitterung-kassandra-am\" target=\"_blank\" rel=\"noopener\">neue musikzeitung<\/a>)<\/p>\n<p>&#8220;<span class=\"fontstyle0\">A successful collaborative production in which not a single <\/span><span class=\"fontstyle0\">composer is celebrated as the artistic &#8216;hero&#8217;, but rather the composing <\/span><span class=\"fontstyle0\">arranger Stefan Behrisch together <\/span><span class=\"fontstyle0\">with sound designer Mathis Nitschke <\/span><span class=\"fontstyle0\">prepare the musical stage for Kassandra\/Christina Huckle, who speaks and performs <\/span><span class=\"fontstyle0\">Christa Wolf&#8217;s abridged text.&#8221; (<a href=\"https:\/\/www.faz.net\/aktuell\/feuilleton\/musik-und-buehne\/oper\/kassandra-in-bielefeld-musiktheater-nach-christa-wolf-110842615.html\" target=\"_blank\" rel=\"noopener\">F.A.Z.<\/a>)<\/span><\/p>\n<p>&#8220;It is gripping, it is powerful.&#8221; (<a href=\"https:\/\/www.deutschlandfunk.de\/kassandra-eine-produktion-von-schauspiel-und-musiktheater-in-bielefeld-100.html\" target=\"_blank\" rel=\"noopener\">DLF<\/a>)<\/p>\n<hr \/>\n<h4>Theater Bielefeld<\/h4>\n<p><strong>Musical Rehearsal Direction<\/strong> Anne Hinrichsen; Adam Laslett, Anahit Ter-Tatshatyan, Louis Wittmann<br \/>\n<strong>Assistant Director and Performance Manager<\/strong> Paula Brune<br \/>\n<strong>Assistant Set Design<\/strong> Annika Konitzki<br \/>\n<strong>Stage Management<\/strong> Thomas J. Scharf<br \/>\n<strong>Prompter<\/strong> Esfira Ter-Tatshatyan<br \/>\n<strong>Supertitles<\/strong> J\u00f3n Philipp von Linden<br \/>\n<strong>Supertitle Rehearsal Pianist<\/strong> Anna Janiszewska<br \/>\n<strong>Technical Director<\/strong> Malte Arms<br \/>\n<strong>Production Manager<\/strong> Anna Rose<br \/>\n<strong>Set Construction<\/strong> David Gast<br \/>\n<strong>Sound and Media Technology<\/strong> Falko Heidemann; Morgan Belle, Noah Keuchler<br \/>\n<strong>Make-up<\/strong> Lena Wagener; Svenja Dau<br \/>\n<strong>Head of Costume<\/strong> Dagmar Bald<br \/>\n<strong>Master Tailors<\/strong> Katrin Mondorf, Silke Wille<br \/>\n<strong>Props<\/strong> Anke Freyer<br \/>\n<strong>Workshop Director<\/strong> David Schmitt<br \/>\n<strong>Paint Shop<\/strong> Dominique Strehlke<br \/>\n<strong>Metal Workshop<\/strong> Burkhard Leugers<br \/>\n<strong>Carpentry<\/strong> Thomas Fehse<br \/>\n<strong>Decor Workshop<\/strong> Stefan K\u00fchne<\/p>\n<p>Performance rights: Heirs of Christa and Gerhard Wolf, represented by<br \/>\nGustav Kiepenheuer B\u00fchnenvertriebs-GmbH, Berlin. www.kiepenheuer-medien.de<\/p>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_0861_\u00a9JRH-small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-12867\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_0861_\u00a9JRH-small-1140x760.jpg\" alt=\"\" width=\"1140\" height=\"760\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_0861_\u00a9JRH-small-1140x760.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_0861_\u00a9JRH-small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_0861_\u00a9JRH-small-1024x683.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_0861_\u00a9JRH-small-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_0861_\u00a9JRH-small-1536x1024.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2026\/02\/KASSANDRA_0861_\u00a9JRH-small-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Kassandra, daughter of Priam and a seer, looks back on her life after the fall of Troy \u2014 in the face of her own death. In Bielefeld, Christa Wolf\u2019s novel became an interdisciplinary music theatre work between drama and orchestra \u2014 conceived as a collaborative compositional process.<\/p>\n","protected":false},"author":1,"featured_media":12862,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[126,41,45],"tags":[],"class_list":["post-12875","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-music-for-the-stage","category-music-theatre","clearfix",""],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Kassandra - Mathis Nitschke<\/title>\n<meta name=\"description\" content=\"Kassandra, daughter of Priam and a seer, looks back on her life after the fall of Troy \u2014 in the face of her own death. 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