Der Protagonist, Opera by K. Weill

The Malibran Theatre in Venice is the chosen venue for a relatively rare production of Der Protagonist, a one-act opera by the German composer and dramatist, Kurt Weill. In English, this opera is more commonly known simply as The Protagonist, named after the lead character who is simply referred to as the protagonist throughout. Weill wrote the modern, dissonant score for Der Protagonist after collaborating with Georg Kaiser, a German playwright and librettist. The source of the libretto was a stage play of the same name Kaiser had previously written and which was staged in 1920. The operatic version, that used the same characters and plot of the original play, went on to premiere at Dresden's state opera house, Der Semperoper, on 27 March 1926. It would later be produced in numerous locations around Germany including a version staged in Berlin in 1928.
Der Protagonist is set in an English country inn during the reign of Elizabeth I. The central character is the leader of a troupe of theatrical performers. They have come to the inn to rehearse for a performance that will be given later to the local Duke. The protagonist seems to have an unnaturally strong bond with his own sister. In the opening scene, it transpires that he is not only emotionally dependent on her but makes all sorts of demands. The sister, who is also unnamed throughout the opera, has a secret lover and she determines to tell her brother about him after the rehearsals and shows are out of the way.
Word comes from the Duke that the troupe should provide some light entertainment so they work on a farce-like comedy about infidelity. However, the actors soon learn that a clergyman will be attending the performance so they should adapt their show for a more serious tone. They do so, turning their story into a tragedy. When the sister returns, the protagonist has been delving deep into his assumed character. She informs him she is there with her lover which drives her brother into the throes of jealousy, leaving audience members wondering whether he's in character or not.
Der Protagonist cleverly weaves artistic presentation and reality in a way that provokes more questions than answers in an innovative way. Weill's use of tonal but dissonant music adds to this sense of newness even though it is over a century old today. Of particular note are the two sections of music in which the actors rehearse their play, one reflecting the comedic nature of the first idea, the second providing a much more sombre tonality. Given the excellent acoustics at Venice's Malibran Theatre, the chance to witness Der Protagonist in person there is an enticing opportunity.