Viktor Ullmann, 1925

In the summer of 1943, Viktor Ullmann and Petr Kien began collaborating on what was to later emerge as a signature masterpiece of Terezin’s musical scene. At the time it was also one of the most controversial. Their unique one-act opera, Der Kaiser von Atlantis, or The Emperor of Atlantis (subtitled Death Abdicates), dared to satirize the political situation of WWII while delivering timeless messages of the power of life and death. Written in four scenes, the opera required seven singers (1 baritone, 2 basses, 2 tenors, 1 soprano, and 1 alto/mezzosoprano) as well as a thirteen-piece chamber orchestra (flute/piccolo, oboe, clarinet, alto saxophone, trumpet, banjo, harmonium, percussion, violin, viola, cello, and double bass). A talented young artist and poet, Kien penned the libretto while veteran composer Ulmann scored the music. Together their efforts spawned a remarkable work that today provides a poignant glimpse into the lives of the suffering masses.

Petr Kien, 1941

Kien and Ullmann revised the opera a number of times over the ensuing year. From the edited appearance of surviving manuscripts, it seems some aspects of the political allegory were too hot for the Freizeitgestaltung to handle. After adequate libretto adjustments were made to appease the Jewish cultural heads, the rehearsal process began in earnest with Rafael Schacter as conductor and Karl Meinhard as director. During a final rehearsal in September of 1944, SS officers happened by the scene and were outraged at what they heard. Any further continuance of the opera’s performance was swiftly halted as Der Kaiser von Atlantis was immediately banned. Furthermore, the entire cast, orchestra, Ullmann, Kien, and their families were promptly shipped in a transport to Auschwitz. Only the composition and the singers survived…