Hamburg Opera Stages World Premiere of Trump Satire 'Monster's Paradise'
In a bold theatrical statement, the Hamburg State Opera has unveiled the world premiere production of 'Monster's Paradise', a satirical opera that directly lampoons former US President Donald Trump. Directed by Tobias Kratzer, this provocative work features a central character known as The President-King, a gluttonous and insatiable figure whose portrayal leaves little doubt about its real-world inspiration.
Artistic Vision Meets Political Reality
Speaking ahead of the premiere, Artistic Director Tobias Kratzer expressed both excitement and apprehension about the production's timing. 'The metaphor has become reality,' Kratzer remarked from his office, highlighting concerns that the opera's satirical edge might be blunted by current political developments. 'I'm really hoping the piece is not completely outdated because up until now it has always gone closer and closer to not being a satire but being reality,' he added, underscoring the delicate balance between artistic commentary and real-world parallels.
Prestigious Creative Collaboration
The opera represents a significant collaboration between two of Austria's most celebrated artistic figures. Nobel Prize-winning author Elfriede Jelinek, now 79, has teamed with composer Olga Neuwirth for their first joint project in two decades. Neuwirth, who made history as the first woman composer to have a work presented at the Vienna State Opera and won the prestigious Grawemeyer Award in 2022, brings considerable musical credentials to this ambitious production.
Their German-language libretto draws inspiration from Alfred Jarry's 1896 absurdist play 'Ubu Roi', transforming its profane, scatological elements into a contemporary political commentary. The creators describe the resulting work as a Grand Guignol opera, blending horror, satire, and theatrical excess into a distinctive whole.
Surreal Staging and Characterisation
The production opens with a Las Vegas-style LED display and action unfolding on a passerelle, immediately establishing its unconventional theatrical language. Chorus members dressed as zombies roam the foyers alongside Disney-styled princesses and dancing hot dogs, creating an atmosphere of surreal spectacle.
At the centre stands The President-King, portrayed by baritone Georg Nigl in an outlandish costume design by Rainer Sellmaier that includes a diaper and golden necktie. The character inhabits a gilded Oval Office complete with a Coca-Cola filled refrigerator and a red button that ejects visitors in the manner of a television game show.
'I'm not playing the American president, but it's very close,' Nigl acknowledged, describing his character as 'a misogynist, a braggart, a fraudster, a despiser.' His most telling line comes when he sings: 'He who has millions does not need voters.'
Contemporary References and Political Commentary
The production incorporates numerous contemporary political references through its supporting characters. Two adjutants named Mickey and Tuckey, sung by countertenors Andrew Watts and Eric Jurenas, are explicitly patterned after tech billionaires Elon Musk and Mark Zuckerberg. Their sycophantic praise includes lines such as: 'Nobody has such high numbers as you.'
The President-King faces opposition from Gorgonzilla, a monster spawned by a nuclear accident and portrayed by Anna Clementi. In one particularly memorable scene, The President-King plants a golf club on Gorgonzilla's rock, echoing the controversial White House AI photo of Trump landing on Greenland.
Throughout the opera, vampires Vampi and Bampi serve as avatars for the authors, framing the action in the manner of Wagner's Rheinmaidens and Norns. In a climactic sequence, wearing Kermit the Frog and Miss Piggy masks, they attack The President-King with sledgehammers and saws to no effect.
Musical Innovation and Thematic Depth
Neuwirth's composition employs a Mozart-sized orchestra augmented with electric guitar and drum kit, while characters frequently utilise Sprechstimme – the spoken-word singing technique that blurs boundaries between speech and song. Conductor Titus Engle successfully melds these diverse musical genres into a coherent whole.
The opera concludes with projected video of the vampires drifting along the Elbe River while playing Schubert on a Bösendorfer piano, their final worry being that the Earth has been destroyed by its leaders.
Artistic Courage and Potential Repercussions
Both creators have considered the potential consequences of their satirical work. Neuwirth admitted to some apprehension about future travel to the United States, stating: 'I'm kind of a little bit afraid because I want to still enter the United States.' In contrast, Jelinek remained characteristically defiant: 'I am not afraid. I am a small, unimportant European woman.'
Neuwirth also reflected on the power of political satire more broadly, noting: 'People of power are always afraid of humor. For example, Hitler was so afraid of Charlie Chaplin's 'The Great Dictator' – he watched it secretly in his room in Berlin – because they are afraid to be laughed at.'
Future Engagements and Legacy
Following its six-performance run in Hamburg through February 19, 'Monster's Paradise' will travel to the Zurich Opera from March 8 to April 12 before moving to Austria's Oper Graz next season. An audio recording of the production is also planned, ensuring this provocative work reaches audiences beyond those who can attend live performances.
In a surprising postscript, Neuwirth vowed this would be her final opera, promising to reveal her reasons at a later date. This declaration adds another layer of significance to what already stands as a major cultural event blending political commentary, musical innovation, and theatrical daring.
