Charity begins when we don't turn a blind eye to those seeking protection.
Music drama in four acts
First version (1957)
Libretto by the composer
Performed in English with German and English surtitles
Premiere
13. March 2027
Dates & Cast
- Conductor Erik Nielsen
- Staging Elisabeth Stöppler
- Set Design Ines Nadler
- Costume Design Frank Lichtenberg
- Lighting Design Fabio Antoci
- Video Vincent Stefan
- Choir Jonathan Becker
- Dramaturgy Benedikt Stampfli
- Priester Grigoris Birger Radde
- Archon Markus Marquardt
- Kapitän Martin-Jan Nijhof
- Schullehrer Gerald Hupach
- Kostandis Danylo Matviienko
- Dimitri David Roy
- Manolios Pavol Breslik
- Yannakos Mario Lerchenberger
- Michelis N.N., Gerald Hupach
- Panait Simeon Esper
- Andonis N.N.
- Nikolio Jin Yu
- Lenio Natasha Gesto
- Witwe Katerina Marjukka Tepponen
- Priester Fotis Neven Crnić
- Despinio Dalia Medovnikov
- Eine alte Frau Sabine Brohm
- Ein alter Mann Tilmann Rönnebeck
- Conductor Erik Nielsen
- Staging Elisabeth Stöppler
- Set Design Ines Nadler
- Costume Design Frank Lichtenberg
- Lighting Design Fabio Antoci
- Video Vincent Stefan
- Choir Jonathan Becker
- Dramaturgy Benedikt Stampfli
- Priester Grigoris Birger Radde
- Archon Markus Marquardt
- Kapitän Martin-Jan Nijhof
- Schullehrer Gerald Hupach
- Kostandis Danylo Matviienko
- Dimitri David Roy
- Manolios Pavol Breslik
- Yannakos Mario Lerchenberger
- Michelis , Gerald Hupach
- Panait Simeon Esper
- Andonis
- Nikolio Jin Yu
- Lenio Natasha Gesto
- Witwe Katerina Marjukka Tepponen
- Priester Fotis Neven Crnić
- Despinio Dalia Medovnikov
- Eine alte Frau Sabine Brohm
- Ein alter Mann Tilmann Rönnebeck
- Conductor Erik Nielsen
- Staging Elisabeth Stöppler
- Set Design Ines Nadler
- Costume Design Frank Lichtenberg
- Lighting Design Fabio Antoci
- Video Vincent Stefan
- Choir Jonathan Becker
- Dramaturgy Benedikt Stampfli
- Priester Grigoris Birger Radde
- Archon Markus Marquardt
- Kapitän Martin-Jan Nijhof
- Schullehrer Gerald Hupach
- Kostandis Danylo Matviienko
- Dimitri David Roy
- Manolios Pavol Breslik
- Yannakos Mario Lerchenberger
- Michelis , Gerald Hupach
- Panait Simeon Esper
- Andonis
- Nikolio Jin Yu
- Lenio Natasha Gesto
- Witwe Katerina Marjukka Tepponen
- Priester Fotis Neven Crnić
- Despinio Dalia Medovnikov
- Eine alte Frau Sabine Brohm
- Ein alter Mann Tilmann Rönnebeck
- Conductor Erik Nielsen
- Staging Elisabeth Stöppler
- Set Design Ines Nadler
- Costume Design Frank Lichtenberg
- Lighting Design Fabio Antoci
- Video Vincent Stefan
- Choir Jonathan Becker
- Dramaturgy Benedikt Stampfli
- Priester Grigoris Birger Radde
- Archon Markus Marquardt
- Kapitän Martin-Jan Nijhof
- Schullehrer Gerald Hupach
- Kostandis Danylo Matviienko
- Dimitri David Roy
- Manolios Pavol Breslik
- Yannakos Mario Lerchenberger
- Michelis , Gerald Hupach
- Panait Simeon Esper
- Andonis
- Nikolio Jin Yu
- Lenio Natasha Gesto
- Witwe Katerina Marjukka Tepponen
- Priester Fotis Neven Crnić
- Despinio Dalia Medovnikov
- Eine alte Frau Sabine Brohm
- Ein alter Mann Tilmann Rönnebeck
- Conductor Erik Nielsen
- Staging Elisabeth Stöppler
- Set Design Ines Nadler
- Costume Design Frank Lichtenberg
- Lighting Design Fabio Antoci
- Video Vincent Stefan
- Choir Jonathan Becker
- Dramaturgy Benedikt Stampfli
- Priester Grigoris Birger Radde
- Archon Markus Marquardt
- Kapitän Martin-Jan Nijhof
- Schullehrer Gerald Hupach
- Kostandis Danylo Matviienko
- Dimitri David Roy
- Manolios Pavol Breslik
- Yannakos Mario Lerchenberger
- Michelis , Gerald Hupach
- Panait Simeon Esper
- Andonis
- Nikolio Jin Yu
- Lenio Natasha Gesto
- Witwe Katerina Marjukka Tepponen
- Priester Fotis Neven Crnić
- Despinio Dalia Medovnikov
- Eine alte Frau Sabine Brohm
- Ein alter Mann Tilmann Rönnebeck
- Conductor Erik Nielsen
- Staging Elisabeth Stöppler
- Set Design Ines Nadler
- Costume Design Frank Lichtenberg
- Lighting Design Fabio Antoci
- Video Vincent Stefan
- Choir Jonathan Becker
- Dramaturgy Benedikt Stampfli
- Priester Grigoris Birger Radde
- Archon Markus Marquardt
- Kapitän Martin-Jan Nijhof
- Schullehrer Gerald Hupach
- Kostandis Danylo Matviienko
- Dimitri David Roy
- Manolios Pavol Breslik
- Yannakos Mario Lerchenberger
- Michelis , Gerald Hupach
- Panait Simeon Esper
- Andonis
- Nikolio Jin Yu
- Lenio Natasha Gesto
- Witwe Katerina Marjukka Tepponen
- Priester Fotis Neven Crnić
- Despinio Dalia Medovnikov
- Eine alte Frau Sabine Brohm
- Ein alter Mann Tilmann Rönnebeck
- Conductor Erik Nielsen
- Staging Elisabeth Stöppler
- Set Design Ines Nadler
- Costume Design Frank Lichtenberg
- Lighting Design Fabio Antoci
- Video Vincent Stefan
- Choir Jonathan Becker
- Dramaturgy Benedikt Stampfli
- Priester Grigoris Birger Radde
- Archon Markus Marquardt
- Kapitän Martin-Jan Nijhof
- Schullehrer Gerald Hupach
- Kostandis Danylo Matviienko
- Dimitri David Roy
- Manolios Pavol Breslik
- Yannakos Mario Lerchenberger
- Michelis , Gerald Hupach
- Panait Simeon Esper
- Andonis
- Nikolio Jin Yu
- Lenio Natasha Gesto
- Witwe Katerina Marjukka Tepponen
- Priester Fotis Neven Crnić
- Despinio Dalia Medovnikov
- Eine alte Frau Sabine Brohm
- Ein alter Mann Tilmann Rönnebeck
Related event
In brief
What would happen if the line between theatrical performance and everyday life were to disappear? In the Greek village of Lykovrissi, the local community gathers to cast the next Passion play. Not everyone is happy with their assigned role and so tensions quickly flare. However, when a group of refugees seeking sanctuary arrives in the village, the planned performance recedes into the background. Christian values, such as charity and “loving thy neighbour”, test the community away from the stage.
With his final stage work, The Greek Passion – based on the novel Christ Recrucified by Nikos Kazantzakis – the Czech composer Bohuslav Martinů (1890–1959) successfully created a metaphor to poignantly depict human action and, perhaps, human failure. Although the premiere was originally scheduled for 1959, the work did not reach the stage in Zurich until two years after the composer’s death. The story addresses the unconditional search for common humanity: a reminder to ourselves not to close our eyes to those in need of help.
Martinů’s score features powerfully crafted choral passages. Alongside the singing, the spoken word plays a central role as commentary on the action.
Oratorio-like moments are interwoven with various shifts in style from Greek folk melodies to sounds from Martinů’s Bohemian homeland and Byzantine church music.

