Atatürk

Opera is an art form of historical contradictions. It portrays characters who left such a profound mark on history that they cannot simply be categorized in black or white terms. Mustafa Kemal Atatürk is one such character of the 20th century: influential and contradictory at the same time. His way of transition towards a secular nation state gave a country hope and a sense of purpose – yet a society built according to plan also takes its toll. It is that complexity that makes the events the stuff of an opera that is relevant to the present day.

Historiography has always been polyphonic – which also applies to our world premiere Atatürk, thus its narrative is told in German, Turkish, Armenian, Kurdish, French, Greek and English. The man and the myth are examined from various perspectives – through the eyes of political allies, opponents and victims as well as through those of his confidants and the women in his life. That way something becomes audible and tangible that is often omitted in history books – that different peoples' experience and memories of historic events can widely differ.

Bassem Akiki and Olga Bach’s opera also explores the question of what Atatürk’s story is able to tell us about the formation of nations: what are the social costs of the reinvention of a country? Who benefits from reforms – and who pays the price? How much regression can be inherent in a new beginning?

The opera Atatürk is neither biography nor chronological heroic tale. Instead, it portrays a man who has become a symbol. Private relationships suddenly take on historical dimensions, whilst political decisions encroach upon personal lives. Between waltzes and dervish dances, between war reports and moments of stillness, a picture emerges of an era whose impact is felt until today.