Der rote Wal

When the beach lies beneath the pavement, as it was often said in the past, it is not far to the sea. Gladis, the protagonist of this opera, follows the opposite direction, from the sea to the pavement. Gladis is an orca. And she wants to break what she breaks. Cruise ships, superyachts, that sort of thing. On her quest for revenge, she meets Lone, who promises her human form for 24 hours and demands one of her fins as a reward. On the pavement, she meets Abad and Ge, an urban guerrilla, schoolchildren on a museum visit to Stammheim. Gladis gets caught between the fronts and questions arise: Does the end justify the means? What remains when every truth is distorted? And if you can't fight violence peacefully, is militancy the last resort left to us all? But or because this is a fairy tale, the kiss of true love can free Gladis from everything in between. The Red Whale is not a fairy tale to trivialize, but to deal with a Stuttgart material that is charged like a myth. To tell of resistance and the monopoly on violence. The text is written by Markus Winter, who as Maeckes is not only one of the Orsons, but also a son of the mother city known far beyond the borders of the Kesselrand as a solo lyricist, thinker and musician. The score is composed by the brothers Vivan and Ketan Bhatti, who with The Red Whale are writing an opera that is also rap.