Alice falls down a rabbit-hole, deeper and deeper, as if plumbing the endless depths of her own self. Unsuk Chin’s opera Alice in Wonderland, first performed in 2007, revolves around the central question, "Who am I?" In this Wonderland, Alice encounters the permanently harassed White Rabbit, lands in a pool of tears with curious creatures, receives advice from a caterpillar, attends the Mad Hatter’s tea party and is made to give evidence in court by the cruel Queen of Hearts. The question of "Who am I?", as simple as it is philosophical, leads Alice less to enlightenment than to more and more new questions.
In Alice in Wonderland, first performed in 2007 and her first opera, the Korean composer Unsuk Chin draws on a wide variety of styles, incorporating a great deal of humour and creating a fascinating kaleidoscope. Alice’s encounters become surreal dreamlike visions, far removed from anything resembling a fairy tale. Director Elisabeth Stöppler, making her debut at the MusikTheater an der Wien, embraces the work’s dreamy logic and tells the story of Alice in Wonderland as one person’s interminable encounter with herself.

In cooperation with WienModern