(Photo: Monika Rittershaus)

After thirteen years as artistic director at the Zurich Opera House, Andreas Homoki leaves his post to Matthias Schulz and presents his last production in Zurich: a staged performance of Mendelssohn’s oratorio “Elias.” Mendelssohn wrote the oratorio in 1846, in a style reminiscent of Baroque oratorios, with Bach and Handel as its clear inspirations. The music blends Baroque and classical polyphony with Romantic sweetness and lyrical expressiveness.

The plot is taken from the two Books of Kings in the Bible, where the prophet Elijah performs miracles, confronts the ministers of the god Baal, and has them all killed, and brings the Israelites back from idolatry to the faith in the one true God, Yahweh. He also leaves the scene spectacularly—not by dying, but by being carried away by a chariot of fire, led by four heavenly stallions, and swept up into the heavens. He is one of the most intriguing figures in the Old Testament, full of religious zeal but also prone to moments of despair.

Mendelssohn’s score calls for a chorus, a full symphony orchestra, and a quartet of soloists; in this staged version, additional soloists were included to diversify the portrayal of the characters. In Homoki’s production, we see a revolving stage in dark gray, surrounded by circular walls that open and close (sets by Hartmut Meyer). At the center of the revolving platform is a bridge-like structure leading to a raised platform—a visually striking design similar to the one Homoki used in his “Salome.”

(Photo: Monika Rittershaus)

The Chorus: A Triumph of Precision

The chorus, as expected in an oratorio, had perhaps the most critical role, embodying the crowd that comments on and narrates the story. At times, they were the Jews following Elijah; at others, the followers of Baal seeking his destruction. The Zurich Opera Chorus was reinforced by an additional ensemble, and their performance was nothing short of exemplary. Their music was originally written to be sung while standing still with scores in hand, yet here they delivered Mendelssohn’s intricate polyphony from memory, all while acting onstage—with flawless rhythm and intonation. This was a testament to their skill and the outstanding leadership of chorus master Ernst Raffelsberger.

That said, their focus on technical perfection occasionally came at the expense of the music’s quieter, more introspective moments. These passages sometimes felt like mere respites from the otherwise “fast and furious” pacing—almost as if the chorus were catching their breath. Still, this is hardly a criticism, given that this music was never intended to be performed dramatically onstage.

(Photo: Monika Rittershaus)

Modern Dress & Ancient Drama: A Clash of Tones

Homoki dressed the chorus in contemporary clothing (costumes by Mechthild Seipel), aligning with his vision, stated in the program: “We are the people on stage.” Yet this choice clashed with the biblical narrative’s mysticism and miracles—elements far removed from modern sensibilities. After all, we are hardly the same as those who followed a religious fanatic and slaughtered 850 people for worshipping a different god. We are definitely not the people on stage. The chorus members wore only a few variations of outfits, with many dressed identically—a puzzling choice without clear dramatic motivation.

The Challenges of Staging an Oratorio

Staging an oratorio is always a challenge, and one might question whether it is necessary. When Elijah, tormented by doubt, calls on God to reveal Himself, a powerful chorus (“Der Herr ging vorüber”) describes the divine encounter: a mighty wind shatters the mountains, but God is not in the wind; an earthquake shakes the earth, but God is not in the earthquake; nor is He in the fire that follows. Mendelssohn’s score vividly depicts these cataclysms, so seeing chorus members stagger and tremble to mimic an earthquake added very little to the drama. Then, when the chorus softly sings that after the fire came “a still, small voice,” and in that still voice “onward came the Lord,” paper airplanes floated down from the rafters. The effect was unintentionally comical, drawing laughter from the audience.

(Photo: Monika Rittershaus)

The Soloists: A Cast of Power and Nuance

Christian Gerhaher’s Elijah stood as the production’s towering achievement. The lieder singer’s velvety yet commanding baritone and crystalline diction perfectly captured the prophet’s duality – his terrifying wrath against King Ahab’s corruption contrasted with the shattered vulnerability of “Es ist genug” after Jezebel’s death sentence.

As the Widow, Julia Kleiter’s silvery soprano shimmered with desperate warmth, particularly when portraying the character’s selfless charity (sharing her last food with Elijah) and subsequent joy at her son’s resurrection.

The angelic roles gained profound depth through Wiebke Lehmkuhl’s bronzed alto, which somehow balanced celestial authority with maternal tenderness despite the distracting modern-costume-with-tacked-on-wings approach.

Mauro Peter brought reflective grace to Obadiah, his sweet, high tenor was ideal for the reflective aria “So ihr mich von ganzem Herzen suchet,” a meditation on seeking God. The ternary rhythm and lyrical phrasing made it feel almost like a lullaby. His singing offered rare moments of calm in the oratorio’s storms.

Sylwia Salamonska’s vibrato-controlled, eerily pure soprano transformed the resurrected boy into something beyond human, her preternaturally high notes suggesting a divine messenger rather than a revived child. Supporting roles were equally compelling: Raúl Gutiérrez’s morally ambiguous Ahab and Indyana Schneider’s imperiously cruel Jezebel created vivid antagonists without sacrificing vocal beauty.

(Photo: Monika Rittershaus)

Noseda and the Philharmonia Zürich: A Force of Nature

Conductor Gianandrea Noseda led the Philharmonia Zürich in a dynamic, richly detailed reading of Mendelssohn’s score. The orchestra’s sound was powerful yet never overwhelming, and Noseda expertly highlighted the dense orchestration while supporting the singers and chorus through the work’s most dramatic passages.

A Fitting, If Flawed, Farewell

Homoki’s “Elias” was a bold farewell, showcasing the Zurich Opera’s musical excellence while grappling with the inherent difficulties of staging an oratorio. At times, the production’s literal interpretations undermined the music’s evocative power. Yet the stellar performances—particularly Gerhaher’s Elijah and the chorus’s monumental effort—made it a memorable close to Homoki’s tenure.

(Photo: Monika Rittershaus)