From the outset, the key condition for me was to create a single show, not three separate operas to be performed on the same evening. What interested me was to explore the connection between The Seven Deadly Sins, Mahagonny, and Happy End — how they mirror and echo one another. Together, they form a coherent whole that speaks about the same world, the same human condition, and the same moral collapse.

Each of these works describes the end of a civilisation, a society governed by money, power, and the exploitation of the weak. I wanted to show a world where love and solidarity have disappeared, and where people are losing their sense of humanity.

The challenge was to find a visual and emotional unity, something that could hold these pieces together and make them resonate in a contemporary way. The set is a kind of metaphor for the ruins of our world — a broken space that becomes the playground for our characters’ follies, desires, and despair.

Weill’s music moves between irony and tragedy, cabaret and despair. It exposes the contradictions of human beings, their cruelty, their tenderness, their ridiculousness. For me, it’s about using humour and fantasy to talk about very serious things — the death of love, the loss of hope, and the destruction of our planet.

This Weill Triptych is both an entertainment and a warning. It is a mirror of our world, and at the same time, a cry of alarm.