In times of religious violence, the young mother Vigdis Adelaïs is torn between her Christian upbringing and the Jewish faith, to which she has converted for her beloved. The Belgian composer Wim Henderickx and librettist Krystian Lada have created a new opera from Stefan Hertmans' haunting novel about identity, impossible love, faith and human strength. Western early music, modernism and film music merge with Jewish and Arab traditions to create a contemporary opera in which Vigdis' epic story is told through sound. Koen Kessels tackles the challenge of conducting not only the Orchestra, Chorus and Children’s Chorus of Opera Ballet Vlaanderen, but also a cast with singers from different vocal traditions, instrumentalists who play the qanûn, duduk or oud, and a newly formed city choir made up of Antwerp citizens from diverse backgrounds.

In the vision of Philippe Grandrieux, the director of Tristan und Isolde, the latter is the driving force behind the passionate drama of Tristan and herself. She is an erotomaniac who wants to possess and swallow him whole. Philippe Grandrieux's direction focuses on Isolde's desire and not the desire of both of them (as classical literature usually reads Wagner's opera).

In the trenches, soldiers are locked in endless fighting: they move some kilometres forward only to return back to their former position in a deadly cycle. Elsewhere, a woman returns to a house she has once known and finds it now poised at the edge of an abyss. Wanting to leave, she encounters inexplicable obstacles. Chaya Czernowin’s harrowingly sublime work Infinite Now interweaves two seemingly unconnected storylines - Luk Perceval’s play FRONT based on Erich Maria Remarque’s novel All quiet on the Western front and Can Xue’s novella Homecoming - that both speak to the human condition of entrapment and existential nakedness, and beyond that to a will to survive.