God's Time is the Very Best Time (Actus Tragicus) by Bach, J. S., sek 11 vas 2001, Nuo (2000/2001), Režisierius Herbert Wernicke, Dirigentas Michael Hofstetter, Theater Basel, Basel, Switzerland

Goodbye world! I'm tired of you, I want to go to heaven, There will be true peace and eternal, proud rest. World, with you there is war and strife, Nothing but sheer vanity, In heaven always peace, joy and bliss. Chorale from "Who knows how near my end" (BWV 27) If we understand morality as the price of modern freedom, they understand it as the impertinence to stand up for oneself and at the same time understand morality as the right to challenge others to this imposition - to theirs Duty to take responsibility – to remember, then the new (opera) century will begin as the old one ended. After "How is the city so deserted that was full of people", Herbert Wernicke's scenes to sacred music by Heinrich Schütz and Matthias Weckmann, his new venture, to stage cantatas by Johann Sebastian Bach, is also an opera theatre, which sees itself as a moral institution. The Schütz scenes pointed to the wound in all contemporary art: it cannot portray the horrible, the shocking without aestheticizing. But the performance also showed that it is crucial "whether she behaves like make-up on the skin or like balm on the wound" (Christoph Türcke). Where an old Christian virtue, namely that of charity, is translated into the aesthetic, as it were, the shaping of misery can harbor beauty. The mystery of the beauty and depth of Bach's composition may be explained here. His music has fascinated people for almost 300 years. Bach's cantatas, masses and passions have become a treasure trove of suffering for mankind, have become an anthropological tale about the horrors of abandonment, about the misery of finitude, about the terror of faith. "Oh how fleeting, oh how trivial" (BWV 26), "See that your fear of God is not hypocrisy" (BWV 179), "There is nothing healthy about my body" (BWV 25) and "Who knows how close mir mein Ende” (BWV 27) are some of the cantatas that Herbert Wernicke put together for his evening at the theater on the subject of nothingness, appearances and lies in the moral sense.