In a Greek village the roles are assigned for the Easter Passion Play. A group of refugees arrives in the middle of the preparations. Driven from their homeland, they ask for protection and refuge. The village community reacts split: While the majority rejects those seeking protection, the Passion performers show more and more solidarity with them, above all the shepherd Manolios, who is supposed to play Jesus. He fights for the charity of the villagers and thus challenges the displeasure of the priest Grigoris, who sees his power in the village threatened. He excommunicated Manolios and incited the community against him. A highly explosive situation arises that leads to a catastrophe. Bohuslav Martinů's Greek Passion is already the subject of the work of the hour: a contemporary folk opera that points to the here and now. It reminds us not only to claim (Christian) love for one's neighbor, but to live it actively. The composer knew what he was talking about: as a young man he left his Bohemian homeland to study music in Paris. The changing global political conditions made him emigrate to America and Switzerland, among others, and made a return to the homeland he loved so forever impossible. Until his death in 1959 he was dependent on the support of friends and acquaintances. The Greek Passion is considered to be Martinů's most mature score. For this disturbing work he developed a tonal language that unites many opposites into a coherent whole: modern and archaic, passionate and lyrical; contemporary - yes, but never cerebral.