Vom großen Himmel zur Untererde (From the Vast Heavens to the Underworld)
Weisungen an Ninsubur (Directives for Ninsubur)
Am Palast Ganzer (At the Palace of Ganzer)
Die sieben Tore zur Unterwelt (The Seven Gates of the Underworld)
II . Tod und Auferstehung (Death and Resurrection)
Der Kampf der Schwestern (Clashing Sisters)
Ninsuburs Klage (Ninsubur’s Lament)
Vom Nagel des einen Daumens (From the Nail of a Thumb)
Die List (The Ruse)
Kraut und Wasser des Lebens (The Plant and Water of Life)
III . Der Aufstieg (Ascent)
Inanna stand erneut da (Inanna Rises Anew)
Die Leute, die mit Inanna gingen (Inanna’s Escorts)
Kopfjagd (The Head Hunt)
Die Opferung Dumuzis (Sacrificing of Dumuzi)
The plot describes Inanna’s decent into the underworld. The Babylonian goddess Inanna is one of the oldest female mystic characters of mankind. 4000 years old cuneiform plates describe her as an ambivalent sovereign. Being a bloodthirsty war-monger and living an excessive sexual live, her nick name soon became “Whore of Babylon”. This subject fascinates today as much as it did 4000 years ago, because it touches the base of human existence.
With “Inanna”, one if the oldest literal works of mankind can be heard again: Starting point for this exceptional project was a reconstruction of the original text, which had to be translated first into German with the scientific assistance of Assyriologists. The many breaks and gaps of the text fragments had been integrated in the compositional concept for the libretto and the music.
For the first time in the history of music the original Sumerian texts had been set to music.
This is a pioneering work as well as for the composer Helga Pogatschar as for the singers: to make singable again what had been a dead language for many thousand years.