The Silence at the End

That’s hard to answer, because the whole evening is a journey for me. When we started rehearsals in 2023, I re-read the diaries in English and also listened to the audiobook version narrated by Helena Bonham Carter while out for a walk. As I did so, it really struck me: Of course, we all know the tragic ending to this story. But we often talk less about who Anne was before she had to go into hiding.

It is precisely this Anne that I wanted to bring into the production: her positivity, her hope, her radiance. She was sassy, lively, eager to learn—a perfectly normal twelve- or thirteen-year-old girl. The audience should be able to witness her growth: from this young person to someone who must grow up under unimaginable circumstances.

Frid has selected 21 very powerful episodes from the diary. During rehearsals, however, we felt that there were other entries that we loved and definitely wanted to include. David Bösch asked everyone in the room to send in their favorite passages from the diary. The production thus follows Frid’s musical structure but is supplemented by additional diary entries, which help paint a more comprehensive picture of Anne, her family, and life in hiding.

That’s why I’d describe the evening as a special journey from start to finish. It’s not just about illu­strating his­to­ri­cal ev­ents. It’s about enc­ounter­ing a real person.

The stage design, the video, the props—the entire set—are incredible. They really bring the space and the various situations to life. The stage is almost like a pop-up book that keeps transforming into a new world: the silhouette of Amsterdam, then suddenly Anne’s room. This gives the audience the feeling of being in that space with her. For me as a performer, this visual world is quite clearly a partner.

Of course, I don’t have any other female singer or male singer with whom I perform directly. But I have the orchestra, the space, the projections, the drawings, the objects. Patrick Bannwart and Falko Herold have created something that brings Anne’s inner world to life.

It is rich in dissonances, has a certain expressiveness, and always serves the drama. In purely practical terms, it was a difficult piece to learn. Rhythmically, it’s very demanding, and because it’s a one-person opera, there’s really no break for me. But the music precisely supports the journey we’ve been talking about. At the beginning, the pieces are often shorter, more fragmentary—almost like little moments or flashes. Toward the end, the music becomes more intense and dramatic. The final episodes feel almost like grand, dramatic arias. The musical development mirrors Anne’s development.

Yes, absolutely. These years in a young person’s life are incredibly formative and sensitive. So much changes. In many ways, Anne is a perfectly normal girl, but she’s also extraordinary. We not only witness her development from a girl into a young woman, but also her emergence as a writer. That moves me every time, even after so many performances: seeing the difference between the first diary entry, which is still written in a very simple style, and the later passages in which she writes so poetically about nature, the blue sky, the beauty of Amsterdam, and about hope.

After everything she has been through, she still holds onto this hope. Her maturity is incredible. At the same time, we also see her cheeky side. She wants to explore everything. She reads a lot, she sneaks a peek at books she’s not actually supposed to read, and she slowly begins to realize her feelings for Peter. All of this is important because it shows her as a whole person.

The venue in Vienna will be different from the one in Hamburg, and I’m looking forward to that. The orchestra will play in the pit, which will change the balance between the voice and the orchestra. Perhaps this will create an even stronger sense that Anne is all alone on stage. By the time we perform the production in Vienna, it will have been about a year and a half since I last sang the role. During that time, I’ve moved on with my life, gained new experiences, and continued to develop as a singer and actress.

It’ll be exciting to see how that affects the role. Because I’ve sung it so often, returning to the role feels a bit like putting on an old coat again. Or perhaps better yet: as if I were slipping back into Anne’s shoes.

We read about these events in school, we have history class, we read the book. But going to the theater and seeing these stories brought to life right before your eyes is a very powerful way to learn. I’ve often seen this happen during school performances. This can be a challenging age group—perhaps ranging from twelve or thirteen to eighteen. Before the performance begins, you can feel a certain energy in the room: Sometimes they’re not yet sure whether they should listen, concentrate, or really let these stories sink in.

But in the end, there is complete silence. This silence speaks volumes. It shows just how powerful theater and art can be in telling stories, keeping stories alive, and reaching people.