Although it’s less than an hour long, Der Kaiser von Atlantis is far more than an opera. Written in 1943 by two Jewish prisoners in a hybrid Nazi ghetto-concentration camp, Der Kaiser is a message, a warning, and a lesson from one of the darkest chapters of the 20th century. In just four scenes, the audience is introduced to a world where Atlantis hasn’t sunk and instead its emperor has waged a global war so absurdly brutal that Death himself goes on strike in protest. The opera’s creators— composer Viktor Ullmann and librettist Peter Kien— were transported to Auschwitz, where they met their own deaths, never having witnessed their masterpiece progress beyond rehearsals. Yet, Der Kaiser endured: libretto drafts, a weathered score, a vocal part booklet, a set design sketch, and a six-panel cartoon about the production process escaped the fires and travelled circuitous routes, until they made their way to collections around Europe. In the 1970s, the opera was rediscovered and found life on the stage. Any opera that survived these circumstances would deserve to be celebrated, But Der Kaiser is not your typical opera. It may not even be a finished opera. It is an unpolished work of defiance; it is art that forges hope and humor from bondage and transcends the medium of classical music.