Mathis der Maler (Matthias the Painter is an opera by Paul Hindemith. The work's protagonist, Matthias Grünewald, was a historical figure who flourished during the Reformation, and whose art, in particular the Isenheim Altarpiece, inspired many creative figures in the early 20th century. Hindemith completed the opera, writing his own libretto, in 1935. By that time, however, the rise of Nazism prevented Hindemith from securing a performance in Germany. The story, set during the German Peasants' War (1524–25), concerns Matthias's struggle for artistic freedom of expression in the repressive climate of his day, which mirrored Hindemith's own struggle as the Nazis attained power and repressed dissent. The opera's obvious political message did not escape the regime. Performance history The opera was first performed at the Opernhaus Zürich on 28 May 1938, conducted by Robert Denzler. On 14 October 1956, a rebuilt Schauspiel Köln in Cologne opened with a gala performance of the opera. On 9 and 11 March in 1939 the opera Mathis der Maler was performed in Amsterdam, conducted by Karl Schmid-Bloss, director of the Opera in Zürich. At the same time the Rijksmuseum Amsterdam made a documentary exhibition of the painting 'The Small Crucifixion' and two drawings by Mathias Grunewald owned by Franz Koenigs. The British premiere was in Edinburgh on 29 August 1952, and it was first given in the United States on 17 February 1956, at Boston University, conducted by Sarah Caldwell. In contrast to the popular Symphony: Mathis der Maler, the large-scale opera itself is only occasionally staged. A notable US production was that of the New York City Opera in 1995. Hamburg State Opera staged the work in 2005. It was being performed at the Gran Teatre del Liceu in Barcelona when the building was destroyed by a fire in January 1994. Main roles Synopsis Scene 1 In a cloister courtyard Mathis's musings and doubts about his vocation are interrupted by the peasant leader Schwalb and his child Regina. Moved by the peasants' plight, he offers his horse and stays to face the pursuing Sylvester who dares not arrest the cardinal's favorite painter. Scene 2 A riot between Catholics, Lutherans and students in front of Albrecht's residence in Mainz is averted only by the arrival of the Cardinal himself with relics of St. Martin: He promises the merchant Riedinger to countermand an order to burn books, but later gives in to Pomerfeld, who points