On the evening of 18 April 2017, the world premiere of Chaya Czernowin's highly anticipated new opera, Infinite Now, was performed at Vlaamse Opera Ghent, Belgium. The ambience of the venue was buzzing, highly charged, electrical – a visceral state that seemed contextually appropriate for the lengthy 2.5-hour experience (without intermission) ahead. Programmed as part of the Opera Ballet Vlaanderen 2016–17 ‘Borderline’ series, the set-up and contour of the pre-concert events became eerily symbolic: a large, grandiose, guarded door separated the rooms holding the press conference and pre-concert lecture, through which the composer would eventually pass toward the latter to conclude: ‘[t]he power to continue, that is what [the opera] is all about. It is not the power to be happy or to be sad. … It is much more morass, elemental and existential. The power to continue’. In an instant, the strong ring of emergency sirens then happened to pierce and penetrate from the world beyond – a rather poignant signal to declare the doors to the first performance officially open.