He wrote the libretto based on a poetic text by Robert Walser in iambic trimeter.

The work is a psychoanalytical reworking of the fairy tale of "Snow White", analysing the complex relationships between the roles.

Heinz Holliger adapted Schneewittchen from a Robert Walser play written in free verse.

When the queen asks, apparently worried, about Snow White's health, she responds with serious accusations and recalls the multiple murder attempts of her mother-in-law: the huntsman tried to stab her after being made submissive by the queen's kisses, and the poisoned apple really did cause her pain.

She advises Snow White to go out into the fresh air to relax and forget any previous misbehavior.

Snow White recalls the intimate relationship between the huntsman and the queen, which the prince also confirms.

Looking out of the window, the prince is fascinated by the queen and the huntsman making love in the garden and describes all the details to Snow White.

She feels repelled by this, compares herself to the snow that sinks into the ground in the warmth of spring, and longs to be "smiling dead".

When the mother comes into the room, Snow White throws herself at her feet and asks for forgiveness.

Suspiciously, the queen reminds Snow White that she actually committed all these terrible deeds.

The queen now describes her crimes in ruthless detail, to which she was driven by her hatred and jealousy of Snow White's beauty.

The prince explains to the queen that Snow White resents him for saving her from the coffin.

The queen is confused by his sudden change of heart, asks him to be patient and calls the huntsman in.

When the king arrives with the prince and his entourage of noblemen and ladies-in-waiting, Snow White asks him to settle the dispute once and for all.

The queen is confident that the prince will relent and resume his relationship with Snow White.

When she remembers her misdeeds once again, Snow White interrupts her: only fairy tales say such things, never she herself.

In addition to the leads, tenor Steve Davislim, baritone Oliver Widmer, and bass Werner Gröschel were backed by the same orchestra as in the premiere.