general sponsor the theater an der wien receives subsidies ... · have been centrepieces of our...

The Theater an der Wien receives subsidies from the Cultural Department of the City of Vienna

General sponsor

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generations, and the complexity of the characters who include gods, de-migods and humans ensured a never-ending stream of interpretations – especially of Wagner’s tenet that the desire for material power should never be rewarded and that creative forces are stronger than material greed.

Director Tatjana Gürbaca, dramaturge Bettina Auer and conductor Con-stantin Trinks are putting together a special version of the Ring for the Theater an der Wien to be performed over three evenings. It will focus on the background and motivation of three of the characters and will itself form a cohesive trilogy. This new Ring-Trilogie at the Theater an der Wien tells the story from the perspective of Hagen the murderer on the first evening, from that of Siegfried the victim on the second, and ends on the third evening with the standpoint of Brünnhilde who, out of jealousy, persuades Hagen to murder Siegfried. The music will come exclusively from Wagner’s tetralogy – albeit in a new sequence, of course, and cut down to three times three hours. This narrative form is entirely in keeping with Wagner’s intention, since his original starting point for the Ring was the end, and he only wanted to tell the story of Siegfried’s death.

The second major focus of the 17/18 season is once again on those who have been centrepieces of our programme for many years: George Frideric Handel, Benjamin Britten and the Hamburg Ballett:

Handel had a particular passion for Italian opera, which he successfully established in London from 1711 onwards. Just how much weight Handel placed on narrative elements as a composer of oratorios was demons-trated by director Claus Guth in 2009 with his successful stage adaptati-on of Messiah. Three years before his best-known oratorio, Handel wrote the oratorio Saul, also with Charles Jennens as librettist, which is based on the biblical story of the first king of Israel and his successor, David. Claus Guth will again direct. The Handel specialist Laurence Cummings makes his debut on the Theater an der Wien rostrum.

We crown our intensive exploration of Benjamin Britten’s oeuvre with a marvellous twentieth-century work. Following Henry Purcell’s Fairy Queen from last year, we turn this year to Britten’s opera A Midsummer Night’s Dream based on Shakespeare’s comedy of the same name.

HE WHO DARES MUCH HAS MUCH TO GAIN!*

When the Theater an der Wien opened in 1801, Emanuel Schikaneder called it a “playhouse”. Only at first sight does this description seem contradictory. In Italy, the motherland of opera, the term teatro describes both dramatic (spoken) theatre and musical theatre in equal measure. By using this word, Schikaneder deliberately emphasised that, in contrast to the existing courtly tradition, he intended to provide the “new German musical theatre” with a powerful platform too.

Accordingly, we are making three absolute milestones of “German-lan-guage opera” of the eighteenth, nineteenth and twentieth centuries the first highlight of the coming season: Die Zauberflöte, Der Ring des Nibe-lungen and Wozzeck. We begin our journey through the “world of opera 2017/18” with a new production of Die Zauberflöte, Mozart’s artistic and financial legacy at the birth of the Theater an der Wien. René Jacobs and Torsten Fischer – the team behind last year’s successful production of Falstaff by Mozart’s friend and rival Salieri – will stage the most bril-liant German-language opera of the eighteenth century as the season’s curtain-raiser.

In May 1914, Alban Berg saw Georg Büchner’s Woyzeck at the Wiener Kammerspiele and immediately determined to set the play to music. The drama tells the story of the soldier Johann Christian Woyzeck who was executed in Leipzig in 1824 for murder motivated by jealousy. A social drama about members of the lowest class of society was a novelty in Büchner’s day. Giving a soldier who becomes a murderer a voice on the operatic stage brought about the change to opera as a genre that au-diences had evidently been waiting for: the premiere of the radically mo-dern Wozzeck in 1925 made Alban Berg world famous overnight. Berg’s Wozzeck is a tour de force for any baritone. Under the direction of Robert Carsen and with Leo Hussain conducting, Florian Boesch will undoubted-ly put his own particular slant on the tortured and raving eponymous hero.

Since its premiere in 1876, Richard Wagner’s epoch-making opera cycle Der Ring des Nibelungen has inspired countless directors and conductors to interpretations that have sometimes been outlandish. The intricate plot, the lengthy period covered by the story that stretches over at least three

* from Die Zauberflöte, Papageno, Act One, Finale

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With this, our fifth new stage production of a Britten opera, we not only forge a link between two major works connected to Shakespeare, but al-so pay homage to the composer who, three centuries after Henry Purcell, the Orpheus Britannicus, revived British opera. The successful team behind our production of Rossini’s Otello (2016), Antonello Manacorda and Damiano Michieletto, are pairing up again to guarantee enthralling musical theatre of the highest quality.

The subject of another Rossini opera, Elisabetta, regina d’Inghilterra, will be taken further: The life of the multifaceted Queen Elizabeth I has been set several times by Italian composers. After Gioachino Rossini comes Gaetano Donizetti, who took the tragedy by Friedrich Schiller as the ba-sis and inspiration of his Maria Stuarda. Donizetti’s masterpiece of bel canto describes the last three days in the life of the Scottish queen Mary Stuart and her confrontation with Elizabeth I. Marlis Petersen takes on the tragic title role. As on our successful production of La Straniera (2015), Christof Loy and Paolo Arrivabeni form the leading team.

We are also continuing our collaboration with John Neumeier and his famed Hamburg Ballett in 2017/18. Anton Chekhov announced his new drama, Die Möwe, as a comedy, thereby presenting every director and performer with a puzzle since the play ends with the suicide of the main character. John Neumeier has translated Chekhov’s emotions into the idiom of dance, inspired by the tensions that exist in the relationship between love and art and by the music of Dmitri Shostakovich.

Last but not least, a highlight in the spring of 2018 centres on one of the most important Austrian composers of the twentieth century: on 24 January 1918, Gottfried von Einem was born in Bern as the son of an Austrian family of diplomats. Although his operas held a place of parti-cular significance in his oeuvre, they are rarely performed today. To mark the composer’s hundredth birthday we are therefore presenting his set-ting of Friedrich Dürrenmatt’s Der Besuch der alten Dame. With this work, von Einem created a fascinating operatic parable concerning the morality and amorality of an ostensibly humane society which expo-ses greed and corruption as powerful motives for human action. Keith Warner directs this merciless social criticism with Katharina Karneus in the title role and Michael Boder on the rostrum.

In addition, we have ten concert performances of operas, the Beethoven Cycle with Leonore (1805) under René Jacobs, Fidelio (1814) under Gio- vanni Antonini and a half-staged Egmont being a particular highlight.

Great importance is also attached to the continued expansion of the Kammeroper as a centre for the next generation of artists, especially the Junges Ensemble des Theater an der Wien (JET) which will be pre-senting four new opera productions ranging from the baroque (Porpora / Ariadne) to Mozart (Così), bel canto (Donizetti / Don Pasquale) and the modern (Debussy / Pelléas et Mélisande). And we must not forget our Jugend an der Wien who will follow in the footsteps of A Midsummer Night’s Dream, while our youngest visitors will have the job of “freeing Eurydice”.

For Schopenhauer, the theatre is a mirror of life. He saw the Die Zauber-flöte as a hieroglyph which is open to many interpretations and which he compared to a search that precludes any preconceived truths and dog-mas: “However, in life we are as the wanderer before whom, as he strides onwards, objects take on another form from that which they had from afar and appear to transform themselves as he approaches.” We have de-signed the images in this season’s brochure and on our postersin accor-dance with this principle. Emmanuel Polanco has created collages for each of the premieres that zoom in from the overview to the relevant detail, thereby representing the inquisitive entry into our opera house.

Join us on this path. We promise you fascinating moments and hours of enjoyment at the Theater an der Wien and in our Kammeroper.

Best wishes,

Roland Geyer, Director

CONTENT

MUSICAL THEATREW. A. Mozart: DIE ZAUBERFLÖTE 8

A. Berg: WOZZECK 12

R. Wagner: DIE RING-TRILOGIE 16

G. Donizetti: MARIA STUARDA 28

G. F. Handel: SAUL 32

G. v. Einem: DER BESUCH DER ALTEN DAME 36

B. Britten: A MIDSUMMER NIGHT’S DREAM 40

J. Neumeier: DIE MÖWE (ballet) 44

CONCERT PERFORMANCES 48

AT THE KAMMEROPER 56

AT THE “HÖLLE” 64

JUGEND AN DER WIEN 68

Guided Tours 72

Information 74

Prices 80

Seating plan 81

Imprint 84

Booking form 85

AGRANA. A FLAIR FOR CULTURE.SUGAR. STARCH. FRUIT. - In these three segments is AGRANA successully active around the world; but cultural life in Austria also has plenty to offer. Our flair for culture is key to our efforts ensuring that this remains the case. AGRANA is the main sponsor of Theater an der Wien.

AGRANA.COM

THE NATURAL UpGRAdE

DIE ZAUBERFLÖTE WOLFGANG AMADEUS MOZART

17 – 28 SEPTEMBER 2017

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Mozart and Schikaneder’s opera Die Zauberflöte, first performed in 1791 at the Theater auf der Wieden, is an attempt to overcome the duality of man and woman, black and white, rich and poor, and good and evil that has split humanity since time immemorial, using extraordinary music and a brilliant, daring libretto that strikes a balance between street theatre and world theatre and, in a utopian global fairy tale, tries to find a way for all people to live together in harmony as human beings.

The King of the Day is dying. To his wife, the Queen of the Night, and his daughter Pamina he bequeaths his entire possessions with the exception of every form of power he deems “incomprehensible to the mind of woman”. He appoints his friend Sarastro as the new ruler. The latter accepts this po- sition and takes Pamina away into his realm which only men are permitted to enter. Is she in the clutches of an evil sect leader or does the guise of power-crazed monster actually hide a philosophical Utopian? Tamino, a young prince from foreign shores, loses his way on a journey to the realm of the grieving Queen of the Night who has surrounded herself with a host of virgins. The women observe him, and the Queen chooses him to go and rescue her daughter. Tamino falls in love with the image he has of Pamina and sets out on the fantastic journey to liberate her. He is accompanied by Papageno, a simple fellow who loves his life and people. Three boys show them the way to Sarastro’s realm. As Tamino is trying unsuccessfully to rescue the fleeing Pamina, the two of them fall in love with each other and a period of life- and-death trials begins. A long road for two people destined to love each other until they can save the world together.

DIE ZAUBERFLÖTEOpera in two acts (1791)

MUSIC BY WOLFGANG AMADEUS MOZARTLIBRETTO BY EMANUEL SCHIKANEDER

Performed in German with German surtitles

Conductor René JacobsDirector & Light designer Torsten FischerSet designer Herbert Schäfer Vasilis TriantafillopoulosChoreographer Karl SchreinerDramatic advisor Herbert Schäfer

Sarastro Dmitry IvashchenkoKönigin der Nacht Nina MinasyanTamino Sebastian KohlheppPamina Sophie KarthäuserPapageno Daniel SchmutzhardPapagena Katharina RuckgaberDer Sprecher Stephan LogesMonostatos Thomas WalkerErste Dame Birgitte ChristensenZweite Dame Kai RüütelDritte Dame Katharina Magiera Priester / Geharnischter Florian Köfler *Die 3 Knaben Florianer Sängerknaben

Akademie für Alte Musik BerlinArnold Schoenberg Chor (Chorus master: Erwin Ortner)

New production Theater an der Wien *Young Ensemble Theater an der Wien

PREMIERE: 17 SEPTEMBER 2017Performances: 19 / 21 / 23 / 26 / 28 September 2017, 7 p.m.Introduction: Sunday, 10 September 2017, 11 a.m.

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WOZZECK ALBAN BERG

15 – 27 OCTOBER 2017

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Woyzeck, Georg Büchner’s social tragedy about the total lack of prospects for poor, exploited people and the mercilessness of military life, found the ideal composer to set it to music in Alban Berg. The composer had seen the Vienna premiere of the drama in 1914, was immediately fascina- ted and started composing an opera based on Büchner’s text. His interest in setting the work was heightened by his own experiences of war, though he did not finish the opera until 1922. Using atonality and elements of twelve-tone technique Berg found haunting sounds that vividly evoke visions of death, jealousy, inner distress and hopelessness. Despite con- siderable opposition, the premiere took place in Berlin in 1925 under Erich Kleiber – and straight away established the opera as a progressive masterpiece. In 2004, Eberhard Kloke adapted the work for 38 musicians, and this version is excellently suited to the intimacy of the Theater an der Wien. Kloke did not change a single note of Berg’s; instead, he tightened the wind section and removed the filling-in instruments. This leaner orchestration enables the soloists to modify their singing to a style closer to acting and produces an even more gripping portrayal of Büchner’s main protagonist who is completely at the mercy of social injustices.

The simple soldier Wozzeck is poor, uneducated and has an illegitimate child with the beautiful Marie whom he loves very much. To make some money he has volunteered as a guinea pig in an experiment run by the doctor: he is permitted to eat only pulses. His captain criticises his morals on account of his illegitimate child. Wozzeck protests that his poverty is to blame. As times goes by, Wozzeck becomes increasingly peculiar: he is plagued by menacing visions of the world’s end, violence and death. Marie falls for the charms of the hand- some Drum Major. When Wozzeck learns of this and watches her dancing with the Drum Major, his visions become overpowering. He provokes his rival and a fight breaks out. In the end, Wozzeck stabs Marie to death during an evening stroll. Trying to wash off her blood in a pond, he drowns.

PREMIERE: 15 OCTOBER 2017Performances: 17 / 19 / 21 / 23 / 27 October 2017, 7 p.m.Introduction: Sunday, 8 October 2017, 11 a.m.

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WOZZECK Opera in three acts (1925)

MUSIC BY ALBAN BERG ARRANGEMENT BY EBERHARD KLOKELIBRETTO BY ALBAN BERG

After Georg Büchner’s drama Woyzeck


Conductor Leo HussainDirector & Light designer Robert CarsenSet designer Gideon DaveyLight designer Peter van PraetDramatic advisor Ian Burton

Wozzeck Florian BoeschMarie Lise LindstromTambourmajor Aleš BrisceinHauptmann John DaszakDoktor Stefan CernyAndres Benjamin HulettMargret Juliette MarsDer Narr Erik Årman1. Handwerksbursche Lukas Jakobski2. Handwerksbursche Kristián Jóhannesson

Wiener SymphonikerArnold Schoenberg Chor (Chorus master: Erwin Ortner)

New production Theater an der Wien

DIE RING-TRILOGIE HAGEN – SIEGFRIED – BRÜNNHILDE

MUSIC BY RICHARD WAGNER

WORLD PREMIERENewly adapted version for Theater an der Wien

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DIE RING-TRILOGIE MUSIC AND TEXT BY RICHARD WAGNER IN A VERSION BY TATJANA GÜRBACA, BETTINA AUER AND CONSTANTIN TRINKS


Richard Wagner’s magnum opus, the Ring-Tetralogie, occupied, tortured and inspired him for all of 26 years: between the first draft in revolution year 1848 of a drama about Siegfried titled Siegfrieds Tod and completion of the Götterdämmerung score in 1874 lay a quarter of a century – albeit with lengthy interruptions in the work. Strangely, then, Wagner began his telling of the Nibelung saga at the end, expanding it as more and more background became necessary until the Rheingold was written. Considering this protracted, meandering composition history it is no wonder that jumps, breaks and gaps appear in the intricately woven plot that leave plenty of room for interpretation. The Ring is a drama of worlds, a story of humanity and a criticism of capitalism; it tells of hunger for power and abuse of power, of greed for money, a delight in destruction, the eternal cycle of violence and not least of a family tragedy played out over three generations.

The Ring-Trilogie, which was developed especially for the Theater an der Wien, explores the question of how the actions and guilt of the grand- fathers’ generation – Wotan and Alberich – influence the lives of the following generations at both a political and a private level; how the younger family members fail to escape from the consequences of these deeds despite desperate efforts to resist them; and how they are sucked further in the more they try to fight. Consequently, this version of the Ring dares to try something entirely new: In order to tell the story of the Ring from the perspective of the younger protagonists with the spotlight on Hagen, Siegfried and Brünnhilde, several scenes were cut and other parts rearranged. As in Wagner’s original work, each evening begins with the final catastrophe, the killing of Siegfried, before moving on to focus on the memories of the various characters.

New production Theater an der Wien – World Premiere

Introduction: Sunday, 19 November 2017, 11 a.m.

HAGEN It starts with a murder. Hagen, half-brother to the Gibichungs and the chief of strategy at their court on the Rhine, kills Siegfried from behind while Brünnhilde looks on. – How did it come to this? Hagen remembers how his father Alberich came to him one night and whispered to him that it was his task to murder Siegfried and so recapture the ring – in other words, world domination – for his father. A bleak, traumatic scene in which Alberich openly admits that he fathered his son for this sole purpose and “raised him to implacable hate” in order to use him for his own vengeance. Hagen, the joyless one, digs deeper into his memory and consequently into the primeval mud of the story of the ring: Alberich, finally renouncing love once and for all, stole the Rhine gold to forge the ring from it. In the battle for absolute power, Alberich enslaved the Nibelungs and abused his brother Mime until he was eventually tricked by his rival Wotan and the latter’s crafty counsellor Loge who took everything from him: power, dignity and wealth. The humiliated Alberich responded with a dreadful curse: everyone will yearn for the ring, but it would bring death to whomever had it in his possession. The trail of blood left by the ring will be long.

Hagen, the son, is now expected to avenge the dispossession of his father by killing Wotan’s son Siegfried. Under the pretext of helping to find the best wife for his half-brother Gunther and the best husband for his half-sister Gutrune, Hagen hatches a terrible plot with a view to finally taking the ring from Siegfried. Gutrune is to marry “the strongest hero Sieg- fried” and Gunther “the most splendid woman in the world”, Brünnhilde. To accomplish this, Hagen pulls out all the stops: he lies, cheats and manipulates everyone involved. When Brünnhilde and Gunther realise that they have lost everything, even their self-respect, they swear to have their revenge and see Siegfried dead.

The story of the eternal struggle for power from the loser’s perspective unites scenes from Wagner’s Rheingold and Götterdämmerung, that is from the beginning and the end of his stage spectacle Der Ring des Nibelungen.

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BRÜNNHILDEBrünnhilde looks on as Siegfried, the man she loves, is murdered by Hagen. She recalls the last dispute she had with her father Wotan that changed her life so completely. The wild valkyrie and acknowledged favourite daughter of her father had disobeyed his orders and tried to save the two lovers Siegmund and Sieglinde in the fight against Hunding. Wotan could not forgive her this emancipatory disobedience and intended to inflict a dreadful punishment on her. Cut off from everybody else, she was to be put to sleep – utterly at the mercy of any man who found her. But when Wotan heard that Sieglinde was expecting a child by Sieg- fried, the next hero, he changed the punishment: the sleeping Brünnhilde was now to be protected by a ring of fire that only a “fearless, freest hero” could cross. And that could only be Siegfried.

Brünnhilde feels irrevocably bound to Siegfried by love and so invincible that she can let him go to perform “new deeds”. At their parting, he gives her the ring as a gift, and she gives him her horse Grane. Waltraute, a valkyrie sister of Brünnhilde’s, pays her a clandestine visit to report to her on the disastrous state that Wotan and the world are in. She tells Brünn- hilde to return the ring to the Rhinemaidens, but Brünnhilde refuses to take responsibility for Wotan’s old faults. She insists on her pledge of love. A stranger appears, overpowers her and tears the ring from her grasp. It is Siegfried, who has taken on the form of Gunther with the help of the Tarnhelm. He has come to take Brünnhilde to marry his blood brother Gunther. When the new couples Siegfried-Gutrune and Gunther-Brünn- hilde are about to celebrate their double weddings, the cruel deception becomes apparent. Brünnhilde denounces the treachery, Hagen breeds discord. After he has killed Siegfried, everything falls apart. Brünnhilde throws the old world on the fire; the days of the gods are over. Is it now possible for something new to begin?

The final evening of the trilogy, in which old structures and the old balance of power are overcome, recounts a scene from Die Walküre combined with large parts of Götterdämmerung from a woman’s perspective.

Bettina Auer

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SIEGFRIED Siegfried, the dragon slayer and “strongest hero”, Siegfried who never knew his parents, is murdered by Hagen. Brünnhilde looks on. As he dies, Siegfried thinks back to his youth. – Far away from civilisation, he grew up under the care of Mime. The older he grows, the more pressing the question of his identity becomes for Siegfried. In the end he forces Mime to tell him about his true parents: Sieglinde and Siegmund met each other in appalling circumstances. She had been forced to marry Hunding and was very unhappy, while he was on the run and in mortal danger. Magically drawn to one another, they secretly discovered their shared history: they are twins, children of Wotan, who had been separated as infants. They rapturously declare their love for one another. As they fled from Hunding, the valkyrie Brünnhilde wanted to shelter Siegmund and Sieglinde, who was now pregnant. But Wotan, with heavy heart, decided that Hunding should win the battle and caused Siegmund’s sword to shatter. Brünn- hilde was only able to save Sieglinde who, as she later lay dying, entrusted her child to Mime’s care.

Now that he knows his parentage, Siegfried wants to make his way in the world. He defeats the dragon Fafner. From the treasure of the Nibelungs that the dragon guarded he takes only the Tarnhelm and the ring. When Siegfried sees through Mime’s treacherous plans to obtain gold and power by using him, he kills his foster father. Without recognising him, Siegfried encounters Wotan, his grandfather, who is dressed as a wanderer and is still pursuing his master plan to regain world domination and the treasure. Wotan tries to stop Siegfried from going on, but Siegfried rebels against the “old man”; he is in a hurry to find “the most splendid woman Brünnhilde”. Together, Brünnhilde and Siegfried discover love. A brief mo- ment of utopia.

Scenes from Die Walküre are interwoven in the story of Siegfried’s development, who even as a member of the third generation cannot escape the deadly structures and continues the eternal cycle of violence.

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HAGENMusic from Richard Wagner’s Das Rheingold & Götterdämmerung

Conductor Constantin Trinks Director Tatjana Gürbaca Set designer Henrik AhrCostume designer Barbara DrosihnLight designer Stefan BolligerDramatic advisor Bettina Auer

Hagen Samuel Youn Siegfried Daniel BrennaBrünnhilde Ingela Brimberg Wotan Aris Argiris Alberich Martin WinklerMime Marcel Beekman Loge Michael J. ScottGutrune Liene KincaGunther Karoly SzemeredyWoglinde Mirella Hagen Wellgunde Raehann Bryce-Davis Flosshilde Ann-Beth Solvang

ORF Radio-Symphonieorchester WienArnold Schoenberg Chor (Chorus master: Erwin Ortner)

PREMIERE: 1 DECEMBER 2017Performances: 7 / 17 / 29 December 2017, 7 p.m.Introduction: 6 p.m. before each Hagen-Performance

Supported by

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SIEGFRIEDMusic from Richard Wagner’s Siegfried & Die Walküre


Siegfried Daniel BrennaSieglinde Liene KincaSiegmund Daniel JohanssonBrünnhilde Ingela BrimbergWotan Aris Argiris Hunding Stefan Kocan Mime Marcel BeekmanFafner Stefan KocanWaldvogel Mirella Hagen

ORF Radio-Symphonieorchester Wien

PREMIERE: 2 DECEMBER 2017Performances: 9 / 18 / 30 December 2017, 6.30 p.m.

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BRÜNNHILDEMusic from Richard Wagner’s Die Walküre & Götterdämmerung


Brünnhilde Ingela BrimbergWotan Aris Argiris Siegfried Daniel BrennaHagen Samuel Youn Gutrune Liene KincaGunther Karoly SzemeredyWaltraute Ann-Beth Solvang Woglinde Mirella Hagen Wellgunde Raehann Bryce-DavisFlosshilde Ann-Beth Solvang


PREMIERE: 3 DECEMBER 2017Performances: 10 / 19 / 31 December 2017, 6.30 p.m.

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MARIA STUARDA GAETANO DONIZETTI

19 – 30 JANUARY 2018

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Donizetti created this dazzling display of bel canto in Naples for the Teatro San Carlo in 1834. The confrontation between the two queens Elisabetta and Maria Stuarda and the emotionally charged final scenes that show Maria Stuarda shortly before her execution have gained widespread fame. Despite this, the opera was beset with difficulties: there were problems with the censors, the two leading ladies came to blows during a rehearsal and Queen Maria Christina is said to have attended the dress rehearsal and to have fainted during Maria’s confession scene. As a result, the opera had to be completely rewritten at short notice and appeared with the title of Buondelmonte. It was obvious that the libretto and the music did not match, and the opera flopped. An attempt by the famous singer Maria Malibran to revive the work in Milan failed when the two leading ladies were struck down by a severe virus. Consequently, the opera was forgotten, and was not rediscovered until 1958. Because it contains two outstanding parts for coloratura sopranos it has since become a fix- ture of the operatic repertoire.

Elisabetta, queen of England, is holding Maria Stuarda, the former queen of Scotland, prisoner. From her prison, the latter is allegedly an accessory to a series of plots to kill Elisabetta. The Queen’s advisers urge her to finally execute her rival for the throne. Elisabetta, however, is more interested in affairs of the heart. She is negotiating a marriage to the king of France, although she really loves Lord Leicester, who for his part is in love with Maria Stuarda and intends to save her. But his attempt to bring the beautiful Scot and her enemy closer together ends in disaster: he arranges a meeting between the two of them with a view to a reconciliation, but no sooner are the queens face to face than Leicester’s feelings for Maria become apparent. Filled with jealousy, Elisabetta provokes Maria and the two trade a torrent of insults. When, following this altercation, Leicester again asks for mercy for Maria, Elisabetta, who had previously been hesitant, furiously signs the death sentence and orders Leicester to witness the execution. Maria accepts her sentence. When her loyal friend Giorgio Talbot gives her final consolation with the rites of her Catholic religion, she finds inner peace. She courageously walks towards her executioner.

PREMIERE: 19 JANUARY 2018Performances: 21 / 23 / 26 / 28 / 30. January 2018, 7 p.m.Introduction: Sunday, 14 January 2018, 11 a.m.

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MARIA STUARDATragedia lirica in two acts (1835)

MUSIC BY GAETANO DONIZETTILIBRETTO BY GIUSEPPE BARDARI

After Maria Stuart by Friedrich Schiller (1805)

Performed in Italian with German surtitles

Conductor Paolo ArrivabeniDirector Christof LoySet designer Katrin Lea TagLight designer Bernd PurkrabekDramatic advisor Yvonne Gebauer

Maria Stuarda Marlis PetersenElisabetta Alexandra DeshortiesRoberto, Conte di Leicester Norman ReinhardtGiorgio Talbot Stefan CernyLord Guglielmo Cecil Tobias GreenhalghAnna Kennedy Natalia Kawalek



SAULGEORGE FRIDERIC HANDEL

16 – 27 FEBRUARY 2018

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From 1711 onward, George Frideric Handel had dominated musical life in London with his Italian-style operas. From the outset, however, au-diences demanded operas in English. By the end of the 1730s Italian ope-ras had fallen entirely out of favour in London, so the composer looked for new ways of captivating his listeners. He began to experiment more extensively with English-language oratorios. In 1739, Saul marked the start of his new career. This work still shows a great affinity with opera, and its instrumentation is remarkably rich and novel: for a more vivid portrayal of the time of King David (1000 BC), Handel scored instruments that were thought at the time to have been used in David’s day: trombones, extensive percussion and a carillon, a set of bells played by striking a key- board.

The young David has done a great service to King Saul: he managed to kill Goliath the giant with a precisely slung stone. Saul is initially full of grati-tude towards David and wants to give him the hand of Merab, his daugh-ter, in marriage. However, she rejects the union owing to David’s lowly li-neage. Her sister Michal, on the other hand, loves David, and he is also attracted to her. Saul gradually realises that his people and his entourage have more respect for David than they do for him and he begins to consi-der ways of eliminating his rival. David is hard put to it to escape Saul’s jealous assassination attempts. At the same time, he is also looking for a way to marry Michal. When Saul repeatedly fails to kill David he furiously consults the Witch of Endor, but she tells him only that his own end is near. When this really does happen, David becomes king and can marry Michal. The people all praise David.

PREMIERE: 16 FEBRUARY 2018Performances: 18 / 20 / 23 / 25 / 27 February 2018, 7 p.m.Introduction: Sunday, 11 February 2018, 11 a.m.

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SAULOratorio in three acts (1739)

MUSIC BY GEORGE FRIDERIC HANDEL LIBRETTO BY CHARLES JENNENS

Performed in English with German surtitles

Conductor Laurence CummingsDirector Claus GuthSet designer Christian SchmidtLight designer Bernd PurkrabekChoreographer Ramses SiglDramatic advisor Yvonne Gebauer

Saul Florian BoeschMerab Anna ProhaskaMichal Giulia SemenzatoDavid Jake ArdittiJonathan Andrew StaplesWitch of Endor Ray Chenez

Freiburger BarockorchesterArnold Schoenberg Chor (Chorus master: Erwin Ortner)


DER BESUCH DER ALTEN DAMEGOTTFRIED VON EINEM

16 – 28 MARCH 2018

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The comedy Der Besuch der alten Dame, first performed in 1956, made the playwright Friedrich Dürrenmatt world famous, especially following the 1963 film version starring Ingrid Bergmann. Gottfried von Einem had seen the play shortly after its premiere and considered it as the basis of an opera. However, it was to be ten years before he began work on it. When Dürrenmatt learned of this plan and became familiar with von Einem’s style he quickly agreed to adapt his play as a libretto himself. The hugely successful premiere took place on 23 May 1971 at the Vienna State Opera. Dürrenmatt’s parable about the amorality of an apparently decent, respectable but secretly money-loving and self-centred middle-class community is as topical in 2018 as it was when it was written. Von Einem’s intense musical portrayal of the murderous atmosphere that gra-dually descends around Claire’s victim, Ill the shopkeeper, the evocative use of orchestral colours and not least the part of Claire Zachanassian, a tour de force for a mezzo-soprano, made the opera one of von Einem’s most enduring successes.

As a young woman, Claire Zachanassian was made pregnant and then aban-doned by Ill, the shopkeeper, in her home town of Güllen. She was driven out of the small town by the sanctimonious inhabitants, humiliated and branded a whore. Many years later, her numerous marriages have left her fabulously wealthy, and she returns to Güllen, which is now utterly decrepit and impoverished. She has an empty coffin with her: she plans to take deadly revenge on the man who seduced her so heartlessly. If Ill is murdered for her in Güllen, she will give the town a billion. Following the initial shock, the greed for money prevails and the cynical plan works. Ill is captured by the townsfolk and killed, and they receive the billion. Claire departs again with his body in the coffin as a hunting trophy.

PREMIERE: 16 MARCH 2018Performances: 18 / 20 / 23 / 26 / 28 March 2018, 7 p.m.Introduction: Sunday, 11 March 2018, 11 a.m.

Supported by

DER BESUCH DER ALTEN DAME Opera in three acts (1971)

MUSIC BY GOTTFRIED VON EINEMLIBRETTO BY FRIEDRICH DÜRRENMATT


Conductor Michael BoderDirector Keith Warner Set designer David FieldingLight designer John Bishop

Claire Zachanassian Katarina KarnéusIhr Gatte IX Erik ÅrmanDer Butler Mark MilhoferAlfred Ill Russell BraunSeine Frau Cornelia HorakSeine Tochter Anna Marshania *Sein Sohn Julian Henao Gonzalez *Bürgermeister Raymond VeryPrediger Markus ButterLehrer Adrian ErödDoktor Martin AchrainerPolizist Florian Köfler *Erste Frau Anna Gillingham * Zweite Frau Carolina Lippo *Stationsvorsteher Matteo Loi *


New production Theater an der Wien*Young Ensemble Theater an der Wien

A MIDSUMMER NIGHT’S DREAM

BENJAMIN BRITTEN15 – 25 APRIL 2018

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Benjamin Britten and Peter Pears used Shakespeare’s famous text al-most verbatim, the composer creating a score of suitably magical poten-cy, and this fairy-tale opera became one of his most successful works. The allocation of the voices is unusual: Oberon is a countertenor, Titania a coloratura soprano – the king and queen of the fairies move in the very highest dimensions. Britten found a characteristic musical language for each of the magical and human spheres. Furthermore, in his compo-sition he is always mindful of his famous predecessors who had written music for Shakespeare’s comedy: Henry Purcell, Carl Maria von Weber and Felix Mendelssohn-Bartholdy. There is also a kind of history of opera hid-den in the score. This comes to the fore in highly amusing fashion with the artisans’ performance in Act III: Britten presents Pyramus and Thisbe as a parody of Italian opera.

In Athens, preparations are under way for the marriage of the duke. Six arti-sans want to perform the play Pyramus and Thisbe in honour of the ruling couple and are rehearsing in the nearby forest. At the same time, the four young people Hermia, Helena, Demetrius and Lysander are having serious amorous troubles: Hermia’s father wishes her to marry Demetrius, but she loves Lysander, while Helena loves Demetrius. Hermia and Lysander hide in the forest, Helena and Demetrius follow them. However, the king and queen of the fairies who rule this woodland realm, Titania and Oberon, have fal-len out over possession of a boy. The artisans and the four lovers are drawn into the magical struggles of Titania and Oberon in the most bewildering fashion – Oberon’s court jester Puck creates chaos with a magic flower that ignites love. Once enchantments have caused numerous protagonists to fall in love with the wrong people and then to fall out of love again, a happy en-ding is finally reached: reconciliation in the realm of the fairies, weddings of the humans and a delightful performance by the artisans.

PREMIERE: 15 APRIL 2018Performances: 17 / 19 / 21 / 23 / 25 April 2018, 7 p.m.Introduction: Sunday, 8 April 2018, 11 a.m.

A MIDSUMMER NIGHT’S DREAMOpera in three acts (1960)

MUSIC BY BENJAMIN BRITTENLIBRETTO BY BENJAMIN BRITTEN UND PETER PEARS

After William Shakespeares comedy of the same name (1595)

Performed in English with German surtitles

Conductor Antonello ManacordaDirector Damiano Michieletto Set designer Paolo FantinCostume designer Klaus BrunsLight designer Alessandro Carletti

Oberon Bejun MehtaTytania Anett FritschPuck NNTheseus Günes GürleHippolyta Ann-Beth SolvangLysander Rupert CharlesworthDemetrius Tobias GreenhalghHermia Natalia KawalekHelena Mirella HagenBottom Tareq NazmiQuince Lukas JakobskiFlute Michael LaurenzSnug Dumitru MadarašanSnout Andrew OwensStarveling Kristjan Johannesson

Wiener Symphoniker


DIE MÖWE JOHN NEUMEIER

7 – 8 MAY 2018

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Ever since I was a student I wanted to choreograph one of Anton Chek- hov’s plays. Reading Die Möwe generates moods, and moments arise in my head that are connected to my own experiences. They are not neces-sarily always the same ones as in the text, but events and scenes that they provoke which evolve during the creative process. It is not my aim to transfer the characters and scenes in the play one to one into a ballet. Chekhov’s dramas live from their inner action. With him, you have to read between the lines and grasp the subtleties, allusions and what remains unspoken. Chekhov’s theatre is one of emotions – and these are something I can turn into dance.

The play is Russian, the music is Russian, and that immediately ma-de me think of that very daring and important trend in modern art, ex-pressionist dance in Russia. The principal approach of my choreography follows on from the dramatic-emotional approach in the tradition of An-tony Tudor, Frederick Ashton and John Cranko. Other scenes in the ballet give insights into the world of classical dance inhabited by the ballerina Arkadina. Through Nina’s wish to become a professional dancer we discover how exciting revue dance is. With these four levels or chapters from the history of dance, my Möwe becomes an exploration of dance itself.

John Neumeier

In John Neumeier’s version of Die Möwe the characters are not actors, writers and directors as in Chekhov’s original: he has transferred the events to the world of ballet while retaining the emotional turmoil. In a country house, the ageing ballerina Irina Arkadina and her lover, the successful cho-reograph Trigorin, meet Arkadina’s son Kostja and his young girlfriend Nina, who comes from a neighbouring farm. Nina also wants to be a dancer. Kostja loves her and dreams of choreographing dances for her and becoming fa-mous. But Nina chooses to become Trigorin’s mistress, hoping this will be more beneficial to her future career. She goes to Moscow and starts working as a dancer in a revue theatre. Years later, Nina and Kostja meet again: Nina has failed as an artist, while Kostja has made his way as a choreograph, but is an emotional wreck. Finding that Nina still does not love him, he kills himself.

PREMIERE: 7 MAY 2018Performance: 8 May 2018, 7 p.m.

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DIE MÖWE (BALLET)BALLET BY JOHN NEUMEIERBASED ON ANTON CHEKHOV

MUSIC BY DMITRY SHOSTAKOVICH, EVELYN GLENNIE, PYOTR I. TCHAIKOVSKY, ALEXANDER SCRIABIN

Conductor Markus LehtinenChoreographer, Set & Costume designer John Neumeier

Wiener KammerOrchester

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CONCERT PERFORMANCES

G. F. Handel: OTTONE, RÈ DI GERMANIA 50

G. F. Handel: GIULIO CESARE IN EGITTO 50

L. v. Beethoven: LEONORE 1805 51

L. v. Beethoven / J. W. v. Goethe: EGMONT 51

G. F. Handel: PUBLIO CORNELIO SCIPIONE 52

N. A. Zingarelli: GIULIETTA E ROMEO 52

J. Haydn: ARMIDA 53

L. v. Beethoven: FIDELIO 1814 53

W. A. Mozart: DIE SCHULDIGKEIT DES ERSTEN GEBOTS 54

G. F. Handel: RADAMISTO 54

OTTONE, RÈ DI GERMANIADramma per musica in three acts (1723)

MUSIC BY GEORGE FRIDERIC HANDEL LIBRETTO BY NICCOLÒ FRANCESCO HAYM

Concertante performance in Italian

Conductor George Petrou

Ottone Max Emanuel Cencic Adalberto Xavier Sabata Gismonda Ann Hallenberg Matilda Anna StarushkevychEmireno Pavel Kudinov Teofane Dilyara Idrisova

Il pomo d’oro

SUNDAY, 24 SEPTEMBER 2017, 7 P.M.

GIULIO CESARE IN EGITTODramma per musica in three acts (1724)

MUSIC BY GEORGE FRIDERIC HANDEL LIBRETTO BY NICCOLÒ FRANCESCO HAYM


Conductor Ottavio Dantone

Giulio Cesare Lawrence ZazzoCleopatra Emoke BaráthTolomeo Filippo MinecciaCornelia Delphine GalouSesto Julye BoulianneAchilla Riccardo Novaro

Accademia Bizzantina

WEDNESDAY, 18 OCTOBER 2017, 7 P.M.

LEONORE 1805Opera in three acts (1805)

MUSIC BY LUDWIG VAN BEETHOVENLIBRETTO BY JOSEPH SONNLEITHNER After Jean Nicolas Bouilly’s Léonore ou L’amour conjugal

Concertante performance in german

Conductor René Jacobs

Leonore / Fidelio Marlis PetersenFlorestan Maximilian SchmittDon Pizarro Johannes WeisserRocco Dimitry IvashchenkoMarzelline Robin JohannsenJaquino / Pförtner / 1. Gefangener Johannes ChumDon Fernando Tareq Nazmi

Freiburger BarockorchesterZürcher Sing-Akademie (Chorus master: Florian Helgath)

TUESDAY, 24 OCTOBER 2017, 7 P.M.

EGMONTMUSIC BY LUDWIG VAN BEETHOVENTEXTS BY JOHANN WOLFGANG VON GOETHE

Conductor Laurence Equilbey Director Séverine ChavrierLight designer Patrick RiouVideo Emeric AdrienDramatic advisor Beate Haeckl

Klara Sheva TehovalGraf Egmont / Wilhelm von Oranien Herzog von Alba Stefan Kinsman, Niels Wea

Insula Orchestra

FRIDAY, 15 DECEMBER 2017, 7 P.M.

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PUBLIO CORNELIO SCIPIONEDramma per musica in three acts (1726)

MUSIC BY GEORGE FRIDERIC HANDELLIBRETTO BY PAOLO ANTONIO ROLLI


Conductor Markellos Chryssicos

Lucejo Xavier Sabata Scipione Yuriy Mynenko Armira Dilyara Idrisova Berenice Myrto PapatanasiuErnando Pavel Kudinov

Armonia Atenea

WEDNESDAY, 24 JANUARY 2018, 7 P.M.

GIULIETTA E ROMEOTragedia per musica in three acts (1796)

MUSIC BY NICCOLÒ ANTONIO ZINGARELLILIBRETTO BY GIUSEPPE MARIA FOPPA


Conductor George Petrou

Giulietta Ann HallenbergRomeo Max Emanuel CencicEverardo Daniel BehleGilberto Xavier SabataMatilde Irini Karaianni

Armonia AteneaArnold Schoenberg Chor (Chorus master: Erwin Ortner)

SATURDAY, 27 JANUARY 2018, 7 P.M.

ARMIDADramma eroico in three acts (1784)

MUSIC BY JOSEPH HAYDN | LIBRETTO BY NUNZIATO PORTA [?]

After Torquato Tasso’s La Gerusalemme liberata


Conductor René Jacobs

Armida Birgitte Christensen Rinaldo Thomas Walker Zelmira Robin JohannsenUbaldo Anicio Zorzi Giustiniani Clotarco Magnus Staveland

Kammerorchester Basel

WEDNESDAY, 21 FEBRUARY 2018, 7 P.M.

FIDELIO 1814Opera in two acts (1814)

MUSIC BY LUDWIG VAN BEETHOVENLIBRETTO BY JOSEPH SONNLEITHNER, STEPHAN VON BREUNING AND GEORG FRIEDRICH TREITSCHKE

After Jean Nicolas Bouilly’s Léonore ou L’amour conjugal

Concertante performance in German

Conductor Giovanni Antonini

Leonore / Fidelio Annette DaschFlorestan Klaus Florian VogtMarzelline Regula MühlemannDon Pizarro Sebastian HolecekRocco Stefan CernyJaquino Patrick GrahlDon Fernando Matthias Winckhler

Kammerorchester BaselGaechinger Cantorey (Chorus master: Hans-Christoph Rademann)

MONTAG, 19 MARCH 2018, 7 P.M.

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DIE SCHULDIGKEITDES ERSTEN GEBOTSSacred Singspiel (1767)

MUSIC BY WOLFGANG AMADEUS MOZARTTEXT BY IGNATZ ANTON VON WEISER

Concertante performance in German

Conductor Stefan Gottfried

Christgeist Michael SchadeWeltgeist Patricia PetibonBarmherzigkeit Juliane BanseGerechtigkeit Anna Gillingham *Christ Julian Henao Gonzalez *

Concentus Musicus Wien

*Young Ensemble Theater an der Wien

TUESDAY, 27 MARCH 2018, 7 P.M.

RADAMISTOOpera seria in three acts (1720)

MUSIC BY GEORGE FRIDERIC HANDELLIBRETTO BY NICOLA FRANCESCO HAYM


Conductor Martin Haselböck

Radamisto Carlos MenaZenobia Patricia BardonTiridate Florian BoeschPolissena Sophie KarthäuserFraarte Valerie Vincent

Orchester Wiener Akademie

FRIDAY, 20 APRIL 2018, 7 P.M.

AT THE KAMMEROPER

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THEATER AN DER WIENAT THE KAMMEROPEROur third Junges Ensemble at the Theater an der Wien enters its second season in 2017/18! After a first season consisting mainly of unknown and rarely performed works, our young ensemble, the JETs, now tackles some of the major works in the repertoire. There is one exception, how-ever, and it is with this that we begin the new season at the Kammer- oper: Arianna in Nasso by Nicola Antonio Porpora. Many people know this composer chiefly in connection with the legendary castrato Farinelli. Porpora was his teacher and wrote several stage works for him. Today, Porpora is almost forgotten and hardly ever performed. And this despi-te the fact that he wrote no fewer than 49 operas of which Arianna is among the most beautiful and gripping. From the baroque we move to bel canto or, to be more precise, to Donizetti’s Don Pasquale. Tscho Theissing, whose interpretation of Carmen was a hit with our audience in the spring of 2016, has written a version for the Kammeroper inspired by the flair of Italian movie epics of the 1950s, by Ennio Morricone and Nino Rota, but also by schlager music and jazz. The mysterious-impres-sionistic world of sound of Debussy’s Pelléas et Mélisande, which the dramatist and theatre director Thomas Jonigk will bring to the stage, forms a stark contrast to this work. To finish the season, we present Mozart’s Così fan tutte, directed by the Austrian Valentin Schwarz and conducted by Stefan Vladar. In addition, you will of course be able to ex-perience our JETs Carolina Lippo, Anna Marshania, Julian Henao Gonza-lez, Matteo Loi, Florian Köfler and our newest member Anna Gillingham in portrait concerts tailored to their individual talents! I wish you absor-bing, moving and exhilarating evenings in the Kammeroper!

Best wishes,

Jochen BreiholzDirector of Artistic Administration

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ARIANNA IN NASSODramma per musica in three acts (1733)

MUSIC BY NICOLA ANTONIO PORPORALIBRETTO BY PAOLO ROLLI


Conductor Markellos ChryssicosDirector Sergej MorozovSet designer Ksenia PeretruhinaCostume designer Lyosha LobanovLight designer Franz Tscheck

Arianna Anna GillinghamTeseo Ray ChenezAntiope Carolina LippoOnaro Anna MarshaniaPeritóo Matteo Loi

Bach Consort Wien

New production Theater an der Wien at the Kammeroper

The story of Ariadne, abandoned by Theseus, has inspired many com-posers from Monteverdi to Richard Strauss to a multitude of interpreta-tions of this ancient myth. It also inspired Nicola Antonio Porpora whose Arianna in Nasso was first performed in 1733 with Farinelli as the debut production at the newly founded Opera of Nobility that had been established to rival Handel’s opera company. Porpora, only a year younger than Handel, was not only one of the greatest composers and singing tea- chers of his day, but was also held in higher regard on the continent than his rival who, only a few months later, presented his own version of this tale in London.

PREMIERE: 27 SEPTEMBER 2017

Performances: 29 September 2017, 1 / 3 / 5 / 7 / 10 October 2017, 7 p.m., Introduction: Sunday, 24 September 2017, 11 a.m.

DON PASQUALEDramma buffo in three acts (1843)

MUSIC BY GAETANO DONIZETTIARRANGEMENT BY TSCHO THEISSINGLIBRETTO BY GIOVANNI RUFFINI


Conductor Tscho TheissingDirector Marcos DarbyshireSet designer Annemarie BullaLight designer Franz Tscheck

Don Pasquale Florian KöflerNorina Carolina LippoErnesto Julian Henao GonzalezMalatesta Matteo Loi

Wiener Theatermusiker


Since it was first performed in 1843, Don Pasquale has been regarded as one of the most popular and best-known buffo operas of them all. Still very much rooted in the tradition of the commedia dell’arte, it was written not just for Italy, but also for the Théâtre Italien in Paris. The plot is as old as theatre itself and has never failed to achieve its effect. It is the story of a love-struck snobbish show-off who is completely cured of his desire to marry and, in the end, is happy to be able to pass his young betrothed on to her youthful lover because she makes his life hell. Tscho Theissing’s arrangement gives this timeless comedy and Donizetti’s famous melodies fresh verve that is inspired by jazz.

PELLÉAS ET MÉLISANDEDrame lyrique in five acts (1902)

MUSIC BY CLAUDE DEBUSSYARRANGEMENT BY ANNELIES VAN PARYSLIBRETTO BY CLAUDE DEBUSSY

After Maurice Maeterlinck’s drama of the same name (1893)

Performed in French with German surtitles

Conductor Thomas GuggeisDirector Thomas JonigkSet designer Lisa DäßlerLight designer Franz Tscheck

Pelléas Julian Henao GonzalezMélisande Anna GillinghamGolaud Matteo LoiArkel Florian KöflerGeneviève Anna Marshania



Pelléas et Mélisande, a key work of the modern era and the twentieth century’s first “literary opera” is the only opera that the master of im-pressionism ever completed. With this symbolist work based on Maurice Maeterlinck’s drama of the same name Debussy distances himself from the aesthetics of Richard Wagner, but at the same time cannot deny the influence of the latter’s Parsifal. The tragic ménage à trois that ends in death is a poignant work in which every one of the main characters carries a secret that is never revealed. We are presenting Pelléas et Mélisande in an arrangement for small orchestra by Annelies Van Parys that neverthe- less retains the richness of the original score.

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PREMIERE: 17 NOVEMBER 2017

Performances: 19 / 21 / 24 / 26 / 28 / 30 November 2017, 4 / 6 / 12 December 2017, 7 p.m. Introduction: Sunday, 12 November 2017, 11 a.m.

PREMIERE: 12 FEBRUARY 2018

Performances: 17 / 22 / 26 February 2018, 2 / 4 / 7 / 9 March 2018, 7 p.m.Introduction: Sunday, 4 February 2018, 11 a.m.

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Julian Henao Gonzalez, tenor9 October 2017, 7.30 p.m.

Anna Gillingham, soprano23 November 2017, 7.30 p.m.

Matteo Loi, baritone14 December 2017, 7.30 p.m.

Florian Köfler, bass24 February 2018, 7.30 p.m.

Carolina Lippo, soprano6 March 2018, 7.30 p.m.

Anna Marshania, mezzo-soprano4 June 2018, 7.30 p.m.

PORTRAIT CONCERTS

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GUEST PERFORMANCES AT THE KAMMEROPER:

A QUIET PLACE Chamber version (2013)

MUSIC BY LEONARD BERNSTEIN ORCHESTRATION AND LIBRETTO ADAPTATIONBY GARTH EDWIN SUNDERLAND

Conductor: Walter Kobéra | Director: Philipp M. KrennSet designer: Christian Tabakoff | Light designer: Norbert ChmelChorus master: Michael Grohotolsky

With: Katrin Targo, Dániel Foki, Karl Huml, et al

amadeus ensemble-wienWiener Kammerchor

A production by Neue Oper Wien in coproduction with Müpa Budapest

PREMIERE: 22 MARCH 2018

Performances: 24 / 27 / 29 / 30 / March 2018, 2 April 2018, 7.30 p.m.Introduction with Walter Kobéra before each performance at 6.45 p.m.

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COSÌ FAN TUTTEDramma giocoso in two acts (1790)

MUSIC BY WOLFGANG AMADEUS MOZARTLIBRETTO BY LORENZO DA PONTE


Conductor Stefan VladarDirector Valentin SchwarzSet designer Andrea Cozzi Light designer Franz Tscheck

Fiordiligi Anna GillinghamDorabella Anna MarshaniaFerrando Julian Henao GonzalezGuglielmo Matteo LoiDon Alfonso Florian KöflerDespina Carolina Lippo



The composition history of no other opera by Mozart is shrouded in such uncertainty as that of Così fan tutte. And none of Mozart’s operas has been so misunderstood and subject to such a variety of interpretations in its history and reception as this scuola degli amanti. Soon after the premiere in Vienna in 1790 it was already being labelled as both “an en-chanting masterpiece” and “a piece of foolishness”. Two men decide to test the faithfulness of their fiancées by trying to seduce the other’s be-trothed. The carousel of love begins to turn and a dangerous, dialectical game between fiction and truth begins — and no one knows how it will end. Who loves whom, and who is cheating whom, and with whom?

PREMIERE: 15 MAY 2018

Performances: 17 / 19 / 23 / 25 / 27 May 2018, 6 / 8 / 10 / 12 June 2018, 7 p.m. Introduction: Sunday, 13 May 2018, 11 a.m.

Piano: Marcin Koziel

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AT THE “HÖLLE”

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The historical revues in the theatre and cabaret known as the “Hölle” in the basement of the Theater an der Wien have been delighting audiences and the press since 2010. According to calculations done by Carl Fried-rich Gauss, Georg Wacks has now put together the ninth programme, Durchs rote Meer (Through the red Sea), which, as ever, adheres strictly to Andy Warhol’s axiom, “Art is what you can get away with”.

The ensemble, now a tighter unit than ever, moves with stylistic assu-rance on shaky ground between revolution and reformation, without ever forgetting the jubilee celebrations for Maria Theresia and the 100 th anniversary of the death of Mata Hari.

Remarkable performances of historical cabaret and variety numbers, mo-ving sea shanties sung in noble costumes, aristocratic choruses, interna-tional female metamorphoses, Egyptian dances and literary, humoristic gems bring the mood of the “Hölle” back to life for two hours while the champagne flows freely and an oceanic atmosphere reigns to guaran-tee an evening of Neptunian glee. Fritz Grünbaum, Joachim Ringelnatz, Karl Valentin and Walther Mehring guarantee literature and humour of the highest standard. Songs by Marlene Dietrich, Paolo Tosti, Ralph Be-natzky and Maurice Ravel round the programme off. The extraordinarily sparse décor by Stefan Fleischhacker has been designed entirely on the theme of the 440 th birthday of Peter Paul Rubens.

The cultured Albero Verde ensemble provides the music with their custo- mary flawless playing. In the accompanying exhibition, which is dominated by the 300 th anniversary of Freemasonry, Marie-Theres Arnbom presents a new set of long-lost artefacts from past revues.

DURCHS ROTE MEERCabaret performed in German

Concept & director Georg Wacks Set designer Stefan Fleischhacker

With Elena Schreiber, Stefan Fleischhacker, Martin Thoma, Georg Wacks and Christoph Wagner-Trenkwitz

Ensemble “Albero Verde”:Violin Barbara Klebel-Vock, Rainer Ullreich Cello Ruth Ferlic Clarinet Reinhold Brunner Piano Christina Renghofer

Exhibition Marie-Theres Arnbom

A production of the Armin Berg Gesellschaft on behalf of the Theater an der Wien in cooperation with Letztes Erfreuliches Operntheater (LEO).

PREMIERE: 3 NOVEMBER 2017Performances: 5 / 6 / 8 / 14 / 15 / 16 / 18 / 20 / 25 November 2017, 8 p.m.

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JUGEND AN DER WIENToday more than ever, art requires immersion in another world, a world that demands precision, attentiveness, concentration, dedication, effort and aban-don; in other words, attitudes that run counter to the combination of lazi-ness and egomania otherwise expected of us.

Konrad Paul Liessmann

Since the Theater an der Wien reopened as a new opera house in 2006, the programme of musical theatre education and activities for young people have established themselves as an important and permanent part of the institution and have been continually expanded in the past few years. We aim to offer children and young people the opportunity and space to train their perception, to actively create something themselves, to contribute their ideas, reflect and broaden their perspective. Musical theatre can do all that.

The JUGEND AN DER WIEN education programme consists of three major sections:

Jugend macht Oper: an annual participatory project, ages 14 - 24

Schule an der Wien: education activities for schools, age 14 +

Kinder an der Wien: musical performance, ages 6 -10

BOOKINGS & CONTACT:Mag.a Catherine Leiter, MA (maternity leave)Florian [email protected].: +43 664 886 281 30

Facebook: Jugend an der WienInstagram: jugendanderwien

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GUIDED TOURS

The Theater an der Wien ranks among the most beautiful theatres in Vienna and has one of the richest traditions. Take advantage of the unique oppor-tunity to sample the theatrical atmosphere in a building that has enchan-ted audiences for over two centuries with its outstanding acoustics and authentic, intimate ambience.

Groups taking part in guided tours are limited to thirty people. The meeting point is the main entrance where the group will be picked up in good time; the visitors then enter the theatre through the foyer. Tours are in German and last approximately one hour.

The tour includes the foyer, the auditorium, the stage, the cellar and the dressing-room area. Visitors will learn about the building’s history, its pro-gramme of performances, the way it is organised and the technology used.

It is of course also possible to book private tours (in other languages, for example, or at other times). If you require such a tour, please be sure to book your appointment in advance, either in writing or by phone.

Special offer for school groups: during private tours for classes, special emphasis can be placed on topics covered in lessons (such as technology, fashion, music etc.).

For the dates and times of guided tours, see the website of the Theater an der Wien (www.theater-wien.at), the theatre’s magazine and the bimonthly folder. See p. 89 for details of prices.

Contact for all tours of the Theater an der Wien:Mag. Philipp Wagner, phone: +43 (0) 1 588 30 -2015E-Mail: [email protected]

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INFORMATION

TICKET SALESTickets go on sale to the general public on 15 June 2017 at 10 a.m. for theperformances until 31 December 2017, at the box office at the Theater an der Wien and the Wien-Ticket pavilion and can also be ordered by telephone on +43 (0)1 58885. Tickets for performances from 1 January 2018, go on sale to the general public on 1 September 2017, at 10 a.m. Online ticket sale commences one day later. Cloak-room fees are included in the ticket price. Please note that no orders for individual tickets can be acceptedbefore tickets go on general sale.

BOX OFFICE THEATER AN DER WIEN & KAMMEROPERBox office for both venues: Theater an der Wien, Linke Wienzeile 6, 1060 ViennaOpening hours: Mon - Sat, 10 a.m. - 6 p.m.*Closed on Sundays, except for matinee performances (open from10 a.m. - 1 p.m.) and evening performances (open from 2 p.m. - 6 p.m.)*

Information and phone sales: Wien-Ticket on +43 (0)1 58885 (plus ¤ 2,- facility fee per booking) * Opening hours subject to change.

EVENING BOX OFFICETicketsale and pickup for the respective performanceat Theater an der Wien: from 6 p.m. until curtain-upat der Kammeroper (address: Fleischmarkt 24, 1010 Vienna):from one hour before curtain-up

For your convenience, please buy or pick up all tickets that are not for thenext performance, and complete any subscription enquires (e.g. exchange) at the Theater an der Wien box office no later than 6 p.m.

Please note that the box office at Theater an der Wien will be closedfrom 1 July to 15 August 2017.

WIEN-TICKET PAVILIONTickets (except subscription tickets) are also available from the Wien-Ticket pavilion on Herbert von Karajan-Platz by the State Opera from 15 June and 1 September 2017 respectively. Open daily from 10 a.m. - 7 p.m.(plus ¤ 2,- facility fee per booking)

BOOKING BY PHONETickets (except subscription tickets and other concessions) can also be ordered by phone every day from 8 a.m. - 8 p.m. from Wien-Ticket on +43 (0)1 58885.

Shipping charge*: within Austria: ¤ 5.90; abroad: ¤ 9.90. (plus ¤ 2,- facility fee per booking)

INTERNET www.theater-wien.at | www.kammeroper.atTickets can be purchased online by credit card from 16 June and2 September 2017 respectively. Shipping charge*: within Austria ¤ 5.90;abroad ¤ 9.90. Print@home as well as arranging for advance tickets tobe kept for collection at both box offices is free of charge. Arranging forpurchased tickets to be left for collection from the evening ticket officesof the Theater an der Wien and the Kammeroper costs ¤ 1.50.

The Theater an der Wien and Kammeroper newsletter can be subscribedto free of charge at www.theater-wien.at.

Visit us on Facebook: www.facebook.com/TheateranderWienand twitter: twitter.com/TheaterWienVideos at: www.youtube.com/user/theateranderwien* Shipping charges are subject to change.

GUIDED TOURS OF THE THEATER AN DER WIEN (see p. 72) Price: ¤ 7.-/5.- (concession)* | Groups of schoolchildren: ¤ 3.-Children under 6: free* Concessions apply to school pupils, students up to age 26,persons in military/community service

GROUP BOOKINGSFor bookings for groups of 11 or more people, please contactthe Theater an der Wien sales department.phone +43(0)1 588 30 -1440 or by e-mail: [email protected]

VOUCHERSVouchers for productions of the Theater an der Wien or the Kammeropercan be purchased at all Vereinigte Bühnen Wien box offices, online at www.theater-wien.at or ordered by phone from Wien Ticket on +43 (0) 1 58885 (plus ¤ 2,- facility fee per booking). Vouchers are not valid for non-Theater an der Wien and Kammeroper productions (e.g. Wiener Festwochen) held at those venues.

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WHEELCHAIR SPACES/SPECIAL NEEDSPERSONS WITH REDUCED MOBILITYWheelchair spaces can be reserved at the Theater an der Wien (also foran accompanying person if desired) up to a week before the performancefor which tickets have been bought on +43 (0) 1 58885 or at our boxoffices. Price: ¤ 10,- (wheelchair space) with a 50 % concession for theaccompanying person. Patrons with a disabled person ID are granted a 25 % reduction up to one week before the performance for which they have bought tickets. These concessions are available only at the theatre box offices on presentation of a disabled person ID (limited ticket availability). Please note that there are no lifts in the Theater an der Wien or the Kammeroper, and there are no wheelchair spaces in the Kammeroper.

STANDING ROOM50% of the available standing room tickets are on sale from one week prior to the performance. The remaining tickets go on sale one hour before curtain-up. Price: ¤ 5,-. No standing room is available in the Kammeroper.

TICKETS FOR STUDENTS AND SCHOOLCHILDRENTickets for schoolchildren and students up to age 26 are available, at the theatre’s discretion and no earlier than 15 minutes before curtain-up, at the box offices of the Theater an der Wien and the Kammeroper on presentation of appropriate ID.Theater an der Wien: Opera & Concert: ¤ 15,-Kammeroper: Opera/Concert: ¤ 10,- | Portrait Concert: ¤ 7,-

JUNIOR-TICKETChildren or adolescents (under 16) who attend a Theater an der Wienproduction are granted a 35% reduction on ticket prices in the categoriesA - E at Theater an der Wien and in the categories A - D at Kammeroper.Available at all VBW box offices, the Theater an der Wien online shop at www.theater-wien.at and by phone from Wien-Ticket on +43(0)1 58885(plus ¤ 2,- facility fee per booking).

SAVE ON PARKING WHEN YOU VISITTHE THEATER AN DER WIENPatrons of the Theater an der Wien can park in the Technical University’sWiPark garages for only ¤ 6.90 for the first five hours. Valid Mon-Sat,5 p.m. - 8 a.m., Sundays and holidays. Pre-paid parking cards are available at the Theater an der Wien box office.

Addresses:Garage Technische Universität | Operngasse 13 | 1040 ViennaGarage Lehárgasse | Lehárgasse 4 | 1060 Vienna

SAVE ON PARKING WHEN YOU VISITTHE KAMMEROPERPatrons of the Kammeroper can park in the BOE Garage on Franz-Josefs-Kai for ¤ 5,20 per day. Valid Mon-Sun, 6 p.m. - 7 a.m. Pre-paid parking cards are available at the Kammeroper evening box office.Address: BOE Garage Franz-Josefs-Kai | Morzinplatz 1 | 1010 Vienna

Ö1 CLUBÖ1 club members receive a reduction of 10 % on a maximum of two tickets per performance. This reduction applies to all Theater an der Wien productions. No concessions are availableon subscription tickets, tickets for standing room and events of

the Wiener Festwochen. To obtain the Ö1 Club concession, please show your membership card or state your membership number.

WIENER FESTWOCHENTickets for Wiener Festwochen events in May/June 2018 at theTheater an der Wien are available from the Wiener Festwochen only: www.festwochen.at; Festwochen service telephone +43 (0) 1 589 22 22.

76 |

The illustrations in this programme were designed for the Theater an der Wien by beyond.ag (Michael Huber & Thomas Riegler) and realised by the artist Emmanuel Polanco.

Emmanuel Polanco is a french artist, illustrator and author living in Stock-holm. He works for international magazines (Time Magazine, Los Angeles Times, Management Magazine etc.), publishing houses and theatres (Ro-yal Shakespeare Company). He has published children’s books like Les ani-maux dans la neige and Petite Alice aux merveilles. In his works he combines traditional collages with paint, pencil and India ink.

vbw.at

If you are interested in sponsoring the Theater an der Wien and our young ensemble,please contact Ms. Sandra Risska, Head of Development Department on 01 588 30-1330.

The THEATER AN DER WIEN would like to thank all its partners, friends and sponsors

GOLDEN CIRCLE SILVER CIRCLE

Casinos Austria AkrisDS Automobiles BDOGewista ÖBB

SPONSORING COOPERATION- KAMMEROPER PARTNER

BUWOG Doetsch Grether AG Production Sponsor KattusKammeroper: Le MéridienRaiffeisen Bank International

MAIN SPONSOR

Agrana

Phot

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Pet

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. May

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SPONSORING JUGEND & KINDER AN DER WIEN

Akris Pat & Marcus Meier Barbara & Martin Schlaff

DD_130x205_Ins_17_final_ENGLISCH.indd 1 29.06.17 14:59

80 |

PRICES THEATER AN DER WIEN

*Cloak-room fees are included in the ticket price

MUSICAL THEATRE Prices in ¤ *Die Zauberflöte | Wozzeck | Hagen | Siegfried | Brünnhilde | Maria Stuarda Saul | Der Besuch der alten Dame | A Midsummer Night’s Dream

a 148 b 126 c 99 d 89 e 68 f 48 g 25

Die Möwe (Hamburg Ballett)

a 118 b 98 c 78 d 62 e 48 f 31 g 14

CONCERT PERFORMANCES & SPECIAL PROJECTS24.9.17 Ottone | 18.10.17 Giulio Cesare in Egitto | 24.10.17 Leonore 1805 15.12.17 Egmont | 24.1.18 Publio Cornelio Scipione 27.1.18 Giulietta e Romeo | 21.2.18 Armida | 19.3.18 Fidelio 1814 27.3.18 Die Schuldigkeit des ersten Gebots20.4.18 Radamisto

a 75 b 62 c 50 d 40 e 30 f 22 g 13

CABARET AT THE „HÖLLE“3 / 5 / 6 / 8 / 14 / 15 / 16 / 18 / 20 / 25 November 2017Durchs rote Meer 20

INTRODUCTIONS 5

JUGEND AN DER WIEN-OPERA29 April 2018, 6 p.m. / 30 April 2018, 11 a.m.Shakespeare, ein Jugendtraum 10 / 5

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BÜHNELINKS RECHTS

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Seating planTheater an der Wien

no tickets are on sale for the boxes in the second balcony at any concerts or

concert performances of operas.

MUSICAL THEATRE Prices in ¤ *Arianna in Nasso | Don Pasquale Pelléas et Mélisande | A Quiet Place | Così fan tutte

a 51 b 40 c 29 d 19

PORTRAIT CONCERTS 10

9 October 2017 Julian Henao Gonzalez23 November 2017 Anna Gillingham 14 December 2017 Matteo Loi24 February 2018 Florian Köfler6 March 2018 Carolina Lippo 4 June 2018 Anna Marshania

INTRODUCTIONS 5

PHOTOGRAPHIC MATERIALConcept / Cover image © beyond / michael huber, thomas rieglerInside cover image in back © Peter M. Mayr

p. 8/9, 12/13, 16/17, 22, 24, 26, 28/29, 32/33, 36/37, 40/41, 44/45, 49, 57, 65beyond | Emmanuel Polanco | colagene.com p. 55, 70/71, 73 © Peter M. Mayr

PUBLISHING DETAILSTheater an der Wien – Director Prof. DI Roland GeyerPublisher & Proprietor: Vereinigte Bühnen Wien Ges.m.b.H. – CEO Prof. Dr. Franz PatayTheater an der Wien, Linke Wienzeile 6, 1060 Wienphone (+43/1) 588 30-1010 | Fax Ext. 99 2000 | [email protected] | www.theater-wien.atResponsible for content: Director Prof. DI Roland Geyer

Editorial office: Bettina Auer (Die Ring-Trilogie), Karin Bohnert, Jochen Breiholz, Renate Futterknecht, Martin Gassner, Sylvia Hödl, Catherine Leiter, Johannes Penninger, Tina Reithofer, Herbert Schäfer (Die Zauberflöte), Markus Schemmel, Sabine Seisenbacher, Claudia Stobrawa, Ugo Varela, Georg Wacks, Philipp Wagner, Ksenija ZadravecGraphic design / Art Direction: Martina HeydukPrinting: TriSys DI Hans A. Gruber KGSubject to change | July 2017 | DVR 0518751

Vereinigte Bühnen Wien Ges.m.b.H.

A Wien Holding Company

MEDIA PARTNER 17/18

PARTNERSJUGEND AN DER WIEN:

Stadtschulrat für WienKulturKontakt AustriaLandsmann & Landsmann

PRICES KAMMEROPER

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* Cloak-room fees are included in the ticket price

general sponsor the theater an der wien receives subsidies ... · have been centrepieces of our...

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