Season programme 2014/15 - Theater an der Wien

Theater an der WienLinke Wienzeile 6, 1060 Wienwww.theater-wien.at

THE NEW OPERA HOUSE

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General sponsor

Intendant Roland Geyer

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

WE PLAY FOR YOU! JOIN THE PLAYERS.

If theatre is a kind of play that shows us realities we would otherwise be unable to see, it seems reasonable that play itself is repeatedly taken as a subject of theatre. This should be palpable as soon as you enter the foyer of the Theater an der Wien and pass Valie Export’s glass installa-tion Anagrammatische Komposition mit Würfelspiel (after W. A. Mozart) (“Anagrammatic Composition with Dice (after W. A. Mozart)”). The theatre provides the symbols capable of explaining to us the aimless playing we call life, because it is only that which is played out on the stage that makes sense of our existence.

Friedrich Schiller said, “man only plays when in the full meaning of the word he is a man, and he is only completely a man when he plays”, and his words can be taken to refer both to “living” stage plays and play with “lifeless” cards. Playing encourages intellectual analysis, it teaches humility in defeat and, in Schopenhauer’s words, offers us every oppor-tunity: “Fate shuffles the cards and we play.”

So theatre describes the place where the play in the true sense takes place, since the Greek term théatron means the place where we follow (the) play. Thinking about the ticket, which is a kind of card that allows us to join the play, gave me the idea of evoking the 2014/15 season using playing card motifs which show on the one hand the faces of sig-nificant people (the leading men and women) and on the other, two words as symbols that conjure up realms of play that are reflected in our lives or may be able to explain it. This was the origin of the 16-part “card deck” in this programme.

AND AGAIN: A PREMIERE EVERY MONTHWith the opening concert played by the Vienna Philharmonic under the new star conductor Gustavo Dudamel “Saison – Beginn”, (Season – Be- ginning) featuring Russian works, we show the “Macht – Kampf” (Power – Struggle) in Tchaikovsky’s rarely-played opera Charodeyka; a conflict between the love-struck, the grasping and the covetous at both a perso-nal and a political level. Composed 130 years ago, the work nevertheless appears to have been written for today. The games played by the po-werful remain a latent threat for the oppressed.

The influence of politics on composers was, however, often mutual and stimulating. Marie Antoinette, Queen of France, made her former singing

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teacher, Christoph Willibald Gluck, her protégé and brought him to the Paris opera where he made his breakthrough with the reformed opera Iphigénie en Aulide and, with Iphigénie en Tauride, created a masterpiece of musical history. Director Torsten Fischer has condensed these two works into a “new” Iphigénie evening, where here too there is “Flucht – Gefahr” (Escape – Risk).

Although Georges Bizet composed one of the most frequently perfor-med operas in history, namely Carmen, he did not live to witness its triumph at the Opéra-Comique. His early opera Les pêcheurs de perles also failed to ignite much interest initially. During his lifetime Bizet, like the protagonists in the opera, met with “Miss – Gunst” (enviousness). Despite the exotic nature of the material, the Frenchman created a work free of folklore but full of imagination that demonstrates the great interest in non-European cultures prevalent in the 19th century. How-ever, the young Dutch director Lotte de Beer will show what sort of mirror this opera holds up to us in times of reality shows and C-lebrity jungle antics.

Fascinated by the extremes of sensuality and abstraction in Alban Berg’s Lulu, Olga Neuwirth was inspired to take a fresh look at this mythical female figure from a women’s point of view. A jazz musician’s daughter who grew up with jazz, she transfers part of the plot of her American Lulu to the social context of the racist white South, and Lulu, Geschwitz and Schigolch become Afro-Americans whose story is told against the background of the US American protest movements of the 60s and 70s. In Neuwirth too, Lulu is “Frei – Wild” (fair – game) in our “respect- able” society.

John Neumeier presents a very special work in progress of the staged “Ton – Art” (Tone). In 2007 he choreographed the first three parts of Johann Sebastian Bach’s Christmas Oratorio for the TAW. Now the director of the Hamburg Ballet has chosen this version as the basis of a new ballet in which six cantatas from Bach’s oratorio are used. The work receives its Austrian premiere in December and will be the Christmas highlight of our programme.

Often, fear of what is new and unknown causes us to cling to old structures. But the unknown attracts us just as much as it scares us.

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Vincenzo Bellini’s long-forgotten tragic opera La straniera portrays the unknown personified as the eponymous “stranger”. The principal cha-racteristic of this “Traum – Frau” (Dream – Woman) is her elusive and mysterious identity which, unfortunately for her, incites sexual desire on the one hand and rejection and aggression on the other.

For the first time, the TAW is showing an opera production with two different casts, with the title role being performed by turns by two ex-ceptional singers, Edita Gruberova and Marlis Petersen, who could not be more different. A remarkable project which can only be experienced once in this form.

French theatre spread all over Europe, not only, though especially, in the 18th century, and aroused enthusiasm and strong disapproval in equal measure.

“Not by wrath does one kill, but by laughter,” as Friedrich Nietzsche postulated in his book Also sprach Zarathustra, thus putting forward an unusual theory about the power of comedy. Few authors have reflected revolutionary trends more effectively in their comedies than the French writer Beaumarchais, creator of Figaro. “I must force myself to laugh at everything lest I be obliged to weep,” says the Barber of Seville describing his attitude towards the conditions of his era in the play of the same name. In his comedies and his actions, Beaumarchais’ liberal ideas chal- lenged the injustices of his time. We also find this stance in the critical thinkers of today who, in the spirit of Kierkegaard, find the courage to raise their voices against the compulsions of a society in which mate- rialism has come to hold sway: “Time and history have justified those who swam against the tide and clashed with the convictions of their times.”

With the famous Beaumarchais trilogy (Le barbier de Séville / Le mariage de Figaro / La mère coupable) we present three masterpieces set to music and represented by the playing card phrases “Lust – Spiel” (Comic – Play), “Nacht – Schicht” (Night – Shift) and “Seiten – Sprung” (Illicit – Affair) (see also “The Beaumarchais Trilogy”, p. 6). In Vienna, there were always periods of interest in new things and the urge to discover something different in which a veritable hunger for new music prevailed. Over the last 200 years, no other theatre has been confronted more intensively

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with the permanent flow of new trends, the constant succession of changing tastes, traditions and fashions than the Theater an der Wien. Consequently, the 2014/15 season sees us once again producing a pre-miere, in cooperation with the Bregenzer Festspiele. With Geschichten aus dem Wiener Wald (Tales From the Vienna Woods) the Austro-Hungarian writer Ödön von Horváth created a biting satire on the hypocrisy and brutality of the petty bourgeoisie, naming the play ironically after the woods near Vienna that are idealized in the waltz of the same name. In the tragic tale of the sweet young girl Marianne and the honest but-cher Oskar, the famed Viennese Gemütlichkeit turns out to be nothing more than empty words, the joviality to be cruelty not far short of a “Blut – Rausch” (blood – lust). Horváth himself had the idea of setting the piece to music, and thought of commissioning the composer Kurt Weill, but nothing came of the project. So it seems logical to entrust the task to the versatile HK Gruber, composer, conductor, chansonnier and Weill specialist. In his work, Gruber moves back and forth between Viennese tradition and contemporary composition, between griping and rapping, and turns the Geschichten aus dem Wiener Wald into modern musical theatre.

Last but not least I would like to draw your attention to the wide spec-trum covered by our series of concert performances of opera at the The-ater an der Wien and our five staged opera premieres at the Kammeroper. I hope you enjoy our new programme for 14/15 and that you will con-tinue to visit our opera house in large numbers.

“Then let us all be happy.”*

Best wishes,

Roland GeyerIntendant

* from the closing chorus of Le nozze di Figaro: “Tutti contenti saremo così.”

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THE BEAUMARCHAIS TRILOGYPierre-Augustin Caron de Beaumarchais was a watchmaker, businessman, secret agent, politician, arms smuggler, musician as well as a Casanova and a father. His remarkable life story shows him to be a typical repre-sentative of the 18th century, which was characterized by upheavals culminating in the French Revolution of 1789. He was celebrated, con-demned, slandered and never received the recognition he deserved. More than once his life was in danger during the bloody rebellions in Paris. Although he welcomed the Revolution, Beaumarchais was arrested, dis-possessed and exiled. He yearned for a settled life, and although this was denied him he still died surrounded by his family and friends fol-lowing his return to Paris.

Beaumarchais was no socio-political dreamer of the Enlightenment; he was too familiar with the harsh realities of life as a businessman for that. Nor was he purely a writer, using words to conjure up false realities which were of no use to the oppressed lower classes. Beaumarchais was no man of letters; rather, he was a man of action who nevertheless put his ideas and convictions into words. Music had already played an im-portant role for him while he was still in his father’s watch-making work-shop. Songs were the essential element of Beaumarchais’ language, his elixir. Despite his numerous different occupations he remained a singing philosopher of the Enlightenment all his life.

Few other authors demonstrate the extent to which theatre can influence society. No other character is more potent political dynamite than Beau-marchais’ Figaro who, though a simple barber, had a hand in shaping the history of Europe. In a total of three plays, Beaumarchais gives Figa- ro a voice and it is only logical that all three were used for musical theatre.

With the character of Figaro, Beaumarchais changed theatre, had a for-mative influence on it and ensured his own place in history. In order to expose the conniving of the authorities, Beaumarchais needed a simple character in his plays and introduced a barber onto the stage. In an era when the authorities were noblemen this was also a political act. The name may be a parody of “Fils Caron”, “Caron’s son”, and therefore a play on his own name. What is certain is that Beaumarchais in-vented it and that it has long since become a household name. But Beaumarchais was able to have Figaro say things to the nobility for

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which he himself would have paid with his life: “Just because you are a great nobleman, you think you are a great genius – Nobility, fortune, rank, position! How proud they make a man feel! What have you done to deserve such advantages? Put yourself to the trouble of being born – nothing more. For the rest – a very ordinary man!”

Such scathing criticism was unheard-of and could find its way onto the stage only under the cover of comedy due to unstable governmental constellations and thanks to successful ruses. But its success also aroused the interest of librettists and composers, and the first one to work on it was Giovanni Paisiello in 1782. His musical version, written for the court of Empress Catherine the Great in Saint Petersburg, became such a huge success all over Europe that as late as three decades later Rossini was warned not to set Il barbiere di Siviglia to music himself.

The whole of Europe was caught up in the enthusiasm for Beaumarchais, and in 1785 the resourceful founder of the Theater an der Wien, Emanu-el Schikaneder, wanted to stage The Mad Day, or The Marriage of Figaro – the author now including his hero’s name in the title – in Vienna. But the work was an unprecedented attack on feudal despotism and was banned three days before the premiere. Despite this, printing of the libretto was allowed to go ahead, and in the autumn of the same year Mozart and Da Ponte dared to propose this of all works as an opera.

Joseph II gave permission for the opera to be performed, and the rea-sons for these apparently contradictory decisions may lie in the political situation of Vienna at the time. As a reformer, Joseph II wanted to curtail the privileges enjoyed by the nobility while at the same time not under-mining the stability of the social order. Whereas the theatre was more popular with the middle classes, opera audiences consisted chiefly of nobles. Joseph II, while evidently wishing to prevent the middle classes from embracing seditious ideas, seemed to think the work not inappro-priate as a warning to the nobility. In each of these cases, the explo-sive socio-political power which the theatre possesses is shown by the unusual decisions taken.

After the revolution, the character’s popularity led Beaumarchais to publish the third Figaro play, L’autre Tartuffe ou La mère coupable (The Other Tartuffe, or The Guilty Mother) in 1791. The new Tartuffe, based on

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Molière’s famous swindler, is a red-headed lawyer from Ireland who in-tends to cheat Count Almaviva out of his fortune. In truth, the Figaro saga is less a trilogy than a series of three plays with the same char-acters in three different situations and presents three theatrical tales in-volving the same character. In his last contribution to the Figaro series, Beaumarchais moved the action perilously close to those he was mocking. The tale begins in Seville before moving into the Count’s castle. But La mère coupable is set in Paris, in the midst of a revolution that initially decimates the nobility, before going on to do the same to everyone else.

Beaumarchais achieved one more theatrical success, though that play was quickly forgotten whereas Figaro never disappeared from the stage. Once again Beaumarchais was ahead of his time, pushing back bound- aries. La mère coupable contains the substance of a realistic novel and anticipates theatre well into the 19th century. It is hardly surprising that all plans to turn this Figaro into an opera as well were abandoned, and it was not until the 20th century that a composer emerged who found the play appealing from a musical standpoint. Darius Milhaud who, of all composers of his period, most frequently used elements of the emerging jazz in his works, set his own version of La mère coupable in 1965. The 74-year-old Milhaud created a through-composed opera in-spired by late romanticism that eschewed individual pieces and whose dense polytonality proved too much for the audience and the critics at the premiere.

Staged productions of all three of Beaumarchais’ plays will be performed as an opera trilogy at the TAW in the spring of 2015 (February to May) in the order in which they were written which corresponds to the chrono- logy of the operatic versions by Paisiello, Mozart and Milhaud.

Das Tempo machT Die musik ...

... unD wir halTen schriTT!

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schnell, ursprünglich munter, fröhlich

sehr breit

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CONTENT

OPENING 14/15 13

MUSIC THEATRE

P.I. Tchaikovsky: CHARODEYKA 15

Ch.W. Gluck: IPHIGÉNIE 19

G. Bizet: LES PÊCHEURS DE PERLES 23

O. Neuwirth: AMERICAN LULU 27

J.S. Bach: CHRISTMAS ORATORIO 31

V. Bellini: LA STRANIERA 35

G. Paisiello: IL BARBIERE DI SIVIGLIA 41

HK Gruber: GESCHICHTEN AUS DEM WIENER WALD 45

A. Schneider: EPILOGUE TO WIENER WALD –

FAHRT INS GLÜCK 49

W.A. Mozart: LE NOZZE DI FIGARO 51

D. Milhaud: LA MÈRE COUPABLE 55

CONCERT PERFORMANCES & SPECIAL PROJECTS 59

STEFAN MICKISCH 75

THEATER AN DER WIEN IN THE KAMMEROPER 77

IN THE “HÖLLE” 83

JUGEND AN DER WIEN 85

Introduction to the Season 86Guided Tours 87Information 88Prices 92Seating plan 93Imprint 96Booking form 97

SAISONBEGINN

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OPENING 14/15

GUSTAVO DUDAMEL ConductorWIENER PHILHARMONIKER Nikolai Rimski-KorsakowOverture Russian Easter

Modest Mussorgski Night on Bald Mountain

Nikolai Rimski-KorsakowScheherazade

WEDNESDAY, 10 SEPTEMBER 2014, 7.30 P.M.

MACHT KAMPF

CHARODEYKA (THE ENCHANTRESS)

PYOTR ILYICH TCHAIKOVSKY

14 – 26 September 2014M

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CHARODEYKA (THE ENCHANTRESS)

Opera in four Acts (1887)

MUSIC BY PYOTR ILYICH TCHAIKOVSKYLIBRETTO BY IPPOLIT VASILIEVICH SHPAZHINSKY

Performed in Russian with German surtitles

Conductor Mikhail TatarnikovDirector Christof Loy Set & costume designer Christian SchmidtLight designer Bernd PurkrabekChoreographer Thomas Wilhelm

Prince Kurlyatev Vladislav SulimskyPrincess Jewpraxija Agnes ZwierkoPrince Nikita, dubbed “Yuriy” Maxim AksenovMamyrow Vladimir OgnovenkoNenila Hanna SchwarzNastasya, dubbed “Kuma” Asmik GrigorianFoka Martin SnellPolya Natalia Kawałek-Plewniak*Kitschiga Nikolay DidenkoBalakin Erik ÅrmanPaisi Andreas ConradPotap Stefan CernyLukasch Vasily EfimovKudma Martin WinklerIwan Schuran Martijn Cornet

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

New production Theater an der Wien

*Young Ensemble Theater an der Wien

PREMIERE: 14 SEPTEMBER 2014Performances: 16 / 19 / 21 / 23 / 26 September 2014, 7 p.m. Introduction: Sunday, 14 September 2014, 11 a.m.

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In 1885, Pyotr I. Tchaikovsky was made aware by his brother Modest of a new drama by the writer Shpazhinsky, who was popular at the time: it contained a love scene, said Modest, well suited to being set to music. In the end, though, Tchaikovsky found the two main female characters more interesting than the love scene. He asked the author to adapt the play to a libretto. However, Shpazhinsky’s text turned out too long, and the struggle to achieve a version that could be performed took two years. On 1 November 1887, Charodeyka was premiered in the Imperial Mari-inski Theatre in Saint Petersburg.

Nastasya, known as Kuma, runs an inn on the riverbank. In the liberal at-mosphere she has created there, her guests also include political and social outcasts who find refuge under her roof. Kuma has many suitors, but be-stows her favours on no one. One day, Prince Yuriy passes by and she falls in love with him. However, she does not dare approach him. Kurlyatev, the ruling prince, is Yuriy’s father, and the hostelry with the critical minds it at-tracts are a thorn in his side. He wants to close it, but falls under the spell of Kuma’s charm himself and suddenly, instead of closing the inn down, is spending a lot of time there himself. The scheming Mamïrov tells the Prin-cess, Prince Kurlyatev’s wife, about this, arousing her jealousy. When Yuriy hears of his father’s behaviour he determines to kill the woman who has cast such a spell on his father that he is neglecting his wife and his duties as ruler. Kurlyatev confesses his love to Kuma, but she rejects him. When Yuriy comes to her intending to kill her, she is able to convince him of her innocence, and he too falls in love with her. The couple is about to escape together when the Princess poisons Kuma, who dies in Yuriy’s arms. The Princess throws the dead body into the river. Prince Kurlyatev, searching for Kuma, kills his son in a fit of jealousy and is taken by madness.

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FLUCHTGEFAHR

IPHIGÉNIEEN AULIDE ET TAURIDE

CHRISTOPH WILLIBALD GLUCK

16 – 29 October 2014M

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IPHIGÉNIE EN AULIDE ET TAURIDE

Opera in two parts (Version: Torsten Fischer, 2014)

MUSIC BY CHRISTOPH WILLIBALD GLUCKLIBRETTO BY MARIE FRANÇOIS LOUIS GAND BAILLI DU ROULLET (AULIDE) AND NICOLAS-FRANÇOIS GUILLARD (TAURIDE)

Performed in French with German surtitles

Conductor Leo HussainDirector & Light Designer Torsten FischerSet & costume designer Vasilis TriantafillopoulosSet & costume designer & Dramatic advisor Herbert Schäfer

AULIDEAgamemnon Christoph PohlClytemnestre Michelle BreedtIphigénie Ekaterina SiurinaAchille Maxim MironovCalchas Andreas Jankowitsch

TAURIDE Iphigénie Véronique GensThoas Christoph PohlOreste Stéphane DegoutPylade Rainer TrostDiana Ekaterina SiurinaScythe / Le Ministre Andreas JankowitschPremière Prêtresse / Femme grecque Çigdem Soyarslan

Wiener SymphonikerArnold Schoenberg Chor (Chorus master: Erwin Ortner)


PREMIERE: 16 OCTOBER 2014Performances: 18 / 21 / 24 / 27 / 29 October 2014, 7 p.m.Introduction: Sunday, 12 October 2014, 11 a.m.

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War, the myth of sacrifice, the apparent inevitability of fate, a family’s curse and the utopian idea of overcoming it: Euripides’ ancient trage-dies, upon which Gluck’s operas Iphigénie en Aulide (1774) and Iphigénie en Tauride (1779) are based, reflect the most extreme dangers of our mis-conduct. The fight against barbarism and the struggle for humanity in a world which appears to be cursed are inherent to these works. Torsten Fischer has created a composite piece from his productions of both ope-ras which tells of the fate of Iphigénie in one evening.

At the beginning of the Trojan War, Diana prevents the Greek fleet under Agamemnon from setting sail for Troy by calling up dead calm near Aulis. An oracle announces that in order to continue the journey, Agamemnon must sacrifice his daughter Iphigenia to the goddess. Neither Achilles nor Iphigenia’s mother Clytemnestra can prevent the execution. Iphigenia is transported by Diana to Tauris where she must serve the goddess as a pries-tess. Following his return from the war, Agamemnon is murdered by his wife, Clytemnestra. Iphigenia’s brother Orestes avenges the murder of his father by killing his own mother. To escape the pursuing Erinyes, who want revenge for the matricide, Orestes is commanded by Apollo to take a statue of Diana from Tauris to Athens. With his friend Pylades, Orestes travels to Tauris where they are both captured by the natives who intend to sacrifice them to Diana, as they do with all strangers. However, the priestess of Diana who has been given the task of carrying out the sacrifice is Orestes’ sister Iphigenia, who fails to recognize him. It is not until the sacrificial ceremony itself that she looks in his eyes and lifts the curse that has so long lain over the Atreide-an family. The goddess Diana herself helps Iphigenia, Orestes and Pylades to escape from the Taurian king, Thoas, back to Greece.

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LES PÊCHEURS DE PERLES GEORGES BIZET

16 – 30 November 2014

MISSGUNST

LES PÊCHEURS DE PERLES GEORGES BIZET

16 – 30 November 2014M

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LES PÊCHEURS DE PERLES Opera in three acts (1863)

MUSIC BY GEORGES BIZET LIBRETTO BY EUGÈNE CORMON AND MICHEL FLORENTIN CARRÉ


Conductor Jean-Christophe SpinosiDirector Lotte de BeerSet designer Marouscha LevyCostume designer Jorine van BeekLight designer Alex BrokVideo Finn RossDramatic advisor Peter te Nuyl

Leïla Diana DamrauNadir Dmitry KorchakZurga Nathan GunnNourabad Nicolas Testé



PREMIERE: 16 NOVEMBER 2014Performances: 19 / 22 / 25 / 28 / 30 November 2014, 7 p.m.Introduction: Sunday, 16 November 2014, 11 a.m.

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During the period of exoticism, far-off locations and ostensibly foreign musical elements were also all the rage in 19th-century opera. In 1863, Georges Bizet was commissioned by the director of the Théâtre Lyrique in Paris to compose a work of this kind: it was the first major opera that Bizet was able to present. The three-way love story, written by the experienced librettists Cormon and Carré, featured exotic rituals and at-tractive natives in whom the same tempestuous emotions raged as in works set in the Old World.

The pearl fishers await the consecrated virgin, who is to calm the sea with her prayers so that the fishers can go about their work in safety. Zurga, their new leader, and his friend, the hunter Nadir, once fell in love with the same girl, but swore not to pursue her for the sake of their friendship. But Nadir has secretly broken the oath and approached her. When the veiled virgin appears she has to swear never to belong to a man. But when he hears her voice, Nadir immediately recognizes her as the girl he loves, Leila. At night the two lovers meet, but are discovered by Nourabad, the High Priest. Zurga is obliged to sentence the two of them to death. At first, he wants to show mercy to his friend and the virgin and pardon them, but when Nourabad tears the veil from the virgin’s face and Zurga is confronted with Nadir’s treach- ery he condemns them to death in a fit of jealous fury. However, he quickly regrets his impulsiveness, especially when Leila, who begs him to spare Nadir’s life, reveals that she once saved his, Zurga’s, life. When the two lovers are being led away to be executed, Zurga starts a fire in the fishers’ camp so that Nadir and Leila can escape in the ensuing chaos.

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FREIWILD

AMERICAN LULUOLGA NEUWIRTH

7 – 11 December 2014M

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AMERICAN LULUOVERALL CONCEPT AND NEW INTERPRETATION OFALBAN BERG'S OPERA LULU BY OLGA NEUWIRTH (2006-2011)

Music of Act I and II adapted and newly orchestrated byOlga Neuwirth | text of Acts I and II adapted by Olga Neuwirthand Helga Utz using translations by Richard Stokes and Catherine Kerkhoff-Saxon | music and text of Act III by Olga Neuwirth, English translation by Catherine Kerkhoff-Saxon

Performed in English with German surtitles

Conductor Johannes KalitzkeDirector & Set & costume designer Kirill SerebrennikovLight designer Diego LeetzVideo Gonduras JitomirskyDramatic advisor Johanna Wall, Sergej Newski

Lulu Marisol MontalvoEleanor Della MilesClarence Jacques-Greg BeloboDr. Bloom Claudio OtelliJimmy / Young Man Rolf RomeiPainter Dmitry GolovinProfessor / Banker Hans-Peter ScheideggerCommissioner Frank BaerLulu-Double Jane-Lynn Steinbrunn

Orchestra of the Komische Oper BerlinGuest performance of the Komische Oper Berlin

PREMIERE: 7 DECEMBER 2014Performances: 9 / 11 December 2014, 7.30 p.m.Introduction: Sunday, 7 December 2014, 11 a.m.

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On his death in 1935, Alban Berg left Lulu without the third act. In 1979, Friedrich Cerha was able to piece together a “complete” version using Berg’s sketches, and this was the only way that the work could be heard in its entirety. Since 2005, Berg’s music has been out of copyright, and the composer Olga Neuwirth decided to take a new and feminine look at the “mythical female figure”. To make the action more relevant to today’s social and political conditions she transferred Lulu’s story to America in the 1950s and 1970s. Neuwirth’s Lulu is black. The aspect of discrimination against women is now joined by racial discrimination.

In New Orleans in the 1950s, Dr Bloom has rescued the beautiful young black girl Lulu from the gutter and made her his lover. However, he does not want to publicly admit his liaison and marries her off to a professor. When she cheats on her husband by sleeping with a photographer, the professor suffers a fatal stroke. The subsequent marriage to the photographer also ends in death: he shoots himself when Bloom’s relationship to Lulu becomes clear to him. Lulu then succeeds in marrying Bloom, believing that he is the one she truly loves. But she is unfaithful to him, too. In the quarrel that ensues, she shoots Bloom dead, and is sent to prison. Women, too, fall for Lulu’s charm: the singer Eleanor loves her and makes great personal sacrifices to enable her to leave the prison. Lulu escapes to New York with Bloom’s son, Jimmy, where she works successfully as a high-class call-girl until the 1970s. But she becomes numbed to all feeling. When Eleanor leaves her as well, Lulu finds herself left alone to face the consequences of her profession.

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TONART

CHRISTMAS ORATORIOJOHANN SEBASTIAN BACH

JOHN NEUMEIER

17 – 20 December 2014M

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CHRISTMAS ORATORIOCantatas I-VIBallet from John Neumeier (2013)

MUSIC BY JOHANN SEBASTIAN BACH

Performed in German

Conductor Erwin Ortner Choreographer / Costume / Light designer John NeumeierSet designer Ferdinand Wögerbauer

Soprano Lenneke RuitenAlto Ann-Beth SolvangTenor Andrew TortiseBass Andrè Schuen

Wiener KammerOrchesterArnold Schoenberg Chor (Chorus master: Erwin Ortner)

In cooperation with the Hamburg Ballet New musical interpretation by the Theater an der Wien

PREMIERE: 17 DECEMBER 2014Performances: 18 / 19 / 20 December 2014, 7 p.m.

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When Johann Sebastian Bach’s Christmas Oratorio opens with the famous words “Jauchzet! Frohlocket!” (“Exult! Rejoice!”) the listener is often tempted to yield to the illusion of floating. The rousing elation of this chorus and its infectious optimism appear limitless. The chorus sings of hope, not of salvation already attained. John Neumeier comments, “Salvation is not complete, it must be constantly regained. As soon as the music of the ’Exult! Rejoice!’ chorus begins, and this is the wonder of Bach’s music, a flame is kindled inside us that makes the idea of joy shine. When this music stops, stillness descends again and we sink back into our life on Earth.”

Hamburg’s ballet director choreographed the first three parts of the Christmas Oratorio for the Theater an der Wien back in 2007 to over-whelming success. In these parts, Bach portrays the ups and downs of human nature so impressively and vividly evokes the vicissitudes of faith. In 2013, Neumeier continued his work on it. For Neumeier it is im-portant that two different ballets of equal status resulted from his work. “In my catalogue of works the opus number of the first three parts is different from that of the Christmas Oratorio as a whole. What we are now presenting is in actual fact the premiere of a new work consisting of Bach’s six cantatas.” Accordingly, what can now be seen at the Theater an der Wien is the continuation of the work begun by Neumeier in 2007 with the premiere of the first version.

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LA STRANIERA VINCENZO BELLINI

Dates: Edita Gruberova & Dario Schmunck

14 / 18 / 22 / 26 January 2015

TRAUMFRAU


Dates: Edita Gruberova & Dario Schmunck

14 / 18 / 22 / 26 January 2015M

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Dates: Marlis Petersen & Norman Reinhardt

16 / 24 / 28 January 2015

TRAUMFRAU


Dates: Marlis Petersen & Norman Reinhardt

16 / 24 / 28 January 2015M

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LA STRANIERAMelodrama in two acts (1829)

MUSIC BY VINCENZO BELLINILIBRETTO BY FELICE ROMANI AFTER THE NOVEL L’ÉTRANGÈRE BY CHARLES-VICTOR PRÉVOST VICOMTE D’ARLINCOURT

Performed in Italian with German surtitles

Conductor Paolo ArrivabeniDirector Christof LoySet designer Annette KurzCostume designer Ursula RenzenbrinkLight designer Franck EvinDramatic advisor Thomas Jonigk

Alaide Edita Gruberova (14 / 18 / 22 / 26 January) Marlis Petersen (16 / 24 / 28 January)Arturo, Conte di Ravenstel Dario Schmunck (14/ 18 / 22 / 26 January) Norman Reinhardt (16 / 24 / 28 January)Isoletta Theresa KronthalerBarone Valdeburgo Franco VassalloOsburgo Vladimir Dmitruk*Il signore di Montolino Martin SnellIl priore degli Spedalieri Stefan Cerny


In coproduction with the Opernhaus Zürich


PREMIERE (Gruberova & Schmunck): 14 JANUARY 2015PREMIERE (Petersen & Reinhardt): 16 JANUARY 2015 Performances: 18 / 22 / 24 / 26 / 28 January 2015, 7 p.m. Introduction: Sunday, 11 January 2015, 11 a.m.

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An enthusiastic Vincenzo Bellini wrote of Victor d’Arlincourt’s successful novel L’etrangère: “It is a book full of exciting moments, and all are new and marvellous.” In the book he found material replete with extreme characters in situations of exceptional emotion which he could use to develop his ideas of the romantic opera. In La straniera he produced his most radical score. Hector Berlioz, not one who found much to admire in Italian opera, was impressed by this music, feeling that “deep passions, painful emotion” and a “fearful cry of insane love” had been incorporated in the composition.

Count Arturo is engaged to Isoletta, but has fallen in love with a mysterious stranger who lives alone in the woods. The villagers think she is a witch. Arturo wants to run away with her, but the stranger refuses. Arturo’s friend Baron Valdeburgo tries to persuade him to go back to Isoletta. To elicit Valdeburgo’s sympathy for his plight, Arturo takes him to the stranger. To Arturo’s astonishment, the stranger and Valdeburgo greet one another with a tender embrace. The jealous Arturo immediately fights a duel with his friend, and Valdeburgo falls into the lake. The stranger’s cry of “You have killed my brother!” explains the affectionate greeting. Arturo plunges into the lake, leaving the despairing stranger alone with the bloodstained rapier. This is how the villagers find her, and they accuse her of murdering the two men. At the trial, both men reappear, still alive, thus proving the stranger’s innocence. Arturo still refuses to give up his passion for her. On the day of his wedding to Isoletta he runs away from the altar. When it emerges that the stranger is in fact the wife of the King of France and was forced to live in exile, Arturo stabs himself.

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LUSTSPIEL

IL BARBIERE DI SIVIGLIA OSSIA LA PRECAUZIONE INUTILE

GIOVANNI PAISIELLO

16 – 27 February 2015M

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IL BARBIERE DI SIVIGLIA OSSIA LA PRECAUZIONE INUTILE

Dramma giocoso per musica in two acts (1782/87)

MUSIC BY GIOVANNI PAISIELLOLIBRETTO BY GIUSEPPE PETROSELLINI AFTER THE COMEDY LA PRÉCAUTION INUTILE OU LE BARBIER DE SÉVILLE BY PIERRE AUGUSTIN CARON DE BEAUMARCHAIS


Conductor René Jacobs Director Moshe Leiser / Patrice CaurierSet designer Christian FenouillatCostume designer Agostino CavalcaLight designer Christophe Forey

Il conte di Almaviva Topi LehtipuuRosina Mari EriksmoenBartolo Pietro SpagnoliFigaro Andrè SchuenDon Basilio Fulvio BettiniLo Svegliato / un notaro Christoph Seidl*

Freiburger Barockorchester



PREMIERE: 16 FEBRUARY 2015Performances: 18 / 20 / 23 / 25 / 27 February 2015, 7 p.m.Introduction: Sunday, 15 February 2015, 11 a.m.

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Pierre-Augustin Caron de Beaumarchais (1732-1799), watchmaker to the court, inventor, author, diplomat and adventurer, offered Le barbier de Séville to the Comédiens Italiens as an opera libretto in 1772. When it was re-jected, he rewrote it as a play which became a triumphant success at the Comédie-Française in 1775. Beaumarchais had so many ideas for the fate awaiting the characters surrounding Figaro, his jack of all trades, that he created an entire trilogy which precisely reflects the rapid develop-ments of social structures in the last third of the 18th century. Giovanni Paisiello set the first play to music in 1782 as a commission for Catherine the Great in Saint Petersburg, and it soon became immensely popular all over Europe.

In Seville, Rosina is being kept from prying eyes in the house of her guardian Bartolo. Because the young lady is beautiful and wealthy, Bartolo intends to marry her. But Rosina has another admirer: a student by the name of Lindoro has secretly been courting her for some time, and she finds the young man considerably more attractive than her guardian. Lindoro is in fact the notorious womanizer Count Almaviva in disguise. This time, however, he is genuinely in love and wants to make Rosina his wife, even though she is a commoner. He secures the aid of Figaro who, as a physician, apothecary and barber, is free to enter Bartolo’s house. In the meantime, Bartolo has heard that the infamous Almaviva is in town and rightly guesses that he may have his ward in his sights. He tries to bring the date of his own wedding forward, but Fi-garo and Almaviva hatch counter-plots. In the end, Bartolo loses out: Count Almaviva abandons his disguise and makes Rosina his countess.

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BLUTRAUSCH

GESCHICHTEN AUS DEM WIENER WALD

HK GRUBER

14 – 23 March 2015M

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GESCHICHTEN AUS DEM WIENER WALDOpera in three parts (2014)

MUSIC BY HK GRUBERLIBRETTO BY MICHAEL STURMINGER AFTER THE PLAY OF THE SAME NAME BY ÖDÖN VON HORVÁTH

Performed in German with German surtitles

Conductor HK GruberDirector Michael SturmingerSet & costume designer Renate Martin & Andreas DonhauserLight designer Olaf Winter

Marianne Ilse EerensAlfred Daniel SchmutzhardOskar Jörg SchneiderValerie Angelika KirchschlagerOld magician Albert PesendorferMother Anke VondungGrandmother Anja SiljaErich Michael LaurenzCavalry captain / Confesser Markus ButterMister David Pittman-JenningsThe Hierlinger Ferdinand Alexander KaimbacherHavlitschek Robert Maszl

Wiener SymphonikerVocalensemble NOVA (Chorus master: Colin Mason)

In coproduction with the Bregenzer Festspiele

PREMIERE: 14 MARCH 2015Performances: 16 / 18 / 21 / 23 March 2015, 7 p.m.Introduction: Sunday, 8 March 2015, 11 a.m.

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In 1931, Ödön von Horváth’s scathing but perspicacious “folk drama” premiered in Berlin. In it, he provides a precise, satirical snapshot of the way the petty bourgeoisie thought at the time, as they preserved their prejudices and narrow-minded moral values under the guise of a self-righteous “Viennese Gemütlichkeit”. Characters like this did not only exist in Vienna in the early 1930s, however; pompous members of the middle class whose stupidity makes them dangerous can be found every-where and in every era. Now the Viennese composer, conductor, chan-sonnier and actor HK Gruber has set to work in collaboration with the director and librettist Michael Sturminger to turn Horváth’s play into an opera for the Bregenzer Festspiele and the Theater an der Wien.

The old magician owns a doll’s hospital and has a daughter called Marianne. She is to marry Oskar, the proprietor of a neighbouring butcher’s shop. How-ever, she is not completely happy about this and on the day of her engagement runs away with the rogue Alfred. She gives birth to a child, but the love she and Alfred had for each other quickly dies owing to financial problems. When her father discovers her working as a nude dancer in a night club in an effort to earn some money, he indignantly disowns his wayward daughter. Alfred’s family does not like the destitute Marianne either, but they are stuck with her because of the child. The grandmother solves the problem: she leaves the troublesome infant outside in the cold and it dies of pneumonia. Now peace and order can return to the family. Oskar forgives Marianne and plans to marry her after all and Alfred goes back to his old flame, the wealthy tobacconist Valerie. To his main characters Horváth adds a motley company that provides a cross section of the petty bourgeoisie of the inter-war years: Hierlinger, a pimp; the cavalry captain who still lives in the days of the emperor; and the German law student Erich, whose opinions foreshadow Hitler’s Pan-German madness.

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EPILOGUE TO WIENER WALDFAHRT INS GLÜCKA SECOND ENCOUNTER WITH MARIANNEFROM ÖDÖN VON HORVATH'SGESCHICHTEN AUS DEM WIENER WALDSTAGED MONOLOGUE BY ANGELA SCHNEIDER

Performed in German

Director Cornelia Rainer

Marianne Petra Morzé

PREMIERE: 14 MARCH 2015Performances: 16 / 18 / 21 / 23 March 2015, 9.45 p.m.24 March 2015, 7.30 p.m.

Venue: Hölle at the Theater an der Wien

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“I can’t go on. I can go no further,” she says to Oskar. “Well, come on then,” he replies. Those are the last words in Ödön von Horváth’s immortal stage play. What happened afterwards? What became of Marianne?

We meet her several years later in a park in Vienna. She is sitting on a swing she once used to play with as a child. Austria is about to be an-nexed by Nazi Germany. The harbingers of this disastrous future hang in the air. Marianne had gone with her fiancé Oskar and did, in the end, marry him. And she had another child, Robert. But she cannot love him as she would like to for the child’s sake and for hers as a mother. She is trapped in a life that she once thought she could escape from with Alfred. But the journey into happiness was soon over. Now she is Oskar’s wife, just as her father, the king of the magicians, foretold. Everyone is satisfied. Except her. She immerses herself in the past and gradually finds a foothold in the present which she cautiously accepts.

Petra Morzé plays this role just as one would wish. As a young actress she played the part of Marianne very successfully in Horváth’s Geschichten aus dem Wiener Wald at the Theater in der Josefstadt in 1994 with Her- bert Föttinger as Alfred under the direction of Karl-Heinz Hackl. This is without doubt a propitious place to start from, but is certainly not the only reason that she gets inside this character so well.

Follow Oskar’s last words and join us in the “Hölle”. Immediately after the opera ends, come and find out what became of Marianne. See page 92 for special ticket upgrades.

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NACHTSCHICHT

LE NOZZE DI FIGARO WOLFGANG AMADEUS MOZART

11 – 22 April 2015M

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LE NOZZE DI FIGARO Commedia per musica in four acts (1786)

MUSIC BY WOLFGANG AMADEUS MOZARTLIBRETTO BY LORENZO DA PONTE AFTER THE COMEDY LA FOLLE JOURNÉE OU LE MARIAGE DE FIGARO BY PIERRE AUGUSTIN CARON DE BEAUMARCHAIS


Conductor Marc MinkowskiDirector Felix BreisachSet designer Jens KilianCostume designer Doris Maria AignerLight designer Alessandro Carletti

ll Conte di Almaviva Stéphane DegoutLa Contessa di Almaviva Christine SchäferSusanna Emoke BaráthFigaro Alex EspositoCherubino Marianne CrebassaMarcellina Helene SchneidermanBartolo Peter KálmánDon Curzio / Basilio Sunnyboy Dladla Barbarina Gan-ya Ben-gur Akselrod *

Les Musiciens du Louvre GrenobleArnold Schoenberg Chor (Chorus master: Erwin Ortner)



Supported by

PREMIERE: 11 APRIL 2015Performances: 13 / 15 / 18 / 20 / 22 April 2015, 7 p.m. Introduction: Sunday, 29 March 2015, 11 a.m.

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Mozart knew Paisiello’s Barbiere well, since the opera had been performed very successfully in Vienna in 1783 and the two composers had met the following year. So when the second play about this bustling barber appeared in Paris and was met by great acclaim and great scandal, it seemed logical to try to recreate the success Paisiello had with the first Beaumarchais play with the second. However, Mozart and Da Ponte were forced to considerably tone down the politically explosive original in order to receive permission to perform their version at the Vienna Court Opera. In the libretto, Da Ponte concentrated particularly on the problematical emotional relationships between the characters, thereby providing the perfect canvas for Mozart’s compositional skill: his music adds depth to the characters to a degree that has scarcely been matched in the history of opera since and turns the comedy into a psychological drama.

Several years have passed since the events in Seville surrounding the marriage of Rosina to the Count, and the love between the Count and Countess has cooled somewhat. The Count is on the lookout for new subjects worthy of his favours, while the Countess is adored by the young page, Cherubino. Figaro has remained in the Count’s service and now wishes to marry Su-sanna, the Countess’ chambermaid. In the 18th century, the aristocracy had the “ius primae noctis”, the droit du seigneur: a lord had the right to de-flower the brides of his subjects. But around 1780 Count Almaviva wishes to appear enlightened and does away with the right to his possessions. Faced with Susanna’s beauty, however, he starts to regret his progressiveness. He can no longer insist on his right, but must resort to seduction and cunning in or-der to trap her. But Figaro and Susanna succeed in maintaining their sexual autonomy as a married couple. They thwart the Count’s schemes with plots of their own, and the Count realizes that in his servant he has an adversary who is every bit his equal.

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SEITENSPRUNG

LA MÈRE COUPABLE DARIUS MILHAUD

8 – 17 May 2015M

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LA MÈRE COUPABLE Opera in three acts (1966)

MUSIC BY DARIUS MILHAUD LIBRETTO BY MADELEINE MILHAUD AFTER THE PLAY L’AUTRE TARTUFFE OU LA MÈRE COUPABLE BY PIERRE AUGUSTIN CARON DE BEAUMARCHAIS


Conductor Leo HussainDirector Herbert FöttingerSet designer Walter VogelweiderCostume designer Birgit HutterLight designer Emmerich SteigbergerDramatic advisor Ulrike Zemme

Le Comte Almaviva Markus Butter Rosine, Comtesse Almaviva Mireille DelunschLéon Andrew OwensFlorestine Frederikke KampmannFigaro Aris ArgirisSuzanne Angelika KirchschlagerBegearss Thomas Johannes MayerFal Christoph Seidl*

ORF Radio-Symphonieorchester Wien



PREMIERE: 8 MAY 2015Performances: 10 / 12 / 15 / 17 May 2015, 7.30 p.m.Introduction: Sunday, 26 April 2015, 11 a.m.

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Beaumarchais’ third play about the Almavivas and their two married servants is more of a bourgeois melodrama than a comedy like its two predecessors. La mère coupable was also a huge success during the playwright’s lifetime and was intended to be set to music. A project wi-th the French composer André Grétry, who was very successful at the time, was in the pipeline, but Beaumarchais’ death in 1799 meant that it was abandoned, and La mère coupable had to wait a long time to be set. It was rediscovered by the French composer Darius Milhaud (1892-1974), who turned the melodrama into a gloomy studio play.

The Almavivas live with their son Léon and foster daughter Florestine in Pa-ris. Figaro and Suzanne are still in the Count’s service. Léon and Florestine are in love. A schemer by the name of Begearss has wormed his way into the family. His aim is to lay his hands on the Count’s fortune, because only he knows all the family’s guilty secrets which he cunningly exploits to further his own ends: Florestine is the Count’s illegitimate daughter and Léon the son the Countess had by Chérubin who has since fallen in the war. Begearss proves to the Count that Léon is not his son, whereupon the latter installs Florestine as his heir by means of a large dowry. The schemer now leads Léon and Florestine to believe that they are brother and sister and so can-not marry. He then proceeds to woo Florestine himself. But Figaro and Suzanne see through his deceit and work against him. The tangle of half-truths and secrets of the heart kept hidden out of shame is not unravelled until the Count, as the confusion reaches its climax, realizes that he loves his wife: all the lies come to an end, Begearss is thrown out and Léon and Florestine can marry.

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CONCERT PERFORMANCESG. F. Handel: TAMERLANO 60

G. F. Handel: ALCINA 61

F. Provenzale: LA STELLIDAURA VENDICANTE 62

Ch.W. Gluck: DEMOFONTE 63

H. Purcell: KING ARTHUR 64

G. F. Handel et al.: BAROQUE RIVALRIES 65

Ch. Gounod: CINQ-MARS 66

G. F. Handel: HERCULES 67

J.-Ph. Rameau: ZAÏS 68

J. A. Hasse: SIROE 69

Ch.W. Gluck: LA CLEMENZA DI TITO 70

SPECIAL PROJECTSMichael Heltau: Das war’s, Herr Direktor! 71

New Year’s Eve Concert at the Theater an der Wien 72

New Year’s Eve in the Kammeroper 73

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TAMERLANODramma per musica in three acts (1724)

MUSIC BY GEORGE FRIDERIC HANDELLIBRETTO BY NICOLA FRANCESCO HAYM AFTER JACQUES PRADONS TAMERLANO OU LA MORT DE BAJAZET

Concertante performance in Italian

Conductor Maxim EmelyanichevTamerlano Xavier SabataBajazet John Mark AinsleyAsteria Sophie KarthäuserAndronico Max Emanuel CencicIrene Ruxandra DonoseLeone Pavel Kudinov

Il pomo d’oro

In Tamerlano, premiered at the King’s Theatre in London in 1724, the un-scrupulous Tartar prince and the uncompromising sultan Bajazet are pit- ted against each other. The (historical) power struggle and Tamerlane’s victory over the Ottomans was a popular subject for literature and theatre. However, in George Frideric Handel’s version, with a libretto by Nicola Francesco Haym, the conflict continues as a private affair. Tamerlano de-mands the hand of Asteria, the daughter of Bajazet, his captive, in marriage.But the hero who has been so successful on the field of battle is forced to accept defeat in this instance.It is not Tamerlano, but the complex character of Bajazet, torn between his pride as a captive ruler and as a father, who dominates proceedings and makes this opera of Handel’s so unusual. The death scene following Bajazet’s suicide is among the most dramatic moments Handel ever wrote. It appears that with it he anticipates the death scenes in operas by Bellini and Donizetti by over a hundred years.

THURSDAY, 25 SEPTEMBER 2014, 7 P.M.

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ALCINADramma per musica in three acts (1735)

MUSIC BY GEORGE FRIDERIC HANDELANONYMES LIBRETTO L’ISOLA DI ALCINA AFTER LUDOVICO ARIOSTOS ORLANDO FURIOSO


Conductor Harry BicketAlcina Joyce DiDonatoRuggiero Alice CooteMorgana Anna ChristyBradamante Sonia PrinaOronte Ben JohnsonMelisso Wojtek GierlachOberto Anna Devin

The English Concert

With the figure of the sorceress Alcina, whose story is told in the sixth and seventh cantos of Ludovico Ariosto’s epic poem Orlando furioso, Handel makes his own contribution to the long list of Alcina settings that began in Florence in 1625. Alcina enjoyed a tremendously successful premiere at London’s Covent Garden in 1735, and numbers among the most popular and frequently performed of George Frideric Handel’s operas.Ruggiero has fallen under the spell of the sorceress Alcina, abandoned his military career for love of her and left his fiancée Bradamante. Alcina’s is-land is his refuge. But his fiancée, who still loves him and hopes to win him back, and Melisso, who needs him to win the impending war, are on his trail. These two are also caught up in Alcina’s labyrinth of love, and the twists and turns take their course.In this opera of charms and sorcery, Handel shows himself at the peak of his creative powers. In it, every stage of longing and hope, of flirtation and devotion, of pain and injury, of deceit and fear, of rebellion and despair is passed through.

FRIDAY, 17 OCTOBER 2014, 7 P.M.

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LA STELLIDAURA VENDICANTE(VENGEFUL STELLIDAURA)

Opera in three acts (1674)

MUSIC BY FRANCESCO PROVENZALELIBRETTO BY ANDREA PERRUCCI

Concertante performance in Italianand old Calabrian dialect

Conductor Alessandro De MarchiStellidaura Raffaella MilanesiArmidoro Adrian StrooperOrismondo Carlo AllemanoGiampetro Luigi de DonatoArmillo Hagen Matzeit

L’Academia Montis Regalis

Francesco Provenzale (1624 -1704) was the first well-known composer, musician and music teacher from Naples. He is considered the founder of the Neapolitan School and as such the man who paved the way for Nicola Porpora, Leonardo Vinci and Johann Adolph Hasse.His only extant stage works are the three-act melodrama Lo schiavo di sua moglie (1672; His Wife’s Slave) and the opera La Stellidaura vendi-cante (1674), also in three acts. The latter was presented to a large au-dience in 2012 by Alessandro De Marchi at the Innsbruck Festival of Old Music and was recorded on harmonia mundi. The opera’s plot con-tains both comic and tragic elements. Prince Orismondo and Armidoro, his friend and a knight at court, are in love with the beautiful Stellidau-ra. She returns the love of Armidoro. The two friends’ first encounter as rivals ends with a wounded arm for Armidoro and is at the same time the start of the comic and slapstick confusion caused by Orismondo’s servant, Giampetro, who sings in the old Calabrian dialect. In the end, Stellidaura is supposed to be poisoned for attempting to murder Oris-mondo, but once again it is Giampetro who interferes by giving her a sleeping draught by mistake (?). At the end of the opera, after a sur-prising family relationship has come to light, the two lovers Armidoro and Stellidaura are successfully united.

THURSDAY, 23 OCTOBER 2014, 7 P.M.

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DEMOFONTEDramma per musica in three acts (1743)

MUSIC BY CHRISTOPH WILLIBALD GLUCKLIBRETTO BY PIETRO METASTASIO


Conductor Alan CurtisTimante Iestyn DaviesDircea Sylvia SchwartzCreusa Marie-Claude ChappuisDemofonte Colin BalzerCherinto Romina BassoMatusio Vittorio PratoAdrasto Nerea Berraondo

Il Complesso Barocco

Of the first eight operas that Christoph Willibald Gluck wrote during his time in Milan only one, Ipermestra, has survived in its entirety. Of Demo-fonte at least all the solo songs are known, although it is thought that the autographs were destroyed in a fire in the house of his heir. Following the sensational triumph of his first opera Artaserse (libretto by Pietro Metasta-sio) at the opening of the season at the Milan Court Theatre in 1742, which far exceeded all expectations, Gluck was commissioned to write a scrittura for the next season as well. His second Milanese opera, Demofonte, is again based on a libretto by Metastasio.Every year, a human sacrifice must be made to the god Apollo. Demofonte, the King of Thracia, has selected the young Dircea, who is secretly married to his son Timante, as this year’s sacrifice, and has chosen Princess Creu-sa as Timante’s new wife. When he finds out about his son’s clandestine marriage, he initially sticks to his original decision, but eventually changes his mind thanks to the intervention of Creusa, who is given to Timante’s younger brother as a reward. Although it would not be appropriate to try to detect traces of Gluck’s subsequent desire for reform in his early operas, they are nevertheless impressive records of his personal style which is marked above all by the economy of the melody and the clarity of the diatonic harmony.

SUNDAY, 23 NOVEMBER 2014, 7 P.M.

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KING ARTHURSemi-Opera in five acts (1691)

MUSIC BY HENRY PURCELLLIBRETTO BY JOHN DRYDEN

Concertante performance in English

Conductor Robert KingSoprano Carolyn Sampson, Rebecca Outram, Julie CooperHigh Tenor Daniel AuchinclossTenor James OxleyBass Matthew Brook

The King’s Consort

The semi-opera King Arthur, or The British Worthy, which premiered in 1691, is based on a libretto by John Dryden (1631-1700) that was written in 1684. Dryden, a celebrated writer and dramatist in his lifetime, so admired the music of the equally famous composer Henry Purcell (c. 1659 -1695) that in 1690 he offered his revised King Arthur to Purcell for setting. The result was the first semi-opera; it was not based on an existing theatre play, but nevertheless combined spoken dialogue with musical scenes. King Arthur remained in the repertoire until well into the 18th century, its lasting popu-larity being chiefly due to Purcell’s intimate and innovatively constructed score.In his plot, Dryden moved away from the legend of King Arthur, the Knights of the Round Table and the Holy Grail which had been continually embel-lished since the Middle Ages. Instead, a tale of love and war unfolds. The blind Emmeline is the daughter of Conon, Duke of Cornwall, and not just the object of King Arthur’s affections, but those of the Saxon King Oswald too. A conflict over territory leads to the first military skirmish between the two. Oswald is defeated, but manages to abduct Emmeline. Now she becomes the reason for war: the rivals are aided in battle by magicians and spirits, principal among whom is Merlin on Arthur’s side. Merlin is thus virtually the only leftover from the famous legend. Oswald is defeated again and Arthur wins Emmeline. Arthur shows benevolence and pardons Oswald, and this leads Merlin to envision a united Britain under a just ruler.

SATURDAY, 29 NOVEMBER 2014, 7 P.M.

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BAROQUE RIVALRIES (DIVA WARS)

FAUSTINA BORDONI VERSUS FRANCESCA CUZZONI

Concert with arias by George Frideric Handel, Johann Adolf Hasse, Antonio Lotti, Carlo Francesco Pollarolo, Nicola Antonio Porpora, Domenico Sarro, Leonardo Vinci and Antonio Vivaldi

Performed in Italian

Conductor& Violin Andrés GabettaSoprano Simone KermesMezzo soprano Vivica Genaux

Capella Gabetta

Nowadays, quarrelling “prima donnas” are only found in the soap operas that run on private television channels and boost ratings by battling for the title of Jungle Queen. But older opera-goers can still vividly recall how the two prima donnas Maria Callas and Renata Tebaldi exchanged unpleasan-tries when at their peak, garnering generous media coverage.The most famous rival prima donnas in the history of music are without doubt the two Handel stars, Faustina Bordoni and Francesca Cuzzoni, who were sworn enemies. Their public quarrel of 6 June 1727 has gone down in the annals of opera history. It broke out on stage during a performance of Bononcini’s opera Astianatte, and was raucously cheered on by the Lon-don audience, eventually descending into torrents of abuse and a veritable brawl. As a tribute to these two great prima donnas of the first half of the 18th century, Simone Kermes and Vivica Genaux have put together - in per- fectly friendly collaboration - Baroque Rivalries, a riotous soirée of baroque music bursting with rarities and jewels discovered in Bordoni’s and Cuzzoni’s repertoire including compositions by George Frideric Handel and Johann Adolf Hasse alongside numerous arias and duets by compo-sers who today are all but forgotten, such as Antonio Lotti, Giovanni Porta and Giuseppe Arena.

TUESDAY, 20 JANUARY 2015, 7.30 P.M.

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CINQ-MARS Drame lyrique in four acts (1877)

MUSIC BY CHARLES GOUNODLIBRETTO BY PAUL POIRSON & LOUIS GALLET AFTER ALFRED DE VIGNYS HISTORIC NOVEL OF THE SAME NAME

Concertante performance in French

Conductor Ulf SchirmerLa princesse Marie de Gonzague Véronique GensLe marquis de Cinq-Mars Charles CastronovoLe conseiller de Thou Tassis ChristoyannisPère Joseph Andrew Foster-WilliamsLe vicomte de Fontrailles André HeyboerLe roi (Ludwig XIII.) / Le Chancelier Jean TeitgenNinon de l’Enclos Marie LenormandMarion Delorme Hélène Guilmette

Münchner RundfunkorchesterChor des Bayerischen Rundfunks

In cooperation with the Palazetto Bru Zane Venedig

In 1852, Charles Gounod created one of the most famous works in the history of music: Méditation sur le 1er prélude de Bach, better known as Gounod’s Ave Maria. The deeply religious Gounod chiefly composed masses, oratorios, cantatas and operas. He scored his first stage suc-cess in 1859 with his fourth opera, Faust, which remains his best known work in this genre to this day. In his first two operas, Sapho (1851) and Le médecin malgré lui (1858, The physician in spite of himself) Gounod de-monstrated his talent for creating a new work with and by means of the imitation and combination of older styles. He employed the same tech-nique for his drame lyrique Cinq-Mars in 1877. The opera deals prima-rily with the love story of Princess Marie de Gonzague and the Marquis de Cinq-Mars; for her sake, or rather because it has been decreed that she should marry the King of Poland, Cinq-Mars joins the conspiracy against Cardinal Richelieu. The conspiracy is discovered, and Cinq-Mars is incarcerated in a dungeon and sentenced to death. His confidant, de Thou, devises a plan to rescue him the next day, but the execution is brought forward one day, meaning that Cinq-Mars is doomed.

TUESDAY, 27 JANUARY 2015, 7 P.M.

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HERCULESOratorio in three acts (1745)

MUSIC BY GEORGE FRIDERIC HANDELLIBRETTO BY THOMAS BROUGHTON AFTER SOPHOKLES’ TRAGEDY WOMEN OF TRACHIS AND OVIDS METAMORPHOSES

Concertante performance in English

Conductor Harry BicketHercules Matthew RoseDejanira Alice CooteIole Elisabeth WattsHyllus James GilchristLichas Rupert Enticknap

The English Concert

Four years before the premiere in early January of 1745, George Frideric Handel had abandoned his efforts with regard to this opera and devoted himself entirely to the oratorio. He nevertheless described this work, as he had done his Semele the previous year, explicitly as a “musical drama”, presumably because he wished to emphasize the dramatic character of the two works. The premiere of Hercules was a flop; withdrawals at short notice and croaky-voiced singers led, according to those who witnessed it, to unin-tentionally grotesque situations. Unlike the ancient sources, the jealousy of Hercules’ wife is groundless in Thomas Broughton’s libretto. In this work, Handel was less interested in the titular hero than in the apparently tragic behaviour of his wife Dejanira, which contains pathological elements. In her, Handel created one of his most absorbing and modern female cha-racters, who can only be explained using psychological techniques.It may be that, contrary to usual practice, Hercules cannot be classified in a particular genre, but according to the Handel expert Silke Leopold it is one of the historically most important, dramatically moving and musically enchanting works ever written by George Frideric Handel.

THURSDAY, 26 FEBRUARY 2015, 7 P.M.

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ZAÏSPastorale héroïque in one prologue and four acts (1748)

MUSIC BY JEAN-PHILIPPE RAMEAULIBRETTO BY LOUIS DE CAHUSAC

Concertante performance in French

Conductor Christophe RoussetZaïs Julian PregardienZelidie Sandrine PiauOromazès Konstantin WolffCindor Benoît ArnouldSylphide, La grande Prêtresse de l’amour Amel Brahim-DjelloulAmour Hasnaa BennaniUn sylphe Zachary Wilder

Chœur de Chambre de NAMURLes Talens Lyriques

In coproduction with the Centre de Musique Baroque de Versailles

Jean-Philippe Rameau wrote Zaïs in 1748 for the Paris Opera. A short time before, the composer had been appointed compositeur du cabinet du roi and in the following years produced a series of lighter, more entertaining opera ballets of which Zaïs was one. However, this does not mean that Rameau abandoned his own aim of redefining French opera. The epo-nymous hero, Zaïs, is a spirit of the air who is in a love relationship with the mortal shepherdess Zelidie. To test her fidelity, he subjects her to several trials, all of which she passes faultlessly. Eventually, she is granted immor-tality by Oromazès, king of the spirits, and Zaïs can marry her. The opera contains some of the most beautiful passages in French music, and was a remarkable success right from its very first performance. The overture and prologue were singled out for particular praise and discussion: in them, the possibilities of music are used to portray how the mighty Oromazès sepa-rates the elements and creates harmony in the world. Some contempora-ries found the musical chaos too realistic, because it was too dissonant, while others were full of praise for the unconventional harmonies Rameau used to evoke the creation of the Earth.

FRIDAY, 17 APRIL 2015, 7 P.M.

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SIROE Opera seria in three acts (1762)

MUSIC BY JOHANN ADOLF HASSELIBRETTO BY PIETRO METASTASIO


Conductor George PetrouSiroe Max Emanuel CencicMedarse Franco FagioliLaodice Julia LezhnevaCosroe Juan SanchoEmira Mary-Ellen Nesi

Armonia Atenea

Johann Adolf Hasse began his career in Italy, before becoming Kapellmeis-ter at the Saxon court in Dresden in 1733, a post he held for thirty years. However, when he presented his opera Siroe on 2 May 1733 at the Teatro Malvezzi in Bologna he was still in Italy. He had composed it for the most famous singers of his day, the castrati Farinelli and Caffarelli and the sopra-no Vittoria Tesi. These stars helped make the opera an immediate internati-onal success, and the score reflects their exceptional talent as singers. The libretto was by Hasse’s friend Pietro Metastasio, Europe’s foremost opera author. The text, written in 1726, was set to music not only by Hasse, but also by George Frideric Handel. Family turmoil that centres on a lust for power, love, hatred and revenge at the court of the Persian king keeps the audience on the edge of their seats and inspired Hasse to produce one of his most outstanding compositions:King Cosroe of Persia wishes to install his ambitious son Medarse as heir to the throne instead of his first-born son, Siroe. The princess Emira is living at court, disguised as a man. Long ago her father was murdered by Cosroe and now she intends to kill him. Besides this, she is also Siroe’s se-cret lover, but he refuses to help her with her plans for vengeance. Cosroe’s mistress, Laodice, tries to seduce Siroe, but he rejects her advances. Offen-ded, Laodice besmirches his name to Cosroe. The situation for Siroe seems hopeless. In the end, the people rise up in support of the rightful crown prince and the confusion can be resolved. Forgiveness all round leads to a new beginning with Siroe and Emira as Persia’s royal couple.

TUESDAY, 21 APRIL 2015, 7 P.M.

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LA CLEMENZA DI TITO Dramma per musica in three acts (1752)

MUSIC BY CHRISTOPH WILLIBALD GLUCKLIBRETTO BY PIETRO METASTASIO


Conductor Werner EhrhardtTito Benjamin BrunsVitellia Laura AikinServilia Arantza EzenarroSesto Raffaella MilanesiPublio Flavio Ferri-Benedetti

Orchester l’arte del mondo

A production of l’arte del mondo and Bayer Kultur Leverkusen with the support of the Ministry of Families, Children, Youth, Culture and Sport of the State of North Rhine-Westphalia and the Arts Foundation of NRW. The production at the Theater an der Wien is supported by the Arts Foundation of NRW.

Gluck had been commissioned in 1752 to write an opera for Naples to mark the name day celebrations of King Charles III. The opera was to be “of an entirely different style, the like of which has never been heard before.” The composer willingly embraced this instruction and created an opera of such modern character that the distinguished composer Francesco Du-rante was consulted about one particular controversial passage and is said to have remarked, “I will not decide whether this note follows the rules or not, but what I can say is that if I had written it I should consider myself a great man.” Spurred on by his lover Vitellia, Sesto sets fire to the Capitol so that he can kill Emperor Tito in the tumult. But the assassination attempt fails. Becau-se Sesto refuses to name his beloved as the instigator, it is decreed that he should die in the amphitheatre. But Vitellia confesses her guilt. Tito shows mercy and pardons them. Pietro Metastasio’s well-known and popular text had been the ideal basis for a eulogy to a monarch since 1734. Gluck managed to breathe new life into the somewhat wooden and stereotypical characters of the original. Most of Gluck’s arias in La clemenza di Tito are marked by a heartfelt sensitivity that anticipates his reformed opera Alceste.

MONDAY, 11 MAY 2015, 7 P.M.

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MICHAEL HELTAUDAS WAR’S, HERR DIREKTOR!It’s about desire, love and chansons by Jacques Brel and others.

The Wiener Theatermusiker Arrangements and musical Direction Tscho Theissing

Performed in German

THE WORLD MUST BE ROMANTICISED.

FRIDAY, 21 NOVEMBER 2014, 7.30 P.M. SUNDAY, 22 FEBRUARY 2015, 7.30 P.M.

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NEW YEAR’S EVE CONCERTAT THE THEATER AN DER WIENConductor Constantin TrinksSoprano Angela DenokeORF Radio-Symphonieorchester Wien

Four Last Songs by Richard Strauss

Richard Wagner – a filmbiography Music by J. Haydn, W.A. Mozart, L. van Beethoven, G. Rossini and G. Becce to the silent film by Carl Froelich (1913),reconstructed by Bernd Schultheis (2013)

Silent films have been back in fashion for several years now. They repre-sent a complete contrast to today’s movie technology which can offer viewers three dimensions and sometimes even four or five. For many cinema-lovers, silent movies are a welcome change because, depending on their individual preferences, each can concentrate on the most important aspects of the movie or the fundamentals of the art of filmmaking, such as the plot or the actors’ facial expressions and gestures.Richard Wagner’s 100th birthday in 1913 provided the opportunity to produce the first-ever film biography of a famous person. The director Carl Froelich (1875 -1953) filmed Wagner’s life, and consequently his varied and fascinating career, from the composer’s 17th year up to his death in Venice in 1883. In 1913, Wagner’s music could not yet be used for copy-right reasons, so the leading actor, Giuseppe Becce, wrote a film score that used many different composers including Haydn, Mozart and Rossi- ni. To mark Wagner’s 200th birthday this biographical silent movie has now been reconstructed and made available through a production by the television networks ZDF and ARTE. Bernd Schultheis has produced a new arrangement of Giuseppe Becce’s score which nevertheless remains faithful to the original.

The performance begins with Angela Denoke singing the famous Four Last Songs to mark the 150th birthday of Richard Strauss and the passing of the old year.

WEDNESDAY, 31 DECEMBER 2014, 7.30 P.M.

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NEW YEAR’S EVE IN THE KAMMEROPERNA, WIE HAMAS

Double bass, Composition Georg BreinschmidAccordion Tommaso HuberViolin Sebastian Gürtler

This year the musical/musicological research conducted by Georg Brein-schmid and his colleagues Sebastian Gürtler and Tommaso Huber en-ters its third phase following the New Year programmes Wer ist Ivica Strauss? and ArriveVerdi. Among the sensational highlights they present are numbers from the restored operetta Na, wie Hamas by W. A. Mos-sad and the Singspiel Zwei Christen im Dreivierteltakt. In addition, new, up-to-the-minute findings about Ivica Strauss will be revealed: the oeuvre of this composer who has been criminally overlooked, and indeed snubbed, by scholars for years will, as in previous years, be one major feature of the programme. Among the works by Strauss, who was always ahead of his time by a good two weeks and therefore ranks among the progressives, a new musical has been found that tells the story of an Indian flatbread kept in a cage and is appropriately entitled Ein Käfig voller Naan. But the programme does not stop short at the day’s very latest news: it also includes historical reviews of the rock ’n’ roll singer Screamin’ Jay Strauss and the infamous Marco Strauss, who discovered Floridsdorf in 1492 – may include co-opted relatives.

WEDNESDAY, 31 DECEMBER 2014, 8 P.M.

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STEFAN MICKISCH BEETHOVEN – WAGNER – STRAUSSKeys, zodiac signs and connections on the piano, presented in two parts by Stefan Mickisch

Following Stefan Mickisch’s successful introductory talks on Wagner’s tetralogy The Ring of the Nibelung, the virtuoso pianist, Wagner expert and musicologist now presents a new programme at the Theater an der Wien. Over the course of two evenings, Mickisch turns his attention to the three composers Beethoven, Wagner and Strauss, all of whom worked at the Theater an der Wien at different times. It is not a discussion of each composer’s individual works that he focuses on, but the fields of comparative key characteristics, i.e. the relationship between keys and star signs. On the basis of his exhaustive study of music literature and music history as well as musicology and music theory, Mickisch distils his comprehensive and detailed knowledge into an easy-to-follow and instructive lecture – without forgetting to add his inventive and down-to-earth humour. In addition, the combination of theory and practice as demonstrated in colourful fashion on the piano fills his talks with verve and originality.

Part 1MONDAY, 22 SEPTEMBER 2014, 7.30 P.M.

Part 2TUESDAY, 28 OCTOBER 2014, 7.30 P.M.

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THEATER AN DER WIENIN THE KAMMEROPERSebastian F. Schwarz (artistic director of the Kammeroper)

In September 2012 the Theater an der Wien was commissioned by the City of Vienna to take over the staging of productions at the historic theatre in the heart of Vienna. A young ensemble (JET) was founded to breathe new life into the Kammeroper for two seasons and there-after to stage a programme that is both varied and ambitious.

Since then you, dear visitors, have helped to establish the Kammer-oper as part of the Viennese operatic scene. Audience figures for the performances over the last two years were outstanding, and our opera productions and the interesting artists that can be discovered here have attracted attention outside Austria, too.

In the new season, the cycle begins again for a new ensemble of young performers and consequently for new discoveries. As in the past, the three female singers and three male singers will rehearse and stage four new opera productions from the baroque to the modern. So that you can get to know our JETs more quickly, this year sees all the portrait concerts also available as a convenient complete cycle of six concerts for the first time. In addition, we again have our po-pular weekend and weekday subscriptions.

Another new feature for the 2014/15 season is the collaboration with the exceptional Arnold Schoenberg Choir which will act as a protago- nist in Lera Auerbach’s spine-tingling and intense chamber opera The Blind in January 2015.

Join us in looking forward to seeing our young ensemble and five ex-citingly staged opera productions.

A separate brochure is available with information on the ensemble members and the detailed programme of the Theater an der Wien in the Kammeroper. Special subscriptions for the performances in the Kammeroper are offered inside this programme.

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EUGEN ONEGINLyrical scenes in three acts (1878)

MUSIC BY PYOTR ILYICH TCHAIKOVSKY LIBRETTO BY PYOTR ILYICH TCHAIKOVSKY AND KONSTANTIN SCHILOWSKI BASED ON THE VERSE NOVEL OF THE SAME NAME BY ALEXANDER PUSCHKIN

Performed in Russian with German surtitles

Conductor Peter ValentovicDirector Ted HuffmanSet & costume designer Samal Blak

Tatjana Viktorija BakanOlga Natalia Kawałek-PlewniakEugen Onegin Tobias Greenhalgh Lenski Vladimir DmitrukFürst Gremin Christoph Seidl

Wiener KammerOrchesterNew production by the Theater an der Wien at the Kammeroper

PREMIERE: 2 OCTOBER 2014

Performances: 4 / 8 / 10 / 13 / 22 / 25 / 28 October 2014, 7 p.m.6 October 2014, 12 p.m.; 19 October 2014, 4 p.m.Introduction: Sunday, 28 September 2014, 11 a.m.

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RINALDOOpera seria in three acts (1711/1731)

MUSIC BY GEORGE FRIDERIC HANDELLIBRETTO BY GIACOMO ROSSI AFTER AARON HILL


Conductor Rubén DubrovskyDirector Christiane LutzSet designer Christian TabakoffCostume designer Natascha Maraval

Rinaldo Jake ArdittiGoffredo Vladimir DmitrukAlmirena Gan-ya Ben-Gur AkselrodArgante Tobias Greenhalgh Armida Natalia Kawałek-PlewniakMago Christoph Seidl

Bach Consort WienNew production by the Theater an der Wien at the Kammeroper

PREMIERE: 4 DECEMBER 2014

Performances: 6 / 10 / 12 / 16 / 21 / 22 / 28 / 30 December 2014, 7 p.m.; 14 December 2014, 4 p.m.Introduction: Sunday, 23 November 2014, 11 a.m.

THE BLINDA capella opera for 12 singers

MUSIC BY LERA AUERBACH AFTER MAURICE MAETERLINCKS LES AVEUGLES

Performed in English with German surtitles

Conductor Erwin Ortner / Jordi CasalsArnold Schoenberg Chor

PREMIERE: 17 JANUARY 2015

Performances: 21 / 23 / 29 January 2015, 8 p.m.25 January 2015, 4 p.m. Introduction: Sunday, 11 January 2015, 11 a.m.

GLI UCCELLATORIDramma giocoso in three acts (1768)

MUSIC BY FLORIAN LEOPOLD GASSMANNLIBRETTO BY CARLO GOLDONI


Conductor Stefan GottfriedDirector Jean RenshawSet & costume designer Christof Cremer

La Contessa Armelinda Viktorija BakanIl Marchese Riccardo Vladimir DmitrukRoccolina Natalia Kawałek-PlewniakCecco Tobias GreenhalghMariannina Frederikke KampmannPierotto Christoph Seidl

Bach Consort WienNew production by the Theater an der Wien at the Kammeroper

PREMIERE: 22 MARCH 2015

Performances: 24 / 26 / 28 / 30 / March, 1 / 8 / 10 /14 April 2015 7 p.m., 12 April 2015, 4 p.m. Introduction: Sunday, 15 March 2015, 11 a.m.

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L’HEURE ESPAGNOLE / LES MAMELLES DE TIRÉSIAS L’HEURE ESPAGNOLEComédie musicale in one act (1911)

MUSIC BY MAURICE RAVEL | TEXT BY FRANC-NOHAINCHAMBER VERSION BY GELSOMINO ROCCO


LES MAMELLES DE TIRÉSIASOpéra-bouffe in one prologue and two acts (1947)

MUSIC BY FRANCIS POULENC | TEXT BY GUILLAUME APOLLINAIRECHAMBER VERSION BY GELSOMINO ROCCO


Conductor Gelsomino RoccoDirector Philipp M. KrennSet & costume designer Uta Gruber-Ballehr

L’HEURE ESPAGNOLEConception Natalia Kawałek-PlewniakGonzalve Vladimir DmitrukRamiro Tobias GreenhalghDon Inigo Gomez Christoph Seidl

LES MAMELLES DE TIRÉSIASThérèse / La cartomancienne Gan-ya Ben-Gur AkselrodLa marchande de journaux / La dame élégante / La grosse dame Natalia Kawałek-PlewniakLe directeur / Le gendarme Tobias Greenhalgh Lacouf / Le fils Vladimir Dmitruk Presto / Le monsieur barbu Christoph Seidl

Wiener KammerOrchesterNew production by the Theater an der Wien at the Kammeroper

PREMIERE: 28 MAY 2015

Performances: 30 May, 1 / 3 / 6 / 8 / 16 / 18 June 2015, 7 p.m.20 June 2015, 4 p.m.; 23 June 2015, 12 p.m.Introduction: Sunday, 17 May 2015, 11 a.m.

FEUERWERK

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DIE LETZTE NACHTA celebratory revue to mark 108 years of the “Hölle”

The legendary historical cabaret programmes in the theatre and cabaret known as the “Hölle” in the basement of the Theater an der Wien en-ter their sixth year. Following the earthy and resounding Ruf der Heimat (The Call of Home) last year, Georg Wacks now creates the cabaret bac-chanal Die Letzte Nacht (The Last Night), one hundred years after the beginning of the end of the world, in the 108th year of the “Hölle” and coinciding with the 1,200th anniversary of the death of Charlemagne.

Remarkable performances of historical cabaret and variety numbers, moving Neapolitan folk songs sung in traditional costumes, melancholy chants, decadent, ecstatic dances (nearly nude!), naturalistic woodland and countryside games plus literary, humoristic gems bring the mood of this era back to life for two hours while the champagne flows freely and gaiety reigns. The now familiar extravagant décor by Stefan Fleisch- hacker has been designed entirely on the theme of the 150th birthday of the great Henri de Toulouse-Lautrec. Fritz Grünbaum, Fritz Löhner-Beda, Joa-chim Ringelnatz and Armin Berg guarantee a high standard of literary humour. Songs by Hermann Leopoldi, Ralph Benatzky and Bruno Gran-ichstaedten round off the programme. The cultured Ensemble Albero Verde provides the music with their customary flawless playing.In the accompanying exhibition, Marie-Theres Arnbom presents a new set of long-lost artefacts from past revues as well as treasures belonging to the composer Bruno Granichstaedten.

Concept: Georg WacksSet & costume designer: Stefan Fleischhacker

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

Ensemble “Albero Verde”: Violin: Barbara Klebel-Vock, Rainer UllreichCello: Ruth FerlicClarinet: Reinhold BrunnerPiano: Christina Renghofer Exhibition: Marie-Theres Arnbom

PREMIERE: WEDNESDAY, 5 NOVEMBER 2014, 8 P.M.Performances: 6 / 8 / 10 / 12 / 18 / 20 / 24 / 26 / 27 November 2014 , 8 P.M.

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Jugend an der Wien makes opera and an opera house accessible to young people and gives them the chance to find out more about this art form. In introductory sessions, workshops, discussions with artists, guided tours behind the scenes and not least by singing and acting themselves the participants in Jugend an der Wien come into contact with modern musical theatre and benefit from a look at performances from several different angels. At the Theater an der Wien and in the Kammeroper the youngsters have the chance to experience musical theatre at the ve-ry highest level.

This year, Jugend an der Wien will again be accompanying the pro-grammes of both the Theater an der Wien and the Kammeroper as its second venue. Since the 2013/14 season, morning performances for schools have been offered in the Kammeroper. If desired, these perfor-mances can be accompanied by a comprehensive range of complemen-tary activities. There are also fascinating school projects taking place in the Theater an der Wien: preparatory material, workshops and visits to rehearsals are offered for selected opera productions as extensions of school lessons. Jugend macht Oper offers young people the chance to become actively involved on stage and in the orchestra pit in a profes-sional setting outside school. Fans of Jugend an der Wien aged up to 26 again have the opportunity to make the most of special offers in the Friends of the Theater an der Wien club with Jugend im Club.

Facebook: Jugend Ander WienWeblog: jugendanderwien.wordpress.com

BOOKINGS & CONTACT:Ksenija Zadravec, BAMag.a Catherine Leiter, [email protected].: +43 664 88628130

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INTRODUCTION TO THE SEASON WITH DIRECTOR ROLAND GEYER AND GUESTS

Opera is music and theatre. What does that mean? It embraces music and drama as components of equal status. It means listening and watching in a new way, asking and answering questions in a new way – and presenting it all to an audience that is invited to form its own opinion.

At the start of the 2014/15 season, Director Roland Geyer will present the Theater an der Wien’s ten new productions along with several experts.

Anyone wishing to gain a detailed summary of the 2014/15 year of opera at the Theater an der Wien should not miss these special talks. The audience will, of course, have the opportunity to ask questions at the end. The experts will try to “infect” the visitors with the fascination of the coming season in this roughly 90-minute event.

Admission is free for Theater an der Wien subscription holders, Friends of the Theater an der Wien and school groups participating in Jugend an der Wien projects.

Bookings for this event can be made, and tickets for it go on sale, from 1 August 2014.Contact: Philipp Wagner, Tel. +43 (0) 1 58830-2015 E-Mail: [email protected]

MONDAY, 15 SEPTEMBER 2014, 7 P.M.

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GUIDED TOURS

The Theater an der Wien ranks among the most beautiful theatres in Vi-enna and has one of the richest traditions. Take advantage of the unique opportunity to sample the theatrical atmosphere in a building that has enchanted 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 programme of performances, the way it is organised and the tech-nology 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 bi-monthly folder. See p. 89 for details of prices.

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

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INFORMATION

TICKET SALESTickets go on sale to the general public on 16 June 2014 at 10 a.m. for the performances until 31 December 2014, at the box office at the Theater an der Wien and the Wien-Ticket pavilion and can also be ordered by tele-phone on +43 (0)1 58885. Tickets for performances from 1 January 2015, go on sale to the general public on 1 September 2014, at 10 a.m. Cloak-room fees are included in the ticket price. Please note that no orders for individual tickets can be accepted before tickets go on general sale.

BOX OFFICE THEATER AN DER WIEN & KAMMEROPERBox office for both venues: Theater an der Wien, Linke Wienzeile 6, 1060 Vienna | Opening hours: Mon–Sat, 10 a.m. –7 p.m. Closed on Sundays, except for matinee performances (open from 10 a.m.–1 p.m.) and evening performances (open 2 p.m. until curtain-up) Additional box office Kammeroper: Advance tickets for Kammeroper performances are also available with immediate effect from Hotel Post, Fleischmarkt 24, 1010 Vienna (hotel reception, daily from 9 a.m. to 8 p.m.)Information and phone sales: +43 (0)1 58885Evening box office: From one hour before curtain-up at the Theater an der Wien and the Kammeroper. For your convenience, please buy or pick up all tickets that are not for the next performance, and complete any sub-scription enquires (e.g. exchange) at the Theater an der Wien box office no later than 6 p.m.

WIEN TICKET PAVILIONTickets (except subscription tickets) are also available from the Wien - Ticket pavilion on Herbert von Karajan-Platz by the State Opera from 16 June and 1 September 2014 respectively. Open daily from 10 a.m. to 7 p.m.

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

Shipping charge*: within Austria: ¤ 5.90; abroad: ¤ 9.90.

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

* Shipping charges subject to change

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INTERNET www.theater-wien.at | www.kammeroper.atTickets can be purchased online by credit card from 17 June and 2 September 2014, respectively. Shipping charge*: within Austria ¤ 4.50; abroad ¤ 6.50. Arranging for advance tickets to be kept for collection at both box offices is free of charge. Arranging for purchased tickets to be left for collection from the evening ticket offices of the Theater an der Wien and the Kammeroper costs ¤ 1.50. The Theater an der Wien and Kammeroper newsletter can be subscribed to free of charge at www.theater-wien.at. Visit us on Facebook: www.facebook.com/TheateranderWien Videos at: www.youtube.com/user/theateranderwien

GUIDED TOURS OF THE THEATER AN DER WIEN (see P. 87)Price: ¤ 7 /5 (concession)* | Groups of schoolchildren: ¤ 3Children under 6: free*Concessions apply to school pupils, students up to age 26, persons in military/community service

VOUCHERSVouchers for productions of the Theater an der Wien or the Kammeroper can be ordered by phone on +43 (0) 1 58885 or purchased at the Vereinigte Bühnen Wien box offices and the Wien-Ticket pavilion. Vouchers are not valid for non-Theater an der Wien and Kammeroper productions (e. g. Wiener Festwochen) held at those venues.

WHEELCHAIR SPACES/SPECIAL NEEDSPERSONS WITH REDUCED MOBILITYWheelchair spaces can be reserved at the Theater an der Wien (also for an accompanying person if desired) up to a week before the performance for which tickets have been bought on +43 (0) 1 58885 or at our box offices.Price: ¤ 10 (wheelchair space) with a 50 % concession for the accompa-nying person. Patrons with a disabled person ID are granted a 25 % red-uction 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 ROOMTickets for patrons wishing to stand at the Theater an der Wien are available at the box office at the theatre’s discretion and no earlier than one hour before curtain-up. Price ¤ 7. No standing room is available in the Kammeroper.

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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

Gewista Akris Ottakringer ÖBB Casinos Austria ŠkODA ISPA Werbung Walla Druck

SubSIDISING SpoNSoRING CoopERATIoNS- oRGANISATIoN KAmmERopER pARTNERS

Wien kultur BUWOG Die Presse Barbara & Martin Schlaff Doetsch Grether AG Heldwein Production Sponsor kattus Kammeroper: Le Méridien Raiffeisen Zentralbank

mAIN SpoNSoR

Agrana

DD_130x205_Ins_14-englisch-3.indd 1 12.06.14 16:39

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INFO

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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 presen-tation of appropriate ID. Theater an der Wien: Opera: ¤ 15 | Concert: ¤ 15Kammeroper: Opera: ¤ 10 | Concert: ¤ 7

JUNIOR-TICKETChildren or adolescents (under 16) who attend a Theater an der Wien production are granted a 35% reduction on ticket prices in the categories A - E. Available at all VBW ticket offices, the Theater an der Wien online shop and by phone from Wien-Ticket on +43(0)1 58885.

SAVE ON PARKING WHEN YOU VISITTHE THEATER AN DER WIENPatrons of the Theater an der Wien can park in the Technical University’s WiPark 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 Vienna Garage Lehárgasse | Lehárgasse 4 | 1060 Vienna

SAVE ON PARKING WHEN YOU VISIT THE KAMMEROPERPatrons of the Kammeroper can park in the BOE Garage on Franz-Josefs-Kai for ¤ 5 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 available on 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 2015 at the Theater an der Wien are available from the Wiener Festwochen only:www.festwochen.at; Festwochen service telephone +43 (0) 1 589 22 22.

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PRICES THEATER AN DER WIEN

* Cloak-room fees are included in the ticket price

MUSICAL THEATER Prices in ¤ *Charodeyka / Iphigénie / Les pêcheurs de perles La straniera / Il barbiere di Siviglia / Le nozze di Figaro

a 145 b 124 c 98 d 87 e 66 f 46 g 24

American Lulu / Geschichten aus dem Wiener Wald / La mère coupable

a 130 b 108 c 85 d 73 e 55 f 38 g 19

Christmas Oratorio

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

CONCERT PERFORMANCES & SPECIAL PROJECTSOpening 14/15

a 98 b 87 c 75 d 62 e 49 f 31 g 14

25.09.14 Tamerlano | 17.10.14 Alcina | 23.10.14 La Stellidaura vendicante 23.11.14 Demofonte | 29.11.14 King Arthur | 20.01.15 Baroque Rivalries27.01.15 Cinq-Mars | 26.02.15 Hercules | 17.04.15 Zaïs | 21.04.15 Siroe11.05.15 La clemenza di Tito

a 73 b 61 c 48 d 38 e 28 f 20 g 13

New Year’s Eve Concert at the Theater an der Wien

a 80 b 65 c 55 d 45

Mickisch Beethoven-Wagner-Strauss in two parts

a 43 b 43 c 35 d 35 e 27 f 17 g 11

Michael Heltau: Das war’s, Herr Direktor!

a 51 b 43 c 35 d 30 e 25 f 17 g 11

LECTURE15 September 2014 Introduction to the Season 7

CABARET IN THE “HÖLLE”5 / 6 / 8 / 10 / 12 / 18 / 20 / 24 / 26 / 27 November 2014 Die letzte Nacht 20

FAHRT INS GLÜCK (EPILOGUE)14 / 16 / 18 / 21 / 23 / 24 March 2015 25

Together with Geschichten aus dem Wiener Wald 15

If bought with a season ticket including Geschichten aus dem Wiener Wald 10

INTRODUCTIONS 5

JUGEND AN DER WIEN-PERFORMANCES 10 / 5

Seating plan Theater an der Wien

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BÜHNELINKS RECHTS

2. RANG3. RANG 1. RANG 1. RANG 2. RANG 3. RANGPARTERRE PARTERRE

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

concert performances of operas.

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2. RANG3. RANG 1. RANG 1. RANG 2. RANG 3. RANGPARTERRE PARTERRE

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MUSICAL THEATER Prices in ¤ *Eugen Onegin / Rinaldo / The Blind / Gli uccellatoriL’heure espagnole – Les mamelles de Tirésias / New Year’s Eve in the Kammeroper

a 51 b 40 c 29 d 19

PORTRAIT CONCERTS 10

20.10.14 Christoph Seidl15.12.14 Viktorija Bakan19.01.15 Natalia Kawałek-Plewniak10.02.15 Gan-ya Ben-gur Akselrod07.04.15 Tobias Greenhalgh 11.06.15 Vladimir Dmitruk

INTRODUCTIONS 5

PRICES KAMMEROPER

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Seating plan Kammeroper

* Cloak-room fees are included in the ticket price

PHOTOGRAPHIC MATERIALCover image © beyond / michael huber . thomas riegler (art direction: thomas riegler) Inside cover image © Paul OttAll illustrations (S. 12-84) were commissioned for this programm by Theater an der Wien to Thomas Riegler (graphic design) and Michael Huber (text) All illustrations (pp. 12-84) were commissioned for this programme by the Theater an der Wien from Thomas Riegler (graphic design) and Michael Huber (text) and are based on production photos and portrait photos, in some cases using material owned by corbis images.p. 8 Pierre-Augustin Caron de Beaumarchais. Engraving after a drawing by Nicholas Cochin, 1784.p. 12 Gustavo Dudamel © Chris Christodouloup. 14 Asmik Grigorian © unnamed | Johannes Martin Kränzle © Monika Rittershausp. 18 Veronique Gens © Albert Vo Van Tao/Virgin Classics | Rainer Trost © Am Haug Fop. 22 Diana Damrau © Michael Tammaro/Virgin Classics | Nathan Gunn © Dario Acostap. 26 Marisol Montalvo © Iko Freese/ drama-berlin.de | Jacques-Greg Belobo © unnamedp. 30 Weihnachtsoratorium © Holger Badekow/Hamburg Ballettp. 34 Edita Gruberova © Georg Sagmeister | Dario Schmunck © Mark Kendall Artists Management Ltdp. 36 Marlis Petersen © Yiorgos Mavropoulos | Norman Reinhardt © Dirk Brzoskap. 40 Topi Lehtipuu © Kaappo Kamu | Mari Eriksmoen © Sveinung Bjellandp. 44 Angelika Kirchschlager © Peter M. Mayr | Daniel Schmutzhard © Julia Stixp. 50 Stéphane Degout © Thibault Stipal | Christine Schäfer © Bodo Vitusp. 54 Markus Butter © Matthias Creutziger | Mireille Delunsch © Studio cui cui, Aude Boissayep. 58 Joyce di Donato © Josef Fischnaller | Max Emanuel Cencic © beetrootp. 74 Stefan Mickisch © S. M.

THEATER AN DER WIENIntendant Roland Geyer | Assistant to Intendant Sylvia Hödl Artistic Planning Sebastian F. Schwarz, Claudia Stobrawa, Ugo Varela Production Management Petra Haidvogel, Anja MeyerDramaturgy Karin Bohnert, Franziska Korun, Petra Maderthaner, Ksenija ZadravecArtistic Administration Renate Futterknecht | Assistant to Artistic Administration Edith GutmaierTicketing & Subscriptions Markus Schemmel, Philipp Wagner Public Relations Sabine Seisenbacher, Andrea Brandner, Gabriela Pfeisinger | Marketing Tina Reithofer Youth Projects Catherine Leiter, Ksenija Zadravec | Graphic Design Nadine Dellitsch, Martina HeydukTechnical Director Christoph Bauch | Head of Costume Department Doris Maria Aigner Technical Production Gerald Stotz | Technical Office Slav Gospodinov, Ulrike Müller Lighting Ralf Sternberg | Sound Robert Macalik | Makeup Gabriele Kammerer | Dresser Hannelore Habel Facility Management Erich Skrobanek

PUBLISHING DETAILSTheater an der Wien – Intendant DI Roland GeyerPublisher & Proprietor: Vereinigte Bühnen Wien Ges.m.b.H. – Managing director Thomas DrozdaTheater an der Wien, Linke Wienzeile 6, 1060 ViennaTel. (+43/1) 588 30-1010 | Fax Ext. 99 2000 | [email protected] | www.theater-wien.atResponsible for content: Intendant DI Roland GeyerEditorial office: Karin Bohnert, Renate Futterknecht, Martin Gassner, Sylvia Hödl, Franziska Korun, Catherine Leiter, Johannes Penninger, Tina Reithofer, Herbert Schäfer, Markus Schemmel, Sebastian F. Schwarz, Sabine Seisenbacher, Claudia Stobrawa, Ugo Varela, Philipp Wagner, Ksenija ZadravecGraphic design/Art Direction: Nadine Dellitsch, Martina HeydukPrinting: Walla Druck Subject to change | July 2014 | DVR 0 187 1

Vereinigte Bühnen Wien Ges.m.b.H. A Wien Holding Company

MEDIA PARTNERS 14/15 PARTNERS JUGEND AN DER WIEN:

Stadtschulrat für WienKulturKontakt AustriaLandsmann & Landsmann

96 |

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A Wien Holding Company

SEASON 2014/15

Theater an der WienLinke Wienzeile 6, 1060 Wienwww.theater-wien.at

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Season programme 2014/15 - Theater an der Wien

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