The 2023/2024 Season

THE 2023 2024 SEASON

VIENNA  STATE OPERA

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All images, starting with the one on the title page and including the other 17 inside this season preview, were generated by artificial intelligence (AI). The programme used was Stable diffusion.

The prompts for the AI have been specific content and dramaturgic keywords from Vienna State Opera, which in close collaboration with the branding und design agency EXEX led to the results you see.

The photo of Cecilia Bartoli on page 28 is by Fabrice Demessence.

Today, in what seems to us to be particularly critical periods between war, the next banking crash and climate disaster, we hear a demand for an entirely different type of realism in culture. Art should not be »just art«, but incorporate morally impeccable positions on the issues of the day. It should change the world. Given the state of the world, this is an entirely understandable desire, but it is still what Konrad Paul Liessmann has described as »refined self-deceit«. Frank Castorf put it rather more bluntly – »ideally, they want vegan theatre«. Virtousness isn’t an aesthetically relevant category, and a moralizing artist is a controversial figure at best. Ralph Waldo Emerson said, »the essence of greatness is the perception that virtue is enough«. Except in art, it needs to be added. All that art can ever change is its audience. That’s a lot.

But what if our relationship to reality itself has become more questionable? One could say it has already been damaged to some extent – the result of what has been called post-factual politics, along with the new media so suited to this. Even this could seem almost harmless, compared with the suddenly undeniable ability of Artificial Intelligence to master intellectual tasks which seemed to be forever the exclusive realm of humans (it did need assistance from opera lovers for the images in this season preview). We can sense, more or less unwillingly, that a border is being crossed here.

The consequences will be tremendous – economic, political, psychological. Altogether, perhaps, a fundamental change in what it means to be a human who needs to recognize and shape reality.

So, what would verismo be today, what would opera look like which deals with such a present? Our premieres in the coming season tackle this question in widely differing ways, which intersect at fascinating points. From Animal Farm , a new opera by Alexander Raskatov based on the novel by George Orwell, to Mozart’s Vienna in 1790. From a savage study of the transformation of revolutionary goals into lies and authoritarian violence, which could not be more topical, to the invention of »deep fake«, if for the purposes of narcissistic trials of fidelity in Così fan tutte.

The way between them cuts through the 1970s and the cancelled apocalypse in Ligeti’s Le Grand Macabre, one of the great masterpieces of the 20th century, in its first performance at Vienna State Opera. As far as Puccini is concerned, this way touches two poles of his creation next season: what does the almost cinematic study of the world in his Trittico have to do with the completely unrealistic mythical material of Turandot ? And Wagner, with his revolutionary opera par excellence at the crossroads of the political and anti-religious upheavals of 1848, Lohengrin.

Sincerely,

Giacomo Puccini is the greatest master of the school of opera we call verismo. Instead of gods or mythical figures, we see recognizable people on the stage, with their real problems. So, was Puccini’s opera realistic? No. Opera is entirely artificial, and if taken literally, frequently absurd. It’s never realistic – but it is true.

»Reality is only what we can barely feel as the lowest solid surface beneath our feet«, wrote the Viennese genius Heimito von Doderer. Welcome to the Vienna State Opera’s new season.

Bogdan Roščić

IL

IL TRITTICO

Conductor PHILIPPE JORDAN

Director TATJANA GÜRBACA

Stage Design HENRIK AHR

Costume Design SILKE WILLRETT

Lighting STEFAN BOLLIGER

IL TABARRO Opera in one act

Libretto GIUSEPPE ADAMI based on a work by DIDIER GOLD

Michele CARLOS ÁLVAREZ

Giorgetta ANJA KAMPE

Luigi JOSHUA GUERRERO

Tinca ANDREA GIOVANNINI

Talpa DAN PAUL DUMITRESCU

Frugola MONIKA BOHINEC

Song Seller KATLEHO MOKHOABANE

Lovers FLORINA ILIE, TED BLACK

SUOR ANGELICA Opera in one act

Libretto GIOVACCHINO FORZANO

Sister Angelica ELEONORA BURATTO

The Princess MICHAELA SCHUSTER

The Abbess MONIKA BOHINEC

The Mistress of the Novices PATRICIA NOLZ

The Monitress DARIA SUSHKOVA

Sister Genovieffa FLORINA ILIE

The Infirmary Sister ISABEL SIGNORET

Mendicant ANNA BONDARENKO

GIANNI SCHICCHI Opera in

one act

In the second series the role of Giorgetta is sung by ELENA STIKHINA and the roles of the lovers are sung by MIRIAM KUTROWATZ and AGUSTÍN GÓMEZ.

In the second series the role of Sister Angelica is sung by ELENA STIKHINA and the roles of the Mistress of the Novices and Infirmary Sister are sung by ALMA NEUHAUS.

Libretto GIOVACCHINO FORZANO based on the 30TH CANTO OF DANTE’S INFERNO

Gianni Schicchi CARLOS ÁLVAREZ

Lauretta SERENA SÁENZ

Zita MICHAELA SCHUSTER

Rinuccio BOGDAN VOLKOV

Gherardo ANDREA GIOVANNINI

Nella ANNA BONDARENKO

Betto di Signa CLEMENS UNTERREINER

Simone DAN PAUL DUMITRESCU

Marco ATTILA MOKUS

La Ciesca PATRICIA NOLZ

Maestro Spinelloccio HANS PETER KAMMERER

Amantio di Nicolao SIMONAS STRAZDAS

In the second series the role of Lauretta is sung by FLORINA ILIE, the role of Betto di Signa by MARTIN HÄSSLER, and the role of Ciesca by DARIA SUSHKOVA.

Three different stories that form a programme together. The idea of Il trittico is easy to describe, but the underlying thought is all the more complex. Around 1900, Giacomo Puccini was attracted by the idea of developing a triptych from three one-act operas and wanted them to be linked by a complex dramaturgical thread. Rather than the plots themselves, the decisive element was to be the dominant emotional colours. A drama of moods.

Puccini’s idea is closely linked to a technique which he was a master of. So-called »controscene« had already played an important role in earlier works – multi-layered scenic tableaux, like the start of the Quartier Latin scene in Bohème , where different emotions, which Puccini called colours (tinte) were effectively shown as brief highlights. The Trittico, as Puccini conceived it, would expand this principle so that three short pieces, each with their own colour, would result in a finely matched whole. The search was on for a tragic work, a »sentimental« one and a comic piece, very much in the sense of the scene from Bohème, which Puccini specified in a letter as having these three emotional moods.

Puccini had such exact ideas about the character of the three moods that the search for the right material proved extremely difficult. Ultimately, he found the tragic first part that would become Il tabarro in Didier Gold’s drama La Houppelande. This was another instance when a visit to a play led to inspiration for one of Puccini’s successful operas – this was how he had found the sources for Tosca (by Victorien Sardou), Madama Butterfly and La fanciulla del West (both by David Belasco). Il tabarro is a dark marital drama, set in the world of the Seine skippers. The couple, Michele and Giorgetta, are divided by grief for their dead child, and Giorgetta’s affair with the labourer Luigi ends in tragedy.

Puccini composed the first part relatively quickly, but the search for the two tinte which he felt should follow the first took on almost epic dimensions. In the end, it took a full 18 years from the first idea to the New York premiere. Suor Angelica , the »sentimental« story, which Giovacchino Forzano wrote the libretto for, tells of the suffering of the protagonist, a nun who finds the will to live in

the memory of her son – the result of a »slip« which brought her to the convent – until she is deprived of this support. For the comical third part, Gianni Schicchi , Forzano drew on a brief episode from Dante’s Inferno. To get the inheritance of the wealthy Florentine Buoso Donati, his relatives persuade Gianni Schicchi to pose as the dying Buoso and appear to dictate a will in their favour. Each of the pieces has its own fascinating musical originality. There is the relentless, flowing river motif in Il tabarro, interrupted by Puccini’s incomparable realisms, ships’ sirens, honking vehicles, little incidental scenes. The deceptive peace of the convent conversation in Suor Angelica , which is continued with incredible dramatic musical precision to the culmination (embodied in »Senza mamma«, one of the best-known and most moving arias in opera history). The musical joke in Gianni Schicchi runs through its extensive manifestations, from wild hilarity to amusing chaos. Puccini was passionately concerned about the overall structure and effect of his concept. It is a marvellous challenge for a new production, since – like the tinte in the little controscene in Bohème – the three parts of Il trittico are placed in a greater context, indeed the greatest imaginable context: their tinte are the colours of human relationships. Irresistibly simple, and incredibly complex – the inner-most core of Il trittico. A Human Comedy for the opera stage.

Like the »tinte« in the little »controscene« in La bohème, the three parts of Il trittico are placed in a greater context, indeed the greatest imaginable context: their »tinte« are the colours of human relationships.

HOW DIFFICULT IT IS TO BE HAPPY.

GIUSEPPE ADAMI

»How difficult it is to be happy!« Giorgetta’s sigh from Il tabarro is like a title for the three parts of Puccini’s Il trittico. How, driven by our passions and desires, we all create hell on earth in our very different ways is the great human theme developed in Il tabarro, Suor Angelica and Gianni Schicchi. A sentence from Jean-Paul Sartre’s Huis clos would also be a very suitable title: »Hell is other people‹«

TATJANA GÜRBACA

HELL IS OTHER PEOPLE.

JEAN-PAUL SARTRE

LE GRAND MACABRE

OPERA in two acts

Libretto MICHAEL MESCHKE & GYÖRGY LIGETI based on LA BALADE DU GRAND MACABRE by MICHEL DE GHELDERODE

Conductor PABLO HERAS-CASADO

Director, Choreography & Stage Design JAN LAUWERS

Costume Design LOT LEMM

Lighting KEN HIOCO

Co-Choreography PAUL BLACKMAN

Nekrotzar GEORG NIGL

Chief of the Gepopo/Venus SARAH ARISTIDOU

Prince Go-Go XAVIER SABATA

Amanda MARIA NAZAROVA

Amando ISABEL SIGNORET

Astradamors WOLFGANG BANKL

Mescalina MARINA PRUDENSKAYA

Piet the Pot GERHARD SIEGEL

White Party Minister DANIEL JENZ

Black Party Minister HANS PETER KAMMERER

Prophesied armageddons generally disappoint. In his only opera, Le Grand Macabre, György Ligeti created a large, discursive world theatre in which the plain, unvarnished human condition with all its drives and weaknesses is the cause of nothing less than an impending apocalypse. Into an imaginary, corrupt land of milk and honey – Breughelland, a vision of gluttony, drunkenness and lechery – Death arrives one day, otherwise known as Nekrotzar or the demonic Grand Macabre, to announce the impending destruction of the world and frivolous humanity. However, seduced by the pleasures of life, which he is unfamiliar with, the only person to die at the end is Nekrotzar himself. Everyone else draws the conclusion that their temporary survival should be used to continue their previous lifestyle.

Premiered on 12 April 1978 at Stockholm’s Royal Opera House, the work was a masterpiece, which not only constituted a central work in the oeuvre of the Austro-Hungarian composer but established itself permanently in the repertoire worldwide. Ironic distance, alienation, and consistent ambiguity which »takes what is serious humorously and what is comical in deadly earnest«, the basic theme of the opera – the necessary suspension of fear and the triumph of Eros – is developed before the eyes and ears of the audience.

Inspired by Kafka, Jarry, Herzmanovsky- Orlando, Goethe’s Faust, the mediaeval mystery plays, and also by Pop Art and Hieronymus Bosch, Ligeti’s concept for Le Grand Macabre was a »brightly coloured, comical event where the characters and stage situations should be direct, brief, unpsychological, surprising and still entirely sensuous«. His source was the 1934 play La Balade du Grand Macabre by a Belgian, Michel de Ghelderode. This is also the source of the French title of the original German libretto, which the composer wrote together with director and puppet maker Michael Meschke. Ligeti – who is strongly synaesthetic, associating colours and shapes and even machinery and physical equipment with music, and conversely sounds and noises with colours, words, and letters – was also seeking in Le Grand Macabre the »total fusion of action and music«, a stage event through music. It should be noted that this is a deliberately bizarre and »exaggerated music«, distinguished by

its positively irregular orchestration. Besides the relatively small number of strings, representing the lyrical element, the orchestra includes a bass trumpet, a harmonica, whistles, six doorbells and (not least) 12 car horns in different keys, which open the opera like a fanfare and symbolize the corrupt and ungovernable world of Breughelland, while also recalling the Monteverdian toccata opening L’Orfeo.

The score is enriched and alienated by quotes from European classical music. Ligeti, who felt no obligation to any tradition, clearly preferred Romantic opera music, specifically Verdi, Rossini, Offenbach, Rameau, Monteverdi, Mozart, Liszt, Schumann, Schubert and Stravinsky to the »music drama concepts of Wagner, Strauss and Berg«, which he rejected. Ligeti achieved additional colour by a fusion of what he described as artificial folk music, the most different styles of material – Brazilian sambas, Andalusian flamencos, Bulgarian rhythms, Hungarian verbunkos. All of this is held together by a playful handling of historical forms of composition. For example, he uses chorales, mirror canons, bourrée perpétuelle, passacaglias and ostinatos. In its general form, the entire opera is designed as a gigantic Meistersinger Bar, with the first three scenes as Stollen (stanzas) of similar length, and the fourth a shorter Abgesang (aftersong).

Based on the experience of stage practice in daily opera production and the first series of international performances, Ligeti revised the score in 1996, reducing the number of spoken passages, entirely reworking many places and some parts of the instrumentation

Seduced by the pleasures of life, which he is unfamiliar with, the only person to die at the end is Nekrotzar himself. Everyone else draws the conclusion that their temporary survival should be used to continue their previous lifestyle.

JAN LAUWERS

Le Grand Macabre is a masterpiece in the form of a cynical scherzo. As a king without a kingdom, Ligeti scatters salt on the wounds of the old continent. We live in a Europe which is rapidly changing, and cynicism is the last thing we need. Particularly since humour is more often the weapon of a coward than a deed of optimism. But you can hardly call Ligeti a coward. On the contrary, a libretto in which the moral is distinguished by brutal sex, rampant consumerism, and the end of time is not hedonistic cynicism for him but an ironic ode to love. He says:

Thus, it is the triumph of Eros: we live, we drink, we make love, but all that in disorder, as in real life. It is a rather sordid Eros, not entirely nice. We live, but life is not so beautiful. Therefore, this end is very close to the design of Ghelderode. It is not act of a true hedonism, it is not an act of happiness. Rather, it is sad, very sad. In my version, it is made ironic by the music, the text is not so ironic, but the music is much more, the finale music, this passacaglia, very consonant, very pretty, very pure.

I like things pushed to the extreme, I like the extremes, absolutely insane things, and much more in opera. I believe that, for an understandable musical success where the text is half the picture, one must push everything to the extreme, as much as possible.

GYÖRGY LIGETI

CYNICAL SCHERZO

TURANDOT

OPERA in three acts

Libretto GIUSEPPE ADAMI & RENATO SIMONI based on a work by CARLO GOZZI

Conductor FRANZ WELSER-MÖST

Director CLAUS GUTH

Stage Design ETIENNE PLUSS

Costume Design URSULA KUDRNA

Choreography SOMMER ULRICKSON

Lighting OLAF FREESE

Video ROCAFILM

Turandot ASMIK GRIGORIAN

Calàf JONAS KAUFMANN

Liù KRISTINA MKHITARYAN

Altoum JÖRG SCHNEIDER

Timur DAN PAUL DUMITRESCU

Mandarin ATTILA MOKUS

Ping MARTIN HÄSSLER

Pang NORBERT ERNST

Pong HIROSHI AMAKO

The second series is conducted by AXEL KOBER FABIO SARTORI sings the role of Calàf.

Turandot poses three riddles. Three ministers warn of the death awaiting the candidate who does not answer them. And three artists then tried to complete Giacomo Puccini’s unfinished work as the dead composer intended. When Calàf, the dethroned Mongol prince who has fled to Peking, falls in love with Princess Turandot, he is in mortal danger. He can only be her bridegroom if he solves the Princess’s three riddles. Anyone who fails will be executed, like all the previous candidates. Calàf’s father, Timur, and Liù, who loves Calàf without his knowledge, plead with him in vain. He accepts the challenge.

In the score of Puccini, the great musical storyteller, the individual and society form a highly disturbing contrast. The inflexible system which Turandot has created around herself has ceremonial and grotesque features, total organisation and manipulated mass hysteria. A world suspended between Turandot’s impregnable attraction and apparently unceasing rituals of application, warning, testing and death. It is peopled by shadows and priests. Harshly exaggerated ministers utter their warnings in a tone veering musically between provocation and mockery – we believe them when they say they are equally preparing for a wedding and a funeral. As a basis for all this, the score and the state, there is the mob which varies between screaming for blood and begging for mercy for the condemned. An incalculable, uncanny multitude.

Puccini coded his score with tonalities which his audience would ascribe to an oriental culture, a pentatonic musical language, and specific choice of percussion. These alien but famailiar sounds enact a play of deception. Embedded in Puccini’s own musical language, they create a new context, a Puccini Peking which seems to lead to distant regions, but in reality has no existence outside the theatre. Interestingly, Puccini’s Peking is related to his »Wild West« in La fanciulla del West, where the composer uses the pentatonic scale to hint at »foreignness«. We can interpret the story as saying that Calàf has a similar feeling. He is fascinated by Turandot, and triumphantly solves her riddles. But even after he finds the last answer – »Turandot« – he is far from solving the nature of the princess. The fascination with strangeness – in this case, the princess – is a fascination with an illusion. Can Calàf succeed

in reaching the woman behind it? Puccini’s composition ends with Liù’s death. He was unable to complete the grand finale, the happy encounter of Turandot and Calàf. But the composer left a hint, as well as an unfinished opera. He had sought a very special music, particularly for the final duet – the opera was meant to sound »tipica, vaga, insolita« at this point, according to Puccini’s annotation in the score. »Typical, indistinct, unusual.« He left himself a riddle with this, a task for his inheritors, specifically and generally. How do you set a story, an event, a feeling in music?

Upon the recommendation of the conductor of the premiere, Arturo Toscanini, Franco Alfano composed an ending. Independently of this, Toscanini ended the world premiere where Puccini’s composition finished, in memory of the composer. But Toscanini was not entirely satisfied with Alfano’s work, and polished and shortened it for the subsequent performances. This version initially established itself in the history of the piece, and Alfano’s ending was forgotten until its rediscovery in 1978. In 2002 Luciano Berio tried a new version of the final duet, with a particular focus on the kiss between Calàf and Turandot. All three versions have their separate perspective and appeal, although Franco Alfano's original ending most strongly portrays Turandot’s complex psychology. Claus Guth’s production is based on this original version.

The inflexible system which Turandot has created around herself has ceremonial and grotesque features, total organisation and manipulated mass hysteria.

Who is Turandot? She established a highly bureaucratic and brutal reign of terror – nobody can move in it unobserved, anyone who comes too near her is executed.

Private and social protective walls are always born of fear – what does Turandot fear? What do we fear? What is a protected, safe life worth if it allows reality to enter only through highly diversified filters?

A man – Calàf – is prepared to break through all these protective walls. Why does he do this? Does he have nothing to lose? Does he love Turandot? Or does he just want to seize her power for himself?

In contrast to the mythical and exotic setting, Puccini creates a sensitively drawn psychogram of two very different people, whose behaviour is precisely motivated. It is important to bring this out and arouse our interest in the people behind the system..

CLAUS GUTH

ANIMAL FARM

OPERA in three acts, nine scenes and an epilogue by ALEXANDER RASKATOV

Libretto

IAN BURTON & ALEXANDER RASKATOV after GEORGE ORWELL

Conductor ALEXANDER SODDY Director DAMIANO MICHIELETTO

Stage Design PAOLO FANTIN

Costume Design KLAUS BRUNS

Lighting ALESSANDRO CARLETTI

Choreography THOMAS WILHELM

Old Major GENNADY BEZZUBENKOV

Napoleon WOLFGANG BANKL

Snowball MICHAEL GNIFFKE

Squealer ANDREI POPOV

Boxer STEFAN ASTAKHOV

Benjamin/Young Actress KARL LAQUIT

Minimus ARTEM KRUTKO

Clover MARGARET PLUMMER

Muriel ISABEL SIGNORET

Blacky ELENA VASSILIEVA

Mollie HOLLY FLACK

Mr. Jones DANIEL JENZ

Ms. Jones AURORA MARTHENS

Mr. Pilkington CLEMENS UNTERREINER

Introductory matinee 18

2024

A Co-production and Co-commission of DUTCH NATIONAL OPERA AMSTERDAM, WIENER STAATSOPER, TEATRO MASSIMO PALERMO and FINNISH NATIONAL OPERA & BALLET HELSINKI.

The audience will see the premiere of an opera based on Orwell’s classic of the dystopia of a failed liberation struggle. The animals on a squalid farm revolt against their tyrannical owners, but soon come under the rule of a new leader from their own ranks. »All animals are equal, but some are more equal than others.« The first two translations appeared in Ukrainian and Polish in 1947, the year of the novel’s publication, a parable of the perversion of the Russian Revolution under Stalin’s dictatorship. Naturally, they had to appear in western Europe. But for some time, it was by no means certain that you would find the English original in western bookshops, which met the manuscript with passive resistance. As Orwell noted in the foreword to the Ukrainian edition, his satire was not primarily aimed at the Soviet Union, which he knew only from periodicals and books, but at western illusions about the socialist wonderland in the east. These illusions implied the need to actively suppress and deny the totalitarian excesses of the regime, from the show trials and deportations through the genocides and the Terror Famine to the gulags. The fact that a »left« author such as Orwell was writing against this uncritical admiration was met with silence and disinterest by circles regarding themselves as progressive. While at the time it was geopolitical and partypolitical interests (the Soviet Union as an ally in the struggle against Nazi Germany or capitalism) that buttressed the conspiracy of silence in western societies, it has most recently been economic interests. The topical nature of Orwell’s dystopia is clear in view of the flagrant re-Stalinization of Russian society since the »oughts«. In the »post-factual« age of populism, the basic question of the book remains pressingly acute in the West. How can popular leaders use the stirring rhetoric of freedom and security while enforcing ruthless power and selfinterest?

He found the ideal partner in Alexander Raskatov. The composer was born to a Jewish Russian family in Moscow on the day of Stalin’s burial in 1953, not far from Red Square, and has won acclaim with his setting of another literary masterpiece critical of the Soviet Union – A Dog’s Heart, based on Bulgakov’s novella, and also premiered at Dutch National Opera, followed by performances in London, Milan and Lyon.

Raskatov worked closely with experienced librettist and dramaturge Ian Burton. It was important to him to connect Orwell’s external view of the Soviet empire with internal views, by incorporating original quotes by Stalin, Trotsky and secret service chief Beria, along with Beria’s acts of sexual violence. Raskatov shortened and condensed the text and pushed for the narrative to proceed in graphic situations, as far as possible. → Opera should burst with life.

»For a composer it is important to achieve a synthesis of your musical childhood memories, from the folk music you’ve encountered, and the creations of composers you admire. All these influences need to fuse in an idiom that only you and no one else can hear, the transformation of experience into music. My encounters with Russian folk music are just as important as those with the composers Schnittke and Weinberg. Achieving a synthesis like this is particularly important in an opera. An opera differs very strongly from a symphonic or chamber music piece. Opera is not a ›pure‹ genre. It demands an open horizon and a form of polystylism. You can see this as early as Mozart. But I’m also thinking of numerous reminiscences of Russian folk music in Mussorgsky, Tchaikovsky, Rimsky-Korsakov or Shostakovich. In an opera you can put all kinds of things in a new and sometimes totally contradictory context, achieving paradoxical effects. Opera is not a purist or academic form. It needs to burst with life.«

ALEXANDER RASKATOV

Director Damiano Michieletto has long wished to bring Animal Farm to the opera stage. »The story is simple, a sort of fairy tale which, if you look at it more closely, deals with important issues such as power, oppression and propaganda in a nuanced way. The story is horrible but has comic elements as well. And it allows you to have not only a lot of solo roles but also a chorus«, Michieletto notes.

→ For his setting he developed a »scalpel style«, as he calls it, which contures events sharply and in high contrast. Raskatov also uses musical references to the history of his homeland. The score has no fewer than 21 solo roles, covering the full spectrum of human vocal ranges, where each one has a characteristic individual profile. Director Michielletto set the story in an abattoir, rather than a farmyard. »The characters are waiting to be slaughtered here. They’re locked in cages, dreaming of freedom. To be an animal here means being a slave, meat, an object in the hands of humans.« Michieletto’s world premiere production was created as a Co-production of several commissioning houses. It had its premiere in Amsterdam on March 4, 2023; the Viennese premiere follows on February 28, 2024.

LOHENGRIN

ROMANTIC OPERA in three acts

Introductory matinee 21 APRIL 2024

Conductor

CHRISTIAN THIELEMANN Directors JOSSI WIELER

SERGIO MORABITO

Stage & Costume Design ANNA VIEBROCK

Lighting SEBASTIAN ALPHONS

Co-Stage Design TORSTEN GERHARD KÖPF

King Heinrich

Lohengrin

GEORG ZEPPENFELD

DAVID BUTT PHILIP

Elsa of Brabant MALIN BYSTRÖM

Telramund MARTIN GANTNER

Ortrud ANJA KAMPE

The King’s Herald MARTIN HÄSSLER

Premiere 29 APRIL 2024

Premiere series 29 APRIL 2 5 8 11 MAY 2024 → Prices P G

A Co-production of VIENNA STATE OPERA and the SALZBURG EASTER FESTIVAL.

Lohengrin is the last of Richard Wagner’s three great romantic operas, after Der Fliegende Holländer and Tannhäuser. The hero’s forced withdrawal in resignation at the end of the piece foreshadowed the composer’s own exile. Participation in the Dresden May uprisings in 1849 cost Wagner his position as master of music at the royal court in Dresden, and made him a political refugee. Safe from prosecution in Zurich, Wagner entered a long dormant period, during which he speculated on the philosophy of art, and the concept of the Nibelung tetralogy ripened, which would mark his exit from the opera theatre of his day. The world premiere of his »abandoned« last opera, which he had presented fragments of in concert in Dresden in 1848, was made possible in Weimar in 1850 by his friend Franz Liszt, who curated the work in the absence of the pursued composer. While the world premiere attracted more incomprehension and criticism than understanding, this opera with its wealth of melodies and martial airs became the decisive factor in bringing the composer to broader audiences during the last quarter of the 19th century.

Wagner’s Lohengrin, the summit of artistic Romanticism, also offers a glimpse into the abyss of political Romanticism. The narcissism of an entire nation was reflected in the ideal of the enigmatic Knight of the Swan, who hastens to the aid of a threatened virgin and is able to strengthen the unity and defence of the realm against domestic and foreign enemies. His mission fails because the rescued virgin cannot meet the demands of his love, which requires unquestioning devotion. She is troubled by doubt about his purity and demands his name. Failed by the human world, he returns to his tragic isolation.

Wagner has created a canvas for projection here, and rulers and »führer figures« from Ludwig II through to Hitler have seen themselves on this and used its mythical aura to romanticize the role models of the patriarchal bourgeois marriage.

No other Wagner opera has received so much adulation or been the target for so much critical mockery as Lohengrin . One thing is clear – given the internal contradictions of the piece, the theatre is faced with the ultimate challenge of developing a penetrating and sensitive deconstruction of

its role models and conflict structures. The culture of doubt, rejected and demonized in the piece and personified in the figure of the pagan witch, Ortrud, is the only thing suitable today for Wagner’s epochal and at the same time deeply suspect art. The »amplification, realization and specification of the mythically remote«, entirely in the sense of Thomas Mann’s quote here, are design strategies which the theatrical art of Wieler, Morabito and Viebrock is measured against. They have immersed themselves in the fine network of fairy tale and myth which Wagner’s eclecticist Lohengrin myth is rooted in. In the process, they found a folk tale which begins, »Once upon a time there was a king who died, leaving two children, a son and a daughter. The daughter was a year older than the son. One day, the two children were arguing over who should be the king, as the brother said, ›I’m a prince, and if there are princes around, princesses don’t get to rule.‹

The daughter countered, ›I’m the first born and oldest, I have priority.‹

Folklore research has uncovered innumerable variants of this story. Mostly, the rivalry leads to the brother killing his sister; in several cases, however, the older sister murders her younger brother in rebellion against the Salic law that only males could succeed as kings. Because it is this unspoken and suppressed conflict which drives the opera’s plot. Elsa is the firstborn daughter of the Duke of Brabant, but as a woman is excluded from succeeding to the throne, in favour of her younger brother, Gottfried. In addition, she is to be forcibly married to her guardian, Telramund, in the interests of maintaining the patriarchal power structure. Good and bad reasons enough to liberate herself from her assigned humiliating gender role by an act of violence. And that Wagner’s Lohengrin story gave rise to a deeply ambivalent sibling love varying between love and hate was identified in the first psychoanalytic lectures by Otto Rank in 1911.

You can never have good without evil, heaven without hell.

RICHARD WAGNER

CHRISTIAN THIELEMANN

In their »blue-silver beauty« (Thomas Mann) Lohengrin and the world of the Grail call for the key of A major, the two antagonists Ortrud and Telramund for the dark, wild F sharp minor (relative minor), and everything to do with the king for the striking but ultimately empty C major.

The king has the brass on his side, Ortrud and Telramund are grounded in woodwind and low strings, and Lohengrin is surrounded by a gliding radiance of divided violins. At the same time, Lohengrin’s and Elsa’s leitmotifs are reflected in each other, and even Ortrud’s sphere is concealed in these. This is the world we live in, Wagner says – you can never have good without evil, heaven without hell.

COSÌ FAN TUTTE

DRAMMA GIOCOSO in two acts

Libretto LORENZO DA PONTE

Introductory matinee 9 JUNE 2024

Conductor PHILIPPE JORDAN

Director BARRIE KOSKY

Stage & Costume Design GIANLUCA FALASCHI

Lighting FRANCK EVIN

Fiordiligi FEDERICA LOMBARDI

Dorabella EMILY D’ANGELO

Guglielmo PETER KELLNER

Ferrando FILIPE MANU

Despina KATE LINDSEY

Don Alfonso CHRISTOPHER MALTMAN

Premiere 16 JUNE 2024

Premiere series 16 19 22 24 26 28 JUNE 2024 → Prices P G A

What exactly is being taught here? »La scuola degli amanti«, »The School for Lovers« is the subtitle of Lorenzo Da Ponte’s libretto (the poet actually intended it to be the main title). Don Alfonso’s primary educational goal as the »old philosopher« is to dispel all illusions about love and fidelity. En route, the lovers are instructed in all the primary and secondary topics of a complicated (love)life. Trust, seduction, deceit, surrender. The final conclusion that leads to the title, »That’s how they (women) all are«, needs not be the end of the education. What they make of this assumed recognition is a question for all participants.

With Lorenzo Da Ponte, Mozart had finally found the poet with whom he could join forces to form the »true phoenix«, as he described the combination of a »good composer« and a »modest poet« in a letter to his father in 1781. The »good composer« was meant to be someone who »understands the theatre, and who is also capable of specifying something«. This was Mozart. Così fan tutte shows this even more clearly than the earlier Le nozze di Figaro and Don Giovanni. Of the 31 musical numbers in the Scuola degli amanti , only 11 are solo arias, the rest are ensembles. Mozart and Da Ponte continued with the practice initiated in Figaro (14 solo arias in 28 individual numbers) of discarding the conventional ratio between recitatives which move the action along and »static« vocal numbers. More and more elements of the action are moved into the musical numbers. Originally, the busy Lorenzo Da Ponte had not written Così fan tutte for Mozart. Instead, Antonio Salieri had begun a setting (probably in 1789) but had soon abandoned it again. For Mozart’s opera, there are Da Ponte’s changes in the text indicating a series of requests to the poet by the composer.

In Così fan tutte we see a laboratory of love. Don Alfonso operates here like Prospero in Shakespeare’s The Tempest, directing and manipulating Dorabella, Fiordiligi, Guglielmo und Ferrando at will. The question we have to confront the work with every time is, what motivates him?

It’s clear that the experience is deadly serious for the actors in the experimental setup. The pain that is expressed in the second act is perhaps the worst variant of love’s suffering in all the history of opera.

BARRIE KOSKY

bet on fidelity, which in Da Ponte becomes the bet that Guglielmo and Ferrando make with Don Alfonso. Finally, all the female characters in Così fan tutte have counterparts in a classical work. In Ludovico Ariosto’s Orlando furioso (1516) we encounter a Fiordiligi, true wife of Brandimarte; a Doralice who surrenders to the seductive arts of a Saracen prince; and finally, a Fiordispina, who falls unhappily in love with the female warrior Bradamante. The work has a wealth of references to literary tradition (there are also traces of Shakespeare and Marivaux), although for a long time it was dismissed as the worst of the three Mozart-Da Ponte operas. Right from the world premiere, many people found the plot where Dorabella and Fiordiligi abandon their absent betrotheds and take up with two strangers to be outrageous. In fact the closing »così fan tutte« serves as a continuation of the gender image which the tale from the Decameron conveyed, that even man as the crown of creation is often unable to be faithful, so it can hardly be expected of women as beings dominated by the senses. In the Decameron , this assignment of roles is required for the male fantasies of lustful nuns and adulterous women who populate Boccaccio’s tales. In Così fan tutte, the ending is one of reconciliation, leaving scope to consider the question which the work poses along with Mozart’s wonderful music –what is »seduction«, and how does it work? How does a disguise work which makes it impossible to recognize your own betrothed and your sister’s? And finally, what motivates a character like Don Alfonso, whose only triumph – apart from the money he won – lies ultimately in shattering the trust of a few young people in love and in each other?

New in this third and last collaboration between Mozart and Da Ponte is that the poet was not working from a direct play or libretto but created an »original libretto« from numerous sources. For example, he took the motif of a test of fidelity by a jealous spouse, or someone commissioned by him to see if the wife can be seduced from the story of Cephalus and Procris in Ovid’s Metamorphoses and the Ninth Tale of the Second Day of Giovanni Boccaccio’s Decameron . This also involves the motif of a

THE SCHOOL FOR LOVERS

BAROCCHISSIMO

»Ovations, cheers, applause, encores, lasting three quarters of an hour«, »Endless applause«, »Bartoli fever grips Vienna«, »Victory lap for La Bartoli« – just a few of the many headlines on the summer Rossini Mania in 2022 that Vienna State Opera took to new heights with belcanto. However, Bartoli’s second great love is Baroque opera, and this is what she is returning with at the start of July 2024 in a second guest performance. She will be supported again by the Musiciens du Prince – Monaco which she founded, which plays historical instruments, and is the orchestra of Monte Carlo Opera, where she is artistic director. Bartoli: »It will be hard to top the fireworks we set off with Rossini Mania . But with help from Hollywood and a Baroque opera riot that gripped Europe in the 18th century, headed by Naples as the musical capital, we’re going to try and (Ba)rock the Vienna State Opera again in 2024.«

Help from Hollywood? She’s talking about John Malkovich, who Bartoli will be working with on the Their Master’s Voice evening as part of the festival. Malkovich, a fascinating performer of complex roles, is also well-known in opera circles. He and director Michael Sturminger won international acclaim with their projects on Casanova and Da Ponte, combining live music, poetry, theatre and stage performance in a unique show customized for the performers. Their Master’s Voice , a new project by the team looking at Baroque vocal stars, is a collaboration with Cecilia Bartoli and the Opéra de Monte-Carlo. Another premiere is dedicated to Handel’s Giulio Cesare in Egitto . The production by Davide Livermore, conducted by Gianluca Capuano, is a stellar cast, presenting the opera which was celebrated at its world premiere in 1724 at London’s King’s Theatre. This opera

has not been heard at Vienna State Opera for almost 65 years, which makes this a unique opportunity to see this Baroque jewel in an outstanding production. But Bartoli wouldn’t be Bartoli, if she wasn’t planning more. The festival will be accompanied by a symposium by Sounds and Science dedicated to the theme of opera and gender. »Many opera lovers are probably sick of the term gender. But in Baroque opera, genders – partly sensuous, partly gruesome – were normal. Sopranos sang male parts, young castrati sang the role of the female lover, and the audience loved the confusing result. Perhaps the Vienna public will enjoy as much as we do the gender-erotic journey to Farinelli & Co …«

The new production of Giulio Cesare in Egitto – George Frideric Handel’s most beautiful opera – may not match Liz Taylor’s Cleopatra. But with the enchanting songs of the Muses on Mount Parnassus, it promises to seduce even the Vienna State Opera audience, spoiled by the musical marvels that surround them.

CECILIA BARTOLI

The Baroque festival will end on 11 July with a gala with the perfect cast. Besides Bartoli it includes Varduhi Abrahamyan, Julie Fuchs, Anne Hallenberg, Sara Mingardo, Regula Mühlemann, Anne Sofie von Otter, Nuria Rial, Max Emanuel Cenčić, Christophe Dumaux, Peter Kálmán, Kangmin Justin Kim, Maxim Mironov, Rolando Villazón and Carlo Vistoli on the stage.

GIULIO CESARE IN EGITTO

DRAMMA PER MUSICA in three Acts

Text GIACOMO FRANCESCO BUSSANI

Performances 6 & 9 JULY 2024

Prices D

Conductor GIANLUCA CAPUANO Director DAVIDE LIVERMORE

Stage Design GIÒ FORMA

Costume Design MARIANNA FRACASSO

Lighting ANTONIO CASTRO

Video DWOK

Giulio Cesare CARLO VISTOLI

Cleopatra CECILIA BARTOLI

Tolomeo MAX EMANUEL CENČIĆ

Cornelia SARA MINGARDO

Sesto KANGMIN JUSTIN KIM

Achilla PETER KÁLMÁN

LES MUSICIENS DU PRINCE – MONACO CHŒUR DE L'OPÉRA DE MONTE-CARLO

THEIR MASTER’S VOICE

A GENDER DUEL between JOHN MALKOVICH and CECILIA BARTOLI

Performances 8 & 10 JULY 2024

Prices B

Conductor GIANLUCA CAPUANO

Book & Director MICHAEL STURMINGER

Stage & Costume Design RENATE MARTIN & ANDREAS DONHAUSER

LES MUSICIENS DU PRINCE – MONACO CHŒUR DE L'OPÉRA DE MONTE-CARLO

Co-production with the Festival

»PRINTEMPS DES ARTS DE MONTE-CARLO«

FARINELLI & FRIENDS

GALA CONCERT

Performance 11 JULY 2024

Prices G

Conductor GIANLUCA CAPUANO

Featuring CECILIA BARTOLI, VARDUHI ABRAHAMYAN, JULIE FUCHS, ANNE HALLENBERG, SARA MINGARDO, REGULA MÜHLEMANN, ANNE SOFIE VON OTTER, NURIA RIAL, MAX EMANUEL CENČIĆ, CHRISTOPHE DUMAUX, PETER KÁLMÁN, KANGMIN JUSTIN KIM, MAXIM MIRONOV, ROLANDO VILLAZÓN, CARLO VISTOLI

LES MUSICIENS DU PRINCE – MONACO CHOEUR DE L'OPÉRA DE MONTE-CARLO

REVIVALS

CARMEN

REVIVAL DAPHNE

DER ROSENKAVALIER

THE KNIGHT OF THE ROSE

DIALOGUES DES CARMÉLITES

DIALOGUES OF THE CARMELITES

DIE ENTFÜHRUNG AUS DEM SERAIL

THE ABDUCTION FROM THE SERAGLIO

DIE FLEDERMAUS

THE BAT

REVIVAL DIE FRAU OHNE SCHATTEN

THE WOMAN WITHOUT A SHADOW

DIE MEISTERSINGER VON NÜRNBERG

THE MASTERSINGERS OF NUREMBERG

REVIVAL GUILLAUME TELL HÄNSEL UND GRETEL

REVIVAL I VESPRI SICILIANI

THE SICILIAN VESPERS

IL BARBIERE DI SIVIGLIA

THE BARBER OF SEVILLE

LA BOHÈME LA CENERENTOLA

REVIVAL LA CLEMENZA DI TITO

THE CLEMENCY OF TITUS

REVIVAL LA FANCIULLA DEL WEST

THE GIRL OF THE WEST

REVIVAL LA SONNAMBULA

THE SLEEPWALKER

LA CLEMENZA DI TITO

THE CLEMENCY OF TITUS

DRAMMA SERIO PER MUSICA in two acts, KV 621

Libretto CATERINO TOMMASO MAZZOLÀ

Performances 4 7 10 SEPTEMBER 2023

Prices S

Conductor PABLO HERAS-CASADO Director JÜRGEN FLIMM

Stage Design GEORGE TSYPIN

Costume Design BIRGIT HUTTER

Lighting WOLFGANG GOEBBEL

Tito MATTHEW POLENZANI

Vitellia FEDERICA LOMBARDI

Servilia SLÁVKA ZÁMEČNÍKOVÁ

Sesto KATE LINDSEY

Annio PATRICIA NOLZ

Publio PETER KELLNER

GAETANO DONIZETTI DON

PASQUALE

DRAMMA BUFFO in three acts

Libretto GIOVANNI RUFFINI & GAETANO DONIZETTI

1st series 5 8 SEPTEMBER 2023

Prices S

Conductor GIANLUCA CAPUANO Director IRINA BROOK

Stage Design NOËLLE GINEFRI-CORBEL

Costume Design SYLVIE MARTIN-HYSZKA

Lighting ARNAUD JUNG

Choreography MARTIN BUCZKO

Don Pasquale AMBROGIO MAESTRI

Ernesto DMITRY KORCHAK

Malatesta STEFAN ASTAKHOV

Norina NINA MINASYAN

2nd series 29 NOVEMBER 2023

1 4 DECEMBER 2023

Prices B S

The second series is conducted by MARCO ARMILIATO, LEVY SEKGAPANE sings the role of Ernesto.

3rd series 21 23 26 FEBRUARY 2024

Prices S

Conductor FRANCESCO IVAN CIAMPA

Don Pasquale

MISHA KIRIA

Ernesto XABIER ANDUAGA

Malatesta

MICHAEL ARIVONY

Norina ROSA FEOLA

The celebratory opera written in the last year of Mozart’s life for the coronation of Leopold II as King of Bohemia used an adulatory subject which was frequently set at the time, the benevolent, merciful and magnanimous ruler. For director Jürgen Flimm, however, this opera is much more about identifying the forms and mechanisms of power than a piece in which the advantages of an enlightened monarchy are lauded. In the current revival, the US tenor Matthew Polenzani joins the new Vienna »Mozart ensemble«.

LA SONNAMBULA THE SLEEPWALKER

MELODRAMMA in two acts

Libretto FELICE ROMANI

Performances 6 9 13 SEPTEMBER 2023

Prices S A

Conductor GIACOMO SAGRIPANTI

Director, Stage Design & Lighting MARCO A. MARELLI

Costume Design DAGMAR NIEFIND

Count Rodolfo ROBERTO TAGLIAVINI

Teresa SZILVIA VÖRÖS

Amina PRETTY YENDE

Elvino JAVIER CAMARENA

Lisa MARIA NAZAROVA

Alessio JACK LEE

RICHARD STRAUSS

DAPHNE

BUCOLIC TRAGEDY in one act

Libretto JOSEPH GREGOR

Performances 12 15 18 21 SEPTEMBER 2023

Prices S

Conductor SEBASTIAN WEIGLE Director NICOLAS JOEL

Set design & costume design PET HALMEN

Choreography RENATO ZANELLA

Peneios GÜNTHER GROISSBÖCK

Gaea NOA BEINART

Daphne HANNA-ELISABETH MÜLLER

Leukippos DANIEL JENZ

Apollo DAVID BUTT PHILIP

Set in a sanatorium world inspired by The Magic Mountain , where inner states are also recognizable in freak weather, director Marco Arturo Marelli plays with the opera’s fine psychological vibrations. The protagonist frees herself in her dreams from the images projected onto her by her fiancé and shows her true, undisguised self. Bellini’s wonderful and enchanting melodies unfold a panopticon of precisely defined conditions which climax in the coloraturarich finale of the triumphing heroine of the title, this time portrayed by Pretty Yende.

Daphne was a real gamble for Richard Strauss, a late masterpiece written in his early 70s into which he poured his entire experience as a composer. Based on this, director Nicolas Joel succeeded in telling the Greek myth about the virginal Daphne, who escapes Apollo’s advances by transforming into a laurel tree as a daydream of a sexually neglected young woman.

DAPHNE Richard Strauss p. 32

TRISTAN UND ISOLDE

HANDLUNG (DRAMA) in three acts

Performances 17 20 24 SEPTEMBER 2023

Prices A

Conductor PHILIPPE JORDAN

Director CALIXTO BIEITO

Stage Design REBECCA RINGST

Costume Design INGO KRÜGLER

Lighting MICHAEL BAUER

Tristan ANDREAS SCHAGER

Isolde ANJA KAMPE

King Marke GÜNTHER GROISSBÖCK

Kurwenal IAIN PATERSON

Brangäne TANJA ARIANE BAUMGARTNER

Melot MARTIN HÄSSLER

GIOACHINO ROSSINI

IL BARBIERE DI SIVIGLIA

COMMEDIA in two acts

THE BARBER OF SEVILLE

Libretto CESARE STERBINI based on a work by BEAUMARCHAIS

1st series 19 23 26 30 SEPTEMBER 2023

Prices A D

Conductor GIANLUCA CAPUANO

Director & Stage Design HERBERT FRITSCH

Costume Design VICTORIA BEHR

Lighting CARSTEN SANDER

Count Almaviva LAWRENCE BROWNLEE

Don Bartolo MARCO FILIPPO ROMANO

Rosina KATE LINDSEY

Don Basilio PETER KELLNER

Figaro DAVIDE LUCIANO

Berta JENNI HIETALA

Fiorello NIKITA IVASECHKO

Ambrogio SEBASTIAN WENDELIN

2nd series 13 16 19 22 FEBRUARY 2024

Prices A

Conductor DIEGO MATHEUZ

Count Almaviva LAWRENCE BROWNLEE

Don Bartolo FABIO CAPITANUCCI

Rosina PATRICIA NOLZ

Don Basilio ADAM PALKA

Figaro ADAM PLACHETKA

Berta JENNI HIETALA

Fiorello JACK LEE

Ambrogio SEBASTIAN WENDELIN

LA TRAVIATA

MELODRAMMA in three acts

Libretto FRANCESCO MARIA PIAVE based on a work by ALEXANDRE DUMAS FILS

Performances 1 3 6 10 12 OCTOBER 2023

Prices D G

Conductor ANTONELLO MANACORDA

Director SIMON STONE

Set design BOB COUSINS

Costume design ALICE BABIDGE

Lighting JAMES FARNCOMBE

Video ZAKK HEIN

Violetta Valéry LISETTE OROPESA

Alfredo Germont JUAN DIEGO FLÓREZ

Giorgio Germont LUDOVIC TÉZIER

Flora ALMA NEUHAUS

Annina NOA BEINART

GIACOMO PUCCINI

TOSCA

MELODRAMMA in three acts

Libretto GIUSEPPE GIACOSA & LUIGI ILLICA based on a play by VICTORIEN SARDOU

1st series 5 8 11 15 OCTOBER 2023

Prices A

Conductor

YOEL GAMZOU

Director MARGARETHE WALLMANN

Stage & Costume Design NICOLA BENOIS

Tosca ANGEL BLUE

Cavaradossi VITTORIO GRIGOLO

Scarpia LUDOVIC TÉZIER

2nd series 2 5 10 FEBRUARY 2024

Prices D G

Conductor BERTRAND DE BILLY

Tosca ELENA STIKHINA

Cavaradossi PIOTR BECZAŁA

Scarpia ERWIN SCHROTT

3rd series 20 23 26 APRIL 2024

Prices D A

Conductor YOEL GAMZOU

Tosca KRASSIMIRA STOYANOVA

Cavaradossi RICCARDO MASSÌ

Scarpia AMARTUVSHIN ENKHBAT

A Co-production with the OPÉRA NATIONAL DE PARIS.

DIE FRAU OHNE SCHATTEN

Richard Strauss p. 37

DIE FRAU OHNE SCHATTEN

THE WOMAN WITHOUT A SHADOW OPERA in three acts, op. 65

Libretto HUGO VON HOFMANNSTHAL

Performances 14 17 21 24 OCTOBER 2023

Prices D

Conductor CHRISTIAN THIELEMANN

Director VINCENT HUGUET

Stage Design AURÉLIE MAESTRE

Costume Design CLÉMENCE PERNOUD

Light & Video BERTRAND COUDERC

Emperor ANDREAS SCHAGER

Empress ELZA VAN DEN HEEVER

Nurse TANJA ARIANE BAUMGARTNER

Barak MICHAEL VOLLE

Barak’s Wife ELENA PANKRATOVA Spirit Messenger CLEMENS UNTERREINER

GIUSEPPE VERDI

OTELLO

DRAMMA LIRICO in four acts

Libretto ARRIGO BOITO based on a play by WILLIAM SHAKESPEARE

1st series 25 28 31 OCTOBER 2023

3 NOVEMBER 2023

Prices D G

Conductor ALEXANDER SODDY Director ADRIAN NOBLE

Stage & Costume Design DICK BIRD

Lighting JEAN KALMAN

Otello JONAS KAUFMANN

Iago LUDOVIC TÉZIER

Desdemona RACHEL WILLIS-SØRENSEN

Cassio IVÁN AYÓN RIVAS

2nd series 13 16 20 MAY 2024

Prices S

Conductor GIAMPAOLO BISANTI

Otello ANDREAS SCHAGER

Iago IGOR GOLOVATENKO

Desdemona NICOLE CAR

Cassio ALESSANDRO LIBERATORE

This is a complex story from the world of folk tales, which the brilliant duo of Richard Strauss and Hugo von Hofmannsthal developed into Die Frau ohne Schatten , a complex thematic construct which deals with sympathy as an essential human characteristic. Director Vincent Huguet sets the piece, which is on a vast scale, in the First World War, establishing a bridge between the time of the opera’s creation and the reality of the contemporary world. The conductor of the revival is Christian Thielemann, who also conducted the 2019 premiere.

L’ELISIR D’AMORE

THE ELIXIR OF LOVE

MELODRAMMA GIOCOSO in two acts

Libretto FELICE ROMANI

1st series 26 30 OCTOBER 2023

2 NOVEMBER 2023

Prices S

Conductor EVELINO PIDÒ based on a production by OTTO SCHENK

Stage & Costume Design JÜRGEN ROSE

Adina KRISTINA MKHITARYAN

Nemorino BOGDAN VOLKOV

Belcore STEFAN ASTAKHOV

Dulcamara BRYN TERFEL

Giannetta ILEANA TONCA

2nd series 30 APRIL 2024

3 6 MAY 2024

Prices S

Conductor FRANCESCO IVAN CIAMPA

Adina FLORINA ILIE

Nemorino XABIER ANDUAGA

Belcore CLEMENS UNTERREINER

Dulcamara ALEX ESPOSITO

Giannetta MIRIAM KUTROWATZ

GIACOMO PUCCINI

MANON LESCAUT

DRAMMA LIRICO in four acts

Libretto based on a novel by ABBÉ PRÉVOST

Performances 29 OCTOBER 2023

1 5 8 NOVEMBER 2023

Prices G

Conductor JADER BIGNAMINI

Director & Lighting ROBERT CARSEN

Stage & Costume Design ANTONY MCDONALD

Manon Lescaut ANNA NETREBKO

Lescaut DAVIDE LUCIANO

Chevalier Des Grieux YUSIF EYVAZOV

Geronte EVGENY SOLODOVNIKOV

LE NOZZE DI FIGARO

THE MARRIAGE OF FIGARO

COMEDIA PER MUSICA in four acts

Libretto LORENZO DA PONTE based on a work by BEAUMARCHAIS

1st series 4 6 9 12 NOVEMBER 2023

Prices D A

Conductor ADAM FISCHER

Director BARRIE KOSKY

Stage Design RUFUS DIDWISZUS

Costume Design VICTORIA BEHR

Lighting FRANCK EVIN

Count Almaviva MICHAEL NAGY

Countess Almaviva GOLDA SCHULTZ

Susanna KATHARINA KONRADI

Figaro PETER KELLNER

Cherubino PATRICIA NOLZ

2nd series 7 10 15 18 MAY 2024

Prices A D

Conductor PHILIPPE JORDAN

Count Almaviva DAVIDE LUCIANO

Countess Almaviva FEDERICA LOMBARDI

Susanna SLÁVKA ZÁMEČNÍKOVÁ

Figaro PHILIPPE SLY

Cherubino ISABEL SIGNORET

W. A. MOZART

DIE ZAUBERFLÖTE

THE MAGIC FLUTE

GRAND OPERA in two acts

Libretto EMANUEL SCHIKANEDER

Performances 15 18 22 24 26 NOVEMBER 2023

Prices A D

Conductor CORNELIUS MEISTER

Director MOSHE LEISER & PATRICE CAURIER

Stage Design CHRISTIAN FENOUILLAT

Costume Design AGOSTINO CAVALCA

Lighting CHRISTOPHE FOREY

Choreography BEATE VOLLACK

Sarastro GÜNTHER GROISSBÖCK

Tamino DMITRY KORCHAK

Speaker MARTIN HÄSSLER

Queen of the Night SARA BLANCH

Pamina MANÉ GALOYAN

Papagena ILEANA TONCA

Papageno PETER KELLNER

Monostatos THOMAS EBENSTEIN

The performance on 26 November conducts DANIEL CARTER.

LA BOHÈME

OPERA in four acts

Libretto GIUSEPPE GIACOSA & LUIGI ILLICA based on a work by HENRI MURGER

Performances 25 28 NOVEMBER 2023

2 5 8 DECEMBER 2023

Prices D A

Conductor MARCO ARMILIATO

Director & Stage Design

Costume Design

FRANCO ZEFFIRELLI

MARCEL ESCOFFIER

Rodolfo FREDDIE DE TOMMASO

Mimì ROBERTA MANTEGNA

Marcello CLEMENS UNTERREINER

Schaunard MICHAEL ARIVONY

Colline GÜNTHER GROISSBÖCK

Musetta MARIA NAZAROVA

RICHARD STRAUSS

ELEKTRA

TRAGEDY in one act

Libretto HUGO VON HOFMANNSTHAL

Performances 9 14 17 20 DECEMBER 2023

Prices A S

Conductor ALEXANDER SODDY

Director HARRY KUPFER

Stage Design

Costume Design

HANS SCHAVERNOCH

REINHARD HEINRICH

Klytämnestra MICHAELA SCHUSTER

Elektra

CHRISTINE GOERKE

Chrysothemis CAMILLA NYLUND

Aegisth THOMAS EBENSTEIN

Orest GÜNTHER GROISSBÖCK

DIE ENT FÜHRUNG AUS DEM SERAIL

THE ABDUCTION FROM THE SERAGLIO DEUTSCHES SINGSPIEL in three acts

Libretto CHRISTOPH FRIEDRICH BRETZNER

revised by JOHANN GOTTLIEB STEPHANIE D.J. Dialogue by HANS NEUENFELS

1st series 15 18 21 26 DECEMBER 2023

Prices A

Conductor CORNELIUS MEISTER

Director HANS NEUENFELS

Stage Design CHRISTIAN SCHMIDT

Costume Design BETTINA MERZ

Lighting STEFAN BOLLIGER

Bassa Selim CHRISTIAN NICKEL

Konstanze JESSICA PRATT

Konstanze – actor EMANUELA

VON FRANKENBERG

Blonde SERENA SÁENZ

Blonde – actress STELLA ROBERTS

Belmonte SEBASTIAN KOHLHEPP

Belmonte – actor CHRISTIAN NATTER

Pedrillo MICHAEL LAURENZ

Pedrillo – actor LUDWIG BLOCHBERGER

Osmin ANTONIO DI MATTEO

Osmin – actor ANDREAS GRÖTZINGER

2nd series 14 17 20 23 MARCH 2024

Prices S A

Conductor STEFANO MONTANARI

Bassa Selim CHRISTIAN NICKEL

Konstanze SOFIA FOMINA

Konstanze – actress EMANUELA

VON FRANKENBERG

Blonde FLORINA ILIE

Blonde – actress STELLA ROBERTS

Belmonte DANIEL BEHLE

Belmonte – actor CHRISTIAN NATTER

Pedrillo THOMAS EBENSTEIN

Pedrillo – actor LUDWIG BLOCHBERGER

Osmin ANTONIO DI MATTEO

Osmin – actor ANDREAS GRÖTZINGER

HÄNSEL UND GRETEL

FAIRY-TALE OPERA in three acts

Libretto ADELHEID WETTE

Performances 25 26 MORNING 28 30 DECEMBER 2023

Prices D A

Conductor

Stage & Costume Design

Lighting

ADRIAN NOBLE

ALEXANDER SODDY Director

ANTHONY WARD

JEAN KALMAN

Video ANDRZEJ GOULDING

Choreography

DENNI SAYERS

Peter Besenbinder ADRIAN ERÖD

Gertrud REGINE HANGLER

Hänsel

Gretel

CHRISTINA BOCK

FLORINA ILIE

Witch MONIKA BOHINEC

Sandman/Dew Fairy MIRIAM KUTROWATZ

JOHANN STRAUSS

DIE FLEDERMAUS

THE BAT

COMIC OPERETTA in three acts

Libretto CARL HAFFNER & RICHARD GENÉE

Performances 31 DECEMBER 2023

1 3 6 JANUARY 2024

Prices P D

Conductor

Stage Design

Costume Design

Choreography

OTTO SCHENK

SIMONE YOUNG Director

GÜNTHER SCHNEIDER-SIEMSSEN

MILENA CANONERO

GERLINDE DILL

Eisenstein JOHANNES MARTIN KRÄNZLE

Rosalinde

Frank

CAMILLA NYLUND

WOLFGANG BANKL

Orlofsky PATRICIA NOLZ

Alfred

Dr. Falke

HIROSHI AMAKO

MARTIN HÄSSLER

Adele REGULA MÜHLEMANN

Dr. Blind NORBERT ERNST

Ida

ILEANA TONCA

LA FANCIULLA DEL WEST

THE GIRL OF THE WEST

OPERA in three acts

Libretto GUELFO CIVININI & CARLO ZANGARINI

Performances 7 10 12 15 JANUARY 2024

Prices S

Conductor SIMONE YOUNG

Director, Stage Design & Lighting

Costume Design

Co-Choreography

MARCO A. MARELLI

DAGMAR NIEFIND

CHRISTIAN HERDEN

Minnie MALIN BYSTRÖM

Jack Rance

CARLOS ÁLVAREZ

Dick Johnson YONGHOON LEE

GIUSEPPE VERDI

I VESPRI SICILIANI

THE SICILIAN VESPERS

»Not a trace of kitsch« was Anton von Webern’s euphoric comment on Puccini’s La fanciulla del West, in which the Italian master launched into new musical paths with a drier style. This matches the point of view of the director and WSO honorary member Marco Arturo Marelli, who sees the opera as far more than a stereotypical operatic version of a Wild West spectacular. His approach to the work focuses on the social world of the poor and uprooted who have hung onto the desire for a »little happiness« in their isolation.

OPERA in five acts

Libretto EUGÈNE SCRIBE & CHARLES DUVEYRIER

Italian by EUGENIO CAIMI

Performances 13 16 19 22 JANUARY 2024

Prices A S

Conductor CARLO RIZZI

Director, Stage & Costume Design, Lighting HERBERT WERNICKE

Guido di Monforte IGOR GOLOVATENKO

Arrigo JOHN OSBORN

Giovanni da Procida ERWIN SCHROTT

Elena RACHEL WILLIS-SØRENSEN

An opera commission for Paris was regarded as particularly prestigious in the 19th century. However, more important for Verdi than the Paris success of his grand opera Les vêpres siciliennes was dealing with the stylistic requirements he met in Paris, which permanently enriched his own musical language. The WSO is presenting the Italian version Verdi preferred in the staging by Herbert Wernicke, which shows the mediaeval uprising of the Sicilians against the French occupiers as a grim folk drama which has no winner.

DON GIOVANNI

DRAMMA GIOCOSO in two acts

Libretto LORENZO DA PONTE

1st series 14 17 20 JANUARY 2024

Prices A D

Conductor PHILIPPE JORDAN

Director

BARRIE KOSKY

Stage & Costume Design KATRIN LEA TAG

Lighting FRANCK EVIN

Don Giovanni

CHRISTIAN VAN HORN

Il Commendatore ANTONIO DI MATTEO

Donna Anna SLÁVKA ZÁMEČNÍKOVÁ

Don Ottavio BOGDAN VOLKOV

Donna Elvira FEDERICA LOMBARDI

Leporello PETER KELLNER

Masetto MARTIN HÄSSLER

Zerlina PATRICIA NOLZ

2nd series 14 16 19 APRIL 2024

Prices A D

Conductor BERTRAND DE BILLY

Don Giovanni ANDRZEJ FILONCZYK

Il Commendatore ANTONIO DI MATTEO

Donna Anna SLÁVKA ZÁMEČNÍKOVÁ

Don Ottavio EDGARDO ROCHA

Donna Elvira NICOLE CAR

Leporello CHRISTOPHER MALTMAN

Masetto JUSUNG GABRIEL PARK

Zerlina ISABEL SIGNORET

ARIBERT REIMANN

MEDEA

OPERA in four acts

Libretto ARIBERT REIMANN based on a play by FRANZ GRILLPARZER

Performances 21 24 27 JANUARY 2024

Prices B

Conductor MICHAEL BODER

Director, Stage Design &

Lighting

Costume Design

Medea

MARCO A. MARELLI

DAGMAR NIEFIND

NICOLE CHÉVALIER

Kreusa CHRISTINA BOCK

Gora

MONIKA BOHINEC

Kreon DANIEL FRANK

Jason ADRIAN ERÖD

Herold

LAWRENCE ZAZZO

Concertante performance in the THÉÂTRE DES CHAMPS ELYSÉES on 5 February 2024

»The violins at the beginning: Medea’s divided inner self« the composer Aribert Reimann noted in his production diary for the opera Medea. It is a compelling musical language but also psychologically detailed, showing the different inner worlds of the characters and telling the story of an abandoned woman who becomes the murderer of her children. Presented in 2010 with sustained success, the work returns under the premiere’s conductor Michael Boder to the site of its triumphant world premiere, the Vienna State Opera.

DIALOGUES DES CARMÉLITES

DIALOGUES OF THE CARMELITES

OPERA in three acts and 12 scenes

Libretto FRANCIS POULENC

based on a work by GEORGES BERNANOS et al.

Performances 28 31 JANUARY 2024

4 FEBRUARY 2024

Prices S

Conductor BERTRAND DE BILLY

Director

MAGDALENA FUCHSBERGER

Stage Design MONIKA BIEGLER

Costume Design VALENTIN KÖHLER

Video ARON KITZIG

Lighting RUDOLF FISCHER

Blanche NICOLE CAR

Le Chevalier BERNARD RICHTER

Madame de Croissy MICHAELA SCHUSTER

Madame Lidoine MARIA MOTOLYGINA

Mother Marie JULIE BOULIANNE

Marquis de La Force MICHAEL KRAUS

Sister Constance SABINE DEVIEILHE

GEORGES BIZET

CARMEN

OPÉRA COMIQUE in four acts

Libretto HENRI MEILHAC & LUDOVIC HALÉVY after PROSPER MÉRIMÉE

1st series 29 JANUARY 2024

1 3 FEBRUARY 2024

Prices A D

Conductor

Director

ALEXANDER SODDY

CALIXTO BIEITO

Stage Design ALFONS FLORES

Costume Design MERCÈ PALOMA

Lighting

ALBERTO RODRIGUEZ VEGA

Carmen EVE-MAUD HUBEAUX

Don José MICHAEL FABIANO

Escamillo ROBERTO TAGLIAVINI

Micaëla SLÁVKA ZÁMEČNÍKOVÁ

2nd series 18 21 25 28 APRIL 2024

Prices A

Conductor ASHER FISCH

Carmen VASILISA BERZHANSKAYA

Don José VITTORIO GRIGOLO

Escamillo ALEXEY MARKOV

Micaëla KRISTINA MKHITARYAN

The production of VIENNA STATE OPERA was initially staged at the SAN FRANCISCO OPERA in Co-production with the BOSTON LYRIC OPERA.

EUGENE ONEGIN

LYRIC SCENES in three acts

Libretto PYOTR I. TCHAIKOVSKY & K. SHILOVSKY based on a poem by ALEXANDER PUSHKIN

Performances 1 3 6 9 MARCH 2024

Prices S

Conductor LOTHAR KOENIGS

Director & Stage Design DMITRI TCHERNIAKOV

Costume Design MARIA DANILOVA

Co-Costume Design ELENA ZAYTSEVA

Lighting GLEB FILSHTINSKY

Tatyana RUZAN MANTASHYAN

Olga DARIA SUSHKOVA

Eugene Onegin BORIS PINKHASOVICH

Lensky BOGDAN VOLKOV

Gremin ILJA KAZAKOV

GIOACHINO ROSSINI GUILLAUME

TELL

OPERA in four acts

Libretto VICTOR-JOSEPH ETIENNE DE JOUY & LOUIS FLORENT HIPPOLYTE BIS

Performances 8 13 16 19 MARCH 2024

Prices G D

Conductor BERTRAND DE BILLY Director DAVID POUNTNEY

Stage & Costume Design RICHARD HUDSON

Lighting ROBERT BRYAN

Choreography RENATO ZANELLA

Guillaume Tell CARLOS ÁLVAREZ

Arnold JUAN DIEGO FLÓREZ

Gesler JEAN TEITGEN

Ruodi IVÁN AYÓN RIVAS

Mathilde LISETTE OROPESA

Jemmy MARIA NAZAROVA

The production was initially staged at the BOLSHOI THEATRE MOSOW.

In his last and 40th music theatre piece, Gioachino Rossini, the greatest composer of his day, gave the world another operatic hit. Guillaume Tell , based on a play by Schiller, uses the imposing and extravagant resources of French Grand opéra to retell the legend of the Swiss liberation hero. For almost 20 years the masterpiece, which director David Pountney enriched with symbolic imagery, was absent from the Vienna State Opera programme, and now it returns with a formidable cast!

LA CENEREN TOLA

DRAMMA GIOCOSO in two acts

Libretto JACOPO FERRETTI

Performances 15 18 22 MARCH 2024

Prices S

Conductor GIANLUCA CAPUANO Director

SVEN-ERIC BECHTOLF

Stage Design ROLF GLITTENBERG

Costume Design

MARIANNE GLITTENBERG

Lighting JÜRGEN HOFFMANN

Angelina VASILISA BERZHANSKAYA

Don Ramiro EDGARDO ROCHA

Dandini MICHAEL ARIVONY

Don Magnifico MISHA KIRIA

Alidoro ROBERTO TAGLIAVINI

Clorinda ILEANA TONCA

Tisbe ISABEL SIGNORET

RICHARD STRAUSS

DER ROSENKAVALIER

THE KNIGHT OF THE ROSE

COMIC OPERA in three acts

Libretto HUGO VON HOFMANNSTHAL

Performances 21 25 27 30 MARCH 2024

Prices A

Conductor AXEL KOBER Director

OTTO SCHENK

Stage Design RUDOLF HEINRICH

Costume Design

ERNI KNIEPERT

Marschallin JULIA KLEITER

Baron Ochs auf Lerchenau CHRISTOF FISCHESSER

Octavian CHRISTINA BOCK

Sophie SLÁVKA ZÁMEČNÍKOVÁ

Faninal ADRIAN ERÖD

Singer

ANGEL ROMERO

RICHARD WAGNER

PARSIFAL

SACRED FESTIVAL DRAMA in three acts

Performances 28 MARCH 2024

1 3 APRIL 2024

Prices G D

Conductor ALEXANDER SODDY Director, Stage & Costume Design KIRILL SEREBRENNIKOV

Co-Director EVGENY KULAGIN

Co-Stage Design OLGA PAVLIUK

Co-Costume Design TANYA DOLMATOVSKAYA

Photo & Video Design ALEKSEY FOKIN & YURII KARIH

Lighting FRANCK EVIN

Amfortas MICHAEL NAGY

Gurnemanz GÜNTHER GROISSBÖCK

Titurel WOLFGANG BANKL

Parsifal DANIEL FRANK

Klingsor WERNER VAN MECHELEN

Kundry ELĪNA GARANČA

Young Parsifal NIKOLAY SIDORENKO

ANTONÍN DVOŘÁK RUSALKA

LYRIC FAIRY-TALE in three acts Libretto JAROSLAV KVAPIL

Performances 31 MARCH 2024

2 4 APRIL 2024

Prices S

Conductor TOMÁŠ HANUS Director SVEN-ERIC BECHTOLF

Stage Design ROLF GLITTENBERG

Costume Design MARIANNE GLITTENBERG

Lighting JÜRGEN HOFFMANN

Choreography LUKAS GAUDERNAK

Prince PAVEL ČERNOCH

Foreign princess ELIŠKA WEISSOVÁ

Water Goblin ADAM PALKA

Rusalka CORINNE WINTERS

Ježibaba OKKA VON DER DAMERAU

SIMON BOCCANEGRA

MELODRAMMA in a prologue and three acts

Libretto FRANCESCO MARIA PIAVE & ARRIGO BOITO based on a work by ANTONIO GARCÍA GUTIÉRREZ

Performances 6 8 11 13 APRIL 2024

Prices A S

Conductor MARCO ARMILIATO

Director PETER STEIN

Stage Design

STEFAN MAYER

Costume Design MOIDELE BICKEL

Simon Boccanegra LUCA SALSI

Jacopo Fiesco KWANGCHUL YOUN

Amelia Grimaldi FEDERICA LOMBARDI

Gabriele Adorno FREDDIE DE TOMMASO

Paolo CLEMENS UNTERREINER

THOMAS ADÈS

THE TEMPEST

OPERA in three acts

Libretto MEREDITH OAKES after WILLIAM SHAKESPEARE

Performances 9 12 14 17 MAY 2024

Prices S

Conductor

THOMAS ADÈS

Director ROBERT LEPAGE

Stage Design JASMINE CATUDAL

Costume Design

KYM BARRETT

Lighting MICHEL BEAULIEU

Video DAVID LECLERC

Choreography

CRYSTAL PITE

Prospero ADRIAN ERÖD

Ariel CAROLINE WETTERGREEN

Caliban FRÉDÉRIC ANTOUN

Miranda

KATE LINDSEY

Trinculo JAMES LAING

Ferdinand HIROSHI AMAKO

King of Naples

TOBY SPENCE

Antonio DANIEL JENZ

Stefano DAN PAUL DUMITRESCU

Sebastian

MICHAEL ARIVONY

Gonzalo WOLFGANG BANKL

A Co-production with METROPOLITAN OPERA NEW YORK and the OPÉRA DE QUÉBEC. In collaboration with EX MACHINA.

The music critic Alex Ross described the opera The Tempest by Thomas Adès, which had its world premiere in 2004, as »a masterpiece of graceful beauty and terrifying power«. Based on the 1611 play of the same name, the British composer created a piece of flamboyant musical language that swiftly traverses the spheres of the Shakespearean theatrical universe. The Vienna production, staged by Robert Lepage, shows Prospero’s island as a magical theatre kingdom into which Thomas Adès as revival conductor will lead the audience.

DIE MEISTER SINGER VON NURNBERG

THE MASTERSINGERS OF NUREMBERG

OPERA in three acts

Performances

19 23 26 30 MAY 2024

Prices D

Conductor PHILIPPE JORDAN

Director KEITH WARNER

Stage Design BORIS KUDLIČKA

Costume Design KASPAR GLARNER

Lighting JOHN BISHOP

Video AKHILA KRISHNAN

Choreography KARL ALFRED SCHREINER

Hans Sachs GEORG ZEPPENFELD

Veit Pogner GÜNTHER GROISSBÖCK

Sixtus Beckmesser WOLFGANG KOCH

Fritz Kothner MARTIN HÄSSLER

Walther von Stolzing DAVID BUTT PHILIP

David MICHAEL LAURENZ

Eva HANNA-ELISABETH MÜLLER

Magdalene CHRISTINA BOCK

CHARLES GOUNOD FAUST

OPERA in five acts

Libretto JULES BARBIER & MICHEL CARRÉ

based on a poem by JOHANN WOLFGANG VON GOETHE

Performances

22 25 29 MAY 2024

2 JUNE 2024

Prices A D

Conductor BERTRAND DE BILLY Director FRANK CASTORF

Stage Design ALEKSANDAR DENIĆ

Costume Design ADRIANA BRAGA PERETZKI

Lighting LOTHAR BAUMGARTE

Video Director MARTIN ANDERSSON

Live camera & Visuals TOBIAS DUSCHE DANIEL KELLER

Faust PIOTR BECZAŁA

Marguerite NICOLE CAR

Méphistophélès ADAM PALKA

Valentin STEFAN ASTAKHOV

Siébel PATRICIA NOLZ

Wagner JUSUNG GABRIEL PARK

Marthe MONIKA BOHINEC

A cooperation with the STUTTGART STATE OPERA.

SALOME

MUSIC DRAMA in one act

Libretto based on OSCAR WILDES play in the translation by HEDWIG LACHMANN

Performances 5 9 13 17 JUNE 2024

Prices S

Conductor PHILIPPE JORDAN

Director CYRIL TESTE

Artistic collaboration CÉLINE GAUDIER

Stage Design VALÉRIE GRALL

Costume Design MARIE LA ROCCA

Lighting

JULIEN BOIZARD

Video Design MEHDI TOUTAIN-LOPEZ

Video D esign live camera RÉMY NGUYEN

Choreography MAGDALENA CHOWANIEC

Herodes GERHARD SIEGEL

Herodias MICHAELA SCHUSTER

Salome CAMILLA NYLUND

Jochanaan IAIN PATERSON

Narraboth DANIEL JENZ

Page PATRICIA NOLZ

GIUSEPPE VERDI NABUCCO

DRAMMA LIRICO in four parts Libretto TEMISTOCLE SOLERA

Performances 8 12 15 18 JUNE 2024

Prices D A

Conductor GIAMPAOLO BISANTI Director GÜNTER KRÄMER

Stage Design PETRA BUCHHOLZ & MANFRED VOSS

Costume Design FALK BAUER

Lighting MANFRED VOSS

Nabucco AMARTUVSHIN ENKHBAT

Ismaele IVAN MAGRÌ

Zaccaria ILDAR ABDRAZAKOV

Abigaille ANNA PIROZZI

Fenena SZILVIA VÖRÖS

FALSTAFF

COMMEDIA LIRICA in three acts

Libretto ARRIGO BOITO based on a play by WILLIAM SHAKESPEARE

Performances 21 25 27 30 JUNE 2024

Prices S

Conductor

Director, Stage Design & Lighting

THOMAS GUGGEIS

MARCO A. MARELLI

Costume Design DAGMAR NIEFIND

Falstaff LUCA SALSI

Ford BORIS PINKHASOVICH

Fenton HIROSHI AMAKO

Alice Ford

ROBERTA MANTEGNA

Mrs. Quickly MONIKA BOHINEC

Nannetta SLÁVKA ZÁMEČNÍKOVÁ

Meg Page ISABEL SIGNORET

Dear Audience, I am delighted to be able to present the Vienna State Ballet’s programme for the 2023/24 season.

After a lot of »stop and go«, and the many things that fell away after the spring of 2020, hindering continuity and progress in developing the ensemble and the repertoire, we are now happy to see things »flow« again.

are neoclassical or contemporary, creations or additions to the Vienna State Ballet’s ever more substantial repertoire. Indispensable dances like William Forsythe’s innovative In the Middle, Somewhat Elevated or George Balanchine’s gorgeous Brahms-Schoenberg Quartet brilliantly orchestrated by Arnold Schönberg will be seen at the Vienna State Opera for the first time. With Concertante we will

At least in my little world of ballet, this joy, this hope, is in no small measure connected with you, the audience, and the engagement across all generations that the Vienna State Ballet, its artists and this incomparable art form has received. Engagement that is evident not least in the fantastic attendance figures that have been achieved at both the State Opera and the Volksoper here in Vienna. Let me thank you for this most sincerely. You have returned and you are thrilled by this touching, fragile and at the same time so intimately human »primeval language«. You have shown that this is both desired and needed, that you enjoy and love this fantastic company, that it is yours and that with all its varied characters it is capable of reflecting life on all its many levels. Some people say that art costs too much money. Is it quantifiable, can we put a number on how high the price tag should be for a soul fulfilled, for the beauty that maybe helps us get through our everyday lives in a way that is more buoyant, more gentle, more bright and also more liberal? A society without art is not only miserable and bloodless, it also loses one of its most essential organs for reflecting itself.

In programming the 2023/24 season, it was important to me to find an ideal balance between large-scale, full-length story ballets and short ballets – whether these

be continuing our collaboration with the great Dutch choreographer Hans van Manen. We will follow artistic pathways on which we have already embarked, and after works by Lucinda Childs, Anne Teresa De Keersmaeker, Merce Cunningham, Paul Taylor and Mark Morris, we now present Karole Armitage for the first time. Neoclassical like Balanchine, but more reduced, more German and yet more transcendent is Jeunehomme by Uwe Scholz, part of a triple bill at the Volksoper that also reaches back to the origins of symphonic ballet at the beginning of the 20th century with a reconstruction of Michel Fokine’s Les Sylphides and, with the world premiere of Eden by Adi Hanan, introduces the work of a young choreographer from the ranks of our own ensemble.

With John Neumeier’s Lady of the Camellias I shall integrate a 20th century masterpiece into the repertoire – and, gently shifting its emphasis, increase the number of large-scale story and narrative ballets to six. What we hope will be the crowning finale comes at the end of June with the Nureyev Gala, a celebration to commemorate this exceptional artist who was so immensely important for Vienna and for the world of dance.

We hope that with everything we have planned, we will touch and thrill you – and we look forward to your visit.

Yours, MARTIN SCHLÄPFER Ballet Director & Chief Choreographer

Despite the troubling global situation, a joy and an energy are growing that no longer only hope but also dare to claim that there is a future – albeit a new and different one – but it exists, we can see it and we need to achieve it: to save the nobler aspects of humanity, art, democracy, the planet, peace.

SHIFTING SYMMETRIES

JOHN NEUMEIER p 62

LADY OF THE CAMELLIAS

SHIFTING SYMMETRIES

CONCERTANTE

Music PETITE SYMPHONIE CONCERTANTE FOR HARP, HARPSICHORD, PIANO & TWO STRING ORCHESTRAS

by FRANK MARTIN

Choreography HANS VAN MANEN

Stage & Costume Design KESO DEKKER

Lighting JOOP CABOORT

Staging NANCY EUVERINK

IN THE MIDDLE, SOMEWHAT ELEVATED

Music THOM WILLEMS

Choreography, Stage & WILLIAM FORSYTHE

Costume Design

Lighting & Supervision Lighting TANJA RÜHL

Supervision Sound THOM WILLEMS

Staging KATHRYN BENNETTS

BRAHMS-SCHOENBERG QUARTET

Music PIANO QUARTET NO. 1 G MINOR OP. 25

by JOHANNES BRAHMS for Orchestra arranged by ARNOLD SCHÖNBERG

Choreography GEORGE BALANCHINE © THE GEORGE BALANCHINE TRUST

Stage Design THOMAS ZIEGLER

Costume Design VERA RICHTER

Lighting ROBERT EISENSTEIN

Staging NILAS MARTINS

CHRISTIAN TWORZYANSKI

Conductor

MATTHEW ROWE

ORCHESTRA OF THE VIENNA STATE OPERA

Introductory matinee 10 DECEMBER 2023

Premiere 23 DECEMBER 2023 Prices B

»Choreography is a language. It is like an alphabet, and you do not need to spell words that you already know. The meaning of a language is determined by the context in which it appears. The most important is how you speak this language, and not what you say.« What William Forsythe says here about choreography articulates a view of dance that applies not only to his own works, but is equally valid for artists such as Hans van Manen and George Balanchine. The American presents himself along with them in the premiere of the Vienna State Ballet’s Shifting Symmetries – a triple bill of three master works linked by the common factor that their creators have each confronted ballet as an art form in a way that is both rigorous and thrilling.

Hans van Manen created Concertante in 1994 for Nederlands Dans Theater

What we learn from Balanchine above all is musicality! It’s fantastic to see where and why the choreography changes. The way he uses repetition.

And then how he utilises space on stage: the relationship between horizontals and verticals, when do I use diagonals, which are the longest form of repetition you can make within a choreography.

2 to Frank Martin’s Petite Symphonie Concertante – music whose wealth of expression, dynamic rhythms and forceful character inspired him to choreograph a ballet in which eight dancers become momentarily attached to and detached from each other again like the pieces of a puzzle; at times joyfully, at times bristling with eroticism, at times filled with aggression, always full of surprises and yet following their own inner logic. Like a crime drama, complex structures within the space and strictly defined sightlines build an unresolved tension, through which the dance broadens out into an encounter between people of whom Hans van Manen said: »However close to each other you may become, ultimately you never know exactly what someone else is thinking.«

I’ve always found it important to exploit all the space I have available. If you’re an architect, you use the entire building, not just the first floor.

HANS VAN MANEN on GEORGE BALANCHINE

tension builds, the level of difficulty increases until the demands exceed anything experienced in ballet before – while the dancers confront each other with an irreverent cold-bloodedness but also an uninhibited theatricality in the hope that they might be able to win the golden cherries elevated on the ceiling of the theatre, after which the piece was named. George Balanchine adopted a suggestion from Igor Stravinsky’s assistant Robert Craft to take on the Piano Quartet in G minor op. 25 in the sumptuous orchestral version that Arnold Schönberg arranged from Johannes Brahms’ composition in 1937 and proudly claimed as his »Fifth Symphony« when he was looking for a large-scale work for his new venue – the New York State Theater – in 1964. The Brahms-Schoenberg Quartet eventually received its world premiere in 1966 – not only to celebrate the magnificent proportions of the Lincoln Center stage, but also as a homage to an incomparable company that appeared in a 55-strong ensemble whose different qualities were displayed in four miniature ballets to match the movements of the composition: full of elegance in the Allegro, full of romanticism and lyricism in the two central movements, and exhibiting an intoxicating virtuosity in the »alla Zingarese« finale with its elements of folk dance. Brahms-Schoenberg Quartet is not one of Balanchine’s experimental works: it is a thrilling celebration of dance and the orchestra, suffused with echoes of a grand Austro-Hungarian musical tradition that is heard through Brahms and Schönberg as well as reminders of the marvellous divertissements of Marius Petipa, where the roots of Balanchine’s neoclassicism originated.

With In the Middle, Somewhat Elevated – created by William Forsythe in 1987 in response to a commission from Rudolf Nureyev for the Ballet de l’Opéra de Paris – a work that fundamentally revolutionised ballet joins the Viennese repertoire for the first time. To the powerful, stamping electronic sounds provided by his long-term artistic partner Thom Willems, Forsythe drives classical ballet to the level of absurdity with breath-taking virtuosity, using the pattern of theme and variation and the techniques of deconstruction and manipulation in an atmosphere of eccentric coolness: physical configurations aspiring to harmony are destabilised, symmetries are shifted, classical movement sequences are taken apart and reassembled, and a new stability emerges from the battle against gravity. As the

There is no choreography per se, at least not one that can be understood as a particular instance representing a universal or standard for the term. Each epoch of choreography is, ideally, at odds with prior determining incarnations, attesting to the human ability to reconceive positions of certainty – and to detach ourselves from them.

WILLIAM FORSYTHE

LADY OF THE CAMELLIAS

BALLET in one prologue and three acts Libretto based on the novel LA DAME AUX CAMÉLIAS by ALEXANDRE DUMAS FILS

Introductory matinee 17 MARCH 2024

Further performances 26 MARCH 2024

Music

Choreography & Director

Conductor

Stage & Costume Design

Lighting

Staging

FRÉDÉRIC CHOPIN

JOHN NEUMEIER

MARKUS LEHTINEN

JÜRGEN ROSE

RALF MERKEL

KEVIN HAIGEN

Piano ANIKA VAVIC IGOR ZAPRAVDIN

ORCHESTRA OF THE VIENNA STATE OPERA

Prices B

Premiere 24 MARCH 2024

An estate is being auctioned off. This is what remains of the glittering possessions of one of the most glamorous women in 19th century Paris: the courtesan Marguerite Gautier. Armand Duval is among those in attendance. As the business of the auction continues before a crowd of curious onlookers, he is overcome with memories, for he was the man with whom Marguerite discovered true love. They spent one long summer together, enjoying a life of bliss in the country, far away from the Parisian demi-monde. However, Armand’s family honour was at risk. And without knowing that his father was forcing Marguerite to do so, he had to watch as his lover returned to her old life – and that ultimately ruined everything.

When Alexandre Dumas fils published his semi-autobiographical novel La dame aux camélias in 1848, he not only achieved his greatest success, but also created one of the stage’s most moving stories. Giuseppe Verdi would premiere his opera based on the novel, La traviata, at Venice’s Teatro La Fenice five years later, actresses including Sarah Bernhardt, Eleonora Duse and Käthe Dorsch went on to triumph in the stage play that Dumas adapted himself, and Greta Garbo would play Marguerite on film. Frederick Ashton was the first choreographer to stage the story in 1963, and in his ballet Marguerite and Armand he created a work for two outstanding performers: Margot Fonteyn and Rudolf Nureyev. Five years later, Stuttgart Ballet presented an equally spectacular cast in John Neumeier’s Lady of the Camellias : a full-length narrative ballet created for Marcia Haydée, Egon Madsen, Brigit Keil, Richard Cragun, Reid Anderson and many others. To this day it remains not only one of his most moving works, but – with its dramatic construction, the clarity and intensity of its characterisation, and the subtle images and splendid costumes of Jürgen Rose’s designs which sympathetically evoke the flair of 19th century Paris – it is a masterpiece of recent dance history. In addition to Stuttgart Ballet and Hamburg Ballet, by whom the work was first seen in Vienna in a guest performance in 2014, only a small number of companies carefully chosen by John Neumeier have been permitted to dance Lady of the Camellias. From 2024 the Vienna State Ballet will join them, and this large-scale production will not only enrich its repertoire with a Neumeier treasure but also

with one of the great story ballets. The choreographer reveals Armand Duval’s passionate relationship with Marguerite Gautier retrospectively. The couple meet for the first time in a play-within-a-play, but Marguerite also sees her own life disturbingly reflected in the ancient love story that is presented in ballet form: the tragedy of Manon Lescaut and Chevalier Des Grieux. Neumeier skilfully employs a filmic dramaturgy, overlaying lightly drawn »exterior« scenes of Parisian society with »interiors« that focus on the emotional states of his characters, in which his dances reveal every possible psychological nuance: full of elegance and carefree joy, immersed in passion and lust for life, erupting into existential drama and affecting the audience deeply with fragility in the face of death.

In Frédéric Chopin, Neumeier found the ideal musical partner to bring both great virtuosity and a melancholy sense of loss to his depiction of the superficiality of Paris’s high society and of human passion. The largo from Chopin’s B minor sonata forms the recurrent leitmotif in a score of piano works (including both concertos, together with other pieces for piano and orchestra) for which two pianists join forces in a Chopin marathon whose demands go far beyond a conventional recital.

Lady of the Camellias

is a ballet about distress and memory, about pain and facing the inevitable. KLAUS GEITEL

Marguerite Gautier to Armand Duval:

»When I imagine that I might not die, that you might come back, that I might see the spring again and you would still love me and life would be like it was last summer! I am out of my mind!

I can barely hold the pen I am writing with, telling you of this far-fetched dream I have in my heart.«

ALEXANDRE DUMAS FILS

NUREYEV GALA

In memory of Rudolf Nureyev, who had such a formative influence on dance in Vienna, the Vienna State Ballet’s Nureyev Gala has been a fixed point in the programme since 2011. Nureyev was a visionary: charismatic, emotional and intelligent, athletic and attractive like no other dancer in the second half of the 20th century and not only a great performer of his roles, but also a breaker of the boundaries between classical ballet and contemporary dance; as a choreographer an artist who condensed the classics through virtuosity; as a ballet director a facilitator of new works that have continued to write dance history. The programme of the Nureyev Gala 2024 follows in these footsteps and features the dancers of the Vienna State Ballet as well as topclass guests in works by Rudolf Nureyev, but also August Bournonville, George Balanchine, Harald Lander, Hans van Manen, William Forsythe and Martin Schläpfer. Wolfgang Heinz conducts the Orchestra of the Vienna State Opera.

CHOREOGRAPHIES by GEORGE BALANCHINE, AUGUST BOURNONVILLE, WILLIAM FORSYTHE, HARALD LANDER, HANS VAN MANEN, RUDOLF NUREYEV & MARTIN SCHLÄPFER

Conductor WOLFGANG HEINZ VIENNA STATE BALLET & GUESTS ORCHESTRA OF THE VIENNA STATE OPERA

RUDOLF NUREYEV

DON QUIXOTE

BALLET in one prologue & three acts

Performances 14 16 22 25 29 SEPTEMBER 2023 15 18 25 27 29

Prices C

FEBRUARY 2024

LUDWIG MINKUS arranged by JOHN LANCHBERY

Music

Choreography & Director

Conductor

Stage & Costume Design

Lighting

Staging

MARIUS PETIPA

RUDOLF NUREYEV after

ROBERT REIMER

NICHOLAS GEORGIADIS

MARC ANROCHTE

FLORENCE CLERC

LUKAS GAUDERNAK

JEAN CHRISTOPHE LESAGE

ORCHESTRA OF THE VIENNA STATE OPERA

GISELLE

BALLET in two acts

Performances 2 9 22 27 OCTOBER 2023 11 12 FEBRUARY 2024

Prices C

Music

ADOLPHE ADAM

FRIEDRICH BURGMÜLLER

Choreography & Director ELENA TCHERNICHOVA after MARIUS PETIPA

JEAN CORALLI

JULES PERROT

Libretto JULES-HENRI VERNOY DE SAINT-GEORGES

JEAN CORALLI after THÉOPHILE GAUTIER

Conductor WOLFGANG HEINZ

Stage Design

INGOLF BRUUN

Costume Design CLARISSE PRAUN-MAYLUNAS

Staging

LUKAS GAUDERNAK

JEAN CHRISTOPHE LESAGE

ALICE NECSEA

ORCHESTRA OF THE VIENNA STATE OPERA

OHAD NAHARIN/HEINZ SPOERLI

GOLDBERG-VARIATIONEN

Performances 7 10 13 16 NOVEMBER 2023

Prices C

TABULA RASA

Music

TABULA RASA

DOUBLE CONCERTO FOR TWO VIOLINS, STRING ORCHESTRA & PREPARED PIANO by ARVO PÄRT

Choreography, Stage Design & Lighting

Conductor

Costume Design

Staging

OHAD NAHARIN

GERRIT PRIESSNITZ

ERI NAKAMURA

MATAN DAVID

ORCHESTRA OF THE VIENNA STATE OPERA

GOLDBERG-VARIATIONEN

Music GOLDBERG-VARIATIONEN BWV 988 by

JOHANN SEBASTIAN BACH

Choreography & Costume Design

Stage Design

Lighting

Staging

Piano

HEINZ SPOERLI

FLORIAN ETTI

ROBERT EISENSTEIN

ARMAN GRIGORYAN

CHRIS JENSEN

WILLIAM YOUN

Ohad Naharin’s works are declarations of love to the body in movement – full of freedom, strength, eroticism and wildness, but also of tenderness and vulnerability. The term »tabula rasa« in philosophy describes human beings as a »blank page«. Naharin takes one of these and writes on it his explorations of the self, which the Vienna State Ballet juxtaposes with Goldberg-Variationen, a signature work by Heinz Spoerli: to Johann Sebastian Bach’s Opus summum, a dance drama built out of music-making with the body about human beings, their joys and fears, bonds and ruptures.

SCHLÄPFER & MARIUS PETIPA

SLEEPING BEAUTY

BALLET in one prologue & three acts

Performances 27 30 NOVEMBER 2023

3 6 DECEMBER 2023

9 11 23 25 26 JANUARY 2024

Prices B

Music

THE SLEEPING BEAUTY OP. 66 by PYOTR I. TCHAIKOVSKY

ANAHIT. LYRIC POEM ON THE NAME OF VENUS by GIACINTO SCELSI

Choreography MARTIN SCHLÄPFER

MARIUS PETIPA

Libretto MARTIN SCHLÄPFER after CHARLES PERRAULT

IVAN A. VSEVOLOSZHSKY

MARIUS PETIPA

Conductor

Stage Design

Costume Design

Lighting & Video

PATRICK LANGE

FLORIAN ETTI

CATHERINE VOEFFRAY

THOMAS DIEK

ORCHESTRA OF THE VIENNA STATE OPERA

RUDOLF NUREYEV

SWAN LAKE

BALLET in four acts

Performances 6 11 14 20 23 JUNE 2024

Prices S

Cursed by Carabosse but protected by the Lilac Fairy, Aurora must sleep for a hundred years before Prince Désiré succeeds in kissing her awake. In his exploration of Tchaikovsky’s and Petipa’s The Sleeping Beauty, Martin Schläpfer subtly penetrates the inner worlds of the characters and – in images full of beauty, splendour and lightness, but also disquiet – tells a touching ballet fairy tale about parents and children, love and power and the intrusion of mythical and natural beings into life at a royal court.

Music

SWAN LAKE OP. 20 by PYOTR I. TCHAIKOVSKY

Choreography & Director RUDOLF NUREYEV after MARIUS PETIPA & LEV IVANOV

Libretto after VLADIMIR P. BEGITSHEV

Conductor

Stage & Costume Design

Lighting

Staging

PAUL CONNELLY

LUISA SPINATELLI

MARION HEWLETT

LUKAS GAUDERNAK

JEAN CHRISTOPHE LESAGE

ALICE NECSEA

ORCHESTRA OF THE VIENNA STATE OPERA

SLEEPING BEAUTY

Martin Schläpfer & Marius Petipa p. 71

IM SIEBTEN HIMMEL

Performances 21 24 31 MAY 2024

3 JUNE 2024

Prices C

MARSCH, WALZER, POLKA

Music AN DER SCHÖNEN BLAUEN DONAU

WALTZ OP. 314

ANNEN-POLKA OP. 117

NEUE PIZZICATO-POLKA OP. 449 by JOHANN STRAUSS (SON) SPHÄRENKLÄNGE

WALTZ OP. 235

by JOSEF STRAUSS

RADETZKY-MARSCH OP. 228

by JOHANN STRAUSS (FATHER)

Choreography

Stage & Costume Design

MARTIN SCHLÄPFER

SUSANNE BISOVSKY

Lighting ROBERT EISENSTEIN

Staging JULIE THIRAULT

FLY PAPER BIRD

Music »STÜRMISCH BEWEGT. MIT GRÖSSTER VEHEMENZ«, »ADAGIETTO. SEHR LANGSAM«

Dance universes that take you to »seventh heaven«, but also get under your skin: Martin Schläpfer’s Marsch, Walzer, Polka is a ravishing homage to Vienna waltz dreams and dance ecstasy – delicately drawn with subtle humour, but also full of great emotion. The fascinating costumes are by Viennese designer Susanne Bisovsky. Fly Paper Bird gets under your skin. In his typical movement language that trembles through the bodies of the dancers, Marco Goecke unfolds a dystopian world to the music of Gustav Mahler. And at the end, with George Balanchine’s Symphony in C, pure dance full of enchanting brilliance and virtuosity.

from

SYMPHONY NO. 5 C SHARP MINOR by GUSTAV MAHLER

Choreography

Stage & Costume Design

Lighting

SYMPHONY IN C

Music

MARCO GOECKE

THOMAS MIKA

UDO HABERLAND

SYMPHONY C MAJOR

by GEORGES BIZET

Choreography

GEORGE BALANCHINE

© THE SCHOOL OF AMERICAN BALLET

Adaption Costume Design STEPHANIE BÄUERLE

Lighting after PERRY SILVEY

Staging

PATRICIA NEARY

Conductor FAYÇAL KAROUI

ORCHESTRA OF THE VIENNA STATE OPERA

AT THE VOLKSOPER

MARTIN SCHLÄPFER/ KAROLE ARMITAGE/PAUL TAYLOR

THE MOON WEARS A WHITE SHIRT

Premiere 12 NOVEMBER 2023

Further performances 17 22 NOVEMBER 2023

4 9 12 JANUARY 2024

1 4 8 JUNE 2024

DRITTES KLAVIERKONZERT

Music ALFRED SCHNITTKE

Choreography MARTIN SCHLÄPFER

Piano ALINA BERCU

LIGETI ESSAYS

Music GYÖRGY LIGETI

Choreography KAROLE ARMITAGE

Vocals STEPHANIE MAITLAND

ANNELIE-SOPHIE MÜLLER & BIRGID STEINBERGER

DANDELION WINE

Music PIETRO LOCATELLI

Choreography PAUL TAYLOR

Conductor CHRISTOPH ALTSTAEDT

ORCHESTRA OF THE VIENNA VOLKSOPER

MICHEL FOKINE/ ADI HANAN/UWE SCHOLZ

LES SYLPHIDES

Premiere 8 MAY 2024

Further

LES SYLPHIDES

Music FRÉDÉRIC CHOPIN/ALEXANDER GLAZUNOV

Choreography MICHEL FOKINE

EDEN (WOLRD PREMIERE)

Music FRANZ SCHUBERT & ARVO PÄRT

Choreography

JEUNEHOMME

ADI HANAN

Music WOLFGANG AMADEUS MOZART

Choreography

UWE SCHOLZ

Piano JOHANNES PIIRTO

Conductor IDO ARAD

ORCHESTRA OF THE VIENNA VOLKSOPER

REPERTOIRE REPERTOIRE

Performances 7 11 17 OCTOBER 2023

15 NOVEMBER 2023

2 8 30 DECEMBER 2023

19 24 29 JANUARY 2024

Music LÉO DELIBES

Choreography PIERRE LACOTTE

Conductor ALFRED ESCHWÉ ORCHESTRA OF THE VIENNA VOLKSOPER

PAUL TAYLOR/ MARTIN SCHLÄPFER/MARK MORRIS

PROMETHEAN FIRE

Performances 2 6 22 26 FEBRUARY 2024

PROMETHEAN FIRE

Music JOHANN SEBASTIAN BACH/ LEOPOLD STOKOWSKI

Choreography PAUL TAYLOR

LONTANO & RAMIFICATIONS

Music GYÖRGY LIGETI

Choreography MARTIN SCHLÄPFER

BEAUX

Music BOHUSLAV MARTINŮ

Choreography MARK MORRIS

Conductor JEAN-MICHAËL LAVOIE ORCHESTRA OF THE VIENNA VOLKSOPER

PYOTR I. TCHAIKOVSKY

IOLANTA AND THE NUTCRACKER

MUSICAL THEATRE for the whole family after the OPERA and the BALLET

Performances 4 8 11 17 20 24 FEBRUARY 2024 3 7 10 MARCH 2024

Conductor OMER MEIR WELLBER/ BEN GLASSBERG

Director LOTTE DE BEER

Choreography ANDREY KAYDANOVSKIY

ENSEMBLE & ORCHESTRA OF THE VIENNA VOLKSOPER

FURTHER EVENTS

SOLOIST CONCERTS

THUR 28 SEPTEMBER 2023 LISE DAVIDSEN

THUR 19 OCTOBER 2023 ANNA NETREBKO

TUE 12 DECEMBER 2023 JUAN DIEGO FLÓREZ

TUE 12 MARCH 2024 VITTORIO GRIGOLO

WED 10 APRIL 2024 BENJAMIN BERNHEIM

TUE 28 MAY 2024 ASMIK GRIGORIAN

ENSEMBLE MATINEES

SUN 1 OCTOBER 2023

ISABEL SIGNORET

DANIEL JENZ

RITA KAUFMANN

SUN 29 OCTOBER 2023 FLORINA ILIE

MICHAEL ARIVONY

STEPHEN HOPKINS

CHAMBER MUSIC

VIENNA PHILHARMONIC ORCHESTRA

SAT 16 SEPTEMBER 2023

SUN 14 JANUARY 2024

MARIA NAZAROVA

CARLOS OSUNA

ERIC MELEAR

SUN 3 MARCH 2024 SZILVIA VÖRÖS

HIROSHI AMAKO

HANS-OTTO EHRSTRÖM

SAT 14 OCTOBER 2023

SAT 2 DECEMBER 2023

SAT 20 JANUARY 2024

SAT 24 FEBRUARY 2024

SAT 16 MARCH 2024

SAT 6 APRIL 2024

THUR 9 MAY 2024

ANNA BONDARENKO

STEFAN ASTAKHOV

JULIA SIMONYAN

STUDIO CONCERTS

SAT 30 SEPTEMBER 2023

SAT 18 NOVEMBER 2023

SAT 2 MARCH 2024

SUN 16 JUNE 2024

CONCERT OF THE OPERA SCHOOL OF THE VIENNA STATE OPERA

TUE 21 NOVEMBER 2023

SAT 4 MAY 2024

SAT 25 MAY 2024

SAT 1 JUNE 2024

MATINEE OF THE BALLET ACADEMY OF THE VIENNA STATE OPERA

SUN 23 JUNE 2024

OPEN HOUSE

SUN 3 SEPTEMBER 2023

VIENNA OPERA BALL

THU 8 FEBRUARY 2024

INTRODUCTORY MATINEES

SUN 24 SEPTEMBER 2023

SUN 5 NOVEMBER 2023

SUN 26 NOVEMBER 2023

SUN 10 DECEMBER 2023

SUN 18 FEBRUARY 2024

IL TRITTICO

LE GRAND MACABRE

TURANDOT

BALLET SHIFTING SYMMETRIES

ANIMAL FARM

SUN 17 MARCH 2024 BALLET LADY OF THE CAMELLIAS

SUN 21 APRIL 2024

DANCE MOV IES

LOHENGRIN

SUN 9 JUNE 2024 COSÌ FAN TUTTE

Together with the Vienna State Ballet the Filmcasino and Filmhaus am Spittelberg are hosting the series DANCE MOV IES. Based on the ballet programme, four matinees with follow-up discussions will open extraordinary perspectives on dance. The dates and detailed programme can be found in the monthly leporello, in the magazine Opernring 2 as well as on filmcasino.at.

WORK INTRODUCTIONS

OPERA

LA CLEMENZA DI TITO

LA SONNAMBULA

DAPHNE

TRISTAN UND ISOLDE

IL TRITTICO

DIE FRAU OHNE SCHATTEN

LE NOZZE DI FIGARO

LE GRAND MACABRE

TURANDOT

ELEKTRA

DIE ENTFÜHRUNG AUS DEM SERAIL

LA FANCIULLA DEL WEST

BALLET OPEN CLASS

Professional classical ballet training for dancers, dance teachers and students as well as advanced amateurs (age 14 and above) with MARTIN SCHLÄPFER, LOUISA RACHEDI, SAMUEL COLOMBET and DANIEL VIZCAYO. Every Saturday (except public holidays & summer break). Further information: wiener-staatsballett.at

I VESPRI SICILIANI MEDEA

DIALOGUES DES CARMÉLITES

ANIMAL FARM

GUILLAUME TELL

PARSIFAL

THE TEMPEST

LOHENGRIN

DIE MEISTERSINGER VON NÜRNBERG

FAUST

SALOME

COSÌ FAN TUTTE

BALLET

GOLDBERG-VARIATIONEN

SHIFTING SYMMETRIES

SLEEPING BEAUTY

IM SIEBTEN HIMMEL

TANZPODIUM

TOURS

In addition to the performances, many of our visitors are interested in the architecture and history of the Vienna State Opera. For them, the Vienna State Opera offers guided tours of the building lasting around 40 minutes (in eight languages), offering an exclusive view of the history of the house, its special features and its operation. A new feature are the thematic tours, for example on individual composers with close ties to the house, which also take participants to historic sites near the opera house. You can find full details with dates and prices at wiener-staatsoper.at.

DIRECTOR PORTRAITS

You can find the dates in the monthly schedules, the magazine Opernring 2 and at wiener-staatsoper.at.

Twice a year, the direction of the Vienna State Ballet discusses current topics related to dance and the repertoire in the Gustav Mahler-Saal (in German).

SAT 25 NOVEMBER 2023

SAT 13 APRIL 2024

KÖRPERBILDER IM BALLETT

BALLETT & MODE

OPERA FOR CHILDREN & YOUNG ADULTS

RICHARD WAGNER GERALD RESCH

DAS VERFLUCHTE GEISTERSCHIFF

THE CURSED GHOST SHIP

A touring opera that takes you through the building of the Vienna State Opera

World premiere 16 DECEMBER 2023

Further

performances

17 25 30 31 DECEMBER 2023

6 16 22 JANUARY 2024

25 27 FEBRUARY 2024

11 12 24 MARCH 2024

7 9 10 25 APRIL 2024

5 20 22 27 28 MAY 2024

2 13 20 24 JUNE 2024

Prices Y

Conductor MARKUS HENN ERIC MELEAR

Director NINA BLUM

Stage Design MARCUS GANSER

Costume Design AGNES HAMVAS Choreography KATHLEEN BAUER STAGE ORCHESTRA OF THE VIENNA STATE OPERA

In cooperation with VEREIN INNOVATIVE KINDEROPER

Das verfluchte Geisterschiff based on Richard Wagners’s opera The Flying Dutchman is the new children’s opera that follows Die Entführung ins Zauberreich . Another concept by director Nina Blum takes the audience to three different locations within the Vienna State Opera, to discover the story around the main protagonist, the 16-year-old Senta, and her best friend, the rat. The audience is drawn into the action and accompanied by the stage

orchestra to help saving Senta’s friend Erik from the danger of the cursed captain. Well-known Wagner arias are enriched by the compositions of Gerald Resch and embedded in a new story by librettist Margit Mezgolich. Das verfluchte Geisterschiff is an interactive children’s opera for all adventure seekers who share the fascination of pirates and ghosts and the power of friendship.

ELEKTRISCHE FISCHE

ELECTRIC FISH

MOBILE YOUTH OPERA in the federal states

Text by KRYSZTINA WINKEL based on the novel by SUSAN

KRELLER

and the script

by BARBARA KANTEL and BRANKO JANACK

World Premiere JANUARY 2024

Performances ON REQUEST

Director KENZA KOUTCHOUKALI

Stage & Costume Design MAHSHAD SAFAEI

In cooperation with JEUNESSE and OORKAAN

GIOACHINO ROSSINI

13-year-old Emma has to move from Dublin to a small town in Mecklenburg-Vorpommern with her mother and her two siblings. Moving to a new country turns her life upside down. She misses her grandparents, the English language, and even the teabags, which look quite different in Germany. Together with her new friend Levin, she hatches a plan to return to her homeland.

DER BARBIER FÜR KINDER

THE BARBER FOR CHILDREN

Children’s opera version by ALEXANDER KRAMPE

Performances 10 MARCH 2024 14 APRIL 2024

01 12 MAY 2024 17 JUNE 2024

Prices F

Conductor

STEPHEN HOPKINS

Director GRISCHA ASAGAROFF

Stage & Costume Design LUIGI PEREGO

Einrichtung Bühne LUCA FILACI

Ambrogio ANDY HALLWAXX

THE STAGE ORCHESTRA OF VIENNA STATE OPERA

W. A. MOZART

DIE ZAUBERFLÖTE FÜR KINDER

THE MAGIC FLUTE FOR CHILDREN

PERFORMANCES in the setting of the Vienna Opera Ball

Text DIANA KIENAST & PETER BLAHA based on EMANUEL SCHIKANEDER

Performances 9 FEBRUARY 2024 → 2.30 & 5 PM

There are performances for schools on weekdays. Application for school classes: jugend@wiener-staatsoper.at

As The Magic Flute for Children 2024 falls in the week of Viennese and Lower Austrian midterm holidays, interested persons can order tickets for the 5 pm performance from 1 December 2023.

EDUCATION & OUTREACH

VIENNA STATE OPERA

Exploring new places and meeting new people – in the Vienna State Opera, in the city, in the federal states, in person and digitally.

The Education & Outreach programme of Vienna State Opera invites young people to experience, discuss and help shaping music theatre and ballet. The aim is to enable creative access to the institution and its programme, to create spaces for exchange, encounters and creative-critical interfaces between the world of opera and ballet and the individuals involved. A variety of different projects offer room for individual creative practice and social discourse.

OPERNLABOR –DEVELOPING YOUR OWN MUSIC THEATRE

Based on a repertoire piece from the State Opera programme and relating this to their own lifeworld, young people and young adults between 14 and 24 work with professionals from Vienna State Opera and Superar at the Kulturhaus Brotfabrik to develop their own music theatre performance on topics which are important to them.

TANZLABOR –CREATING DANCE

Inspired by themes, music and movement language from the programme of the Vienna State Ballet children, young people and adults between 7 and 12 and 14 and 24 work with professionals from Vienna State Opera and Tanz die Toleranz to develop their own evening of dance at the Kulturhaus Brotfabrik.

INSIDEOPERA OPERNSTOFF PODCAST

Young adults 16 and above meet Opera artists weekly to discuss works and look behind the scenes. Their thoughts and discussions are recorded in the Podcast OpernStoff and shared on Spotify and Amazon Music.

Experiencing and discussing opera and ballet together. Besides discount tickets for schools and U27 programme for repertoire performances and selected premieres, we offer visits to rehearsals, tours and theatrical school workshops for preparation and debriefing.

OVERVIEW of the full programme for young audiences: wiener-staatsoper.at/en/young For ENQUIRIES and APPLICATIONS: jugend@wiener-staatsoper.at INSIGHTS of projects, rehearsals and processes: INSTAGRAM: wienerstaatsoper_jung

ARTISTS

SINGERS, CONDUCTORS, PIANISTS

ILDAR ABDRAZAKOV 54

VARDUHI ABRAHAMYAN° 29

THOMAS ADÈS 51

CARLOS ÁLVAREZ KS 5, 43, 47

HIROSHI AMAKO E 13, 42, 51, 55, 76

XABIER ANDUAGA° 31, 38

FRÉDÉRIC ANTOUN 51

SARAH ARISTIDOU° 9

MICHAEL ARIVONY E 31, 40, 49, 51, 76

MARCO ARMILIATO 31, 40, 51

STEFAN ASTAKHOV E 17, 31, 38, 53, 76

IVÁN AYÓN RIVAS 37, 47

WOLFGANG BANKL KS E 9, 17, 42, 50, 51

CECILIA BARTOLI 29

TANJA ARIANE BAUMGARTNER 34, 37

PIOTR BECZAŁA KS 35, 53

DANIEL BEHLE 41

NOA BEINART E 32, 35

BENJAMIN BERNHEIM 76

VASILISA BERZHANSKAYA 46, 49

GENNADY BEZZUBENKOV° 17

JADER BIGNAMINI 38

GIAMPAOLO BISANTI 37, 54

TED BLACK OS 5

SARA BLANCH° 39

LUDWIG BLOCHBERGER 41

ANGEL BLUE 35

CHRISTINA BOCK E 42, 44, 49, 53

MICHAEL BODER 44

MONIKA BOHINEC E 5, 42, 44, 53, 55

ANNA BONDARENKO E 5, 76

JULIE BOULIANNE 46

LAWRENCE BROWNLEE 34

DAVID BUTT PHILIP 21, 32, 53

ELEONORA BURATTO 5

MALIN BYSTRÖM 21, 43

JAVIER CAMARENA 32

FABIO CAPITANUCCI 34

GIANLUCA CAPUANO 29, 31, 34

NICOLE CAR 37, 44, 46, 53

DANIEL CARTER° 39

MAX EMANUEL CENČIĆ 29

PAVEL ČERNOCH 50

STEFAN CERNY E

NICOLE CHÉVALIER° 44

FRANCESCO IVAN CIAMPA 31, 38

PAUL CONNELLY 71

EMILY DʼANGELO° 25

LISE DAVIDSEN 76

BERTRAND DE BILLY 35, 44, 46, 47, 53

FREDDIE DE TOMMASO 40, 51

SABINE DEVIEILHE 46

ANTONIO DI MATTEO° 41, 44

CHRISTOPHE DUMAUX 29

DAN PAUL DUMITRESCU E 5, 13, 51

THOMAS EBENSTEIN E 39, 40, 41, 51

HANS-OTTO EHRSTRÖM° 76

AMARTUVSHIN ENKHBAT 35, 54

NORBERT ERNST E 13, 42

ADRIAN ERÖD KS E 42, 44, 49, 51

ALEX ESPOSITO 38

YUSIF EYVAZOV 38

MICHAEL FABIANO 46

ROSA FEOLA 31

ANDRZEJ FILONCZYK° 44

ASHER FISCH 46

ADAM FISCHER 39

CHRISTOF FISCHESSER 49

HOLLY FLACK° 17

JUAN DIEGO FLÓREZ KS 35, 47, 76

SOFIA FOMINA° 41

DANIEL FRANK° 44, 50

RICHARD FU OS

JULIE FUCHS 29

MANÉ GALOYAN° 39

MARTIN GANTNER° 21

YOEL GAMZOU 35

ELĪNA GARANČA KS 50

ANDREA GIOVANNINI E 5

MICHAEL GNIFFKE° 17

CHRISTINE GOERKE 40

IGOR GOLOVATENKO 37, 43

AGUSTÍN GÓMEZ OS 5

VITTORIO GRIGOLO 35, 46, 76

ASMIK GRIGORIAN 13, 76

GÜNTHER GROISSBÖCK E 32, 34, 39, 40, 50, 53

ANDREAS GRÖTZINGER 41

JOSHUA GUERRERO 5

THOMAS GUGGEIS 55

ANNE HALLENBERG° 29

REGINE HANGLER E 42

TOMÁŠ HANUS 50

MARTIN HÄSSLER E 5, 13, 21, 34, 39, 42, 44, 53

WOLFGANG HEINZ° 67, 70

MARKUS HENN 79

PABLO HERAS-CASADO 9, 31

ANNEMARIE HERFURTH

JENNI HIETALA OS 34, 38

STEPHEN HOPKINS 76, 80

STEPHANIE HOUTZEEL E

EVE-MAUD HUBEAUX 46

FLORINA ILIE° E 5, 38, 41, 42, 76

NIKITA IVASECHKO OS 34

PIOTR JAWORSKI OS

DANIEL JENZ E 9, 17, 32, 51, 54, 76

PHILIPPE JORDAN 5, 25, 34, 39, 44, 53, 54

PETER KÁLMÁN° 29

HANS PETER KAMMERER KS E 5, 9

ANJA KAMPE 5, 21, 34

FAYÇAL KAROUI 73

JONAS KAUFMANN KS 13, 37

RITA KAUFMANN° 76

ILJA KAZAKOV E 47

PETER KELLNER E 25, 31, 34, 39, 44

KANGMIN JUSTIN KIM 29

MISHA KIRIA 31, 49

JULIA KLEITER° 49

AXEL KOBER 13, 49

WOLFGANG KOCH 53

LOTHAR KOENIGS 47

SEBASTIAN KOHLHEPP 41

KATHARINA KONRADI° 39

DMITRY KORCHAK 31, 39

JOHANNES MARTIN KRÄNZLE 42

MICHAEL KRAUS 46

ARTEM KRUTKO° 17

MIRIAM KUTROWATZ OS 5, 38, 42

JAMES LAING° 51

PATRICK LANGE 71

KARL LAQUIT° 17

MICHAEL LAURENZ E 41, 53

JACK LEE OS 32, 34

YONGHOON LEE 43

MARKUS LEHTINEN 63

TOMMASO LEPORE

ALESSANDRO LIBERATORE° 37

KATE LINDSEY 25, 31, 34, 51

FEDERICA LOMBARDI 25, 31, 39, 44, 51

DAVIDE LUCIANO 34, 38, 39

AMBROGIO MAESTRI 31

IVAN MAGRÌ 54

STEPHANIE MAITLAND

JOHN MALKOVICH° 29

CHRISTOPHER MALTMAN 25, 44

ANTONELLO MANACORDA 35

ELENA MANISTINA° 47

RUZAN MANTASHYAN° 47

ROBERTA MANTEGNA° 40, 55

FILIPE MANU° 25

ALEXEY MARKOV 46

AURORA MARTHENS E 17

RICCARDO MASSÌ° 35

DIEGO MATHEUZ° 34

CORNELIUS MEISTER 39, 41

ERIC MELEAR 76, 79

NINA MINASYAN 31

SARA MINGARDO° 29

MAXIM MIRONOV 29

KRISTINA MKHITARYAN 13, 38, 46

KATLEHO MOKHOABANE OS 5

ATTILA MOKUS E 5, 13

STEFANO MONTANARI 41

MARIA MOTOLYGINA 46

REGULA MÜHLEMANN 29

HANNA-ELISABETH MÜLLER 32, 53

MICHAEL NAGY 39, 50

CHRISTIAN NATTER 41

MARIA NAZAROVA E 9, 32, 40, 47

ANNA NETREBKO KS 38, 76

ALMA NEUHAUS OS 5, 35

CHRISTIAN NICKEL 41

GEORG NIGL 9

PATRICIA NOLZ E 5, 31, 34, 39, 42, 44, 53, 54

CAMILLA NYLUND KS 40, 42, 54

KRISTINA OKERLUND

LISETTE OROPESA 35, 47

JOHN OSBORN 43

CARLOS OSUNA E 76

ADAM PALKA 34, 50, 53

ELENA PANKRATOVA 37

JUSUNG GABRIEL PARK OS 44, 53

STEPHANO PARK OS

IAIN PATERSON 34, 54

MARCUS PELZ E

EVELINO PIDÒ 38

BORIS PINKHASOVICH 47, 55

ANNA PIROZZI 54

ADAM PLACHETKA 34

MARGARET PLUMMER E 17

MATTHEW POLENZANI 31

ANDREI POPOV° 17

JESSICA PRATT 41

GERRIT PRIESSNITZ 70

MARINA PRUDENSKAYA 9

ROBERT REIMER 68

CÉCILE RESTIER

NURIA RIAL° 29

BERNARD RICHTER 46

CARLO RIZZI° 43

STELLA ROBERTS 41

EDGARDO ROCHA 44, 49

MARCO FILIPPO ROMANO° 34

ANGEL ROMERO 49

MATTHEW ROWE° 59

XAVIER SABATA 9

SERENA SÁENZ 5, 41

GIACOMO SAGRIPANTI 32

LUCA SALSI 51, 55

FABIO SARTORI 13

VINCENZO SCALERA

ANDREAS SCHAGER 34, 37

LUKAS SCHMIDT OS

JÖRG SCHNEIDER E 13

ERWIN SCHROTT KS 35, 43

GOLDA SCHULTZ 39

MICHAELA SCHUSTER 5, 40, 46, 54

LEVY SEKGAPANE 31

NIKOLAY SIDORENKO 50

GERHARD SIEGEL 9, 54

ISABEL SIGNORET E 5, 9, 17, 39, 44, 49, 55, 76

JULIA SIMONYAN 76

PHILIPPE SLY 39

ALEXANDER SODDY 17, 37, 40, 42, 46, 50

EVGENY SOLODOVNIKOV E 38

TOBY SPENCE 51

JENDRIK SPRINGER

ELENA STIKHINA 5, 35

SIMONAS STRAZDAS° OS 5

KRASSIMIRA STOYANOVA KS 35

DARIA SUSHKOVA OS 5, 47

ROBERTO TAGLIAVINI 32, 46, 49

BRYN TERFEL SIR KS 38

LUDOVIC TÉZIER 35, 37

JEAN TEITGEN° 47

CHRISTIAN THIELEMANN 21, 37

ILEANA TONCA E 38, 39, 42, 49

CLEMENS UNTERREINER E 5, 17, 37, 38, 40, 51

ELZA VAN DEN HEEVER 37

CHRISTIAN VAN HORN° 44

WERNER VAN MECHELEN° 50

ELENA VASSILIEVA° 17

ANIKA VAVIC° 63

ROLANDO VILLAZÓN 29

CARLO VISTOLI° 29

BOGDAN VOLKOV 5, 38, 44, 47

MICHAEL VOLLE 37

OKKA VON DER DAMERAU 50

EMANUELA VON FRANKENBERG 41

ANNE SOFIE VON OTTER 29

SZILVIA VÖRÖS E 32, 54, 76

SEBASTIAN WEIGLE 32

ELI ŠKA WEISSOVÁ 50

FRANZ WELSER-MÖST 13

SEBASTIAN WENDELIN 34

CAROLINE WETTERGREEN 51

RACHEL WILLIS-SØRENSEN 37, 43

CORINNE WINTERS° 50

PRETTY YENDE 32

KWANGCHUL YOUN 51

WILLIAM YOUN 70

SIMONE YOUNG 42, 43

SLÁVKA ZÁMEČNÍKOVÁ E 31, 39, 44, 46, 49, 55

IGOR ZAPRAVDIN 63

LAWRENCE ZAZZO 44

GEORG ZEPPENFELD 21, 53

ANTON ZIEGLER

E Member of the Vienna State Opera Ensemble OS Member of the Young Artist Program of the Vienna State Opera KS Kammersängerin/Kammersänger KSCH Kammerschauspieler

Debut

VIENNA STATE BALLET

First Soloists

IOANNA AVRAAM, OLGA ESINA, KIYOKA HASHIMOTO, HYO-JUNG KANG, LIUDMILA KONOVALOVA, KETEVAN PAPAVA, CLAUDINE SCHOCH; DENYS CHEREVYCHKO, DAVIDE DATO, MASAYU KIMOTO, MARCOS MENHA, ALEXEY POPOV, BRENDAN SAYE

Senior Artist

YUKO KATO

Soloists

ELENA BOTTARO, SONIA DVOŘÁK, ALICE FIRENZE, REBECCA HORNER, ALEKSANDRA LIASHENKO; ENO PECI, ARNE VANDERVELDE, DANIEL VIZCAYO, GÉRAUD WIELICK

Demi Soloists

NATALYA BUTCHKO, ILIANA

CHIVAROVA, GAIA FREDIANELLI, SVEVA GARGIULO, ALEXANDRA

INCULET, GALA JOVANOVIC,

HELEN CLARE KINNEY, ESZTER LEDÁN, ANITA MANOLOVA; RASHAEN ARTS, JACKSON CARROLL, CALOGERO FAILLA, LOURENÇO

FERREIRA, GIORGIO FOURÉS, FRANÇOIS-ELOI LAVIGNAC, TOMOAKI NAKANOME, DUCCIO TARIELLO, ANDREY TETERIN, ZSOLT TÖRÖK

Corps de ballet Vienna State Opera

ALISHA BRACH, MARIE BREUILLES, LAURA CISLAGHI, VANESSZA CSONKA, ADI HANAN, ISABELLA KNIGHTS, ZSÓFIA LACZKÓ, PHOEBE LIGGINS, SINTHIA LIZ, MEGHAN LYNCH, TATIANA MAZNIAK, KATHARINA

MIFFEK, LAURA NISTOR, ELLA

PERSSON, ALAIA ROGERS-MAMAN, IULIA TCACIUC, HELENA THORDALCHRISTENSEN, GLORIA TODESCHINI, CHIARA UDERZO, CÉLINE JANOU

WEDER; BENJAMIN ALEXANDER, VICTOR CAGNIN, GIOVANNI CUSIN, MARIAN FURNICA, ANDRÉS GARCIA

TORRES, JAVIER GONZÁLEZ CABRERA, TREVOR HAYDEN, GASPARE LI

MANDRI, GODWIN MERANO, IGOR MILOS, JUNNOSUKE NAKAMURA, HANNO OPPERMAN, KRISTIÁN

POKORNÝ, NICOLA RIZZO

Corps de ballet Vienna Volksoper

DOMINIKA AMBRUS, BARBARA

BRIGATTI, VIVIAN DE BRITTO SCHILLER, KRISTINA ERMOLENOK, TAINÁ

FERREIRA LUIZ, TESSA MAGDA, OLIVIA

POROPAT, MARIE RYBA, NATALIE

SALAZAR, MARTA SCHIUMARINI, MILA SCHMIDT, UNA ZUBOVIĆ; GABRIELE

AIME, LÁSZLÓ BENEDEK, ROMAN

CHISTYAKOV, RICCARDO FRANCHI, KEVIN HENA, DRAGOS MUSAT, KEISUKE NEJIME, ALEKSANDAR ORLIĆ, FRANCESCO SCANDROGLIO, GLEB

SHILOV, FELIPE VIEIRA, MARTIN WINTER

ORCHESTRA OF THE VIENNA STATE OPERA

Concert master

RAINER HONECK, VOLKHARD STEUDE, ALBENA DANAILOVA, YAMEN SAADI

1st violin

JUN KELLER, DANIEL FROSCHAUER, MAXIM BRILINSKY, BENJAMIN MORRISON, LUKA LJUBAS, MILAN ŠETENA, MARTIN KUBIK, MARTIN ZALODEK, KIRILL KOBANTSCHENKO, MAG. ART. WILFRIED HEDENBORG, JOHANNES TOMBÖCK, ISABELLE BALLOT, ANDREAS GROSSBAUER, PAVEL KUZMICHEV, MAG. ART. OLESYA KURYLYAK, THOMAS KÜBLBÖCK, ALINA PINCHAS, ALEXANDR SOROKOW, MAG. ART. EKATERINA

FROLOVA, MAG. ART. PETRA KOVAČIČ, MAG. ART. KATHARINA ENGELBRECHT, MAG. ART. LARA KUSZTRICH 2nd violin

RAIMUND LISSY, LUCAS STRATMANN, PATRICIA HOOD-KOLL MA, ADELA FRĂSINEANU-MORRISON MA, HANNAH CHO, ALEXANDER STEINBERGER, TIBOR KOVÁČ, HARALD KRUMPÖCK, MAG. ART. MICHAEL KOSTKA, BENEDICT LEA BMUS. PERF., MARIAN LEŠKO, JOHANNES KOSTNER, MARTIN KLIMEK, JEWGENIJ ANDRUSENKO, SHKËLZEN

DOLI, DOMINIK HELLSBERG, HOLGER TAUTSCHER-GROH, JÚLIA GYENGE, LIYA FRASS, MARTINA MIEDL Principal viola

TOBIAS LEA, MAG. ART. CHRISTIAN FROHN, BENJAMIN BECK Viola

WOLF-DIETER RATH, MAG. ART. ROBERT BAUERSTATTER, ELMAR LANDERER BA, MARTIN LEMBERG, URSULA RUPPE, INNOKENTI GRABKO, MICHAEL STRASSER, THILO FECHNER, MAG. THOMAS HAJEK, MAG. DANIELA IVANOVA, SEBASTIAN FÜHRLINGER, TILMAN KÜHN, MAG. ART. BARNABA POPRAWSKI, CHRISTOPH HAMMER MA

Principal cello

TAMÁS VARGA, PETER SOMODARI Cello

RAPHAEL FLIEDER, MAG. ART. CSABA BORNEMISZA, SEBASTIAN BRU, MAG. ART. WOLFGANG HÄRTEL, URSULA WEX, DIPL. MUS. ECKART SCHWARZ-SCHULZ, MAG. ART. STEFAN GARTMAYER, EDISON PASHKO, BERNHARD NAOKI HEDENBORG, DAVID PENNETZDORFER, BERNADETTE KEHRER

Principal double bass

HERBERT MAYR, MAG. ART. CHRISTOPH WIMMER-SCHENKEL, ÖDÖN RÁCZ

Double bass

JERZY DYBAŁ, IZTOK HRASTNIK, FILIP WALDMANN, ALEXANDER MATSCHINEGG, MICHAEL BLADERER, BARTOSZ SIKORSKI, JAN GEORG LESER, DIPL. MUS. J ĘDRZEJ GÓRSKI, ELIAS MAI,

VALERIE SCHATZ Harp

CHARLOTTE BALZEREIT, ANNELEEN LENAERTS Flute

WALTER AUER, KARL-HEINZ SCHÜTZ, LUC MANGHOLZ, GÜNTER FEDERSEL, MAG. ART. WOLFGANG BREINSCHMID, KARIN BONELLI BA Oboe

CLEMENS HORAK, SEBASTIAN BREIT, PAUL BLÜML, HARALD HÖRTH, WOLFGANG PLANK, HERBERT MADERTHANER Clarinet

MAG. ART. MATTHIAS SCHORN, MAG. ART. DANIEL OTTENSAMER, MAG. ART. GREGOR HINTERREITER, ANDREAS WIESER, ANDREA GÖTSCH, ALEX LADSTÄTTER MA Bassoon

HARALD MÜLLER, SOPHIE DERVAUX, LUKAS SCHMID, ŠTĚPÁN TURNOVSKÝ, WOLFGANG KOBLITZ, BENEDIKT DINKHAUSER Horn

RONALD JANEZIC, MAG. ART. JOSEF REIF, MANUEL HUBER, SEBASTIAN MAYR, MAG. ART. WOLFGANG LINTNER, JAN JANKOVIĆ, WOLFGANG VLADÁR, MAG. ART. THOMAS JÖBSTL, WOLFGANG TOMBÖCK, LARS MICHAEL STRANSKY

Trumpet

MARTIN MÜHLFELLNER, STEFAN HAIMEL, JÜRGEN PÖCHHACKER, REINHOLD AMBROS, GOTTHARD EDER, DANIEL SCHINNERL-SCHLAFFER

Trombone

DIETMAR KÜBLBÖCK, ENZO TURRIZIANI, WOLFGANG STRASSER, KELTON KOCH, JOHANN STRÖCKER, MARK GAAL Tuba

MAG. ART. PAUL ADOLF HALWAX, CHRISTOPH GIGLER

Timpani

ANTON MITTERMAYR, ERWIN FALK, THOMAS LECHNER BA

Percussion

KLAUS ZAUNER, OLIVER MADAS, BENJAMIN SCHMIDINGER, JOHANNES SCHNEIDER

STAGE ORCHESTRA OF THE VIENNA STATE OPERA Stage orchestra manager

MARKUS HENN Stage orchestra conductors

MARKUS HENN, STEPHEN HOPKINS, ERIC MELEAR Violin

PETER NAGL, OREADA STEUDE, LUKA KUSZTRICH, ELENA KRYLOVA, CRISTIAN RUSCIOR Viola

LASZLO TOMA, MATTHIAS HINK

Cello

ANDREA WUTSCHEK, JAN RYSKA

Double bass

ANTAL RÁCZ

Harp

LADISLAV PAPP

Flute

WOLFGANG ZUSER, WOLFGANG KAGAMI-LINDENTHAL, MATTHIAS SCHULZ

Oboe

KONSTANZE BROSCH, JULIA ZULUS

Bassoon

BEATRIX KISS, JOHANNES KAFKA

Clarinet

HANNES MOSER, STEFAN NEUBAUER, PETRA LIEDAUER

Horn

DAVID KAMMERZELT, ELISABETH JÖBSTL, WOLFGANG LÜCKING

Trumpet

ALFRED GAAL, BERNHARD

PRONEBNER, GERHARD BERNDL, BERNHARD BITTERMANN

Trombone

FRANZ GEROLDINGER, MARKUS

PICHLER, JOHANNES ETTLINGER

Tuba

ALBERT WIEDER

Percussion

WILHELM SCHULTZ, MICHAEL KAHLIG, LEONHARD WALTERSDORFER, MAXIMILIAN THUMMERER

CHORUS OF THE VIENNA STATE OPERA

Chorus master

THOMAS LANG

Deputy chorus master

MARTIN SCHEBESTA

Assistant chorus master

JAKOB CHABROŇ, DAVORIN MORI

Administration

EVELIN SAUL, DOMINIK RIEGER

Rehearsal pianist

KYOKO YOSHIZAWA

1st soprano

LAURA JEAN ELLIGSEN, RENATE GUTSCH, JUNG WON HAN, IRENE HOFMANN, CLAUDIA HORVATH, SEÇIL ILKER, MARIA KARRER, DIJANA KOS, IRENA

KRSTESKA, DALIBORKA LÜHNSKIBINSKI, WILMA MALLER, KYOKO

NUKUMI, DAVIDONA PITTOCK, MARÍA

ISABEL SEGARRA, ANTIGONI CHALKIA

2nd soprano

ANNA-MARIA BIRNBAUER, D

ENISA DANIEL, KRISZTINA EXNER, MARIA GUSENLEITNER, SVENJA KALLWEIT, REGINA KNAUER, KAYA MARIA LAST, MARTINA REDER, PIIA RYTKÖNEN, ELISABETH

VAN DER VLOEDT

1st alto

ANNA CHARIM, LUCILLA GRAHAM, ANNA LACH, JOZEFÍNA MONARCHA, IRINA PEROS, BARBARA REITER, ZSUZSANNA SZABÓ, KARIN WIESER, ANNA YASIUTINA

2nd alto

KRISTINA AGUR,

GABRIELLA BESSENYEI, ARINA HOLECEK, SABINE KOGLER, VIKTORIA MCCONNELL, DYMFNA MEIJTS, MARI NAKAYAMA, KATARINA PORUBANOVA, EVELIN SAUL, KAREN SCHUBERT, ALENA TEMESIOVA

1st tenor

BURKHARD HÖFT, JACEK

KRZYSZKOWSKI, JURAJ KUCHAR, ROMAN LAUDER, JIN HUN LEE, HAKKI ÖZPINAR, TANER ORHAN, ANDRÉ LEON POTGIETER, WON CHEOL SONG, ZSOLT TEMES, ROLAND WINKLER, OLEG ZALYTSKIY

2nd tenor

WOLFRAM IGOR DERNTL, FRANZ GRUBER, CHRISTOPH LEVENTE HARA, MENG-CHIEH HO, THOMAS KÖBER, DANIEL LÖKÖS, DRITAN LUCA, MARTIN MÜLLER, GERHARD REITERER, GOTTFRIED STIFTER, EDGAR TRON

1st bass

SLAVEN ABAZOVIC, HACIK

BAYVERTIAN, JOHANNES GISSER, KONRAD HUBER, HIRO IJICHI, KARL NEBENFÜHR, ALEJANDRO PIZARRO-ENRÍQUEZ, PANAJOTIS

PRATSOS, MARTIN THYRINGER, MICHAEL WILDER

2nd bass

LIVIU BURZ, MICHAEL KUCHAR, CSABA MARKOVITS, JENS MUSGER, JAROSLAV PEHAL, FERDINAND

PFEIFFER, DOMINIK RIEGER, WATARU SANO, OLEG SAVRAN, MARIO STELLER, HERMANN THYRINGER, ION ŢIBREA

CHORUS ACADEMY

Artistic management

MARIO STELLER

Administrative management

LARISSA WEIDLER

MEMBERS

SEONGCHAN BAHK, LAN GAN, YICHEN GAO, YIGIT GUL, MIRIAM HAJIYEV, NARUMI HASHIOKA, HYUNJUN HWANG, YOONSOO KIL, TAESEUP KIM, AMANE MACHIDA, ASUKA MAEDA, MEI MATSUMOTO, RISA MATSUSHIMA, AARON MCINNIS, MICHAEL MENSAH, EMI NAKAMURA, NATALIA PASTRANA, SAMUEL ROBERTSON, VIOLETTA VASILEVA, PIJARIN WIRIYASAKDAKUL

HONORARY MEMBERS

MARCO ARMILIATO, KS AGNES BALTSA, KS RENATO BRUSON, KS JOSÉ CARRERAS, KS ILEANA COTRUBAȘ, KS PLÁCIDO DOMINGO, ADAM FISCHER, KS FERRUCCIO FURLANETTO, KS FRANZ GRUNDHEBER, IOAN HOLENDER, KS GUNDULA JANOWITZ, KS DAME GWYNETH JONES, RAINER KÜCHL, MANUEL LEGRIS, MARCO ARTURO MARELLI, KS ÉVA

MARTON, ZUBIN MEHTA, KS WALTRAUD MEIER, DOMINIQUE MEYER, KS THOMAS MOSER,RICCARDO MUTI, KS LEO NUCCI, ORCHESTRA OF

THE VIENNA STATE OPERA/VIENNA PHILHARMONIC, SEIJI OZAWA, THOMAS PLATZER, WERNER RESEL, KS KURT RYDL, KSCH OTTO SCHENK, PETER SCHNEIDER, KS NEIL SHICOFF, GEORG SPRINGER, ROBERT STANGL, KS BERND WEIKL, SIMONE YOUNG, KS

MARA ZAMPIERI, KS HEINZ ZEDNIK

MANAGEMENT DEPARTMENTS

General Director

DR. BOGDAN ROŠČIĆ

Head of artistic administration

SABINE HÖDL-WEINBERGER (HEAD), MAGDALENA KRAUSGRUBER, MAS

Artistic administration

RENATE DÖNCH, ANNEMARIE LEITNER

Production management

MAG. STEPHANIE WIPPEL, MARIE-THERES HOLZER, MAS, MAG. CAROLINE URBAN-GRIES

Artistic management

MAG. LAURA REINTHALLER-THELEN (ASSISTANT TO THE GENERAL DIRECTOR), MAG. GERTRUD RENNER (PROJECT MANAGEMENT FRANZÖSISCHER SAAL), HELENA BILGERI, MA

Casting

ROBERT KÖRNER

Opera dramaturgy

SERGIO MORABITO (CHIEF DRAMATURGE), DR. ANDREAS LÁNG, DR. OLIVER LÁNG, MAG. NIKOLAUS STENITZER

Education & outreach

KRYSZTINA WINKEL, MA (HEAD), MAG. MARGARETE KRENN-ARNOLD, KATHARINA AUGENDOPLER, BA

Young Artist Program of the Vienna State Opera

DR. MICHAEL KRAUS (ARTISTIC HEAD), MAG. UTA SANDER, MAS (ADMINISTRATIVE HEAD) HR, legal & organisation

DR. FLORIAN SCHULZ, LL.M (PROCURIST, HEAD) Organizational development, assistant to the procurist

KORA WIELOSINSKI, MSC HR art

MARLIES BINDER, MA (HEAD), MARCO BALOGH, STEFAN KARALL, MONIQUE LUTNIK, LL.B. HR technical department

GEORG GELBMANN (HEAD), MAG. ASTRID BERGER, ANDREAS SCHÖNHOFER

Legal

MAG. KATHARINA SEDIVY (HEAD, DEPUTY HEAD OF DEPARTMENT ), MMAG. THOMAS BARTHOL, MMAG. MARKUS GRUNDTNER, MAG. SOPHIE LOHNERT-MENAPACE, LL.M., MAG. CONSTANZE LÖSCH International cooperations

MMAG. PIA ZAUNER Marketing & press

SUSANNE ATHANASIADIS (HEAD) Press

MAG. MARIA WIESINGER (HEAD)

DORIS KÖNIG, BA, ANTONIA PERKO, BA

Marketing

MAG. HEMMA GRITSCH, KATHARINA

HAIBÖCK, MA, CARMEN WIENINGER, BA

Eventmarketing, Opera Ball & Guided Tours

ANNA MAGER (HEAD),

SUSANNA WIESNER, MA, CESAR PÉREZ

Ticketing Opera Ball & Guided Tours

ANITA HORAK, GUNNAR

KHÜNL-BRADY, RAPHAEL GRASCHER

Service, Information

MAG. KATHARINA REINISCH

Graphics & photography

IRENE NEUBERT, JULIA PÖTSCH, MICHAEL PÖHN

Sponsoring,

Official Circle of Friends & rentals

MARTIN J. BONHARD, MBA (HEAD)

Rentals

MAG. LIINA ANGER

Backoffice sponsoring

VERONIKA PREISINGER, MA MAS

Official Circle of Friends

MAG.(FH) SZILVIA CSÓKA, YULIYA DRAGANOVA, MA

Digital development

DI MARKUS KREUZBAUER

Management assistants

CHRISTIAN HUBER, CHRISTIAN SEREINIG

SCENIC DEPARTMENT

Head of scenic department

MAG. KATHARINA STROMMER

Assitants

MAG. ALEXANDER EDTBAUER, NATALIE

ORTNER-MENCONI, NIV HOFFMAN, PETER PACHER, LISA PADOUVAS, MA,

MAG. WOLFGANG SCHILLY

Stage managers

MAXIMILIAN KURZ, MA (HEAD), DR. JOHANNES CEHAK, ANDREAS

FISCHER, CHRISTOPH NECHVATAL, ELISABETH PELZ-STEIN, ELISA LEWISCH

Dance rehearsals director (chorus and extras)

CHRISTIAN HERDEN

Extras

SEBASTIAN KERSSENBROCK (HEAD), CHRISTOF HARTMANN, KATRIN ROSCHANGAR

MUSICAL DEPARTMENTS

Music director

PHILIPPE JORDAN

Musical assistant to the Music director

JENDRIK SPRINGER

Music director’s personal assistant

ANDREA DUNST

Musical studies director

STEPHEN HOPKINS

Deputy musical studies director

RITA KAUFMANN

Personal assistant to the musical studies director

MAGDALENA KRAUSGRUBER, MAS

Solo correpetition

HANS-OTTO EHRSTRÖM, ANNEMARIE HERFURTH, TOMMASO LEPORE, ERIC MELEAR, KRISTIN OKERLUND, CÉCILE RESTIER, JULIA SIMONYAN, ANTON ZIEGLER,

KYOKO YOSHIZAWA (CHOIR), RICHARD FU (YOUNG ARTIST PROGRAM OF THE VIENNA STATE OPERA),

PIOTR JAWORSKI (YOUNG ARTIST PROGRAM OF THE VIENNA STATE OPERA)

Maestri Suggeritori

MAG. MARIO PASQUARIELLO (HEAD UNTIL OCTOBER 2023), ANDREAS ABEGG (HEAD FROM NOVEMBER 2023), MAG. LUCIO GOLINO, MARIO PERKTOLD, JERA H. PETRIČEK

Administration

MAG. IGOR CHOMČA (HEAD)

State Opera orchestra maintenance

CHRISTINE HONOLKE

Stage orchestra maintenance

MICHAEL KAHLIG, LEONHARD WALTERSDORFER

Administration

State Opera orchestra, extra chorus

LARISSA WEIDLER

Stage music conductors

MARKUS HENN (HEAD),

STEPHEN HOPKINS, ERIC MELEAR

Music library

DR. KATHARINA HÖTZENECKER (HEAD), JOHANNES DORFMEISTER, THOMAS HEINISCH, MONA LISA KRESS

OPERA SCHOOL FOR CHILDREN

Artistic director & chorus director

JOHANNES MERTL

Voice teaching

ULRIKE BANCHER, MARLIS BIRKNER

Musical team

KEREM SEZEN, GEORG STANGELBERGER

Stage presence training

KARL WENNINGER

Solo voice teaching (gifted & talented) ALEXANDER KAIMBACHER, ILEANA TONCA

Administration

KATHRIN SCHULZ

Management, music library

PARVIZ YAHYAVI

Governesses

REGINA BAROWSKI, VANJA KUGLER-TRAJKOVIĆ, LONE RASMUSSEN Porter

GIANPIERO RUSSO

TECHNICAL DEPARTMENTS

Technical director

ING. PETER KOZAK

Technical management staff ING. MICHAEL WILFINGER, BERNHARD GEOSITS, JAQUELINE KRUMMEL, B.ENG., DI ELISABETH STIEDL, ING. MARKUS VESECKY, ALEXANDER SPYRA, B.ENG., DIETMAR PROKSCHY, ANDREAS RICHTER, HARALD MÜHLBACHLER, RICHARD SCHMIDINGER, CHRISTOPH OEFNER

Safety expert ING. MANFRED LENZ BSC

Head of Lighting

ING. RUDOLF FISCHER, ROBERT EISENSTEIN

Head of Audio & video

DI (FH) ATHANASIOS ROVAKIS, FRANCESCO VALENTINI

Event technician

SOPHIE RÖSCH

Properties manager

ING. CHRISTINA FEIK, FLORENTINA GODULA-MOSER

Costume director

MAG. VERA RICHTER

Wardrobe management

MARIA MADER, CHRISTIAN PLABENSTEINER

Makeup management

MAG. BEATE KRAINER

Facility management

ING. ALEXANDER HAINKA (HEAD), HARALD GEPP, ING. RAFAL SZWIDKE, THOMAS LENHARD, GINO CASTAGNOLA, MANUEL ZEJNELI

Properties manager

MICHAEL ROGNER (HEAD)

COMMERCIAL MANAGEMENT

Administrative director

DR. PETRA BOHUSLAV

Assistant to the administrative director

KERSTIN KOLLER, BA MAS

Accounting & controlling

ALEXANDER BAUMGARTNER (HEAD), MAG. GERNOT HELLER, TEUTA ALUSHAJ, MAG. RAFAEL STARY

Ticketing LINDA-YVONNE WERDAN BA (HEAD), EVA BUCEK, MICHELE DA SILVA, MEGI GODAJ, MICHAEL GOUFAS, KARIN HASZONITS, REBECCA LILLY, VIKTORIA LISTABARTH BA, LAURA LOACKER, LUKAS BED, SEBASTIAN NEUBAUER, CLAUDIA SZALAY, FABIAN ZIMMERMANN

Audience services

OTHMAN ADLAOUI (HEAD) IT

OLIVER ZENNER (HEAD), THOMAS CHADT, MATTHÄUS KÖNIG, DOMINIK RATH

VIENNA STATE BALLET

Ballet Director & Chief Choreographer

MARTIN SCHLÄPFER

Managing Director

MAG. SIMONE WOHINZ

Deputy Ballet Director

LOUISA RACHEDI

Personal Assistant to the Ballet Director & Chief Choreographer & Head of the Artistic Operations Management

MAG. VERENA KÖGLER

Assistant to the Managing Director & Personnel Administration

MAG. HELGA ISAK

Production Contracts & Controlling

MAG. CORNELIA NONHOFF

Assistant to the Artistic Operations Management

SONIA SETIEN

Shoe Management

FRANZISKA WALLNER-HOLLINEK

Administration Volksoper

ELISABETH BOLIUS

Dramaturgy

MAG. ANNE DO PAÇO

(CHIEF DRAMATURGE), NASTASJA FISCHER, MA, MAG. IRIS FREY Public Relations

MAG. GERALD C. STOCKER

Sales Marketing & Event Support

ANGELIKA MEYER-SPEER, MA

Photographer

ASHLEY TAYLOR

Videographer

JAKOB PLATTNER

Production Management

LUKAS GAUDERNAK (STATE OPERA), ELISABETH BOLIUS (VOLKSOPER)

Rehearsal Disposition

VESNA ORLIĆ (VOLKSOPER)

Ballet Masters

LUKAS GAUDERNAK, JULIE THIRAULT, VESNA ORLIĆ (1ST BALLET MASTER), SAMUEL COLOMBET, SERGEY IGNATIEV (VOLKSOPER)

Ballet Masters (Guests)

JEAN CHRISTOPHE LESAGE, ALICE NECSEA

Pianists

JIŘÍ NOVÁK, SHINO TAKIZAWA, IGOR ZAPRAVDIN (STATE OPERA), JOZEF BEZAK, BÉLA FISCHER (VOLKSOPER)

Masseurs

MAG. ART BARBARA BAUMANN BSC, RAINER HEIZINGER, PETER HLEDIK

Circle of Friends Vienna State Ballet

ADRIAN CUNESCU

BALLET ACADEMY OF THE VIENNA STATE OPERA

Artistic Director

MARTIN SCHLÄPFER

Managing Director

MAG. SIMONE WOHINZ Director

CHRISTIANA STEFANOU, MA

Ballet Master Junior Company

CALLUM HASTIE

Rehearsal Manager/Care Giver

MASSIMO GERARDI, MA Teachers

MAG. ULRIKE AMON, ANNKATHRIN DEHN, ZSOLT TIBOR

ELEK, MA, ROBERT GABDULLIN, ZDENKO GALABA, MA, KAREN HENRY, CATERINA MANTOVANI, LUCIAN

NECSEA, DILIANA NIKIFOROVA, PHD, VLADIMIR SHISHOV, ALENA WEBER, JENNIFER O’GRADY WEISS Pianists

CRISTIAN AXT, FRANTISEK DRAFI, MICHAEL FISCHER, AYA KAUKAL, SEUL LEE, MAYUKO OBUCHI, MA, ANNA RESCH, NORIKO SCHMIDT-KAWASE, YASUHITO WATANABE

Administration & Controlling

MAG. ELISABETH SCHUBERT Coordinator

BOSTJAN IVANJSIC, MA School Administration

MAG. ALEXA KOCH

Assistant to the Management

WENDY MAURER-MENZEL

Facility Management

PARVIZ YAHYAVI Porter

GIANPIERO RUSSO Care Giver

MIRCAN ADTAKAN, LISA WALLNER Health Coordinator

SARAH-MARIA HARTL, BSC Health and Confidence Psychologist

HANNAH SCHATZ, MSC.

SUPERVISORY BOARD & WORKS COUNCIL

Supervisory board

MAG. CHRISTIAN KIRCHER (CHAIRMAN), MAG. ANDREAS TREICHL (DEPUTY), ELKE HESSE, DR. JOHANNES HONSIGERLENBURG, DR. CLEMENS JABLONER, RUTH SCHUSTER, CHRISTOPH BIEBL (EMPLOYEE’S REPRESENTATIVE), KS

HANS PETER KAMMERER (EMPLOYEE’S REPRESENTATIVE)

Works council for performers

KARL NEBENFÜHR (WORKS COUNCIL CHAIRMAN & SECRETARY), KS HANS PETER KAMMERER (1ST DEPUTY), CÉLINE JANOU WEDER (2ND DEPUTY)

Works council for non-performers

WILFRIED HEDENBORG (CHAIRMAN), MARTIN ZALODEK (1ST DEPUTY), WOLFGANG LINTNER (2ND DEPUTY & TREASURER)

Works council for technical staff

CHRISTOPH BIEBL (CHAIRMAN), THOMAS OSSOWSKY (DEPUTY)

Works council for stage orchestra

WOLFGANG ZUSER (CHAIRMAN), STEFAN NEUBAUER (DEPUTY), BEATRIX KISS (DEPUTY & TREASURER)

REPRESENTATIVES

Child Welfare Team

DR. FRIEDERIKE MICHLMAYR (HEAD)

Compliance Officer

MAG. KATHARINA SEDIVY, MMAG. THOMAS BARTHOL

Equal treatment Officer

MAG. ASTRID BERGER, MMAG. MARKUS GRUNDTNER

Federal Theatres Data Protection Officer

SILVIA SCHAUER, MSC MBA

Data Protection Coordinator of the Vienna State Opera

MAG. SOPHIE LOHNERT-MENAPACE, LL.M

Company fire Brigade & Fire safety Officer

HORST HACKL (HEAD) Medical Officer/School doctor

DR. ELISABETH SZEDENIK Paediatrician

DR. SOPHIA BRANDSTETTER

A list of all VIENNA STATE OPERA’S STAFF can be found under wiener-staatsoper.at

Ihre Karte für mehr Kultur.

Die Wiener Staatsoper Mastercard.

Wenn lange Tradition auf Innovation trifft, entsteht etwas ganz Besonderes: die Wiener Staatsoper Mastercard. Die Premium Kreditkarte, herausgegeben von der paybox Bank AG, bietet nicht nur Versicherungen, sondern auch exklusive Vorteile für KulturliebhaberInnen.

Holen Sie sich gleich Ihre Karte um nur €6,90 pro Monat, mehr unter payboxbank.at/oper

SPONSORS

GENERAL SPONSORS OF THE VIENNA STATE OPERA

SPONSORS

PRODUCTION SPONSORS

LA CENERENTOLA, MANON LESCAUT, FALSTAFF

OPERA STUDIO

Martin Schlaff

BALLET ACADEMY

GASTRONOMY PARTNERS

IL TRITTICO, DIE MEISTERSINGER VON NÜRNBERG, TRISTAN UND ISOLDE, OTELLO, FAUST

LOHENGRIN, LE NOZZE DI FIGARO, DON GIOVANNI, DON PASQUALE, RUSALKA

SALOME DER ROSENKAVALIER

DIE ENTFÜHRUNG AUS DEM SERAIL

CIRCLES OF FRIENDS

VIENNA STATE OPERA VIENNA STATE BALLET

AGRANA BETEILIGUNGS-AG

BIOLITEC AG

BUWOG GROUP GMBH

CASINOS AUSTRIA & ÖSTERREICHISCHE

LOTTERIEN

DIEHL STIFTUNG & CO KG

HELMUT ESSL

FLUGHAFEN WIEN AG

GERSTNER HOSPITALITY GMBH /

KR OLIVER W. BRAUN

HALLMANN HOLDING

DONATORS

HELM AG

EVA-MARIA HÖFER & GERDA DUJSIK

PROF. DR. KARL JURKA

LUGNER CITY GMBH

MAGDA UND GERHARD MAYR

PHILORO EDELMETALLE GMBH

RAIFFEISEN BANK INTERNATIONAL AG

RAIFFEISEN HOLDING NÖ-WIEN

RAINER WIRTSCHAFTSGÜTER-VERMIETUNGS GES.M.B.H.

WOLFGANG & ANGELIKA ROSAM

MARTIN SCHLAFF SIEMENS AG ÖSTERREICH SIMACEK FACILITY MANAGEMENT GROUP GMBH STRABAG SE

SUPERNOVA INVEST GMBH

TOYOTA MOTOR CORPORATION

UNICREDIT BANK AUSTRIA AG

WIRTSCHAFTSKAMMER WIEN WIRTSCHAFTSKAMMER ÖSTERREICH

CHRISTIAN ZELLER PRIVATSTIFTUNG

In the 2020/21 season the Vienna State Opera founded the »Official Circle of Friends of the Vienna State Opera« and the »Circle of Friends of the Vienna State Ballet«. The membership subscriptions are earmarked exclusively for opening the house up to new audiences, promoting young talent and measures to preserve the dancers’ health. The total membership, now just under 1,500, has meanwhile supported projects including the Opera Studio, a two-year advanced curriculum for outstanding young singers, the Opera School, young dancers, young choreographers and students at the Ballet Academy, and the physiotherapy service at the Vienna State Ballet.

The Circle of Friends also funds the activities of the Outreach Department. In collaboration between pupils or students and the Vienna State Opera stage orchestra, operas and dance projects are created and developed for performance. There are discussion events for young people, podcast workshops, dance training sessions and much more.

A membership in one of the circle of friends also allows you to participate actively in the social and cultural life of the Opera House and enter into dialogue with like-minded people. For example, social meetings are organized with stars such as Jonas Kaufmann, Elīna Garanča and Piotr Beczała, interesting discussion events, training sessions and rehearsal visits, trips to guest appearances of the Vienna State Ballet, and backstage tours to see what happens behind the scenes. The programme also includes invitations to the annual season presentation, with receptions with the direction depending on the level of membership. Other very popular benefits are exclusive right of first refusal and preorder of tickets for selected performances before the official start of advance sales.

You can find an overview of all the BENEFITS of the various MEMBERSHIP LEVELS for the two circles of friends at wiener-staatsoper.at/en/support-us

TICKETS

ADDRESSES & OPENING HOURS

You can find the summer opening hours and any changes in opening hours at the service centre at wienerstaatsoper.at.

GENERAL INFORMATION

Wiener Staatsoper

A Opernring 2 1010 Wien

T +43 1 51444 2250

M information@wiener-staatsoper.at

BOX OFFICE

Opera foyer and the Bundestheater box offices

A Opernring 2 Herbert-von-Karajan-Platz entrance

1010 Wien

O Mon–Sat: 10 am–6 pm , Sun, hol: 10 am–1 pm

By phone (credit cards only)

T +43 1 513 1 513

Mon-Sun: 10 am–7 pm

Evening box office (opens 1 hour before the start of the performance)

A Opernring 2

1010 Wien

TICKET ORDERS

Vienna State Opera Service Centre

A Opernring 2 | Operngasse entrance (under the arcades), 1010 Wien

T +43 1 51444 2653

Mon-Fri: 9 am–2 pm

F +43 1 51444 2969

M tickets@wiener-staatsoper.at

O Mon-Fri: 9 am–4 pm, Wed: 9 am–6 pm

SUBSCRIPTIONS

Vienna State Opera Service Centre

A Opernring 2 | Operngasse entrance (under the arcades), 1010 Wien

T +43 1 51444 2678 (Mon-Fri: 9 am–2 pm)

M abonnement@wiener-staatsoper.at

O Mon–Fri: 9 am–4 pm, Wed: 9 am–6 pm

TICKET PURCHASES

Tickets for September and October 2023 are available from 2 May, 10 am. After that, sales always begin for the whole month two months in advance of the first of the month. For example, tickets are on sale starting 1 September for the whole of November, and 1 October for the whole of December. You can order tickets in advance for performances which are not yet on sale. You can find further information on this at »Ticket Orders«.

ONLINE

You can buy your tickets daily around the clock. You will receive your tickets purchased online digitally for your smartphone, as print@home tickets or you can collect them in person at the Bundestheater box offices.

TELEPHONE

Ticket sales by telephone are possible with credit card daily from 10 am to 7 pm. Tickets purchased by telephone will be sent to you electronically by e-mail or can be collected in person at the Bundestheater box offices.

T +43 1 513 1 513

IN PERSON

Opera foyer and the Bundestheater box offices

A Opernring 2

Herbert-von-Karajan-Platz entrance 1010 Wien

O Mon-Sat: 10 am–6 pm Sun, hol: 10 am–1 pm

You will find summer opening hours and any changes to opening hours continuously updated at the Service Centre at wiener-staatsoper.at

The performance box office opens 1 hour before the start of the performance. You can purchase any remaining tickets for the performance in question.

TICKET ORDERS

Advance orders for tickets from 1 November 2023 are possible starting 2 May, 10 am. Orders are possible up to three days before the start of general sales. Please note that tickets are allocated on a first-come, first-served basis and subject to availability, so it is possible that not all order requests can be accommodated. You will receive your order confirmation as well as an indication of the binding payment date after processing has been completed. This may take some time, but you will be informed at the latest two months before the performance date.

ONLINE

You can pre-order your tickets for performances from 1 November 2023 at wiener-staatsoperat in the section on the programme and ticket sales starting 2 May, 10 am.

IN WRITING

The order form will be available for printing out at wiener-staatsoper.at from 16 April 2023. You are welcome to pick up your form during opening hours at the Vienna State Opera Service Centre and at all Bundestheater box offices.

Please send us the completed form by E-MAIL: tickets@wiener-staatsoper.at

POST: Vienna State Opera Service Centre, Opernring 2/Operngasse entrance, 1010 Wien

FAX: +43 1 51444 2969

NB: Written orders will be accepted without exception from 2 May, 10 am.

IN PERSON

We will be happy to accept your order form at our Service Centre after 10 am on 2 May 2023.

Vienna State Opera Service Centre

A Opernring 2 | Operngasse entrance 1010 Wien

O Mon–Fri: 9 am–4 pm Wed: 9 am–6 pm

T +43 1 51444 2653

Mon-Fri: 9 am–2 pm

STANDING ROOM

The Vienna State Opera has standing room on the first floor, and in the balcony and gallery. Standing room tickets can be purchased on the day of the performance after 10 am at the Bundestheater box offices and online. The standing room box office (Operngasse entrance) is also open from 80 minutes before the start of the performance. For BundestheaterCard holders, standing room tickets can be purchased online on the day before the performance. Holders of a BundestheaterCard can not only purchase standing room places at the reduced price of € 5 (ground floor) or € 4 (balcony, gallery), but can also book the tickets online the day before the performance. You can find more information on the BundestheaterCard at wiener-staatsoper.at/ bundestheatercard.

BALLET BONUS

For ballet lovers we offer the Ballet Bonus. For € 30 per season you receive a 15% discount on full-price tickets (max. 2 tickets per performance) for all ballet performances at the Vienna State Opera and Vienna Volksoper (except for premieres and special events).

Further information:

wiener-staatsoper.at/wiener-staatsballett/ service/ballet-bonus/

DISCOUNTS

TICKETS FOR CHILDREN AND YOUNG PEOPLE

UNDER 16

A number of tickets for children and young people are available for each presentation (except those marked »P«) at €15 each. Purchase of a regular ticket is required with each purchase of a child’s ticket. A maximum of three children’s tickets can be bought at a time.

MAIN STAGE

Tickets for children and young people

€ 12,– • € 10,– • € 8,– • € 6,50

Adult tickets

€ 40,– • € 30,– • € 20,– • € 12,–

MOBILE OPERAS

Child’s tickets € 9,–

Adult tickets € 18,–

U27 (UNDER 27 YEAR OLDS)

Purchase of U27 tickets requires registration at our website or via Ticketgretchen. Our U27 audience members can attend all introductory matinees free of charge and dress rehearsals of new opera and ballet productions for €10. At least 20 seats at €20 are on general sale to our U27 audience members for selected performances of each production, which are specially marked in the programme. From half an hour before the start of the performance, U27 audience members can purchase remaining tickets at the box office for €20. A newsletter specifically for U27 also provides information about the availability of additional last-minute ticket offers for €20.

FOR THE MOBILITY IMPAIRED

Tickets at a 50% discount can be pre-ordered in writing, by telephone or in person from one week before the performance at our Service Centre. Presentation of a disabled person’s ID card is required at the time of initial booking. (There must be a disability of at least 50%.)

→ The accompanying person receives a 50% discount as well, provided that the need is noted on the disabled person’s ID.

WHEELCHAIR SPACES

Unfortunately, the Vienna State Opera does not offer ideal conditions for accessibility due to its historical structure. Nevertheless, it is important to us to enable visitors with limited mobility can attend performances without any problems. Barrier-free access to the building is on the Herbert-von-Karajan-Platz side. Your seats are accessible by lift and barrier-free toilets are available. Please contact us if you need assistance.

As we have a limited number of wheelchair places – 4 in the stalls and up to 18 in the gallery – these must be pre-booked in writing from 2 May for the whole season at the same time as registration. Wheelchair users who are already registered can also book wheelchair seats online. Pre-bookings and registration can be made via our Service Centre.

RETURNS & EXCHANGES

If, due to a necessary change in the programme, your desired performance is replaced by another, you can of course return or exchange your tickets. Unfortunately, however, exchange or return of purchased tickets is not possible in the event of cast changes, non-admission due to unpunctual appearance or inappropriate clothing, or in the event of failure of subtitle tablets. You will find further information in our general terms and conditions at wienerstaatsoper.at.

SUBSCRIPTIONS & CYCLES

SUBSCRIPTIONS –THE MOST COMFORTABLE AND CHEAPEST WAY TO THE VIENNA STATE OPERA!

Experience a cross-section of the great opera and ballet repertoires, at the cheapest prices and without advance booking deadlines and queues.

This is how your subscription works.

→ You book a total of 5 performances before the start of the season. In most cases, these are four evenings of opera and one evening of ballet.

→ You choose the day of the week that suits you – any day is possible except Saturday.

→ You choose your favourite seat(s) (subject to availability!).

→ You choose your desired price category. As a subscriber you will receive a discount of up to 30% compared to regular price tickets.

→ You will receive the monthly magazine of the Vienna State Opera Opernring 2 as well as the magazine Bühne free of charge.

A subscription includes a maximum of seven seats, subject to availability. Your subscription season ticket is valid as an admission ticket. The subscription is valid for one season and is automatically renewed for a further season unless cancelled in writing by the subscriber by 31 March of the current season. The complete subscription conditions are available at the Service Centre of the Vienna State Opera and can be downloaded at wienerstaatsoper.at.

CYCLES –SPECIAL PREFERENCES OR THE FIRST VISIT?

Are you interested in a particular composer such as Wagner or Puccini? Do you have a preference for chamber music, Lieder evenings or exclusively for ballet? Have you never been to the opera and would like to immerse yourself in this world through classic works? Do you want to make sure you don’t miss any of our new productions? Then a cycle is the right choice for you!

With a cycle of the Vienna State Opera you can book up to ten performances that are thematically or programmatically combined – and with up to 10% discount.

You can book a maximum of four seats within a cycle. Your cycle ticket is valid as an admission ticket. Cycles are only valid for one season and do not renew automatically.

You will receive the monthly magazine of the Vienna State Opera Opernring 2 as well as the magazine Bühne free of charge.

ORDERING SUBSCRIPTIONS AND CYCLES

Your orders for subscriptions and cycles can be accepted from 9 am on 17 April.

ONLINE:

Order form for online completion or download at wiener-staatsoper.at/service.

IN PERSON:

Vienna State Opera Service Centre

A Opernring 2 | Operngasse entrance, 1010 Wien

M abonnement@wiener-staatsoper.at

T +43 1 514 44 2678, Mon–Fri: 9 am–2 pm

O Mon–Fri: 9 am–4 pm, Wed: 9 am–6 pm

Please note the different summer opening hours of the Service Centre at wiener-staatsoper.at.

SUBSCRIPTION PRICES

for 5 performances for each seat*

Price category 1 € 772,-

Price category 2 € 628,-

Price category 3 € 460,-

Price category 4 € 341,-

Price category 5 € 267,-

Price category 6 € 177,-

Price category 7 € 130,-

Price category 8 € 91,-

Price category 9 € 53,* incl. € 5 service fee

The programme for the individual subscription groups and the cycles for the coming season are shown on the following pages

23.05.2024 DIE MEISTERSINGER VON NÜRNBERG

SUB 19

23.11.2023 LE GRAND MACABRE

25.01.2024 SLEEPING BEAUTY

14.03.2024 DIE ENTFÜHRUNG AUS DEM SERAIL

11.04.2024 SIMON BOCCANEGRA

SUB 20

07.09.2023 LA CLEMENZA DI TITO

02.11.2023 L’ELISIR D’AMORE

29.02.2024 DON QUIXOTE

18.04.2024 CARMEN

13.06.2024 SALOME

SUB 21

22.10.2023 GISELLE

10.12.2023 TURANDOT

04.02.2024 DIALOGUES DES CARMÉLITES

17.03.2024 DIE ENTFÜHRUNG AUS DEM SERAIL

26.05.2024 DIE MEISTERSINGER VON NÜRNBERG

SUB 22

24.09.2023 TRISTAN UND ISOLDE

19.11.2023 LE GRAND MACABRE

14.01.2024 DON GIOVANNI

18.02.2024 DON QUIXOTE

30.06.2024 FALSTAFF

SUB 23

01.10.2023 LA TRAVIATA

26.11.2023 DIE ZAUBERFLÖTE

11.02.2024 GISELLE

10.03.2024 ANIMAL FARM

09.06.2024 SALOME

SUB 24

10.09.2023 LA CLEMENZA DI TITO

08.10.2023 TOSCA

28.01.2024 DIALOGUES DES CARMÉLITES

07.04.2024 LADY OF THE CAMELLIAS

12.05.2024 THE TEMPEST

CYCLE »PUCCINI«

Price categories from 1 to 7 are shown by the circled numbers.

=

CYCLES BALLET

The Vienna State Opera has 1709 seats and 435 standing places.

4 wheelchair places plus accompanying seats are located in the ground floor and 18 wheelchair places in the gallery.

Please note the visibility restriction in the following areas:

→ Back seats of the side boxes

→ Side area balcony and gallery

* Edge places balcony and gallery (safety bars)

The classification of the price groups is according to the quality and line of sight of the seats.

Standing places

All seats and almost all standing places are equipped with subtitle tablets.

Price category 1

Price category 2

Price category 3

Price category 4

Price category 5

Price category 6

Price category 7

Price category 8

with visibility restriction

Price category 9

with visibility restriction

Places with reading lamp: Balcony full side and gallery full side

Further information concerning the price categories you can find on page → 97

CALENDAR

RO Cycle »Romantic Opera« SZ Cycle »Richard Strauss« GZ »Golden Cycle« ZG Cycle »Contemporary Opera« KMZ Cycle »Chamber Music«

WZ Cycle »Wagner« GS Cycle »Great Voices« KR Cycle »Repertoire Classics« GRP Cycle »Great Productions« DPZ »Da Ponte Cycle« NP Cycle »New Productions« EZ Cycle »Beginners« FZ »Family Cycle« PZ C ycle »P uccini« VZ Cycle »Viva Verdi!«

BZP ^Ballet Cycle »Premieres« BZK Ballet Cycle »Classics« BZT Ballet Cycle »Dreams« BZF Ballet Cycle »Family«

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER

MARCH

All details about the SEASON and the CASTS can be found at WIENER-STAATSOPER.AT

STAY IN TOUCH

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NEWSLETTER

On our website you will find everything you need to know about your visit, the schedule, how to buy tickets, contact details as well as many videos, photos, interviews and background information about the Vienna State Opera, the Vienna State Ballet, our productions and the Opera Ball. wiener-staatsoper.at

IMPRINT

VIENNA STATE OPERA 2023/24

General Director DR. BOGDAN ROŠČIĆ

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Do you want to stay updated on the activities of the Vienna State Opera and the Vienna State Ballet? Are you interested in detailed information about our productions, our artists, our international guests, dancers, directors, choreographers or conductors? Would you like to use special price offers? Then subscribe to one of our newsletters. In regular intervals we provide you with exciting topics, photos and videos. wiener-staatsoper.at/service/newsletter

Administrative D irector DR. PETRA BOHUSLAV

Music Director PHILIPPE JORDAN

Ballet Director & Chief Choreographer MARTIN SCHLÄPFER

General Editor of the Season Book

SERGIO MORABITO, ANNE DO PAÇO, SUSANNE ATHANASIADIS, KATHARINA AUGENDOPLER, NASTASJA FISCHER, IRIS FREY, MARGARETE KRENN-ARNOLD, ANDREAS LÁNG, OLIVER LÁNG, NIKOLAUS STENITZER, KRYSZTINA WINKEL

English translations ANDREW SMITH

Ballet DAVID TUSHINGHAM

Status

31 MARCH 2023, SUBJECT TO CHANGE

Design & Concept

SCHEDULE

The complete schedule of the new season with all dates and prices can be found at wiener-staatsoper.at or you can follow this QR code.

EXEX – ELSA KUBIK, KATHARINA LUGER, CHRISTIAN SCHLAGER, JANA LILL, KONSTANTIN WAGNER

Media Owner & Publisher WIENER STAATSOPER GMBH A OPERNRING 2, 1010 WIEN

T +43 1 51444 2250

M INFORMATION@ WIENER-STAATSOPER.AT

Images (except p. 28): EXEX

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