The 2024/25 season

THE 2024 2025

SEASON

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“My life’s real joy was intense expectation.”

DEAR AUDIENCE!

It’s always a special moment when we can present another new season to you – the fruit of years of dreaming, hoping and planning. This year, the pleasure we take in this beautiful ritual is even greater. For the first time in the history of Vienna State Opera, we’re presenting two seasons’ programmes simultaneously.

One, naturally, is for the opera house on the Ring, lovingly presented on the following 100 pages in all its epic breadth, as only the Vienna State Opera can offer. But before summer we’re also going to be telling you about our ideas for a new state opera – a theatre for children, teens, young adults and all those who believe that staying young at heart is a matter of first importance. The new theatre – small, but all state opera nonetheless – is currently growing in a wing of the Künstlerhaus, between the Musikverein and Albertina Modern. So Vienna is getting a new opera house, and its first season opens on 7 December 2024.

Are children and young people “the audience of tomorrow”? Perhaps – but above all they’re an audience today. As such, they have a right to forge their very own path through the universe of opera. The door which has to open in order for this to happen isn’t always easy to find by yourself, even in Vienna, the self-appointed world capital of opera. Marcel Prawy allegedly said that Wagner’s Walküre is the best children’s opera. An amusing quip, but perhaps he went a bit too far in generalizing his own experience.

The Vienna State Opera has long been offering productions for children. But it was never possible to deliver the full, uncompromising experience of a major house, with its wealth of resources. Thrilling moments were created just the same – in a tent, a basement theatre without an orchestra pit, in the opera’s magnificent state rooms and even in the interval buffets: in creatively used temporary quarters, necessity was always the mother of invention. And this is perhaps unavoid-

able in a theatre building occupied incessantly with rehearsals and performances. But now a second house has been built for us, a real new home.

And we will put it to good use. The first season, shortened by the opening in December, already has 180 events scheduled. The world première of a children’s opera. A new ballet for children, choreographed by Martin Schläpfer. A piece for young people described by its creator as “music theatre rebellion.” Another world première, inspired by the biography of one of the most remarkable women of the 20th century. Plus entirely new opportunities for all the house’s young collectives to perform, from the young artists’ programme to the children’s choir to our Ballet Academy. And any number of new formats for interacting with opera and dance at every imaginable level. The new auditorium will be inaugurated on 18 June 2024 with the live presentation of all these plans.

On the following pages you’ll encounter Tannhäuser and Papageno, Beckett and Schiller, Kurtág and Verdi. A mother who has to die so her children can live, and a father who sees his daughter’s happiness depending on protecting her from reality and the truth. Anyone already familiar with the inexhaustible power of these characters or rather: worlds will remember how it felt to discover them for the first time. Starting from next season, this adventure will be open to many more people, be it at the Vienna State Opera itself or in its new sister house.

Sincerely,

BOGDAN ROŠČIĆ Director General of the Vienna State Opera

DON CARLO

DRAMMA LIRICO in four acts (1884 Milan version) based on the French libretto by JOSEPH MÉRY and CAMILLE DU LOCLE in the Italian version by ACHILLE DE LAUZIÈRES & ANGELO ZANARDINI

Conductor PHILIPPE JORDAN

Director, Stage &

Costume Design

KIRILL SEREBRENNIKOV

Choreography EVGENY KULAGIN

Video ILYA SHAGALOV

Lighting

Music dramaturgy

Co-Stage Design

FRANCK EVIN

DANIIL ORLOV

OLGA PAVLIUK

Co-Costume Design GALINA SOLODOVNIKOVA

Philip II

ROBERTO TAGLIAVINI

Don Carlo JOSHUA GUERRERO

Rodrigo ÉTIENNE DUPUIS

The Grand Inquisitor DMITRY ULYANOV

A Monk

DAN PAUL DUMITRESCU

Élisabeth de Valois ASMIK GRIGORIAN

Eboli

EVE-MAUD HUBEAUX

Tebaldo ILIA STAPLE

In the 2nd series

VITALIJ KOWALJOW sings the Grand Inquisitor, NICOLE CAR sings Élisabeth, and ELĪNA GARANČA sings Eboli.

In Don Carlo Verdi describes an authoritarian empire waging a war of destruction against the separatist province of Flanders. At its head stands Philip II, but behind the king the shadow of the Grand Inquisitor becomes increasingly visible. In contrast to Schiller’s play, Verdi portrays Philip as a weak monarch who can only hold onto power by forming a coalition with the Grand Inquisitor’s monopoly of power, and ultimately becoming the latter’s puppet. In the great auto-da-fé scene, the entire people oppose Philip with the elites and sympathise with the Flanders envoys, also for the purpose of establishing a counterweight to the increasingly powerful Grand Inquisitor – but it is already too late. The monks are able to force Philip to stick to his hard-line course. At the time, Verdi reacted to the fundamentalist, anti-liberal agenda of Pope Pius IX, provoking a veritable scandal at the world première. Today, we do not have to look long for similar political mistakes. With interruptions, Verdi worked on this opera for more than twenty years. There are no fewer than seven different versions written with the direct involvement of the composer. The historical origins of the opera go back to 1865, when the Paris Opera aroused Verdi’s interest in the German poet with a proposal to compose a Don Carlos opera based on Schiller. As a young composer in the 1840s, Verdi had already based three of his operas on dramas by Schiller; two of them also deal with the gory father-son conflicts smouldering in the proposed play between the Spanish King Philip II and the Infante Don Carlos. This conflict was aggravated by the fact that both men desired the same woman, the French princess Élisabeth de Valois. Verdi’s previous experience with the largest opera house of the 19th century had been disappointing, most recently due to the disputes over the world première of Vêpres siciliennes in 1855. Nevertheless, he was attracted by his exploration of the “great historical opera” as developed in Paris by Giacomo Meyerbeer and Eugène Scribe. He felt that the emotional dramaturgy of the Italian “melodramma” could be reinforced by connecting to the achievements of this genre in the presentation of historical and social contexts. Don Carlos also failed to achieve tremendous success at the world première. Critics and audience were only partly up to the seriousness and demands of the approach and reacted to the

astonishing refinement of Verdi’s musical language, which initiated his late style, with helpless accusations of Wagnerism. The Italian productions provided Verdi with the opportunity to radically reformulate and recompose entire scene complexes. A condensed four-act version was first presented at Milan’s La Scala in 1884, and also formed the basis of the new Viennese production. And unlike Verdi’s other adaptations of his own works (Macbeth, Simon Boccanegra), no stylistic breaks are apparent in the finalized version of Don Carlo.

“The dominant force underlying Verdi’s genius appears in Don Carlos in all its powerful simplicity, but supported by an extraordinary development of harmonic means, selected timbres and new melodic forms.”

THE POET

THÉOPHILE GAUTIER IN HIS CRITICISM OF THE WORLD PREMIÈRE

An almost morbid sophistication in the musical language, the elegance, sensitivity and other-worldliness of the wide-ranging melody, the unfathomably shadowed harmony, the dark glowing orchestral colours, all make even the sudden contrasts appear veiled and muted. None of Verdi’s other scores can be invoked as counterparts without, on the other hand, intimating that Verdi had become unfaithful to his own intentions in this work, expressing as it does social and intimate conflicts in an enthralling and differentiated manner.

“For me, Don Carlo more than any other opera tells us about power as an antithesis to freedom, and about everything that causes this power: repression, violence, imprisonment, murder. The centuries pass, empires crumble, walls collapse, and new ones are built. Verdi’s entire oeuvre is permeated by the dream of freedom. How shall we recount his dream in the theatre? We search for an answer by studying the costumes of the Spanish monarchs, which sometimes took hours to put on and which became the prison of the bodies wearing them.”

KIRILL SEREBRENNIKOV

FIN DE PARTIE

OPERA in one act libretto by the composer based on the play by SAMUEL BECKETT

Conductor SIMONE YOUNG Director, Stage & Costume Design

HERBERT FRITSCH Lighting FRIEDRICH ROM

Nagg

CHARLES WORKMAN

Nell HILARY SUMMERS

Hamm PHILIPPE SLY

Clov GEORG NIGL

Introductory matinee 6 OCTOBER 2024

→ Prices M

Premiere at Vienna State Opera 16 OCTOBER 2024

Premiere series 16 19 22 25 29 OCTOBER 2024

→ Prices A S

One of the iconic play scripts of the 20th century, symbolic (perhaps “absurdly” so) of its time; plus one of the most important composers of the present day, who has been astonishing and enthusing audiences for decades with the originality of his form. These are the coordinates for Fin de partie after Samuel Beckett’s play by the same name, the work with which György Kurtág, born in 1926, made his début as an opera composer in 2018. Kurtág’s best-known compositions are defined by the irresistibility of the small form: musical moments, sometimes consisting of only a few bars, yet self-contained. The cycles in which these pieces are set are called Kafka Fragments , Játékok (Games) or Einige Sätze aus den Sudelbüchern Georg Christoph Lichtenbergs. The opera début of the 92-year-old was a sensation, and also the synthesis of his thinking and composition up to that point. György Kurtág was familiar with Samuel Beckett’s play Fin de partie (English: Endgame , German: Endspiel ) for more than half his life. For the composer, the discovery of the work in Paris shortly after its première in 1957 opened up a new view of the world, one that demands consequences from the artist. Fin de partie is a piece about life after the end of the world, and it includes a piece of merciless social criticism beyond the superficial manifestation of “political theatre”. In a hostile, almost uninhabitable landscape, four figures are vegetating: Clov and Hamm, Nagg and Nell, depending to varying degrees on each other. “I’m leaving you” – “You can’t leave me,” is a recurring exchange between Clov and Hamm. The constant return of the unalterable is one pole of this endgame – “All life long the same questions, the same answers,” Clov states. The other is memory: “Earlier!” it says, “Ah, yesterday!” “Today,” on the other hand, Clov and Hamm discuss whether nature has forgotten them or has ceased to exist: “No one that ever lived ever thought so crooked as we!”

“Fin de partie: It is colourful transience. The colourfulness of mouldy walls, of damaged clothes that are turn open.

And joy in what is happening here. Tulips that you leave so that you can watch them wither. When you look at old faces, there is so much in them to see and read.

Not the horror of transience, but the beauty of transience. It is easier to see the grey than the colour.

reads – , György Kurtág succeeds in creating a stunning variation of just such a redesign. His orchestra, with its large (and unusual) line-up is exhorted to play extremely soft, often chamber-music-like passages, establishes a dialogue with just four soloists. With this the composer has achieved something that was perhaps only possible thanks to his decades-long preoccupation with Beckett’s play: boundless accuracy in the expression of the incomprehensible as a musical pervasion and reflection of language. As if by the by, Kurtág allows an aspect of Beckett’s text to come into its own that was often neglected in the existentialist performance tradition: the ultra-black, unfathomable comedy. Kurtág experimented many times over with the means to do this and demonstrated it in the humorously inserted miniatures which partially account for his fame. In the score of Fin de partie , these musical micro-moments come together thanks to a remarkable eye for the dramaturgy of the big picture to give us perhaps the most unusual opera début of all time.

If you look more closely, transience shines in every colour.”

HERBERT

FRITSCH

The “crooked thinking” in Fin de partie has always led people down the wrong track. In 1961, Adorno warned against a misunderstood quest for meaning in the text: “Understanding it [ Endgame] can mean nothing more than understanding its incomprehensibility, or more precisely reconstructing the context of the meaning that it has none.” With his Scènes et Monologues – as the official subtitle

“A great deal in Fin de partie is conveyed in the subtext and speaks to the unconscious mind. The abundance of details, the tiny pauses, the omens; here fortississimo, then again pianissimo with a small accent, but played sul ponticello, close to the bridge, so that the notes have a breathy quality. One might say that this is music that lives in the shadows. Even in Beckett’s play, the details can be felt and heard in the shadows, but perhaps not immediately recognized. The text is clear, but the meaning is veiled, and this is also the case in Kurtág’s music.”

SIMONE YOUNG

“DON’

The most beautiful thing for me is what Socrates says at the end of his apology to those who voted for him:

T BELIEVE THAT DEATH IS SOMETHING BAD. WE DON’ T KNOW WHAT

DEATH IS.”

GYÖRGY KURTÁG

DIE

ZAUBERFLÖTE

THE MAGIC FLUTE

GRAND OPERA in two acts

Text EMANUEL SCHIKANEDER

Conductor FRANZ WELSER-MÖST

Director BARBORA HORÁKOVÁ

Stage Design & Video FALKO HEROLD

Costume Design EVA BUTZKIES

Lighting STEFAN BOLLINGER

Revised libretto ISABELLA GREGOR

Premiere series

Sarastro GEORG ZEPPENFELD

Tamino JULIAN PRÉGARDIEN

Sprecher JOCHEN SCHMECKENBECHER

Königin der Nacht SERENA SÁENZ

Pamina SLÁVKA ZÁMEČNÍKOVÁ

Papageno LUDWIG MITTELHAMMER

Papagena ILIA STAPLE

1. Dame JENNI HIETALA

2. Dame ALMA NEUHAUS

3. Dame STEPHANIE MAITLAND

Monostatos MATTHÄUS SCHMIDLECHNER

2nd series

Conductor ADAM FISCHER

Sarastro

FRANZ-JOSEF SELIG

Tamino CYRILLE DUBOIS

Sprecher CLEMENS UNTERREINER

Königin der Nacht SERENA SÁENZ

Pamina MARIA NAZAROVA

Papageno LUDWIG MITTELHAMMER

Papagena ILIA STAPLE 1.

Monostatos JÖRG SCHNEIDER

Introductory matinee 12 JANUARY 2025 → Prices M

Premiere 27 JANUARY 2025

Premiere series 27 30 JANUARY 2025 1 4 7 10 FEBRUARY 2025 → Prices P G

2nd series 25 28 APRIL 2 5 MAY 2025 → Prices D A

Die Zauberflöte, which was premièred in 1791, is full of contrasts and enormous diversity. A fairytale, magical sphere spanning the globe and combining the desire for knowledge and wisdom with simple joie de vivre, joviality and humour. Fairy-tale and magic operas were not uncommon in the late 18th century. One year before composing Die Zauberflöte, Mozart and his librettist Schikaneder were already working on similarly themed Singspiel, Der Stein der Weisen . However, they went in a different direction with Die Zauberflöte and created a “grand opera”, as the programme for the world première announced.

Goethe noted that in this work “everything is designed for quick scene changes and effective contrasts”. This generates excitement in the audience and puts them on a roller-coaster of emotions. Schikaneder’s often spectacular flair for theatre did not aim to revolutionize the literary world. He himself noted in a preface to Die Zauberflöte five years after its première and Mozart’s death: “I write for the enjoyment of the audience.” However, he said that he had meticulously studied the libretto “with the late Mozart”. Mozart does not judge and condemn, he always sees man in all his complexity. Just as the libretto initially inspires sympathy for the concerns of the Queen of the Night, whose daughter was abducted after she herself was betrayed by her husband: He preferred to bequeath the “seven seals of the sun” to a secret sect of men rather than to his own wife. And even though at the end of the opera the Queen too is cast out into “eternal night”, her daughter succeeds in breaking down the patriarchal structures and winning for herself the priesthood previously reserved for men.

tional and spiritual union, such as Pamina and Tamino experience; and also for the love of wisdom, as Sarastro sings about in his act 2 aria in the love key of E major.

In his quest for wisdom and self-knowledge, Prince Tamino is subjected to a “rite de passage”, a rite of transition or passage, as ethnology and folklore research have described it. In these rites, an entire life is lived through symbolically. But how can the horrors of uncertainty be traversed unscathed? With two instrumental “protagonists”: a flute and a glockenspiel. “We walk, by the power of music, in joy through death’s dark night,” Pamina and Tamino sing as the flute plays. And it is the sound of the “silver bells” that makes harmony and friendship possible.

“Die Zauberflöte depicts a fascinating, symbolic journey through life.

In a magical world where the boundaries between reality and illusion are blurred, a young generation faces the challenge of the deadlocked conflicts of the older generation.

It is a fairy tale as merry as it is dismal, whose characters must prove themselves in existential threats without losing their inner compass.”

BARBORA HORÁKOVÁ

With unerring instinct, Mozart moves between all the musical styles of his day, from Baroque sacred music to opera seria to romance and humorous folk play. And his music can make even miscreants into appealing characters. In his aria, written in simple C major, he admits to the “evil” Monostatos that he is a lonely, almost innocent individual who longs for beauty, acceptance and above all love – one of the main themes of this opera. It is suffused with longing for the creaturely love that Papageno seeks; for love at first sight, as well as ideal love that strives for emo -

The story of Die Zauberflöte raises countless questions:

Where does our path lead us? What is the meaning of life?

What is the value of life?

And who can we trust at all?

One of the answers the piece gives is:

“WE LIVE BY LOVE ALONE.”

BARBORA HORÁKOVÁ

VINCENZO BELLINI NORMA

MELODRAMMA in two acts

Libretto FELICE ROMANI based on the tragedy by ALEXANDRE SOUMET

Conductor MICHELE MARIOTTI

Director CYRIL TESTE

Stage Design VALÉRIE GRALL

Costume Design MARIE LA ROCCA

Video MEHDI TOUTAIN-LOPEZ

NICOLAS DOREMUS

Choreography MAGDALENA CHOWANIEC

Lighting JULIEN BOIZARD

Pollione JUAN DIEGO FLÓREZ

Oroveso ILDEBRANDO DʼARCANGELO

Norma FEDERICA LOMBARDI

Adalgisa VASILISA BERZHANSKAYA

Clotilde ANNA BONDARENKO

Flavio HIROSHI AMAKO

The 15 March, 2025 performance will be conducted by ANTONINO FOGLIANI.

In the 2nd series

FREDDIE DE TOMMASO sings Pollione and LIDIA FRIDMAN sings Norma.

Conductor: ANTONINO FOGLIANI.

NORMA

Vincenzo Bellini’s score for Norma includes not only the “infinite melody” of the high priestess’s plea to the moon goddess (“Casta Diva”), but also the captivating seduction song of the Roman proconsul Pollione (“Vieni in Roma...”) and the two duets between the high priest and the novice, which draw out the full magic of two voices singing together and at variance with each other. These icons of bel canto are set in a musical score full of contrasts. It moves from a passionate and stirring overture to the nocturnal magical mood of the introduction conjured up by the orchestra, to extremely dramatic ensemble confrontations and rousing choral numbers that are always interspersed with precisely timed stage music interludes.

The undercurrent of the big climax at the end of Norma’s plaintive supplication to her father then brings together all the voices and allows the events to be transcendent.

Oroveso, Norma’s father, leaves us with the hope that the pleas of his daughter to protect and care for her children could not have been in vain.

“The mystery surrounding the ritual we call Norma is related to the mystery of certain preludes and nocturnes by Chopin.”

Bellini created this opera together with his favourite librettist, Felice Romani, admired for the elegance, harmony and pathos of his verses, and for the tragic actress Giuditta Pasta, who raised the bar for performance of Rossini’s seria roles. The way she breathed life into her roles was considered unprecedented, her voice fascinated audiences with its uncanny ability to modulate and express emotions. Alexandre Soumet’s tragedy by the same name, which had just been written in Paris, was chosen as the source material for the new opera. In a letter, Bellini suggested the piece to Pasta with the words: “I hope that this subject is to your liking: Romani considers it very effective and fitting for your encyclopaedic character.”

GEORGES APERGHIS

With his third opera Il pirata (1827) performed at La Scala Milan, at just 26 years old Vincenzo Bellini had already gained a reputation as a reformer of Italian opera. Even before Donizetti, who was somewhat older, he succeeded in breaking the requirements of Rossini classicism and opening up new, romantic expressive areas of melodrama for his generation. For several decades, the work of this composer was increasingly the focus of a re-evaluation driven by both theatre practice and musicology. Although three of his ten operas – La sonnambula , Norma (both 1831) and I puritani (1835) –have remained in the repertoire of opera houses since their world premières, Bellini was long recognized as a great melodist who “composed melodies more beautiful than anyone could ever dream” (Richard Wagner). Today we know that the reputed “lirico puro” is the man who in the history of Italian opera was the first since Monteverdi to represent the union of composer and dramatist in a single person.

Norma is a Gallic druid priestess who has pledged herself to her peace-loving goddess of the moon and fertility. She refuses to give the war-hungry Gauls the signal to rise up against Roman foreign rule. In her matriarchal understanding, her two children born from a secret marriage to the Roman Pollione and concealed from her people, are not a violation of a patriarchal vow of chastity: they are manifestations of her spiritual power. When her husband tries to betray her with a younger woman, her very existence is threatened. But she overcomes the temptation to kill her children and punish her rival; ultimately she saves their lives through her self-denunciation.

“STAMP THIS ON YOUR BRAIN IN DIAMOND LETTERS: IN A DRAMA FOR MUSIC, THE SINGING MUST INDUCE WEEPING, TREMBLING, DYING.”

BELLINI TO A LIBRETTIST

IOLANTA

LYRIC OPERA in one act

Libretto MODEST I. TCHAIKOVSKY

Conductor

Director

Stage Design

Costume Design

Lighting

René

TUGAN SOKHIEV

EVGENY TITOV

RUFUS DIDWISZUS

ANNEMARIE WOODS

MARTIN GEBHARDT

IVO STANCHEV

Robert BORIS PINKHASOVICH

Vaudémont

Ibn-Hakia

DMYTRO POPOV

ATTILA MOKUS

Almerik DANIEL JENZ

Bertrand SIMONAS STRAZDAS

Iolanta

Marta

Brigitta

Laura

SONYA YONCHEVA

MONIKA BOHINEC

MARIA NAZAROVA

DARIA SUSHKOVA

The story that the Tchaikovsky brothers Modest (libretto) and Pyotr (music) created, based on the now forgotten drama King René’s Daughter by the Danish writer Hendrik Hertz, is full of mystery, haunting symbolism and emotion. Princess Iolanta made her début on the stage of the Mariinski Theatre in St. Petersburg in 1881, together with her dissimilar twin Clara – the protagonist of the ballet The Nutcracker. Commissioned as a double bill, the paths of the two works soon parted, The Nutcracker stormed into the standard repertoire of the ballet companies of the world while Iolanta remained in the shade – following the symbolic guidelines for Pyotr Tchaikovsky’s last opera.

into music in juxtaposing “dark” flat keys – for example in the unusual orchestral introduction, which is set for only woodwinds and horns – with the triumphant C major finale. The composer deliberately uses harmony and instrumentation to make the increasingly questionable natural idyll of Iolanta’s rose garden an atmosphere as accessible to experience as Iolanta’s compulsion, King René’s doubts or Ibn-Hakia’s philosophical ideas about the connections between mind and body.

Finally, Iolanta’s and Vaudémont’s lyrical G major duet seems to combine romantic love and knowledge (of God) – the solution? Or a new blindness?

“What does it mean if we say:

Iolanta tells the story of Princess Iolanta, the daughter of Provençal King René, who was blind from birth and who grew up in the Vosges surrounded by rose bushes and companions and hidden from the world. Her father has commanded that she should not learn of his royal status, nor of her blindness (or even the existence of sight). He hopes that the famous doctor Ibn-Hakia can cure her. Only then will she meet Robert of Burgundy, who she was engaged to in her childhood. But Iolanta already feels restless, she notices that something cannot be true about the perfect world that has been built around her. Iolanta finally receives the news of the existence of light from the knight Vaudémont, who falls in love with her; along with King René and Ibn-Hakia, he is the third man who tackles the question whether and how Iolanta can learn to see.

we take off all blinders and look at the world?

The truth can be terrifying, the truth can be overwhelming and merciless.

And just as merciless is the honest view of the world.”

EVGENY TITOV

In Modest Tchaikovsky’s libretto, blindness and sight are codes for access to knowledge. How it could be achieved is the subject of negotiations. King René keeps Iolanta ignorant of her “defect” and pins his hopes on expertise for a cure, while doctor Ibn-Hakia emphasizes the interplay of mind/soul and body: A deeply felt desire for sight is the prerequisite for achieving it. Or could Vaudémont’s love for Iolanta and her love for him make it possible for her to “see what he sees”? The king, the knight and the assembled court regard the fact that the doctor finally manages to give Iolanta her sight as a divine miracle.

Pyotr Ilyich Tchaikovsky put the opposition of light and darkness

“TO SEE – WHAT DOES THAT MEAN?”

IOLANTA

RICHARD WAGNER

TANNHÄUSER UND DER SÄNGERKRIEG AUF WARTBURG

Romantic GRAND OPERA in three acts

Conductor

PHILIPPE JORDAN

Director LYDIA STEIER

Stage Design & Video

Costume Design

Choreography

Lighting

MOMME HINRICHS

ALFRED MAYERHOFER

TABATHA MCFADYEN

ELANA SIBERSKI

Landgrave Hermann GÜNTHER GROISSBÖCK

Tannhäuser CLAY HILLEY

Wolfram von Eschenbach LUDOVIC TÉZIER

Walther von der Vogelweide

DANIEL JENZ

Biterolf WOLFGANG BANKL

Heinrich der Schreiber LUKAS SCHMIDT

Reinmar von Zweter

Elisabeth

MARCUS PELZ

MALIN BYSTRÖM

Venus EKATERINA GUBANOVA

A young shepherd

ILIA STAPLE

Just imagine this opening: There is a man, who has achieved the pinnacle of all sensual desires, all opulence, no limits on anything, the orchestra is steaming, you hear “seductively wild and ravishing chaos” (Wagner) – and then a deliberate complete and sudden stop. He turns his back on all excessive pleasures, all everlasting indulgence, the permission to do anything and everything. And he returns to real life, to humans, and also to toil and suffering. Tannhäuser, first performed in 1845, tells the story of the searching individual, and of love. The Wartburg community of singers is searching for this, as is the eponymous hero Tannhäuser. He finds almost infinite passion with Venus, the goddess of love, and hopes to find “pure” bliss with Elisabeth. However, what he experiences as eroticism becomes a centrifugal force that drives him to the margins of society – and beyond. As he careens between gratification and renunciation, between guilt and protest, in the conflict between fulfilment and exaltation, he is entirely in keeping with the grammar of the Romantic age – which still speaks directly to us today.

“With the unleashing of the erotic demon, released intentionally for the first time, we encounter the exceptional nature of the concept introduced in Tannhäuser.”

After the new productions of Parsifal, Tristan und Isolde, Die Meistersinger von Nürnberg and Lohengrin in the last four seasons, Tannhäuser is now on the schedule of premières at the Wiener Staatsoper. With this work, the Viennese came to know a complete opera by Wagner for the first time in 1857 – not at the Court Opera, but at the big Thalia Theatre, which could seat 4,000 people. Two years later, Tannhäuser was also seen at Vienna’s leading opera house, and even the dreaded critic Eduard Hanslick proved himself to be favourably disposed to the work. This time at the opera house on the Ring, a blend of the earlier Dresden version and the later Paris version of the opera will be presented, directed by Lydia Steier. This will be her highly anticipated directing début at the Wiener Staatsoper, following her successes in Paris, Salzburg, Dresden, Berlin and Vienna.

PAUL BEKKER

After Rienzi and Der fliegende Hölländer, Tannhäuser represents the next major step forward in Richard Wagner’s development. In addition, much of it points to later works: “In terms of religion, the pilgrims’ chorus and the Rome narrative prefigure his last opera, Parsifal. And the Venusberg music – even in the first version, the Dresden version –hints at Tristan und Isolde,” explains première conductor Philippe Jordan. In Tannhäuser of course we find themes that Wagner turned to many times with his proclivity for the Middle Ages, as well as the resumption of the idea of salvation and forgiveness that concerns him. And of course, Tannhäuser can also be read as an artistic drama: “He is someone who wants to accomplish something. But in order to do this, he must first gain experience. He has long since acquired the necessary pure skill, it does not advance him any further, rather it bores him. That is why he must push the boundaries to continue to grow in his art,” said Jordan. Moreover, Tannhäuser’s search can serve as a model for all art, as set designer Momme Hinrichs sees it: “Every artist goes through the same development as the protagonist, the same search. The desire for freedom and anarchy lies in each and every one of us.”

“I heard the overture to Tannhäuser by Wagner. He is insane!!!”

“CAN YOU FATHOM THE NATURE OF LOVE FOR ME?”

LANDGRAVE HERMANN

REVIVALS REPERTOIRE AND

ROMÉO ET JULIETTE

SALOME

LE NOZZE DI FIGARO

THE MARRIAGE OF FIGARO

DON GIOVANNI MACBETH

COSÌ FAN TUTTE

ALL WOMEN DO THE SAME

CARMEN

OPÉRA COMIQUE in four acts

Libretto HENRI MEILHAC & LUDOVIC HALÉVY after PROSPER MÉRIMÉE

1st series

5 7 10 SEPTEMBER 2024

Prices D G

Conductor PIER GIORGIO MORANDI Director CALIXTO BIEITO

Carmen AIGUL AKHMETSHINA

Don José VITTORIO GRIGOLO

Escamillo ERWIN SCHROTT

Micaëla ELSA DREISIG

Carmen is a WIENER STAATSOPER production originally created by SAN FRANCISCO OPERA in coproduction with BOSTON LYRIC OPERA .

2nd series

Prices

31 MAY 2025

3 6 JUNE 2025

D A

Conductor MARCO ARMILIATO

Carmen J’NAI BRIDGES

Don José FREDDIE DE TOMMASO

Escamillo CHRISTOPHER MALTMAN

Micaëla FLORINA ILIE

GIUSEPPE VERDI

LA TRAVIATA

MELODRAMMA in three acts

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

Dates

6 9 13 15 SEPTEMBER 2024

Prices G

Conductor DOMINGO HINDOYAN Director SIMON STONE

Violetta Valéry

LISETTE OROPESA

Alfredo Germont JUAN DIEGO FLÓREZ

Giorgio Germont LUDOVIC TÉZIER

A Co-production with the OPÉRA NATIONAL DE PARIS.

ROMÉO ET JULIETTE

DRAME LYRIQUE in five acts and a prologue

Libretto based on the play by WILLIAM SHAKESPEARE

1st series 8 14 17 SEPTEMBER 2024

Prices A

Conductor BERTRAND DE BILLY Director JÜRGEN FLIMM

Lighting Architect PATRICK WOODROFFE

Costume Design BIRGIT HUTTER

Movement Director RENATO ZANELLA

Juliette NADINE SIERRA

Roméo SAIMIR PIRGU

Stéphano PATRICIA NOLZ

Tybalt DANIEL JENZ

Mercutio STEFAN ASTAKHOV

Frère Laurent PETER KELLNER

2nd series 6 10 13 MAY 2025

Prices S A

Conductor MARC LEROY-CALATAYUD

Juliette AIDA GARIFULLINA

Roméo BENJAMIN BERNHEIM

Stéphano PATRICIA NOLZ

Tybalt HIROSHI AMAKO

Mercutio STEFAN ASTAKHOV

Frère Laurent PETER KELLNER

RICHARD STRAUSS

SALOME

MUSIC DRAMA in one act

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

1st series 21 23 25 SEPTEMBER 2024

Prices S

Conductor PHILIPPE JORDAN Director CYRIL TESTE

Herodes MATTHÄUS SCHMIDLECHNER

Herodias MONIKA BOHINEC

Salome SIMONE SCHNEIDER

Jochanaan TOMASZ KONIECZNY

Narraboth DANIEL JENZ Page ALMA NEUHAUS

For once, the set has been deliberately replaced by lighting architecture: Highly complex, overwhelming, and constantly changing. It was not by chance that the Vienna State Opera opted for this solution for the scenic realization of Gounod’s Roméo et Juliette Gounod’s lyrical narrative of the famous Shakespeare material, his focus on the emotional inner view of the actors, met with the idea of a light-assisted translation of the score into the visual. And so here all the feelings described in the music, every situational atmospheric change, are made atmospherically perceptible in an unusual way.

2nd series 5 7 10 APRIL 2025

Prices S

Conductor YOEL GAMZOU

Herodes JÖRG SCHNEIDER

Herodias STEPHANIE HOUTZEEL

Salome JENNIFER HOLLOWAY

Jochanaan TOMASZ KONIECZNY

Narraboth HIROSHI AMAKO Page ALMA NEUHAUS

W. A. MOZART

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 22 24 28 SEPTEMBER 2024

2 OCTOBER 2024

Prices D

Conductor IVOR BOLTON Director BARRIE KOSKY

Count Almaviva ANDRÈ SCHUEN

Countess Almaviva HANNA-ELISABETH MÜLLER

Susanna SLÁVKA ZÁMEČNÍKOVÁ

Figaro PETER KELLNER

Cherubino ISABEL SIGNORET

2nd series 29 MARCH 2025

2 APRIL 2025

Prices D

Conductor PHILIPPE JORDAN

Count Almaviva LEONARDO NEIVA

Countess Almaviva HANNA-ELISABETH MÜLLER

Susanna SLÁVKA ZÁMEČNÍKOVÁ

Figaro PHILIPPE SLY

Cherubino PATRICIA NOLZ

DON GIOVANNI

DRAMMA GIOCOSO in two acts

Libretto LORENZO DA PONTE

1st series 4 7 11 13 OCTOBER 2024

Prices D A

Conductor PABLO HERAS-CASADO Director BARRIE KOSKY

Don Giovanni DAVIDE LUCIANO

Il Commendatore ANTE JERKUNICA

Donna Anna LOUISE ALDER

Don Ottavio BOGDAN VOLKOV

Donna Elvira NICOLE CAR

Leporello PETER KELLNER

Zerlina PATRICIA NOLZ

Masetto ILJA KAZAKOV

2nd series 28 MARCH 2025

1 APRIL 2025

Prices D

Conductor PHILIPPE JORDAN

Don Giovanni ÉTIENNE DUPUIS

Il Commendatore ANTE JERKUNICA

Donna Anna LOUISE ALDER

Don Ottavio EDGARDO ROCHA

Donna Elvira EMILY DʼANGELO

Leporello PETER KELLNER

Zerlina ISABEL SIGNORET

Masetto ILJA KAZAKOV

GIUSEPPE VERDI

MACBETH

MELODRAMMA in four acts

based on the play by WILLIAM SHAKESPEARE

Concert performance in MonteCarlo, 19 January, 2025

Conductor: BERTRAND DE BILLY

With:

DAVIDE LUCIANO

ANTONIO DI MATTEO

MARIA BENGTSSON

EDGARDO ROCHA

TARA ERRAUGHT

Dates

12 15 17 21 OCTOBER 2024

Prices S

Conductor AXEL KOBER Director BARRIE KOSKY

Macbeth GERALD FINLEY

Lady Macbeth EKATERINA SEMENCHUK

Banco ROBERTO TAGLIAVINI

Macduff SAIMIR PIRGU

COSÌ FAN TUTTE

ALL WOMEN DO THE SAME

DRAMMA GIOCOSO IN TWO ACTS

Libretto LORENZO DA PONTE

1st series 18 20 23 27 OCTOBER 2024

Prices D A

Conductor ADAM FISCHER Director BARRIE KOSKY

Fiordiligi NICOLE CAR

Dorabella CECILIA MOLINARI

Guglielmo MARKUS WERBA

Ferrando BOGDAN VOLKOV

Despina MARIA NAZAROVA

Don Alfonso LUCA PISARONI

2nd series 30 MARCH 2025

3 APRIL 2025

Prices D

Conductor PHILIPPE JORDAN

Fiordiligi

LOUISE ALDER

Dorabella EMILY DʼANGELO

Guglielmo PETER KELLNER

Ferrando EDGARDO ROCHA

Despina ISABEL SIGNORET

Don Alfonso LUCA PISARONI

BENJAMIN BRITTEN

BILLY BUDD

OPERA in four acts

Libretto based on a story by HERMAN MELVILLE

Dates 26 30 OCTOBER 2024

3 7 10 NOVEMBER 2024

Prices S

Conductor MARK WIGGLESWORTH Director WILLY DECKER

Stage & Costume Design WOLFGANG GUSSMANN

Edward Fairfax Vere

GREGORY KUNDE

Billy Budd HUW MONTAGUE RENDALL

John Claggart

BRINDLEY SHERRATT

Mr. Redburn ADRIAN ERÖD

Mr. Flint

WOLFGANG BANKL

Ratcliffe ATTILA MOKUS

“Evil knows good, but good does not know evil.” This statement by Franz Kafka would be a fitting subtitle to Benjamin Britten’s Billy Budd. The satanic petty officer Claggart succeeds in making the universally loved angelic and unsuspecting sailor Billy Budd innocently guilty and so destroy him. In impressive and subtle images, director Willy Decker describes the exceptional situation and brutality on an English warship, in whose narrow cosmos the question of justice, love and forgiveness is dealt with in a poignant way.

BILLY BUDD

Benjamin Britten p. 33

LA BOHÈME

OPERA in four acts

Libretto GIUSEPPE GIACOSA & LUIGI ILLICA

based on a work by HENRI MURGER

1st series 28 31 OCTOBER 2024

2 NOVEMBER 2024

Prices A

Conductor GIEDRĖ ŠLEKYTĖ

Director & Stage Design FRANCO ZEFFIRELLI

Rodolfo SAIMIR PIRGU

Mimì ELBENITA KAJTAZI

Marcello LEONARDO NEIVA

Schaunard MARTIN HÄSSLER

Colline ILJA KAZAKOV

Musetta ANNA BONDARENKO

2nd series 24 26 29 JANUARY 2025

Prices

3 FEBRUARY 2025

D A

Conductor LORENZO PASSERINI

Rodolfo LIPARIT AVETISYAN

Mimì AILYN PÉREZ

Marcello CLEMENS UNTERREINER

Schaunard MARTIN HÄSSLER

Colline PETER KELLNER

Musetta MARIA NAZAROVA

GIACOMO PUCCINI

MADAMA BUTTERFLY

TRAGEDIA GIAPPONESE

Text GIUSEPPE GIACOSA & LUIGI ILLICA

Dates 1 4 8 11 13 15 NOVEMBER 2024

Prices

D A

Conductor

GIAMPAOLO BISANTI

Director ANTHONY MINGHELLA

Director & Choreography CAROLYN CHOA

Cio-Cio-San

MARINA REBEKA

Suzuki DARIA SUSHKOVA

Pinkerton JOSHUA GUERRERO

Sharpless STEFAN ASTAKHOV

Madama Butterfly is reproduced from an original co-production of THE METROPOLITAN OPERA, ENGLISH NATIONAL OPERA, and the LITHUANIAN NATIONAL OPERA.

DON PASQUALE

DRAMMA BUFFO in three acts

Libretto GIOVANNI RUFFINI & GAETANO DONIZETTI

Dates 9 12 16 18 NOVEMBER 2024

Prices S

Conductor GIACOMO SAGRIPANTI Director IRINA BROOK

Don Pasquale ERWIN SCHROTT

Ernesto EDGARDO ROCHA

Malatesta DAVIDE LUCIANO

Norina PRETTY YENDE

JULES MASSENET MANON

OPÉRA COMIQUE in five acts based on a novel by ABBÉ PRÉVOST

Dates 14 17 20 24 27 NOVEMBER 2024

Prices S

Conductor EMMANUEL VILLAUME Director ANDREI ŞERBAN

Manon Lescaut KRISTINA MKHITARYAN

Chevalier Des Grieux VITTORIO GRIGOLO

Count Des Grieux DAN PAUL DUMITRESCU

Lescaut MATTIA OLIVIERI

Hans Pfitzner

REVIVAL

IL RITORNO DʼULISSE IN PATRIA

THE RETURN OF ULYSSES TO HIS HOMELAND DRAMMA IN MUSICA with prologue and three acts

Dates

Libretto GIACOMO BADOARO

22 25 28 30 NOVEMBER 2024

4 DECEMBER 2024

Prices S

Conductor STEFAN GOTTFRIED Director JOSSI WIELER

SERGIO MORABITO

Ulisse GEORG NIGL

Penelope STEPHANIE MAITLAND

Telemaco

Minerva

CYRILLE DUBOIS

ISABEL SIGNORET

Nettuno ANTONIO DI MATTEO

Ericlea STEPHANIE HOUTZEEL

Iro

Melanto

JÖRG SCHNEIDER

DARIA SUSHKOVA

Giove MATTHÄUS SCHMIDLECHNER

HANS PFITZNER

PALESTRINA

A MUSICAL LEGEND in three acts

Libretto HANS PFITZNER

Dates 5 8 12 15 DECEMBER 2024

Prices A

Conductor CHRISTIAN THIELEMANN Director, Stage & Costume Design, Lighting HERBERT WERNICKE

Giovanni Pierluigi Palestrina

Pope Pius IV

Giovanni Morone

Bernardo Novagerio

MICHAEL SPYRES

GÜNTHER GROISSBÖCK

MICHAEL NAGY

MICHAEL LAURENZ

Cardinal Christoph Madruscht WOLFGANG BANKL

Carlo Borromeo WOLFGANG KOCH

Abdisu HIROSHI AMAKO

Count Luna ADRIAN ERÖD

Bishop of Budoja NORBERT ERNST

Theophilus

Ighino

MICHAEL GNIFFKE

FLORINA ILIE

Silla PATRICIA NOLZ

CONCENTUS MUSICUS WIEN

The central theme in Pfitzner’s Palestrina is the mystery of artistic inspiration. Pfitzner sees as a prerequisite for this the anchoring of creative activity in his own inner world, which stands in sharp contrast to the transmission of external reality. Against the background of the Tridentine Council, the legend of the Renaissance composer Palestrina is told, who produces in a creative ecstasy the masterpiece with which he saves a whole musical tradition from destruction. The special focus of the series of performances is on one of the most powerful proponents of this rarity, conductor Christian Thielemann.

TOSCA

MELODRAMMA in three acts

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

1st series 7 10 DECEMBER 2024

Prices G

Conductor PIER GIORGIO MORANDI Director MARGARETE WALLMANN

Tosca

LISE DAVIDSEN

Cavaradossi FREDDIE DE TOMMASO

Scarpia ALEXEY MARKOV

2nd series 9 12 15 17 FEBRUARY 2025

Prices G

Conductor PIER GIORGIO MORANDI

Tosca SONYA YONCHEVA

Cavaradossi PIOTR BECZAŁA

Scarpia AMBROGIO MAESTRI

3rd series 9 12 14 17 MAY 2025

Prices D A

Conductor MARCO ARMILIATO

Tosca ALEKSANDRA KURZAK

Cavaradossi ROBERTO ALAGNA

Scarpia GABRIELE VIVIANI

JACQUES OFFENBACH

LES CONTES D’HOFFMANN

THE TALES OF HOFFMANN OPERA with a prologue, three acts and an epilogue Libretto JULES PAUL BARBIER

Dates 13 16 19 22 DECEMBER 2024

Prices D

Conductor

Director

Stage & Costume Design

Choreography

Hoffmann

Muse/Nicklausse

Lindorf/Coppélius/Miracle/ Dapertutto

Andrès/Cochenille/Frantz/ Pitichinaccio

BERTRAND DE BILLY

ANDREI ŞERBAN

RICHARD HUDSON

NIKY WOLCZ

JOHN OSBORN

ALMA NEUHAUS

ALEX ESPOSITO

THOMAS EBENSTEIN

Olympia/Giulietta SERENA SÁENZ

Antonia NICOLE CAR

Director Andrei Şerban places the performers of Les Contes d’Hoffmann in a highly mysterious and surreal environment. A fantastic world that seems to have originated directly from the ideas and dreams of the Romantic poet E. T. A. Hoffmann: Drawn by his muse and driven by a demonic adversary, Hoffmann must move on from one unhappy love affair to another until he has to realize that for him as an artist happiness can only be found in the creative act. With an exquisite cast, this revival brings a celebrated production back into the schedule after a long break.

RIGOLETTO

MELODRAMMA in three acts

Libretto FRANCESCO MARIA PIAVE

Dates 18 21 25 29 DECEMBER 2024

Prices D G

Conductor CARLO RIZZI Director PIERRE AUDI

Duke

DMITRY KORCHAK

Rigoletto AMARTUVSHIN ENKHBAT

Gilda NINA MINASYAN

Sparafucile IVO STANCHEV

Maddalena MONIKA BOHINEC

ENGELBERT HUMPERDINCK

HÄNSEL UND GRETEL

FAIRY-TALE OPERA in three acts

Libretto ADELHEID WETTE

Dates 26 28 30 DECEMBER 2024

2 JANUARY 2025

Prices A D

Conductor AXEL KOBER Director ADRIAN NOBLE

Peter Besenbinder JOCHEN SCHMECKENBECHER

Gertrud REGINE HANGLER

Hänsel SZILVIA VÖRÖS

Gretel FLORINA ILIE

Witch NORBERT ERNST

DIE FLEDERMAUS

THE BAT

COMIC OPERETTA IN THREE ACTS

Libretto CARL HAFFNER & RICHARD GENÉE

Dates 31 DECEMBER 2024

1 4 JANUARY 2025

Prices P G

Conductor BERTRAND DE BILLY Director OTTO SCHENK

Eisenstein GEORG NIGL

Rosalinde HANNA-ELISABETH MÜLLER

Frank WOLFGANG BANKL

Orlofsky DARIA SUSHKOVA

Alfred JÖRG SCHNEIDER

Dr. Falke CLEMENS UNTERREINER

Adele ILIA STAPLE

Frosch MICHAEL NIAVARANI

GIACOMO PUCCINI

TURANDOT

OPERA in three acts

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

Dates 6 10 13 17 20 JANUARY 2025

Prices A

Conductor CARLO RIZZI Director CLAUS GUTH

Turandot ELENA PANKRATOVA

Timur DAN PAUL DUMITRESCU

Calaf MICHAEL FABIANO

Liù SELENE ZANETTI

CAVALLERIA RUSTICANA

RUSTIC CHIVALRY

MELODRAMMA in one act

Libretto GIOVANNI TARGIONI-TOZZETTI & GUIDO MENASCI

Dates 12 15 19 22 JANUARY 2025

Prices G

Conductor

Double bill with Pagliacci

NICOLA LUISOTTI Director, Stage & Costume Design

Santuzza

JEAN-PIERRE PONNELLE

ELĪNA GARANČA

Turiddu JONATHAN TETELMAN

Lucia

Alfio

ELENA ZAREMBA

ADAM PLACHETKA

RUGGERO LEONCAVALLO

PAGLIACCI

DRAMMA with a prologue and two acts

Libretto RUGGERO LEONCAVALLO

Dates 12 15 19 22 JANUARY 2025

Prices G

Conductor

NICOLA LUISOTT I Director, Stage & Costume Design

Canio

JEAN-PIERRE PONNELLE

JONAS KAUFMANN

Nedda MARIA AGRESTA

Tonio ADAM PLACHETKA

Beppo JÖRG SCHNEIDER

Silvio STEFAN ASTAKHOV

Double bill with Cavalleria rusticana

IL TROVATORE

Giuseppe Verdi p 44

ARIADNE AUF NAXOS

OPERA in one act with prelude

Libretto HUGO VON HOFMANNSTHAL

Dates 21 25 28 31 JANUARY 2025

Prices G

Conductor CORNELIUS MEISTER Director SVEN-ERIC BECHTOLF

Primadonna/Ariadne ANNA NETREBKO

Tenor/Bacchus MICHAEL SPYRES

Music teacher ADRIAN ERÖD

Composer

Co-Production with the SALZBURG FESTIVAL

KATE LINDSEY

Zerbinetta SARA BLANCH

Harlequin JUSUNG GABRIEL PARK

GIUSEPPE VERDI

IL TROVATORE

OPERA in four parts

Libretto SALVADORE CAMMARANO

1st series 2 5 8 11 FEBRUARY 2025

Prices S

Conductor PIER GIORGIO MORANDI Director

Stage Design

DANIELE ABBADO

GRAZIANO GREGORI

Costume Design CARLA TETI

Lighting ALESSANDRO CARLETTI

Joint Director

Joint Set Design

BORIS STETKA

ANGELO LINZALATA

Count Luna ARTUR RUCI ŃSKI

Leonora MARIA AGRESTA

Azucena CLÉMENTINE MARGAINE

Manrico

VITTORIO GRIGOLO

Ferrando ILJA KAZAKOV

2nd series 18 21 24 27 30 MAY 2025

Prices D

Conductor MARCO ARMILIATO

Count Luna LUCA SALSI

Leonora KRASSIMIRA STOYANOVA

Azucena EKATERINA SEMENCHUK

Manrico

Ferrando

PIOTR BECZAŁA

DMITRY ULYANOV

Verdi’s Il trovatore is probably one of the most popular works in musical theatre literature. Even those unfamiliar with opera as a genre will know some of the moving arias and ensembles that portray the tragicdramatic plot of love, hate, adventure, fame, mortal danger, jealousy, and fateful revenge. No less than Hugo von Hofmannsthal exclaimed euphorically: “What a masterful work, what sublime knowledge of the theatre! That’s passion! And above all, this stream of perfect musical inspiration. People show their taste when they love this opera.”

FIDELIO

OPERA in two acts

Libretto JOSEPH SONNLEITHNER, STEPHAN VON BREUNING & GEORG FRIEDRICH TREITSCHKE

Dates

13 16 20 23 FEBRUARY 2025

Prices S

Conductor AXEL KOBER

Director OTTO SCHENK

Don Fernando PETER KELLNER

Don Pizarro BRYN TERFEL

Florestan MICHAEL SPYRES

Leonore SIMONE SCHNEIDER

Rocco GEORG ZEPPENFELD

Marzelline FLORINA ILIE

Jaquino DANIEL JENZ

GIOACHINO ROSSINI

IL BARBIERE DI SIVIGLIA

THE BARBER OF SEVILLE COMMEDIA in two acts

Libretto CESARE STERBINI based on a work by BEAUMARCHAIS

1st series

14 18 21 FEBRUARY 2025

Prices S

Conductor DIEGO MATHEUZ

Director & Stage Design HERBERT FRITSCH

Count Almaviva EDGARDO ROCHA

Bartolo PAOLO BORDOGNA

Rosina MARIA KATAEVA

Don Basilio ERWIN SCHROTT

Figaro ANDRZEJ FILOŃCZYK

2nd series 11 13 16 19 JUNE 2025

Prices A

Conductor MARCO ARMILIATO

Count Almaviva EDGARDO ROCHA

Bartolo MARCO FILIPPO ROMANO

Rosina PATRICIA NOLZ

Don Basilio BRYN TERFEL

Figaro STEFAN ASTAKHOV

WERTHER

DRAME LYRIQUE in four acts based on the poem by JOHANN WOLFGANG VON GOETHE

Dates 5 8 11 14 MARCH 2025

Prices S

Conductor BERTRAND DE BILLY Director ANDREI ŞERBAN

Werther MATTHEW POLENZANI

Albert CLEMENS UNTERREINER

Charlotte KATE LINDSEY

Sophie FLORINA ILIE

GAETANO DONIZETTI

L’ELISIR D’AMORE

THE ELIXIR OF LOVE

MELODRAMMA GIOCOSO in two acts

Libretto FELICE ROMANI

Dates 17 19 21 MARCH 2025

Prices S

Conductor FRANCESCO IVAN CIAMPA based on a production by OTTO SCHENK

Adina NADINE SIERRA

Nemorino XABIER ANDUAGA

Belcore DAVIDE LUCIANO

Dulcamara BRYN TERFEL

ANDREA CHÉNIER

DRAMMA DI AMBIENTE STORICO in four acts

Libretto LUIGI ILLICA

Dates 8 12 15 APRIL 2025

Prices S

Conductor PIER GIORGIO MORANDI based on a production by OTTO SCHENK

Andrea Chénier MICHAEL FABIANO

Carlo Gérard LUCA SALSI

Maddalena di Coigny SONYA YONCHEVA

RICHARD STRAUSS

ARABELLA

LYRIC COMEDY in three acts

Libretto HUGO VON HOFMANNSTHAL

Dates 13 16 19 22 APRIL 2025

Prices S

Conductor CHRISTIAN THIELEMANN

Director SVEN-ERIC BECHTOLF

Stage Design ROLF GLITTENBERG

Costume Design MARIANNE GLITTENBERG

Count Waldner WOLFGANG BANKL

Adelaide MARGARET PLUMMER

Arabella CAMILLA NYLUND

Zdenka SABINE DEVIEILHE

Mandryka MICHAEL VOLLE

Matteo MICHAEL LAURENZ

Fiakermilli ILIA STAPLE

Co-Production with the HAMBURG STATE OPERA

Richard Strauss’ and Hugo von Hofmannsthal’s last joint opera Arabella is framed between two statements by the title character: “But the right one, if there is one for me, will stand before me at some point” in act 1, and “so we are tied to suffering and joy and to hurting and forgiving!” in act 3. The work was originally intended to be an operetta or a second Rosenkavalier. The result is a commitment to the unconditional belief in love between two people who belong to one another – and who come together, even though all the signs are initially against them.

ARABELLA Richard Strauss p. 47

RICHARD WAGNER

PARSIFAL

SACRED FESTIVAL DRAMA in three acts

Dates 17 20 23 APRIL 2025

Prices D A

Conductor AXEL KOBER Director,Stage & Costume Design

Amfortas

KIRILL SEREBRENNIKOV

LUDOVIC TÉZIER

Gurnemanz GÜNTHER GROISSBÖCK

Parsifal KLAUS FLORIAN VOGT

Klingsor JOCHEN SCHMECKENBECHER

Kundry

ANJA KAMPE

RICHARD WAGNER

LOHENGRIN

ROMANTIC OPERA in three acts

Dates 27 APRIL 2025

1 4 MAY 2025

Prices A

Conductor CHRISTIAN THIELEMANN Director JOSSI WIELER

SERGIO MORABITO

King Heinrich GÜNTHER GROISSBÖCK

Lohengrin

Elsa of Brabant

Telramund

Ortrud

The King’s Herald

DAVID BUTT PHILIP

CAMILLA NYLUND

JORDAN SHANAHAN

ANJA KAMPE

ATTILA MOKUS

Co-Production with the SALZBURG EASTER FESTIVAL

RICHARD WAGNER

DAS RHEINGOLD

Preliminary evening of the stage festival drama

DER RING DES NIBELUNGEN

Dates 28 MAY 2025

20 JUNE 2025

Prices G

Conductor PHILIPPE JORDAN

Director SVEN-ERIC BECHTOLF

Wotan

IAIN PATERSON

Loge DANIEL BEHLE

Donner CLEMENS UNTERREINER

Froh JÖRG SCHNEIDER

Fricka MONIKA BOHINEC

Freia REGINE HANGLER

Erda NOA BEINART

Alberich JOCHEN SCHMECKENBECHER

Mime MICHAEL LAURENZ

Fasolt ILJA KAZAKOV

Fafner KWANGCHUL YOUN

RICHARD WAGNER

DIE WALKÜRE

First day of the stage festival drama

DER RING DES NIBELUNGEN

Dates 2 22 JUNE 2025

Prices G

Conductor PHILIPPE JORDAN

Director SVEN-ERIC BECHTOLF

Siegmund ANDREAS SCHAGER

Hunding KWANGCHUL YOUN

Wotan IAIN PATERSON

Sieglinde LISE DAVIDSEN

Brünnhilde ANJA KAMPE

Fricka MONIKA BOHINEC

RICHARD WAGNER

SIEGFRIED

Second day of the stage festival drama

DER RING DES NIBELUNGEN

Dates 8 25 JUNE 2025

Prices G

Conductor PHILIPPE JORDAN Director SVEN-ERIC BECHTOLF

Siegfried ANDREAS SCHAGER

Brünnhilde ANJA KAMPE

Der Wanderer IAIN PATERSON

Alberich JOCHEN SCHMECKENBECHER

Erda NOA BEINART

Mime MICHAEL LAURENZ

Fafner KWANGCHUL YOUN

RICHARD WAGNER

GÖTTERDÄMMERUNG

Third day of the stage festival drama

DER RING DES NIBELUNGEN

Dates 15 28 JUNE 2025

Prices G

Conductor PHILIPPE JORDAN Director SVEN-ERIC BECHTOLF

Siegfried ANDREAS SCHAGER

Gunther CLEMENS UNTERREINER

Hagen FALK STRUCKMANN

Alberich JOCHEN SCHMECKENBECHER

Brünnhilde ANJA KAMPE

Gutrune REGINE HANGLER

Waltraute SZILVIA VÖRÖS

THE QUEEN OF SPADES Pyotr I. Tchaikovsky p 53

DER ROSENKAVALIER

THE KNIGHT OF THE ROSE

COMIC OPERA in three acts

Libretto HUGO VON HOFMANNSTHAL

Dates

9 12 14 17 JUNE 2025

Prices A

Conductor

ADAM FISCHER

Director OTTO SCHENK

Marschallin

LISE DAVIDSEN

Baron Ochs auf Lerchenau GÜNTHER GROISSBÖCK

Octavian

Sophie

EMILY DʼANGELO

SABINE DEVIEILHE

Faninal ADRIAN ERÖD

PYOTR I. TCHAIKOVSKY

THE QUEEN OF SPADES

OPERA in three acts

Text MODEST I. TCHAIKOVSKY based on a poem by ALEXANDER PUSHKIN

Dates 21 24 27 30 JUNE 2025

Prices G

Conductor

Director

Stage Design

TIMUR ZANGIEV

VERA NEMIROVA

JOHANNES LEIACKER

Costume Design MARIE-LUISE STRANDT

Lisa

Hermann

ANNA NETREBKO

YUSIF EYVAZOV

Tomsky / Pluto ALEXEY MARKOV

Yeletsky

Countess

Polina / Daphnis

BORIS PINKHASOVICH

ELENA ZAREMBA

ELENA MAXIMOVA

Three, seven, and ace –with these three supposedly infallible cards revealed to him by the spirit of the dead countess, which appeared in a fever vision, the impoverished outsider Hermann wants to win big at cards. But by now he no longer wants the money to marry his former beloved, Lisa, but has become hopelessly addicted to gambling. Based on the story by Pushkin, The Queen of Spades addresses a destructive loneliness resulting from social exclusion, to which the Countess, Lisa and Hermann himself fall victim.

Dear Audience! It is a great pleasure for me to present the Vienna State Ballet’s programme for the 2024/25 season to you, as well as a genuine need – because I am very proud of our programme and hope you will enjoy it. At the same time I am reluctant to write briefly about the individual productions, highlighting only certain aspects, as I know that by doing so I could only do partial justice to them and the artists involved. So, I would like you to take a deeper look at what we have planned in the pages that follow.

Of course, a season brochure needs a foreword by the person who is responsible. But what kind of foreword does it need? While I am absolutely convinced of their value and indeed importance, any form of lecture about the value of the arts in the present day – not least when faced with the current global situation – would, I feel, seem tendentious and self-indulgent. That the performing arts – live, real, and based as they are on human contact – provide a vital antithesis to the illusory, harsh and fake-ridden world of virtual communications is a fact that hardly needs discussing. The theatrical moment has possessed a healing quality for a long time. Our audience numbers are proof of this. And it is more than a longing

to escape this world that brings people of all ages and diverse ethnic and cultural backgrounds to our dance performances. It is their need for a different reality, their yearning for poetry, for human warmth, for a togetherness that does not require the suspension of the individual, but is capable of integrating it with all its difference – far removed from the oaths sworn to the collective by the populists obsessed with their own delusions, who are prepared to suffocate dissent by any means at their disposal. It is interesting that we human beings are repeatedly taken in by them. As I write this, the politicians’ speeches from Ash Wednesday are still echoing inside me. The lingering impression they leave is one of the reasons I have tried to find a different form for this foreword. I will assume that you will be able to recognise how many wonderful things there are in our ballet programme for 2024/25 without me having to praise them any further. The beautiful thing about dance as an art form is that its effects can be silent, it is able to enchant and make a deep impression without being too loud about it, though, of course, it should also divide opinion. It is never about creating a manifesto for harmony – unless that is its artistic intention.

In this out-of-joint world, art is capable of jolting things back into place. Such movements are not grand gestures. But they are effective shifts that can stabilise people’s lives and give them meaning. That is their great, inexhaustible power.

Ballet uses no words but is still a universal language. This is refreshing in a world in which there so much is said, posted, liked – and hated. Without intending to do so, ballet has the additional benefit of being a source of strength without feeling at all like therapy. This is something that people pick up on, either consciously or unconsciously. Dance and ballet are unrivalled at doing this. Next season will be my final one in Vienna. I have enjoyed being here, especially recently – but I am happy to move on in my life as an artist and as a person. Any change of director will always bring changes. Things will carry on, they should carry on and carry on differently – and that’s how it should be! But it’s still far too early to say goodbye. We have more than a season ahead of us. And filling that

MARTIN SCHLÄPFER

is a very beautiful task. I am particularly keen that a great deal will be created afresh for the Vienna State Ballet in 2024/25 and we will not only be looking backwards. We have planned five world premieres, some of them taking up a full evening. We are throwing a lasso into the future. That is our intention. We have faith in this art form and in creating new works. Ideally these new ballets will become the repertoire of tomorrow.

I am very much looking forward to being able to welcome you to the performances and to thank you – on behalf of everyone at the Vienna State Ballet – for your loyalty, your enthusiasm and for giving us the wonderful attendance figures that these have produced.

Ballet Director & Chief Choreographer

CHRISTOPHER WHEELDON p. 56

THE WINTER’S TALE

GEORGE BALANCHINE / MERCE CUNNINGHAM / MARTIN SCHLÄPFER p. 60

PATHÉTIQUE

CHRISTOPHER WHEELDON

THE WINTER’S TALE

BALLET in one prologue and three acts based on the eponymous piece by WILLIAM SHAKESPEARE

Music

Choreography

JOBY TALBOT

CHRISTOPHER WHEELDON

Scenario CHRISTOPHER WHEELDON

JOBY TALBOT

Conductor CHRISTOPH KONCZ

JOHANNES WITT

(23 NOVEMBER & 6 DECEMBER 2024)

Stage & Costume Design

Lighting

Projection Design

Silk Effects Design

Staging

BOB CROWLEY

NATASHA KATZ

DANIEL BRODIE

BASIL TWIST

JASON FOWLER

GREGORY MISLIN

JILLIAN VANSTONE

EDWARD WATSON

ORCHESTRA & STAGE ORCHESTRA OF THE VIENNA STATE OPERA

Prices

Leontes, King of Sicily, and Polixenes, King of Bohemia, have been friends since they were children. However, one day Leontes is overcome by a feeling of consuming jealousy and assumes – wrongly – that his friend is having an affair with his wife Hermione and that Polixenes, not he, is the father of Hermione’s unborn child. Leontes’s tyranny unleashes a spiral of rancour with huge, life-changing consequences for them all: Polixenes takes flight, Hermione is put in prison, the daughter she gives birth to there, Perdita, is cast out and raised by shepherds, while Hermione dies of grief and Leontes is left behind, a lonely and broken man.

The basic framework of William Shakespeare’s drama The Winter’s Tale is indicative of its ambitiously structured characters and plot, unfolding in a range of locations over a period of sixteen years. This tragic comedy, which Shakespeare completed in 1610/11 as part of his final flourish of creativity, is one of the English dramatist’s most experimental works. “It is a play full of highly dramatic situations which lend themselves to physical representation. What attracted me to it was the contrast between the darkness of Sicily and the bubbly ‘joie de vivre’ of the shepherd’s festival in Bohemia. It is a story that starts violently and ends in poetic redemption”, is how choreographer Christopher Wheeldon described what had inspired him when he first worked on the piece in 2014.

agery. In a prologue and three acts in very different styles, the choreographer conjures up contrasting worlds that congenially evoke their divergent core emotions: while Act One is dominated by tragedy, Act Two is lighter, airier and full of pure dancing scenes in which Perdita celebrates with the shepherds who have raised her and innocently falls in love with Polixenes’s son Florizel. After many twists and turns in Act Three, the characters are then reconciled in a grand finale. Their pain expires and gives way to clarity, gratitude and circumspection, that reach their climax when Hermione, who was believed dead, returns to life, and mother and daughter are reunited.

“A story of forgiveness and transformation, ultimately proving what we are all capable of: cruelty and compassion, shades of light and shades of darkness.”

CHRISTOPHER WHEELDON

The movement language is notable for its complex characterisation: at times it is muscular and expressionistic, at times gentle and poetic. With music by Joby Talbot, who has made a considerable impression on dance composition in recent years with his ballet scores for Wheeldon and others – including Alice’s Adventures in Wonderland and Like Water for Chocolate – The Winter’s Tale is a modern ballet classic about second chances.

Hermione to Leontes:

“No, by my life, Privy to none of this. How will this grieve you,

When you shall come to clearer knowledge, that You thus have publish’d me! Gentle my lord, You scarce can right me throughly, then, to say You did mistake.”

WILLIAM SHAKESPEARE

With its world premiere at the Royal Ballet in London, Wheeldon gifted the ensemble The Winter’s Tale as another “future classic” following his 2011 hit Alice’s Adventures in Wonderland – and it now takes its place in the repertoire of the Vienna State Ballet. The Briton, whose roles include Artist Associate at the Royal Ballet, is one of the leading choreographers of his generation and has been hailed as “the magician who has dressed the story ballet in contemporary clothing”. The Winter’s Tale, winner of the Prix Benois de la Danse in 2015 for numerous categories including “best classical choreography”, brings together darkness and light, weighty and more frivolous themes. It is a story full of primal human emotions, that tells of destructive madness as well as love and hope, forgiveness and reconciliation. Wheeldon’s choreography approaches Shakespeare’s complex narrative with dramaturgical intelligence and rich visual im-

“I wanted to use folk instruments but didn’t want the music to sound like it was from a specific place in the real world.

SHAKESPEARE’S BOHEMIA IS AN IDYLLIC, ARCADIAN PARADISE,

not a real country, and I was keen to try to create the illusion that we are getting a tiny glimpse of the rich musical culture of this imaginary realm.”

JOBY TALBOT

Introductory matinee

PATHÉTIQUE

DIVERTIMENTO NO. 15

Music

DIVERTIMENTO NO. 15 B FLAT MAJOR KV 287

by WOLFGANG AMADEUS MOZART

Choreography

Conductor

Costume Design

Staging

GEORGE BALANCHINE

© THE GEORGE BALANCHINE TRUST

CHRISTOPH ALTSTAEDT

JEAN-MICHAËL LAVOIE (5 7 10 JUNE 2025)

KARINSKA

SANDRA JENNINGS

ORCHESTRA OF THE VIENNA STATE OPERA

SUMMERSPACE

Music

IXION FOR TWO PIANOS by MORTON FELDMAN

Choreography

Stage, Costume

& Lighting Design

Supervision Lighting

Staging

MERCE CUNNINGHAM

© THE MERCE CUNNINGHAM TRUST

ROBERT RAUSCHENBERG

DAVISON SCANDRETT

ASHLEY CHEN

CHERYL THERRIEN

Piano JOONAS AHONEN & JOHANNES PIIRTO

PATHÉTIQUE

WORLD PREMIERE

Music

SYMPHONY NO. 6 B MINOR OP. 74 (“PATHÉTIQUE ”)

by PYOTR I. TCHAIKOVSKY

Choreography

Conductor

Stage Design

Costume Design

Lighting

6 APRIL 2025

Further Performances

11 14 21 26

Prices M

APRIL 2025

Prices C

MARTIN SCHLÄPFER

CHRISTOPH ALTSTAEDT

JEAN-MICHAËL LAVOIE (5 7 10 JUNE 2025)

THOMAS MIKA

CATHERINE VOEFFRAY

ROBERT EISENSTEIN

ORCHESTRA OF THE VIENNA STATE OPERA

Premiere 9 APRIL 2025

3 7 11 MAY 2025

Prices B

5 7 10 JUNE 2025

What happened in dance in New York during the 1950s can be seen as one of the most inspiring periods in dance history, which continues to guide us even now. On one side there was George Balanchine, the founder of New York City Ballet and an artist who personified the links between the old tradition of Czarist Russia with a neoclassicism of his own that was shaping ballet in America and had revolutionised the whole genre by extending the vocabulary of danse d’école, understanding dance as a form of music making using the body in space, and body images based on athleticism. On the other side were the many forms of modern dance, manifest in such varied approaches as those of Martha Graham, Paul Taylor and Merce Cunningham – to name just three of its exponents. With George Balanchine’s Divertimento No. 15 and Merce Cunningham’s Summerspace, the Vienna State Ballet’s premiere of Pathétique invites you to immerse yourself in this fascinating time and let yourself be enchanted by these two contrasting approaches. In addition, the programme also connects to the present with the world premiere of Pathétique, with which Martin Schläpfer will complete his work as a choreographer for the Vienna State Ballet in his term as Artistic Director.

“I try to find interesting proportions of movement in time and space because music is time. It’s not the melody that counts, it is the time it gives you.”

GEORGE BALANCHINE

about the art of dance as radically as Cunningham with his abandonment of the connections between movement, music and stage and costume design, his development of a dance technique that establishes new links between different parts of the body and his rejection of traditional ideas of the theatre space. In Summerspace six dancers appear to pass through the space like birds in the detached atmosphere of a balmy summer day. “It was about space, as the title indicates”, Cunningham explained. “I decided to number the entrances and exits (...) and to link them by all the possible trajectories.” This yielded 21 possibilities, for which he defined different forms of movement and whose running order and tempo were fixed according to random principles of aleatoric. He persuaded two outstanding contemporary artists to design the decor and provide the music: Robert Rauschenberg, whose 100 th birthday will be celebrated in 2025, created a pointillist “landscape of blossoms”, while Morton Feldman composed an atmospheric piece of music for two pianos.

To round off the programme, Martin Schläpfer presents his world premiere Pathétique. He once again plunges into creative work with the dancers of the Vienna State Ballet to the sound of Pyotr I. Tchaikovsky’s Symphony No. 6 in B minor op. 74.

Divertimento No. 15 from 1956 is one of the few ballets that Balanchine created to a work by Wolfgang Amadeus Mozart. Born entirely out of the music – Mozart’s Divertimento in B flat major KV 287 – it perfectly captures the spirit of the divertissement, originally created as entertainment. Its chamber music character is matched by a select cast consisting of five female soloists, three male soloists and a corps de ballet of eight female dancers for a choreography in which Balanchine skilfully and subtly inscribes a complex array of geometric patterns within the space while allowing his dances to unfold in their individual variations with great power, remarkable verve and unique character.

Following the premiere of his Duets in June 2022 at the Vienna Volksoper, Summerspace is another work by Merce Cunningham to join the repertoire, marking the first time that one of the American’s pieces will be performed by the Vienna State Ballet at the Vienna State Opera. No other choreographer has challenged collective assumptions

“Tchaikovsky’s Sixth washes around us like water in which we are sinking, though not painfully – it is like a release, and then it rises up again, full of virtuosity, brilliant tempi, a broad spectrum of dynamics and a fascinating wealth of melody. It is a symphony like a novel and, despite everything that has been read into it, an enigma. For me, it forms the starting point and the basis of my new ballet.”

MARTIN SCHLÄPFER

“What is fascinating and interesting in movement, is, though we are all two-legged creatures, we all move differently, in accordance with our physical proportions as well as our temperaments. It is this that interests me. Not the sameness of one person to another, but the difference, not a corps de ballet, but a group of individuals acting together.”

MERCE CUNNINGHAM

BALLET REPERTOIRE

SWAN LAKE

The touching story of Prince Siegfried, who falls in love with the swan lady Odette but breaks his vow of fidelity through deceit, became the most famous ballet of all time thanks to Marius Petipa and Lev Ivanov’s St Petersburg production in 1895. Rudolf Nureyev used it as the basis for his Viennese choreography, which is still one of the main attractions in the Vienna State Ballet’s programme.

SHIFTING SYMMETRIES

Hans van Manen / William Forsythe / George Balanchine p. 66

SHIFTING SYMMETRIES

Performances 11 14 16 18 23 JANUARY 2025

Prices C

CONCERTANTE

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

Choreography

Conductor

Stage & Costume Design

Lighting

Staging

Harp

Harpsichord

Piano

HANS VAN MANEN

MATTHEW ROWE

KESO DEKKER

JOOP CABOORT

NANCY EUVERINK

ANNELEEN LENAERTS

SONJA LEIPOLD

SHINO TAKIZAWA

ORCHESTRA OF THE VIENNA STATE OPERA IN THE MIDDLE, SOMEWHAT ELEVATED

Music

THOM WILLEMS in collaboration with LESLIE STUCK

Choreography, Stage, Costume & Lighting Design

Stage & Lighting Supervision

Staging

BRAHMS-SCHOENBERG QUARTET

WILLIAM FORSYTHE

TANJA RÜHL

KATHRYN BENNETTS

Music PIANO QUARTET NO. 1 G MINOR OP. 25 by JOHANNES BRAHMS orchestrated by ARNOLD SCHÖNBERG

Choreography

Conductor

Stage Design

Costume Design

Lighting

Staging

GEORGE BALANCHINE

© THE GEORGE BALANCHINE TRUST

MATTHEW ROWE

THOMAS ZIEGLER

VERA RICHTER

ROBERT EISENSTEIN

NILAS MARTINS

CHRISTIAN TWORZYANSKI

ORCHESTRA OF THE VIENNA STATE OPERA

Three masters, three ravishing ballets! With Hans van Manen, snapshots, at times joyful, at times bristling with eroticism or filled with aggression, always full of surprises and yet following an inner logic. With William Forsythe in an atmosphere of eccentric coolness, taking classical ballet ad absurdum in a breathtaking virtuosity. With Balanchine an exhilarating celebration of ballet, suffused with echoes of Petipa’s magnificent divertissements.

SLEEPING BEAUTY

BALLET in one prologue & three acts

Performances

9 11 14 23 27 DECEMBER 2024

3 5 JANUARY 2025

26 29 JUNE 2025

Prices B

Music THE SLEEPING BEAUTY OP. 66 by PYOTR I. TCHAIKOVSKY & FERNE LANDSCHAFT II by TOSHIO HOSOKAWA

Choreography

Conductor

Stage Design

Costume Design

Lighting & Video

MARTIN SCHLÄPFER

MARIUS PETIPA

ROBERT REIMER

FLORIAN ETTI

CATHERINE VOEFFRAY

THOMAS DIEK

ORCHESTRA OF THE VIENNA STATE OPERA

JOHN NEUMEIER

The story of Princess Aurora, who is cursed by the fairy Carabosse and falls into a hundred-year sleep until Prince Désiré finds her, kisses her awake and frees her from her rose-covered castle, is one of the most beautiful and tender in fairy tale literature. With dance images full of beauty, splendour, lightness, but also melancholy and anxieties, Martin Schläpfer has created a touching fairy tale ballet about parents and children, love and power, and the intrusion of mythical and natural beings into the life of a royal court.

LADY OF THE CAMELLIAS

BALLET in one prologue & three acts

Performances

19 24 FEBRUARY 2025

1 2 7 10 22 MARCH 2025

Prices B

Music

Choreography, Director & Lighting Concept

FRÉDÉRIC CHOPIN

JOHN NEUMEIER after LA DAME AUX CAMÉLIAS by ALEXANDRE DUMAS FILS

Conductor

Stage & Costume Design

Supervision Lighting

Staging

Piano

MARKUS LEHTINEN

JÜRGEN ROSE

RALF MERKEL

KEVIN HAIGEN

JANUSZ MAZON

IVAN URBAN

ANIKA VAVIĆ

IGOR ZAPRAVDIN

ORCHESTRA OF THE VIENNA STATE OPERA

Marguerite is the most beautiful and sought-after courtesan in the Parisian demi-monde. But when she meets Armand, her whole life is turned upside down. Based on Alexandre Dumas’s fils novel La dame aux camélias, John Neumeier created one of the most moving story ballets in recent dance history in 1978.

LADY OF THE CAMELLIAS JOHN NEUMEIER p. 67

HANS VAN MANEN / MARTIN SCHLÄPFER

MAHLER, LIVE

Performances 18 23 JUNE 2025

Music

FRANZ LISZT

Choreography HANS VAN MANEN

Costume Design

Lighting & Production Management

Staging

Live Camera

Piano

4

Music

KESO DEKKER

BERT DALHUYSEN

RACHEL BEAUJEAN

BALÁZS DELBÓ

SHINO TAKIZAWA

Hans van Manen’s video ballet

Live is an icon of dance history: an intimate exploration of the mechanisms of perception for a ballerina, a danseur noble, a cameraman and a pianist. Martin Schläpfer was inspired by Gustav Mahler’s 4th Symphony to create a major world theatre about the longings and despairs, dreams and distortions of modern man.

SYMPHONY NO. 4 G MAJOR by

Choreography

Conductor

Stage Design

Costume Design

Lighting

Soprano

GUSTAV MAHLER

MARTIN SCHLÄPFER

PATRICK LANGE

FLORIAN ETTI

CATHERINE VOEFFRAY

THOMAS DIEK

FLORINA ILIE

ORCHESTRA OF THE VIENNA STATE OPERA

HANS VAN MANEN / MARTIN SCHLÄPFER

GUEST PERFORMANCE AT TEATRO REAL MADRID

Performances

23 24 (5.30 PM & 9 PM) 25 MAY 2025

CONCERTANTE

Music PETITE SYMPHONIE CONCERTANTE by

Choreography

4

Music

FRANK MARTIN

HANS VAN MANEN

SYMPHONY NO. 4 G MINOR by

Choreography

Stage Design

Costume Design

Lighting

Soprano

Conductor

GUSTAV MAHLER

MARTIN SCHLÄPFER

FLORIAN ETTI

CATHERINE VOEFFRAY

THOMAS DIEK

MARINA MONZÓ

MATTHEW ROWE

ORCHESTRA OF THE TEATRO REAL MADRID

AT THE VOLKSOPER

VIKTOR ULLMANN / WOLFGANG AMADEUS MOZART

KAISERREQUIEM

DER KAISER VON ATLANTIS by VIKTOR ULLMANN & REQUIEM D MINOR KV 626 by WOLFGANG AMADEUS MOZART

Premiere

JANUARY 2025

Conductor

Director & Choreography

OMER MEIR WELLBER / KEREN KAGARLITSKY

ANDREAS HEISE

The Death / The Loudspeaker / Bass JOSEF WAGNER

Emperor Overall DANIEL SCHMUTZHARD

Harlequin

SEIYOUNG KIM

A Soldier / Tenor JUNHO YOU

The Drummer / Alto

Bubikopf / Soprano

WALLIS GIUNTA

REBECCA NELSEN

CHOIR & ORCHESTRA OF THE VIENNA VOLKSOPER

ALESSANDRA CORTI / LOUIS STIENS / MARTIN CHAIX

KREATIONEN

Premiere

Further dates

14 JUNE 2025

20 22 24 27 30 JUNE 2025

AEREA (WORLD PREMIERE)

Music

Choreography

HIGH (WORLD PREMIERE)

Music

Choreography

M TO M (WORLD PREMIERE)

Music

Choreography

Solo violin

Conductor

MICHAEL GORDON

ALESSANDRA CORTI

LISA STREICH

LOUIS STIENS

MAX BRUCH

MARTIN CHAIX

BENJAMIN HERZL

JEAN-MICHAËL LAVOIE

ORCHESTRA OF THE VIENNA VOLKSOPER

REPERTOIRE

COPPÉLIA

BALLET in three acts

Performances

1 4 13 20 25 27 OCTOBER 2024

Music

Choreography

REPERTOIRE

REPERTOIRE

LÉO DELIBES

PIERRE LACOTTE

Conductor ALFRED ESCHWÉ

ORCHESTRA OF THE VIENNA VOLKSOPER

PYOTR I. TCHAIKOVSKY

IOLANTA AND THE NUTCRACKER

MUSICAL THEATRE for the whole family

Performances

10 15 23 30 NOVEMBER 2024

5 8 21 26 DECEMBER 2024

4 JANUARY 2025

Conductor ALFRED ESCHWÉ / KEREN KAGARLITSKY

Direction

Choreography

LOTTE DE BEER

ANDREY KAYDANOVSKIY

ENSEMBLE & ORCHESTRA OF THE VIENNA VOLKSOPER

MARTIN SCHLÄPFER / KAROLE ARMITAGE / PAUL TAYLOR

THE MOON WEARS A WHITE SHIRT

Performances

16 20 25 30 MARCH 2025

2 4 APRIL 2025

DRITTES KLAVIERKONZERT

Music

Choreography

Piano

LIGETI ESSAYS

Music

Choreography

Vocals

DANDELION WINE

Music

ALFRED SCHNITTKE

MARTIN SCHLÄPFER

ALINA BERCU

GYÖRGY LIGETI

KAROLE ARMITAGE

STEPHANIE MAITLAND

ANNELIE SOPHIE MÜLLER

BIRGID STEINBERGER

PIETRO LOCATELLI

Choreography PAUL TAYLOR

Solo violin BETTINA GRADINGER / VESNA STANKOVIĆ

Conductor & Piano

CHRISTOPH ALTSTAEDT

ORCHESTRA OF THE VIENNA VOLKSOPER

FURTHER EVENTS

SOLOIST CONCERTS

TUE 1 OCTOBER 2024

WED 6 NOVEMBER 2024

TUE 3 DECEMBER 2024

WED 8 JANUARY 2025

SONYA YONCHEVA

PRETTY YENDE

ERWIN SCHROTT / GIULIO ZAPPA

GEORG NIGL / NICHOLAS OFCZAREK / VLADIMIR JUROWSKI

WED 26 MARCH 2025

WED 30 APRIL 2025

TOMASZ KONIECZNY / LECH NAPIERAŁA

MICHAEL VOLLE

ENSEMBLE MATINEES

SUN 15 SEPTEMBER 2024

SUN 13 OCTOBER 2024

SAT 4

JANUARY 2025

SUN 16 MARCH 2025

SUN 30 MARCH 2025

SUN 11 MAY 2025

JENNI HIETALA

IVO STANCHEV

STEPHANIE MAITLAND

MATTHÄUS SCHMIDLECHNER

ANNA BONDARENKO

LEONARDO NEIVA

ALMA NEUHAUS

JUSUNG GABRIEL PARK

ILIA STAPLE

HIROSHI AMAKO

DARIA SUSHKOVA

ILJA KAZAKOV

STUDIO CONCERTS

SAT 21 SEPTEMBER 2024

SAT 11 JANUARY 2025

FURTHER CONCERTS IN THE NEW VENUE

CHAMBER MUSIC VIENNA

PHILHARMONIC ORCHESTRA

SAT 23 NOVEMBER 2024

SAT 30 NOVEMBER 2024

SAT 14

DECEMBER 2024

SAT 11 JANUARY 2025

SAT 22 MARCH 2025

SAT 29 MARCH 2025

SAT 26

SAT 3

SAT 17

APRIL 2025

MAY 2025

MAY 2025

SAT 14 JUNE 2025

MATINEE OF THE BALLET ACADEMY OF THE VIENNA STATE OPERA

SUN 15 DECEMBER 2024

OPEN HOUSE

SUN 1 SEPTEMBER 2024

VIENNA OPERA BALL

THUR 27

FEBRUARY 2025

CONCERT OF THE OPERA SCHOOL OF THE VIENNA STATE OPERA

TUE 18 MARCH 2025

JOHANN SEBASTIAN BACH Johannespassion

FURTHER CONCERTS IN THE NEW VENUE

DANCE MOV IES

INTRODUCTORY MATINEES

SUN 15 SEPTEMBER 2024

SUN 6 OCTOBER 2024

SUN 17 NOVEMBER 2024

SUN 12 JANUARY 2025

DON CARLO

FIN DE PARTIE

BALLET THE WINTER’S TALE

DIE ZAUBERFLÖTE

SUN 2 FEBRUARY 2025 NORMA

SUN 9 MARCH 2025 IOLANTA

SUN 6 APRIL 2025

BALLET PATHÉTIQUE

SUN 11 MAY 2025 TANNHÄUSER

In cooperation with the Vienna State Ballet the Filmcasino and Filmhaus am Spittelberg are programming the film series DANCE MOVIES. Based on the ballet programme four matinees, followed by an audience discussion, open extraordinary perspectives on dance. The dates and the programme can be found in our monthly Leporelli, in the Opernring 2 magazine and on filmcasino.at.

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, ANNKATHRIN DEHN, CLAUDINE SCHOCH and DANIEL VIZCAYO. Every Saturday (except public holidays & summer break). Further information: wiener-staatsballett.at

WORK INTRODUCTIONS

OPERA

ROMÉO ET JULIETTE

SALOME

DON CARLO

FIN DE PARTIE

COSÌ FAN TUTTE

BILLY BUDD

IL RITORNO D’ULISSE IN PATRIA

PALESTRINA

PARSIFAL

LES CONTES D’HOFFMANN

DIE ZAUBERFLÖTE

TURANDOT

IL TROVATORE

NORMA

IOLANTA

ARABELLA

LOHENGRIN

TANNHÄUSER

DAS RHEINGOLD

DIE WALKÜRE

SIEGFRIED

GÖTTERDÄMMERUNG

THE QUEEN OF SPADES

BALLET

THE WINTER’S TALE

SLEEPING BEAUTY

SHIFTING SYMMETRIES

PATHÉTIQUE

MAHLER, LIVE

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. 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).

SUN 10 NOVEMBER 2024

SAT 10 MAY 2025

NEUE MUSIK FÜR DEN TANZ

KREATIONEN –

DAS REPERTOIRE VON MORGEN?

NB: individual stops on the touring opera, reachable only by foot.

OPERA FOR CHILDREN

RICHARD WAGNER / GERALD RESCH

DAS VERFLUCHTE GEISTERSCHIFF

A TOURING OPERA that takes you through the building of the VIENNA STATE OPERA, for children 6 and above

Dates

Libretto MARGIT MEZGOLICH

SEPTEMBER 2024 1

Prices Y

Concept

Set

Registration and tickets: only for school classes (4 and 5 degrees) at the Austrian Board of Education.

NINA BLUM

MARCUS GANSER Costume designer

Das verfluchte Geisterschiff freely based on Richard Wagner’s The Flying Dutchman returns to sea again in this season. The 90-minute route takes the audience to three different places in the Vienna State Opera, to discover a new version of The Flying Dutchman. Together with the narrator, a ship’s rat, children and adults experience an interactive adventure with Senta, Erik, Daland and the notorious ghost captain.

AGNES HAMVAS

KATHLEEN BAUER

THE STAGE ORCHESTRA OF VIENNA STATE OPERA

In collaboration with VEREIN INNOVATIVE KINDEROPER

W. A. MOZART

THE MAGIC FLUTE FOR CHILDREN

PERFORMANCES in the setting for the Vienna Opera Ball.

Libretto DIANA KIENAST & PETER BLAHA based on EMANUEL SCHIKANEDER

VIENNA PHILHARMONIC ORCHESTRA

Dates 28 FEBRUARY 2025 → 14:30 & 17:00

VIENNA STATE OPERA thanks the FEDERAL MINISTRY OF EDUCATION, SCIENCE AND RESEARCH for its support.

In the Ball Room, around seven thousand pupils from all over Austria experience an abbreviated performance lasting around one hour of the Mozart opera The Magic Flute, guided by the character of Papageno. For this unique afternoon, Vienna State Opera ensemble members, accompanied by the Vienna Philharmonic, who present in this children’s opera, their instruments with familiar melodies of now and then.

WHAT’S THAT GOT TO DO WITH ME? QUITE A LOT!

Whether it’s drop-in sessions or long-term projects, whether you want to simply dip your toes or dive deep into the world of theater, the engagement and outreach projects of the Vienna State Opera invite people to discover and shape opera and ballet through watching, discussing, and participating – both within educational settings and beyond.

The outreach projects of the Vienna State Opera serve as places for encounters, play, and discussions, where participants are invited to engage artistically in dialogues concerning topics that are important to young people and the society. Here, people raise questions,

DROP-IN PROJECTS

In community workshops for all age groups, participants creatively explore the specifics of new productions before attending performances together. Other workshop formats focus on famous artistic couples or delve into Shakespeare’s theatrical cosmos. Playful formats are complemented by discussion formats, where scientists and artists exchange ideas with the audience on current societal and theatrical issues.

experiment with theatrical aesthetics or musical and movement languages and develop new ideas. Everyone is welcome to gain insights behind the scenes, to experiment with improvisation, to construct dramaturgies and new narratives, or to become composers and choreographers.

The outreach program will be expanded with the opening of the Vienna State Opera’s new venue in December 2024. The formats cater to everyone from ages 4 to 99 –to those who have always been theater fans or who wish to experience opera and ballet for the first time.

IF YOU WISH TO STAY A BIT LONGER

In mid-term projects spanning over 8 weeks, children experiment with various theatrical means and expressions. For instance, in tanzlabor_jung, where dancers from 7 years old develop their own small dance piece.

FOR SCHOOLS

The multifaced existing program for schools is also being further expanded: In addition to special performances for school classes, stage rehearsals, and dress rehearsal visits, the theater pedagogical workshops for preand post-preparations for repertoire performances and new productions will also be expanded to include works at the new venue.

HERE TO STAY

In season-long devising projects, such as the Opern- und Tanzlabor (for ages 14 to 24) or the intergenerational CityLab (for ages 12 to 99), participants take the stage themselves at the end of a season, accompanied by the stage orchestra. Those who prefer to be behind the scenes and learn more about the various professions in the theater or produce a podcast will find InsideOpera just right for them.

The complete Education and Outreach program can be found at:

www.wiener-staatsoper.at/en/young

Little Peter’s Journey to the Moon in December 1926 was the first event specifically for children in the history of the Vienna State Opera. As contemporary reports show, the media took this quite rightly as a step towards opening up and inviting a public that had previously had no access to opera. In the century since then, much has happened. Projects like the constantly renewed and overwhelming Magic Flute for Children have become a tradition, there were temporary venues for children’s operas, since 2020 Vienna State Opera has expanded its previous scope through the many activities of its new outreach department, new initiatives for the young audience have been developed, and for the first time in the history of the house an opera entirely for teenagers has been performed. This is all well and good, but we want to take the decisive next step in December 2024.

OPEN COLOURFUL DIVERSE

To hand the enthusiasm for this art form to the next generations – among both audiences and young artists – more space is needed in the truest sense of the word than the world’s busiest opera house can offer. This work needs a permanent venue, a real home, for experiments, for new formats, for stimuli: the famous greenfield site where all sorts of things can flourish. This is Vienna State Opera’s new venue, which will open in December 2024 in the Künstlerhaus. A fully equipped 250-seat theatre with modern stage machinery, an orchestra pit and further rooms for smaller events. It’s located near the opera house itself in the Künstlerhaus on Karlsplatz, directly by the Musikverein, Albertina Modern and Wien Museum. Financed by extensive patronage, a special grant from the Republic, sponsorships, and support from our Official Circle of Friends.

This venue belongs entirely to the young public – children, teens, and young adults

– and seeks to pass on the fascination and effect of opera and ballet. A busy programme has developed in recent months, with 180 performances in its first (shortened) season, as colourful and diverse as its audiences – opera and dance, participatory, cross-generation and comical, discursive, and curious. A rich theatre universe, not for future audiences, but for today’s public in all its diversity and differences.

This takes us into such a new dimension of programming and activities, an autonomous and overflowing offer, that we’ve decided to give the programme of the new venue its own presentation on 18 June 2024, with a separate comprehensive brochure. Like the one you’re holding in your hands, this will be available free at the Vienna State Opera, and will be sent to all subscribers. So, have a little more patience, and enjoy the anticipation of a new chapter in the history of the Vienna State Opera!

The QR code will take you to the latest news about the new venue

(c) MHM Architects

SINGERS, CONDUCTORS, PIANISTS

MARIA AGRESTA 42, 44

JOONAS AHONEN 61

AIGUL AKHMETSHINA° 29

ROBERTO ALAGNA KS 39

LOUISE ALDER 32, 33

CHRISTOPH ALTSTAEDT 61

HIROSHI AMAKO E 17, 30, 31, 38, 72

XABIER ANDUAGA 46

MARCO ARMILIATO 29, 39, 44, 45

STEFAN ASTAKHOV E 30, 35, 42, 45

ADRIAN AUTARD OS

LIPARIT AVETISYAN° 35

WOLFGANG BANKL KS E 25, 33, 38, 41, 47

PIOTR BECZAŁA KS 39, 44

DANIEL BEHLE 50

NOA BEINART E 50, 51

MARIA BENGTSSON 32

BENJAMIN BERNHEIM 30

VASILISA BERZHANSKAYA 17

GIAMPAOLO BISANTI 35

SARA BLANCH 44

MONIKA BOHINEC E 21, 30, 40, 50

IVOR BOLTON 31

ANNA BONDARENKO E 17, 35, 72

PAOLO BORDOGNA 45

JʼNAI BRIDGES° 29

DAVID BUTT PHILIP 49

MALIN BYSTRÖM 25

NICOLE CAR 5, 32, 33, 39

FRANCESCO IVAN CIAMPA 46

PAUL CONNELLY 64

EMILY DʼANGELO 32, 33, 53

ILDEBRANDO DʼARCANGELO KS 17

LISE DAVIDSEN 39, 50, 53

BERTRAND DE BILLY 30, 32, 39, 41, 46

FREDDIE DE TOMMASO 17, 29, 39

SABINE DEVIEILHE 47, 53

ANTONIO DI MATTEO 32, 38

ELSA DREISIG 29

CYRILLE DUBOIS 13, 38

DAN PAUL DUMITRESCU E 5, 36, 41

ÉTIENNE DUPUIS 5, 32

DEVIN EATMON OS

THOMAS EBENSTEIN E 39

HANS-OTTO EHRSTRÖM

AMARTUVSHIN ENKHBAT 40

NORBERT ERNST E 38, 40

ADRIAN ERÖD KS E 33, 38, 44, 53

TARA ERRAUGHT 32

ALEX ESPOSITO 39

YUSIF EYVAZOV 53

MICHAEL FABIANO 41, 47

ANDRZEJ FILOŃCZYK 45

GERALD FINLEY 32

ADAM FISCHER 13, 33, 53

JUAN DIEGO FLÓREZ KS 17, 29

ANTONINO FOGLIANI° 17

LIDIA FRIDMAN° 17

YOEL GAMZOU 31

ELĪNA GARANČA KS 5, 42

AIDA GARIFULLINA 30

ANA GAROTIĆ OS

ANDREA GIOVANNINI E MICHAEL GNIFFKE 38

STEFAN GOTTFRIED 38

VITTORIO GRIGOLO 29, 36, 44

ASMIK GRIGORIAN 5

GÜNTHER GROISSBÖCK 25, 38, 49, 53

EKATERINA GUBANOVA 25

JOSHUA GUERRERO 5, 35

HYEJIN HAN OS

REGINE HANGLER E 40, 50, 51

MARTIN HÄSSLER E 35

MARKUS HENN

PABLO HERAS-CASADO 32

ANNEMARIE HERFURTH

JENNI HIETALA E 13, 72

CLAY HILLEY° 25

DOMINGO HINDOYAN 29

JENNIFER HOLLOWAY 31

STEPHEN HOPKINS

STEPHANIE HOUTZEEL E 31, 38

EVE-MAUD HUBEAUX 5

ARTISTS

FLORINA ILIE E 29, 38, 40, 45, 46, 69

ALEXANDER ILVAKHIN OS

DANIEL JENZ E 21, 25, 30, 45

ANTE JERKUNICA 32

PHILIPPE JORDAN 5, 25, 30, 31, 32, 33, 50, 51

VLADIMIR JUROWSKI° 72

ELBENITA KAJTAZI° 35

HANS PETER KAMMERER KS E

ANJA KAMPE 49, 50, 51

MARIA KATAEVA° 45

JONAS KAUFMANN KS 42

RITA KAUFMANN

ILJA KAZAKOV E 32, 35, 44, 50, 72

PETER KELLNER E 30, 31, 32, 33, 35, 45

CHRISTINA KIESLER

AXEL KOBER 32, 40, 45, 49

WOLFGANG KOCH 38

CHRISTOPH KONCZ 57

TOMASZ KONIECZNY KS 30, 31, 72

DMITRY KORCHAK 40

VITALIJ KOWALJOW 5

MICHAEL KRAUS

GREGORY KUNDE 33

ALEKSANDRA KURZAK 39

PATRICK LANGE 69

MICHAEL LAURENZ E 38, 47, 50, 51

JEAN-MICHAËL LAVOIE 61

DOHOON LEE OS

GYEONGTAEK LEE OS

MARKUS LEHTINEN 67

SONJA LEIPOLD 66

PATRIZIA LEITSONI

TOMMASO LEPORE

MARC LEROY-CALATAYUD° 30

KINGSLEY LIN OS

KATE LINDSEY 44, 46

FEDERICA LOMBARDI 17

DAVIDE LUCIANO 32, 36, 46

NICOLA LUISOTTI 42

AMBROGIO MAESTRI 39

STEPHANIE MAITLAND E 13, 38, 72

ANDREI MAKSIMOV OS

CHRISTOPHER MALTMAN 29

CLÉMENTINE MARGAINE 44

MICHELE MARIOTTI 17

ALEXEY MARKOV 39, 53

JULIETTE MARS E

DIEGO MATHEUZ 45

ELENA MAXIMOVA 53

CORNELIUS MEISTER 44

NINA MINASYAN 40

LUDWIG MITTELHAMMER° 13

KRISTINA MKHITARYAN 36

ATTILA MOKUS E 21, 33, 49

CECILIA MOLINARI 33

ANITA MONSERRAT OS

HUW MONTAGUE RENDALL° 33

MARINA MONZÓ 69

PIER GIORGIO MORANDI 29, 39, 44, 47

HANNA-ELISABETH MÜLLER 31, 41

MICHAEL NAGY 38

LECH NAPIERAŁA° 72

MARIA NAZAROVA E 13, 21, 33, 35

LEONARDO NEIVA E 31, 35, 72

ANNA NETREBKO KS 44, 53

ALMA NEUHAUS E 13, 30, 31, 39, 72

MICHAEL NIAVARANI° 41

GEORG NIGL 9, 38, 41, 72

PATRICIA NOLZ E 30, 31, 32, 38, 45

CAMILLA NYLUND KS 47, 49

NICHOLAS OFCZAREK KSCH 72

KRISTIN OKERLUND

MATTIA OLIVIERI 36

LISETTE OROPESA 29

JOHN OSBORN 39

CARLOS OSUNA E

ELENA PANKRATOVA 41

JUSUNG GABRIEL PARK E 44, 72

LORENZO PASSERINI° 35

IAIN PATERSON 50, 51

MARCUS PELZ E 25

AILYN PÉREZ 35

JOHANNES PIIRTO 61

BORIS PINKHASOVICH 21, 53

SAIMIR PIRGU 30, 32, 35

LUCA PISARONI 33

ADAM PLACHETKA 42

MARGARET PLUMMER E 47

MATTHEW POLENZANI 46

DMYTRO POPOV 21

JULIAN PRÉGARDIEN° 13

MARINA REBEKA 35

ROBERT REIMER 67

CÉCILE RESTIER

CARLO RIZZI 40, 41

EDGARDO ROCHA 32, 33, 36, 45

MARCO FILIPPO ROMANO 45

MATTHEW ROWE 66, 69

ARTUR RUCIŃSKI° 44

SERENA SÁENZ 13, 39

GIACOMO SAGRIPANTI 36

LUCA SALSI 44, 47

ANDREAS SCHAGER 50, 51

JOCHEN SCHMECKENBECHER 13, 40, 49, 50, 51

MATTHÄUS SCHMIDLECHNER E 13, 30, 38, 72

LUKAS SCHMIDT E 25

JOHANNES DANIEL SCHNEIDER OS

JÖRG SCHNEIDER E 13, 31, 38, 41, 42, 50

SIMONE SCHNEIDER 30, 45

ERWIN SCHROTT KS 29, 36, 45, 72

ANDRÈ SCHUEN 31

FRANZ-JOSEF SELIG 13

EKATERINA SEMENCHUK 32, 44

JORDAN SHANAHAN° 49

BRINDLEY SHERRATT 33

NADINE SIERRA° 30, 46

ISABEL SIGNORET E 31, 32, 33, 38

JULIA SIMONYAN

GIEDRĖ ŠLEKYTĖ° 35

PHILIPPE SLY 9, 31

TUGAN SOKHIEV 21

EVGENY SOLODOVNIKOV E

MICHAEL SPYRES 38, 44, 45

IVO STANCHEV° E 21, 40, 72

ILIA STAPLE E 5, 13, 25, 41, 47, 72

KRASSIMIRA STOYANOVA KS 44

SIMONAS STRAZDAS OS 21

FALK STRUCKMANN KS 51

HILARY SUMMERS° 9

DARIA SUSHKOVA E 21, 35, 38, 41, 72

ROBERTO TAGLIAVINI 5, 32

SHINO TAKIZAWA 66, 69

SIR BRYN TERFEL KS 45, 46

JONATHAN TETELMAN° 42

LUDOVIC TÉZIER 25, 29, 49

CHRISTIAN THIELEMANN 38, 47, 49

ILEANA TONCA E

ANDREW TURNER OS

DMITRY ULYANOV 5, 44

CLEMENS UNTERREINER KS E 13, 35, 41, 46, 50, 51

ANIKA VAVIĆ 67

EMMANUEL VILLAUME° 36

GABRIELE VIVIANI 39

KLAUS FLORIAN VOGT 49

BOGDAN VOLKOV 32, 33

MICHAEL VOLLE 47, 72

SZILVIA VÖRÖS E 40, 51

HANNAH-THERES WEIGL OS

FRANZ WELSER-MÖST 13

SEBASTIAN WENDELIN

MARKUS WERBA 33

MARK WIGGLESWORTH° 33

JOHANNES WITT 57

CHARLES WORKMAN 9

PRETTY YENDE 36, 72

SONYA YONCHEVA 21, 39, 47, 72

KWANGCHUL YOUN 50, 51

SIMONE YOUNG 9

SLÁVKA ZÁMEČNÍKOVÁ E 13, 31

SELENE ZANETTI° 41

TIMUR ZANGIEV° 53

GIULIO ZAPPA 72

IGOR ZAPRAVDIN 67

ELENA ZAREMBA 42, 53

GEORG ZEPPENFELD 13, 45

MARIA ZHEREBIATEVA OS

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

° Vienna State Opera Debut

VIENNA STATE BALLET

First Soloists

IOANNA AVRAAM, ELENA BOTTARO, OLGA

ESINA, KIYOKA HASHIMOTO, HYO-JUNG

KANG, LIUDMILA KONOVALOVA, KETEVAN

PAPAVA, CLAUDINE SCHOCH;

DAVIDE DATO, MASAYU KIMOTO, MARCOS

MENHA, ALEXEY POPOV, BRENDAN SAYE

Senior Artist

YUKO KATO

Soloists

SONIA DVOŘÁK, ALICE FIRENZE, REBECCA

HORNER, ALEKSANDRA LIASHENKO;

TIMOOR AFSHAR, 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, SINTHIA LIZ, ANITA MANOLOVA, ALAIA ROGERS-MAMAN;

RASHAEN ARTS, JACKSON CARROLL, CALOGERO FAILLA, GIORGIO FOURÉS, VÁCLAV LAMPARTER, FRANÇOIS-ELOI

LAVIGNAC, TOMOAKI NAKANOME, DUCCIO

TARIELLO, ZSOLT TÖRÖK

CORPS DE BALLET VIENNA STATE OPERA

ALISHA BRACH, MARIE BREUILLES, LAURA CISLAGHI, VANESSZA CSONKA, ADI HANAN, ISABELLA KNIGHTS, ZSÓFIA LACZKÓ, PHOEBE LIGGINS, MEGHAN LYNCH, TATIANA MAZNIAK, KATHARINA MIFFEK, LAURA NISTOR, ELLA PERSSON, IULIA TCACIUC, HELENA

THORDAL-CHRISTENSEN, GLORIA

TODESCHINI, CHIARA UDERZO, CÉLINE JANOU WEDER;

BENJAMIN ALEXANDER, VICTOR CAGNIN, GIOVANNI CUSIN, CHRISTIAN FALCIER, ANDRÉS GARCIA TORRES, JAVIER

GONZÁLEZ CABRERA, TREVOR HAYDEN, GASPARE LI MANDRI, GODWIN MERANO, IGOR MILOS, KIRILL MONEREO DE LA

SOTA, JUNNOSUKE NAKAMURA, HANNO

OPPERMAN, KRISTIÁN POKORNÝ, NICOLA RIZZO

CORPS DE BALLET VIENNA VOLKSOPER

DOMINIKA AMBRUS, NINA CAGNIN, VIVIAN DE BRITTO SCHILLER, KRISTINA

ERMOLENOK, TAINÁ FERREIRA LUIZ, TESSA MAGDA, MATILDA POLÁKOVÁ (KARENZVERTRETUNG), OLIVIA POROPAT, MARIE RYBA, NATALIE SALAZAR, MARTA

SCHIUMARINI, MILA SCHMIDT, UNA ZUBOVIĆ;

GABRIELE AIME, LÁSZLÓ BENEDEK, ROMAN CHISTYAKOV, RICCARDO

FRANCHI, KEVIN HENA, DRAGOS GABRIEL

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, DAVID KESSLER, PATRICIA HOOD-KOLL

MA, ADELA FRĂSINEANU-MORRISON MA, 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, HANNAH CHO

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. JĘDRZEJ 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, WOLFGANG KOBLITZ, BENEDIKT DINKHAUSER

Horn

RONALD JANEZIC, MAG. ART. JOSEF REIF, MANUEL HUBER, MAG. ART. WOLFGANG

LINTNER, JAN JANKOVIĆ, GASPARD

STANKOVSKI-HOURSIANGOU, WOLFGANG

VLADÁR, MAG. ART. THOMAS JÖBSTL, LARS

MICHAEL STRANSKY, SEBASTIAN MAYR

Trumpet

MARTIN MÜHLFELLNER, STEFAN HAIMEL, JÜRGEN PÖCHHACKER, GOTTHARD EDER, DANIEL SCHINNERL-SCHLAFFER, BERNHARD BITTERMANN

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

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, ANNA GRUCHMANN

Harp

LADISLAV PAPP

Flute

WOLFGANG ZUSER, WOLFGANG KAGAMI-LINDENTHAL, MATTHIAS SCHULZ

Oboe

KONSTANZE BROSCH, JULIA ZULUS

Bassoon

BEATRIX KISS, JOHANNES KAFKA

Clarinet

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 Administration

EVELIN KUCHAR, 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 LÜHN-SKIBINSKI, WILMA MALLER, KYOKO NUKUMI, DAVIDONA PITTOCK, MARÍA ISABEL

SEGARRA, ANTIGONI CHALKIA 2nd soprano

ANNA-MARIA BIRNBAUER, DENISA 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, EVELIN

KUCHAR, VIKTORIA MCCONNELL, DYMFNA MEIJTS, MARI NAKAYAMA, KATARINA PORUBANOVA, 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, JINXIN CHEN, 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

YECHAN BAHK, GHEORGHE CIBOTARU, KATERINA DANKEVICH, LAN GAN, COSTANZA GIANNINO, DENIS GILIAZOV, YOONSOO KIL, TAESEUP KIM, DARIA KRAVCHENKO, AMANE MACHIDA, ASUKA MAEDA, MICHAEL MENSAH, AMI MIZUNO, NATSUKI MOTODA, NAWON PARK, NATALIA PASTRANA, SAMUEL ROBERTSON, VIOLETTA VASILEVA, IRINA VEKSZLER, ELSA VOIMA

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, ORCHESTER DER WIENER STAATSOPER/ WIENER PHILHARMONIKER, THOMAS PLATZER, WERNER RESEL, KS KURT RYDL, KSCH OTTO SCHENK, PETER SCHNEIDER, KS NEIL SHICOFF, GEORG SPRINGER, ROBERT STANGL, KS BERND WEIKL, SIMONE YOUNG, CHRISTIAN THIELEMANN, KS MARA ZAMPIERI, KS HEINZ ZEDNIK

MANAGEMENT DEPARTMENTS

Director General

DR. BOGDAN ROŠČIĆ

Head of artistic administration

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

Artistic administration

RENATE DÖNCH, ANNEMARIE LEITNER

Production management

MAG. A STEPHANIE WIPPEL, MARIE-THERES HOLZER, MAS,

MAG. A LINDA TAZZIOLI New venue

MAG. A GERTRUD RENNER

MAG. A CAROLINE URBAN-GRIES

DAN KURLAND

Assistent to the director general

MAG. A LAURA REINTHALLER-THELEN (ASSISTANT TO THE DIRECTOR GENERAL), 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. A MARGARETE KRENN-ARNOLD, KATHARINA AUGENDOPLER, BA MAS

MMAG. CARLOS CHAMORRO

Young Artist Program of the Vienna State Opera DR. MICHAEL KRAUS (ARTISTIC HEAD),

MAG. A UTA SANDER, MAS

(ADMINISTRATIVE HEAD)

HR, legal & organisation

DR. FLORIAN SCHULZ, LL.M (PROCURIST, DEPARTMENT DIRECTOR)

Organizational development, assistant to the procurist

KORA WIELOSINSKI, MSC

HR art

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

NILS PRAICZER (APPRENTICE)

HR technical department

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

Legal

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

International cooperations

MMAG. A PIA ZAUNER

Marketing & press

SUSANNE ATHANASIADIS (DEPARTMENT DIRECTOR)

Press

MAG. A MARIA WIESINGER (HEAD), DORIS KÖNIG, BA ANTONIA PERKO, BA MSC

Marketing

CARMEN WIENINGER, BA (HEAD), MARIA GRUBER, BA MSC

Digital Marketing

MAG. A HEMMA GRITSCH (HEAD), JAKOB GELLERMANN, MA

Eventmarketing, Opera Ball & Guided Tours

ANNA MAGER (HEAD), PAULINA EICHINGER, BA, CESAR PÉREZ

Ticketing Opera Ball & VIP support

SUSANNA C. WIESNER, MA (HEAD), RAPHAEL GRASCHER

GUNNAR KHÜNL-BRADY

Service, Information

ORNELLA URBAN

Graphics & photography

IRENE NEUBERT (HEAD), ROBERT KAINZMAYER

MICHAEL PÖHN

Sponsoring, Official Circle of Friends & rentals

MARTIN J. BONHARD, MBA (HEAD)

Rentals

MAG. A LIINA ANGER

Backoffice sponsoring

VERONIKA PREISINGER, MA MAS

Official Circle of Friends

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

Digital development

DI MARKUS KREUZBAUER

Management assistants

CHRISTIAN HUBER

SCENIC DEPARTMENT

Head of scenic department

MAG. A KATHARINA STROMMER

Assitants

MAG. ALEXANDER EDTBAUER, NATALIE ORTNER-MENCONI, NIV HOFFMAN, PETER PACHER, EMILY HEHL, LISA PADOUVAS, MA, MAG. WOLFGANG SCHILLY

Stage managers

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

NECHVATAL, ELISABETH PELZ-STEIN, ELISA LEWISCH, LENA FLAUGER, KHRYSTYNA KACHMAR

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, KRISTIN OKERLUND, CÉCILE RESTIER, JULIA SIMONYAN, ANTON ZIEGLER, Maestri Suggeritori

ANDREAS ABEGG (HEAD), 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

Music library

DR.IN 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, KATHRIN LEIWE-MISSIOS, LONE RASMUSSEN

Porter

GIANPIERO RUSSO

TECHNICAL DEPARTMENTS

Technical director

ING. PETER KOZAK

Technical management staff

ING. MICHAEL WILFINGER, (DEPUTY TECHNICAL DIRECTOR)

MAG. A ALEXA KOCH, BERNHARD GEOSITS, JAQUELINE KRUMMEL, B.ENG., DI EVA SWOBODA, DI ELISABETH STIEDL, ING. MARKUS VESECKY, ALEXANDER SPYRA, B.ENG., DIETMAR PROKSCHY, ANDREAS RICHTER, HARALD MÜHLBACHLER, CHRISTOPH OEFNER, MARKUS OBERECKER

Head of Lighting

ING. RUDOLF FISCHER, ROBERT EISENSTEIN

Head of Audio & video

DI (FH) ATHANASIOS ROVAKIS, FRANCESCO VALENTINI

Event technician

SOPHIE RÖSCH

Properties manager

STEFANIA COMPAGNI, MA

FLORENTINA GODULA-MOSER, BFA

Costume director

MAG. A VERA RICHTER (HEAD), SASKIA SCHNEIDER

Wardrobe management

MARIA MADER, CHRISTIAN PLABENSTEINER

Makeup management

MAG. A BEATE KRAINER

Facility management

ING. ALEXANDER HAINKA (HEAD), HARALD GEPP, ING. RAFAŁ SZWIDKE, THOMAS LENHARD, GINO CASTAGNOLA

Properties manager

MICHAEL ROGNER (HEAD)

COMMERCIAL MANAGEMENT

Administrative director

DR.IN PETRA BOHUSLAV

Assistant to the administrative director

KERSTIN KOLLER, BA MAS

Accounting & controlling

ALEXANDER BAUMGARTNER (HEAD), TEUTA ALUSHAJ, MAG. GERNOT HELLER, MONIKA WIMMER MSC

Ticketing

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

Audience services

OTHMAN ADLAOUI (HEAD) IT

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

Environmental and sustainability officer

CHRISTIAN HAUER, MSC

Safety expert

ING. MANFRED LENZ, BSC

VIENNA STATE BALLET

Ballet Director & Chief Choreographer

MARTIN SCHLÄPFER

Managing Director

MAG. A SIMONE WOHINZ

Deputy Ballet Director

LOUISA RACHEDI

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

MAG. A VERENA KÖGLER

Assistant to the Managing Director & Personnel Administration

MAG. A HELGA ISAK

Production Contracts

MAG. A CORNELIA NONHOFF

Assistant to the Artistic Operations Management

SONIA SETIEN

Shoe Management

FRANZISKA WALLNER-HOLLINEK

Administration Volksoper

ELISABETH BOLIUS

Dramaturgy

MAG. A ANNE DO PAÇO (CHIEF DRAMATURGE), NASTASJA FISCHER, MA, MAG. A IRIS FREY Public Relations

MAG. GERALD C. STOCKER

Sales Marketing & Event Support

SARAH BIKEEV, MA

Photographer

ASHLEY TAYLOR

Videographer

JAKOB PLATTNER

Production Management

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

ISMENIA KECK (STATE OPERA)

VESNA ORLIĆ (VOLKSOPER)

Ballet Masters

LUKAS GAUDERNAK, BARBORA

KOHOUTKOVÁ, JULIE THIRAULT, CÉDRIC

YGNACE (STATE OPERA), VESNA ORLIĆ (1ST BALLET MASTER), SAMUEL COLOMBET, SERGEY IGNATIEV (VOLKSOPER)

Pianists

GIOVANNI CURRELI, JIŘÍ NOVÁK, SHINO TAKIZAWA, IGOR ZAPRAVDIN (STATE OPERA)

JOZEF BEZAK, BÉLA FISCHER (VOLKSOPER)

Masseurs

STEFAN PETTERMANN (PHYSIOTHERAPY), RAINER HEIZINGER, PETER HLEDIK

Circle of Friends Vienna State Ballet

ADRIAN CUNESCU

PERSONALIA

BALLET ACADEMY OF THE VIENNA STATE OPERA

Artistic Director

MARTIN SCHLÄPFER

Managing Director

MAG. A SIMONE WOHINZ Director

CHRISTIANA STEFANOU, MA

Ballet Master Junior Company

CALLUM HASTIE Teachers

MAG. A ULRIKE AMON, ANNKATHRIN DEHN, ZSOLT TIBOR

ELEK, MA, ROBERT GABDULLIN, ZDENKO GALABA, MA, CATERINA MANTOVANI, LUCIAN NECSEA, DILIANA NIKIFOROVA, PHD, VLADIMIR SHISHOV, ALENA WEBER, JENNIFER O’GRADY WEISS

Pianists

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

Administration & Controlling

MAG. A ELISABETH SCHUBERT Coordinator

BOSTJAN IVANJSIC, MA School Administration

MAG. KONSTANTINOS DIMINAKIS

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), PROF. IN ELKE HESSE, DR. JOHANNES

HONSIG-ERLENBURG, UNIV. PROF. 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

MAG. ART. WILFRIED HEDENBORG (CHAIRMAN), MARTIN ZALODEK (1ST DEPUTY),

MAG. ART. 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.IN FRIEDERIKE MICHLMAYR (HEAD)

Compliance Officer

MAG. A KATHARINA SEDIVY, MMAG. THOMAS BARTHOL Equal treatment Officer

MAG. A ASTRID BERGER, MMAG. MARKUS GRUNDTNER

Federal Theatres Data Protection Officer

SILVIA SCHAUER, MSC MBA Data Protection Coordinator of the Vienna State Opera

MAG. A SOPHIE LOHNERT-MENAPACE, LL.M

Company fire Brigade & Fire safety Officer

HORST HACKL (HEAD)

Medical Officer/School doctor

DR.IN ELISABETH SZEDENIK

Paediatrician

DR.IN SOPHIA BRANDSTETTER

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Herausforderungen brauchen Erfindertum und Fantasie. Das beweisen die über 250 Innovationsprojekte.

SPONSORS

GENERAL SPONSORS OF THE VIENNA STATE OPERA

MAIN SPONSOR OF THE NEW VENUE

PREFERRED PAYMENT PARTNER

SPONSORS

OPERA STUDIO

SUSANNE SINGER MARTIN SCHLAFF

BALLET ACADEMY

GASTRONOMY PARTNERS

PRODUCTION SPONSORS

ROMÉO ET JULIETTE, WERTHER, THE QUEEN OF SPADES

DIE ZAUBERFLÖTE

NORMA, LOHENGRIN, LE NOZZE DI FIGARO, DON GIOVANNI, DON PASQUALE, MACBETH, IL TROVATORE

SALOME DER ROSENKAVALIER, MANON, ARABELLA

DAS RHEINGOLD, DIE WALKÜRE, SIEGFRIED, GÖTTERDÄMMERUNG

CIRCLE OF FRIENDS

OF THE VIENNA STATE OPERA

THE VIENNA STATE BALLET

DONORS

AGRANA BETEILIGUNGS-AG

BAUSTOFFIMPORTKONTOR GMBH

BIOLITEC AG

BUWOG GROUP GMBH

CASINOS AUSTRIA & ÖSTERREICHISCHE LOTTERIEN

DIEHL STIFTUNG & CO KG

FLUGHAFEN WIEN AG

GERSTNER HOSPITALITY GMBH / KR OLIVER W. BRAUN

HALLMANN HOLDING

HELM AG

EVA-MARIA HÖFER & GERDA DUJSIK

PROF. DR. KARL JURKA

RA MAG. GEORG KONRAD LL.M.

LUGNER CITY GMBH

MAGDA UND GERHARD MAYR

RONNIE PIËCH

RAIFFEISEN BANK INTERNATIONAL AG

RAIFFEISEN HOLDING NÖ-WIEN

RAINER WIRTSCHAFTSGÜTERVERMIETUNGS GES.M.B.H.

MAG. IUR. DAVID ROKITTA

WOLFGANG & ANGELIKA ROSAM

MARTIN SCHLAFF

SIEMENS AG ÖSTERREICH

SK MANAGEMENT GMBH

STRABAG SE

SUPERNOVA INVEST GMBH

DODI TETTAMANTI

TOYOTA MOTOR CORPORATION

UNICREDIT BANK AUSTRIA AG

WIRTSCHAFTSKAMMER WIEN

The Official Circle of Friends of the Vienna State Opera and the Official Circle of Friends of the Vienna State Ballet were created in the 2020/21 season. The membership subscriptions are dedicated exclusively to open the house to new audiences, promote young talent and measures to preserve dancers’ health.

The Official Circle of Friends of the Vienna State Opera supports projects including the Opera Studio, a two-year advanced curriculum for talented young singers at the start of their career, and the Opera School, which participates in numerous performances with its children’s and youth choruses. It also supports the activities of the outreach department. Besides many other activities, outreach works with schoolchildren and students and the Vienna Opera Stage Orchestra to develop and perform self-cre-

ated operas. There are discussion events for young people, podcast workshops and much more.

The Official Circle of Friends is becoming even more important in the 2024/25 season. By opening the second venue, designed particularly for operas for children and young people and as a stage for the young collectives of the house, the Official Circle of Friends – as Vienna State Opera’s biggest sponsor – with the generous contributions of its members is playing a decisive role in its creative activities.

For the dancers of the Vienna State Ballet, comprehensive preventive and physiotherapeutic treatment is critical for optimal performance and protecting their bodies from injury. The Circle of Friends of the Vienna State Ballet supports the physiotherapy and massage services, and also the purchase of

high-quality pointe shoes. Through scholarships, it promotes young talent from the Ballet Academy, and as a production sponsor it assists the Vienna State Ballet with creations of young artists.

Membership in one of the Circles of Friends also enables you to participate actively in the social and cultural life of the house and dialogue with fellow lovers of culture. We organise meetings with opera and ballett stars, discussion events, visits to ballet rehearsals and tours behind the scenes. We also invite members to annual season presentations or receptions by management, depending on the level of membership. Other popular benefits are exclusive right of first refusal of tickets for selected performances prior to the official start of advance sales.

You will find an overview of all the benefits of the different levels of membership in the Official Circle 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 wienerstaatsoper.at.

GENERAL INFORMATION

Vienna State Opera

A Opernring 2, 1010 Vienna

T +43 1 51444 2250

M information@wiener-staatsoper.at

BOX OFFICE

Bundestheater box offices in the Opera foyer

A Opernring 2, 1010 Vienna

Herbert-von-Karajan-Platz entrance

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 Vienna

W wiener-staatsoper.at

TICKET PREORDERS

Vienna State Opera Service Centre

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

O Mon-Fri: 9 am–4 pm, Wed: 9 am–6 pm

T +43 1 51444 2653 (Mon-Fri: 9 am–2 pm)

F +43 1 51444 2969

M tickets@wiener-staatsoper.at

W wiener-staatsoper.at

SUBSCRIPTIONS

Vienna State Opera Service Centre

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

O Mon–Fri: 9 am–4 pm, Wed: 9 am–6 pm

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

F +43 1 51444 2679

M abonnement@wiener-staatsoper.at

TICKET PURCHASES

Tickets for September and October 2024 are available from 13 May, 10 am. After that, sales always begin for the whole month, two months in advance on 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 PREORDERS” .

ONLINE

You can buy your tickets daily around the clock at wiener-staatsoper.at. You will receive your tickets purchased either online digitally for your smartphone, as print@home, 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

Bundestheater box offices in the Opera foyer

A Opernring 2, 1010 Vienna

Herbert-von-Karajan-Platz entrance

O Mon-Sat: 10 am–6 pm

Sun, hol: 10 am–1 pm

The evening box office opens 1 hour before the start of the performance. You can purchase tickets still available for the performance there.

TICKET PREORDERS

You can purchase tickets online, in writing or in person in advance for the entire season from 1 November, starting 13 May, 10 am, three days before the start of sales for the month. As the performances in September and October 2024 are already on general sale, we cannot accept preorders orders for these.

Please note that tickets are allocated in the order of requests received and as available. It is possible that not all orders may be filled. 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, however, you will be informed by us in any case before the start of free sale.

ONLINE

You can order tickets in advance for performances from 1 November 2024 at wiener-staatsoper.at at “Calendar & tickets” from 13 May, 10 am.

IN WRITING

Your order form is available to print out from 28 April 2024 at wiener-staatsoper.at. You are welcome to pick up your form during opening hours at the Vienna State Opera Service Center and at all Bundestheater box offices. (Submission of the form is only possible from 13 May, 10 am onwards!)

E tickets@wiener-staatsoper.at

A Vienna State Opera Service Centre

Opernring 2, 1010 Vienna

F +43 1 51444 2969

IN PERSON

We will be happy to accept your order form from 13 May 2024, 10 am.

Vienna State Opera Service Centre

A Opernring 2, 1010 Vienna Operngasse entrance

O Mon–Fri: 9 am–4 pm

Wed: 9 am–6 pm

T +43 1 51444 2653 (Mon-Fri: 9 am–2 pm)

NB: No preorders will be accepted before 13 May 2024 10 am!

STANDING ROOM

The Vienna State Opera has standing room on the first floor, 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 open 80 minutes before the start of the performance. A BundestheaterCard can be used not only to purchase standing room places at a reduced price of € 5 (first floor) and € 4 (balcony, gallery) but also online on the day before the performance. Further information on standing room is available at wiener-staatsoper.at.

BALLET BONUS

We offer the Ballet Bonus to ballet lovers for € 30 a season. This gives them a 15% discount on full price tickets (limit 2 tickets per performance) for all ballet performances at the Vienna State Opera and Vienna Volksoper, except for premieres and special events. Further information is available under discounts at wiener-staatsoper.at

DISCOUNTS

TICKETS FOR CHILDREN & YOUNG PEOPLE

UNDER 16 YEARS

A number of tickets for children and young people are available for each performance (except those marked “P” or recommended ages over 16) 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.

MOBILE OPERAS

Child’s ticket

€ 12

Adult’s ticket

€ 23

U27 (under 27 years)

Purchase of U27 tickets requires registration via u27.at or Ticketgretchen. Our U27 audience members can attend all premiere matinées free of charge and dress rehearsals of new opera and ballet productions for € 10. For selected performances identified in the programme a quote of € 20 tickets is reserved for our U27 audience members. In addition, our U27 audience members can purchase available tickets at the evening box office from half an hour before the start of the performance. Registration is not necessary for the evening box office, presentation of a picture ID is sufficient. A newsletter specifically for U27 audience members shows the availability of additional last-minute ticket offers for € 20.

FOR THE MOBILITY IMPAIRED

On presentation of their disability pass at any box office, individuals with at least 50% disability receive a discount of 50% on tickets for performances on general sale. To book reduced tickets on general sale online, individuals must register at our Service Centre. The accompanying person receives a 50% discount as well, provided that the need is noted on the disabled person’s ID. All discounts are not applicable to advance bookings.

WHEELCHAIR SPACES

We have a limited number of wheelchair places – 4 in the stalls and up to 18 in the gallery – and these can be ordered in advance after one-time registration from 13 May 2024 in writing for the whole 2024/25 season. Advance bookings and registrations are only possible through our Service Centre (in writing or in person). Wheelchair users who are already registered can also book wheelchair seats online.

Barrier-free access to the building is on the Herbert-von-Karajan-Platz side. Spaces are accessible by lift, and accessible toilets for those with limited mobility are available.

RETURNS & EXCHANGES

A refund for already paid tickets due to reasons such as illness, hindrance, or changes in your travel plans is generally not possible. Even in case of changes in the cast, non-admittance due to late arrival, or failure of subtitle tablets, exchange or return of purchased tickets is not allowed. However, if your desired performance is replaced by another due to a necessary change in the schedule, you can of course return or exchange your tickets. Further information can be found in our terms and conditions on wiener-staatsoper.at.

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

Experience a cross-section of the great opera and ballet repertoires at reduced 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 desired price category. As a subscriber you will receive a discount of up to 30% compared to regular price tickets.

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

→ 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 wiener-staatsoper.at.

SUBSCRIPTIONS & CYCLES

PURCHASE OF SUBSCRIPTIONS

Subject to availability.

IN PERSON:

Vienna State Opera Service Centre

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

E abonnement@wiener-staatsoper.at

T +43 1 514 44 2678 (Mon–Fri: 9 am–7 pm)

O Mon–Fri: 9 am–4 pm

Wed extended to 6 pm

SUBSCRIPTION PRICES

for 5 performances for each seat*

Price category 1

Price category 2

Price category 3

Price category 4

Price category 5

Price category 6

Price category 7

Price category 8

Price category 9

*incl. € 5 service fee

PURCHASE OF CYCLES

from 29 April 2024, 10 am ONLINE direct

€ 810

€ 659

€ 483

€ 358

€ 280

€ 185

€ 136

€ 95

€ 55

CYCLES –SPECIAL PREFERENCES OR THE FIRST VISIT?

Are you interested in a particular composer such as Wagner or Puccini? 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.

Cycles can be purchased online direct through wiener-staatsoper.at. (Exception: Ring Cycle 1 and Ring Cycle 2 must be purchased using the form, which is available for download on our website and is also available at our service center.)

IN PERSON

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

E abonnement@wiener-staatsoper.at

O Mon–Fri: 9 am–4 pm

Wed extended to 6 pm

TELEPHONE

Vienna State Opera Service Centre

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

The individual SUBSCRIPTION GROUPS and CYCLES for the season 2024/25 are shown on the following pages.

CYCLE

01.10.2024

SONYA YONCHEVA 06.11.2024

PRETTY YENDE 03.12.2024

ERWIN SCHROTT 08.01.2025

GEORG NIGL/ NICHOLAS OFCZAREK 26.03.2025

TOMASZ KONIECZNY 30.04.2025

MICHAEL VOLLE ① € 351 ② € 313,20 ③ € 259,20 ④ € 221,40 ⑤ € 156,60 ⑥ € 108 ⑦ € 70,20

CYCLE “BEGINNERS”

13.11.2024 MADAMA BUTTERFLY

17.02.2025 TOSCA

31.05.2025 CARMEN

① € 656,10 ② € 537,30 ③ € 448,20 ④ € 308,70 ⑤ € 242,10 ⑥ € 176,40 ⑦ € 113,40

CYCLE “STRAUSS”

31.01.2025 ARIADNE AUF NAXOS

05.04.2025 SALOME

19.04.2025 ARABELLA

09.06.2025* DER ROSENKAVALIER

① € 834,30 ② € 674,10 ③ € 551,70 ④ € 387 ⑤ € 298,80 ⑥ € 211,50 ⑦ € 140,40

FAMILY-CYCLE

NO AFTERNOON PERFORMANCES!

23.11.2024 BALLETT: THE WINTER’S TALE

30.12.2024 HÄNSEL UND GRETEL

25.04.2025 DIE ZAUBERFLÖTE

PRICES ADULTS

① € 520,50 ② € 422,25 ③ € 343,50 ④ € 240,75 ⑤ € 188,25 ⑥ € 134,25 ⑦ € 87,75

PRICES CHILDREN

① € 173,50 ② € 140,75 ③ € 114,50 ④ € 80,25

⑤ € 62,75 ⑥ € 44,75 ⑦ € 29,25

CYCLE “WAGNER”

20.04.2025*

€ 239,40 ⑥ € 173,70 ⑦ € 110,70

CYCLE “PUCCINI”

28.10.2024 LA BOHÈME

11.11.2024 MADAMA BUTTERFLY

24.05.2025 IL TROVATORE

30.06.2025 THE QUEEN OF SPADES

① € 912,95 ② € 747,65 ③ € 618,45 ④ € 428,45

⑤ € 337,25 ⑥ € 245,10 ⑦ € 156,75

CYCLE “VERDI”

15.10.2024 MACBETH

29.12.2024 RIGOLETTO

02.02.2025 IL TROVATORE

20.03.2025 DON CARLO

① € 831,60 ② € 671,40 ③ € 549 ④ € 383,40

⑤ € 297 ⑥ € 210,60 ⑦ € 140,40

20.01.2025 TURANDOT

14.05.2025 TOSCA

① € 835,20 ② € 684 ③ € 550,80 ④ € 388,80

⑤ € 309,60 ⑥ € 223,20 ⑦ € 140,40

*Public holidays

The PRICE CATEGORIES from 1 to 7 are represented by the circled numbers. (P) = PREMIERE

BALLET CYCLES

BALLET CYCLE “PREMIERES”

19.11.2024

25.01.2025

09.04.2025

14.06.2025

THE WINTER’S TALE ●

KAISERREQUIEM ○

PATHÉTIQUE ●

KREATIONEN ○

① € 542,70 ② € 450 ③ € 362,70 ④ € 261,90

⑤ € 217,80 ⑥ € 141,30 ⑦ € 115,20

BALLET CYCLE “MODERN CLASSICS”

09.12.2024

11.01.2025

04.04.2025

05.06.2025

SLEEPING BEAUTY ●

SHIFTING SYMMETRIES ●

THE MOON WEARS A WHITE SHIRT ○

PATHÉTIQUE ●

① € 552,60 ② € 436,50 ③ € 360,90 ④ € 263,70

⑤ € 210,60 ⑥ € 135 ⑦ € 98,10

BALLET CYCLE “DRAMA”

29.11.2024

08.02.2025

10.03.2025

THE WINTER’S TALE ●

KAISERREQUIEM ○

LADY OF THE CAMELLIAS ●

23.06.2025 MAHLER, LIVE ●

① € 614,70 ② € 494,10 ③ € 401,40 ④ € 290,70 ⑤ € 231,30 ⑥ € 153,90 ⑦ € 115,20

BALLET CYCLE “FAMILY”

RECOMMENDED FROM AGE 10

20.09.2024 SWAN LAKE ●

20.10.2024 COPPÉLIA ○

23.11.2024 IOLANTA AND THE NUTCRACKER ○

20.12.2024 THE WINTER’S TALE ●

PRICES ADULTS

① € 483 ② € 403,50 ③ € 320,25 ④ € 230,25 ⑤ € 194,25 ⑥ € 129 ⑦ € 105

PRICES CHILDREN

① € 161 ② € 134,50 ③ € 106,75 ④ € 76,75 ⑤ € 64,75 ⑥ € 43 ⑦ € 35

BALLET “GIFT CYCLE”

30.03.2025 THE MOON WEARS A WHITE SHIRT ○

26.04.2025 PATHÉTIQUE ●

27.06.2025 KREATIONEN ○

① € 301,50 ② € 249,30 ③ € 206,10 ④ € 150,30 ⑤ € 135 ⑥ € 80,10 ⑦ € 67,50

BALLET PERFORMANCES with a filled circle ● take place at the VIENNA STATE OPERA, those with an empty circle ○ at the VIENNA VOLKSOPER.

PRICES

GUSTAV MAHLER-SAAL Prices X → Regieportraits, Tanzpodium & Diskussionsformate € 15

Prices Z → Ensemble matinees & studio concerts € 20

Prices R → Chamber Music of the Vienna Philharmonic € 36

MOBILE OPERAS FOR CHILDREN Prices Y → Children € 12 / Adults € 23

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

* Prices for children's tickets

The Vienna State Opera has 1.709 seats and 435 standing room places.

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

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

Seats with reading lamps: Balcony full side and Gallery full side

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

(with visibility restriction ) PRICE

(with visibility restriction)

STAY IN TOUCH

WEBSITE

On our website you can purchase tickets for current and advance performances and guided tours 24/7. Besides our full calendar with all casts, there are photos, videos and background information giving a comprehensive picture of our various productions. You will also find contact data, valuable information for your visit, answers to frequently asked questions, and numerous details of all aspects of the Vienna State Opera, Vienna State Ballet and the Opera Ball. wiener-staatsoper.at

NEWSLETTER

Do you want to keep up with the programme and the activities of the Vienna State Opera and Vienna State Ballet? Would you like interesting information about our artists? Then subscribe to one of our newsletters! These appear regularly with news about the house, repertoire and revivals, and present our singers and new productions. Registration for the newsletters is available at wiener-staatsoper.at.

THE SEASON’S PROGRAMME

You can find the complete programme for the season 2024/25 with all the casts, prices, subscription and cycle dates and discounts at wiener-staatsoper.at or follow this QR code.

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