General sponsor

The receives subsidies from the Cultural Department of the City of Vienna HE WHO DARES MUCH HAS MUCH TO GAIN!*

When the Theater an der Wien opened in 1801, Emanuel Schikaneder generations, and the complexity of the characters who include gods, de- called it a “playhouse”. Only at first sight does this description seem migods and humans ensured a never-ending stream of interpretations – contradictory. In Italy, the motherland of , the term teatro describes especially of Wagner’s tenet that the desire for material power should ne- both dramatic (spoken) theatre and musical theatre in equal measure. By ver be rewarded and that creative forces are stronger than material greed. using this word, Schikaneder deliberately emphasised that, in contrast to the existing courtly tradition, he intended to provide the “new German Director Tatjana Gürbaca, dramaturge Bettina Auer and conductor Con- musical theatre” with a powerful platform too. stantin Trinks are putting together a special version of the Ring for the Theater an der Wien to be performed over three evenings. It will focus on Accordingly, we are making three absolute milestones of “German-lan- the background and motivation of three of the characters and will itself guage opera” of the eighteenth, nineteenth and twentieth centuries the form a cohesive trilogy. This new Ring-Trilogie at the Theater an der Wien first highlight of the coming season: Die Zauberflöte, Der Ring des Nibe- tells the story from the perspective of Hagen the murderer on the first lungen and . We begin our journey through the “world of opera evening, from that of the victim on the second, and ends on the 2017/18” with a new production of Die Zauberflöte, Mozart’s artistic and third evening with the standpoint of Brünnhilde who, out of jealousy, financial legacy at the birth of the Theater an der Wien. René Jacobs persuades Hagen to murder Siegfried. The music will come exclusively and Torsten Fischer – the team behind last year’s successful production from Wagner’s tetralogy – albeit in a new sequence, of course, and cut of Falstaff by Mozart’s friend and rival Salieri – will stage the most bril- down to three times three hours. This narrative form is entirely in keeping liant German-language opera of the eighteenth century as the season’s with Wagner’s intention, since his original starting point for the Ring was curtain-raiser. the end, and he only wanted to tell the story of Siegfried’s death.

In May 1914, saw Georg Büchner’s Woyzeck at the Wiener The second major focus of the 17/18 season is once again on those who Kammerspiele and immediately determined to set the play to music. The have been centrepieces of our programme for many years: George Frideric drama tells the story of the soldier Johann Christian Woyzeck who was Handel, Benjamin Britten and the Hamburg Ballett: executed in Leipzig in 1824 for murder motivated by jealousy. A social drama about members of the lowest class of society was a novelty in Handel had a particular passion for Italian opera, which he successfully Büchner’s day. Giving a soldier who becomes a murderer a voice on the established in London from 1711 onwards. Just how much weight Handel operatic stage brought about the change to opera as a genre that au- placed on narrative elements as a composer of oratorios was demons- diences had evidently been waiting for: the premiere of the radically mo- trated by director Claus Guth in 2009 with his successful stage adaptati- dern Wozzeck in 1925 made Alban Berg world famous overnight. Berg’s on of Messiah. Three years before his best-known oratorio, Handel wrote Wozzeck is a tour de force for any baritone. Under the direction of Robert the oratorio Saul, also with Charles Jennens as librettist, which is based on Carsen and with Leo Hussain conducting, Florian Boesch will undoubted- the biblical story of the first king of Israel and his successor, David. Claus ly put his own particular slant on the tortured and raving eponymous Guth will again direct. The Handel specialist Laurence Cummings makes hero. his debut on the Theater an der Wien rostrum.

Since its premiere in 1876, ’s epoch-making opera cycle We crown our intensive exploration of Benjamin Britten’s oeuvre with a has inspired countless directors and conductors marvellous twentieth-century work. Following Henry Purcell’s Fairy Queen to interpretations that have sometimes been outlandish. The intricate plot, from last year, we turn this year to Britten’s opera A Midsummer Night’s the lengthy period covered by the story that stretches over at least three Dream based on Shakespeare’s comedy of the same name.

* from Die Zauberflöte, Papageno, Act One, Finale

2 | | 3 With this, our fifth new stage production of a Britten opera, we not only In addition, we have ten concert performances of , the Beethoven forge a link between two major works connected to Shakespeare, but al- Cycle with Leonore (1805) under René Jacobs, Fidelio (1814) under Gio- so pay homage to the composer who, three centuries after Henry Purcell, vanni Antonini and a half-staged Egmont being a particular highlight. the Orpheus Britannicus, revived British opera. The successful team be- hind our production of Rossini’s Otello (2016), Antonello Manacorda Great importance is also attached to the continued expansion of the and Damiano Michieletto, are pairing up again to guarantee enthralling Kammeroper as a centre for the next generation of artists, especially musical theatre of the highest quality. the Junges Ensemble des Theater an der Wien (JET) which will be pre- senting four new opera productions ranging from the baroque (Porpora / The subject of another Rossini opera, Elisabetta, regina d’Inghilterra, will Ariadne) to Mozart (Così), bel canto (Donizetti / Don Pasquale) and the mo- be taken further: The life of the multifaceted Queen Elizabeth I has been dern (Debussy / Pelléas et Mélisande). And we must not forget our Jugend set several times by Italian composers. After Gioachino Rossini comes an der Wien who will follow in the footsteps of A Midsummer Night’s Gaetano Donizetti, who took the tragedy by Friedrich Schiller as the ba- Dream, while our youngest visitors will have the job of “freeing Eurydice”. sis and inspiration of his Maria Stuarda. Donizetti’s masterpiece of bel canto describes the last three days in the life of the Scottish queen Mary For Schopenhauer, the theatre is a mirror of life. He saw the Die Zauber- Stuart and her confrontation with Elizabeth I. Marlis Petersen takes on the flöte as a hieroglyph which is open to many interpretations and which he tragic title role. As on our successful production of La Straniera (2015), compared to a search that precludes any preconceived truths and dog- Christof Loy and Paolo Arrivabeni form the leading team. mas: “However, in life we are as the wanderer before whom, as he strides onwards, objects take on another form from that which they had from We are also continuing our collaboration with John Neumeier and his afar and appear to transform themselves as he approaches.” We have de- famed Hamburg Ballett in 2017/18. Anton Chekhov announced his new signed the images in this season’s brochure and on our postersin accor- drama, Die Möwe, as a comedy, thereby presenting every director and dance with this principle. Emmanuel Polanco has created collages for each performer with a puzzle since the play ends with the suicide of the main of the premieres that zoom in from the overview to the relevant detail, character. John Neumeier has translated Chekhov’s emotions into the thereby representing the inquisitive entry into our opera house. idiom of dance, inspired by the tensions that exist in the relationship between love and art and by the music of Dmitri Shostakovich. Join us on this path. We promise you fascinating moments and hours of enjoyment at the Theater an der Wien and in our Kammeroper. Last but not least, a highlight in the spring of 2018 centres on one of the most important Austrian composers of the twentieth century: on 24 Best wishes, January 1918, Gottfried von Einem was born in Bern as the son of an Austrian family of diplomats. Although his operas held a place of parti- cular significance in his oeuvre, they are rarely performed today. To mark the composer’s hundredth birthday we are therefore presenting his set- ting of Friedrich Dürrenmatt’s Der Besuch der alten Dame. With this work, von Einem created a fascinating operatic parable concerning the Roland Geyer, Director morality and amorality of an ostensibly humane society which expo- ses greed and corruption as powerful motives for human action. Keith Warner directs this merciless social criticism with Katharina Karneus in the title role and Michael Boder on the rostrum.

4 | | 5 CONTENT

MUSICAL THEATRE W. A. Mozart: DIE ZAUBERFLÖTE 8 A. Berg: WOZZECK 12 R. Wagner: DIE RING-TRILOGIE 16 G. Donizetti: MARIA STUARDA 28 G. F. Handel: SAUL 32 G. v. Einem: DER BESUCH DER ALTEN DAME 36 B. Britten: A MIDSUMMER NIGHT’S DREAM 40 J. Neumeier: DIE MÖWE (ballet) 44

CONCERT PERFORMANCES 48 AT THE KAMMEROPER 56 AT THE “HÖLLE” 64 JUGEND AN DER WIEN 68 Guided Tours 72 Information 74 Prices 80 Seating plan 81 Imprint 84 Booking form 85

AGRANA. A FLAIR FOR CULTURE. SUGAR. STARCH. FRUIT. - In these three segments is AGRANA successully active around the world; but cultural life in Austria also has plenty to offer. Our flair for culture is key to our efforts ensuring that this remains the case. AGRANA is the main sponsor of Theater an der Wien. AGRANA.COM THE NATURAL UpGRAdE DIE ZAUBERFLÖTE WOLFGANG AMADEUS MOZART 17 – 28 SEPTEMBER 2017 DIE ZAUBERFLÖTE Opera in two acts (1791) Mozart and Schikaneder’s opera Die Zauberflöte, first performed in 1791 at the Theater auf der Wieden, is an attempt to overcome the duality of MUSIC BY WOLFGANG AMADEUS MOZART man and woman, black and white, rich and poor, and good and evil that LIBRETTO BY EMANUEL SCHIKANEDER has split humanity since time immemorial, using extraordinary music and Performed in German with German surtitles a brilliant, daring libretto that strikes a balance between street theatre and world theatre and, in a utopian global fairy tale, tries to find a way for all Conductor René Jacobs people to live together in harmony as human beings. Director & Light designer Torsten Fischer Set designer Herbert Schäfer The King of the Day is dying. To his wife, the Queen of the Night, and his Vasilis Triantafillopoulos daughter Pamina he bequeaths his entire possessions with the exception Choreographer Karl Schreiner of every form of power he deems “incomprehensible to the mind of woman”. Dramatic advisor Herbert Schäfer He appoints his friend Sarastro as the new ruler. The latter accepts this po- sition and takes Pamina away into his realm which only men are permitted Sarastro Dmitry Ivashchenko to enter. Is she in the clutches of an evil sect leader or does the guise of Königin der Nacht Nina Minasyan power-crazed monster actually hide a philosophical Utopian? Tamino, a young Tamino Sebastian Kohlhepp prince from foreign shores, loses his way on a journey to the realm of the Pamina Sophie Karthäuser grieving Queen of the Night who has surrounded herself with a host of virgins. Papageno Daniel Schmutzhard The women observe him, and the Queen chooses him to go and rescue her Papagena Katharina Ruckgaber daughter. Tamino falls in love with the image he has of Pamina and sets out Der Sprecher Stephan Loges on the fantastic journey to liberate her. He is accompanied by Papageno, a Monostatos Thomas Walker simple fellow who loves his life and people. Three boys show them the way Erste Dame Birgitte Christensen to Sarastro’s realm. As Tamino is trying unsuccessfully to rescue the fleeing Zweite Dame Kai Rüütel Pamina, the two of them fall in love with each other and a period of life- Dritte Dame Katharina Magiera and-death trials begins. A long road for two people destined to love each other Priester / Geharnischter Florian Köfler * until they can save the world together. Die 3 Knaben Florianer Sängerknaben

Akademie für Alte Musik Berlin Chor (Chorus master: Erwin Ortner) New production Theater an der Wien *Young Ensemble Theater an der Wien

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

| 11 MUSICAL THEATRE WOZZECK ALBAN BERG 15 – 27 OCTOBER 2017 WOZZECK Woyzeck, Georg Büchner’s social tragedy about the total lack of prospects Opera in three acts (1925) for poor, exploited people and the mercilessness of military life, found MUSIC BY ALBAN BERG the ideal composer to set it to music in Alban Berg. The composer had ARRANGEMENT BY EBERHARD KLOKE seen the Vienna premiere of the drama in 1914, was immediately fascina- LIBRETTO BY ALBAN BERG ted and started composing an opera based on Büchner’s text. His interest in setting the work was heightened by his own experiences of war, though After Georg Büchner’s drama Woyzeck he did not finish the opera until 1922. Using atonality and elements Performed in German with German surtitles of twelve-tone technique Berg found haunting sounds that vividly evoke visions of death, jealousy, inner distress and hopelessness. Despite con- Conductor Leo Hussain siderable opposition, the premiere took place in Berlin in 1925 under Director & Light designer Robert Carsen Erich Kleiber – and straight away established the opera as a progressive Set designer Gideon Davey masterpiece. In 2004, Eberhard Kloke adapted the work for 38 musicians, Light designer Peter van Praet and this version is excellently suited to the intimacy of the Theater an der Dramatic advisor Ian Burton Wien. Kloke did not change a single note of Berg’s; instead, he tightened the wind section and removed the filling-in instruments. This leaner Wozzeck Florian Boesch orchestration enables the soloists to modify their singing to a style closer Marie Lise Lindstrom to acting and produces an even more gripping portrayal of Büchner’s main Tambourmajor Aleš Briscein protagonist who is completely at the mercy of social injustices. Hauptmann John Daszak Doktor Stefan Cerny The simple soldier Wozzeck is poor, uneducated and has an illegitimate child Andres Benjamin Hulett with the beautiful Marie whom he loves very much. To make some money Margret Juliette Mars he has volunteered as a guinea pig in an experiment run by the doctor: he is Der Narr Erik Årman permitted to eat only pulses. His captain criticises his morals on account of his 1. Handwerksbursche Lukas Jakobski illegitimate child. Wozzeck protests that his poverty is to blame. As times goes 2. Handwerksbursche Kristián Jóhannesson by, Wozzeck becomes increasingly peculiar: he is plagued by menacing visions of the world’s end, violence and death. Marie falls for the charms of the hand- Wiener Symphoniker some Drum Major. When Wozzeck learns of this and watches her dancing Arnold Schoenberg Chor (Chorus master: Erwin Ortner) with the Drum Major, his visions become overpowering. He provokes his rival and a fight breaks out. In the end, Wozzeck stabs Marie to death during an New production Theater an der Wien evening stroll. Trying to wash off her blood in a pond, he drowns.

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

| 15 MUSICAL THEATRE DIE RING-TRILOGIE HAGEN – SIEGFRIED – BRÜNNHILDE MUSIC BY RICHARD WAGNER WORLD PREMIERE Newly adapted version for Theater an der Wien DIE RING-TRILOGIE HAGEN MUSIC AND TEXT BY RICHARD WAGNER It starts with a murder. Hagen, half-brother to the Gibichungs and the chief IN A VERSION BY TATJANA GÜRBACA, of strategy at their court on the Rhine, kills Siegfried from behind while BETTINA AUER AND CONSTANTIN TRINKS Brünnhilde looks on. – How did it come to this? Hagen remembers how Performed in German with German surtitles his father came to him one night and whispered to him that it was his task to murder Siegfried and so recapture the ring – in other Richard Wagner’s magnum opus, the Ring-Tetralogie, occupied, tortured words, world domination – for his father. A bleak, traumatic scene in which and inspired him for all of 26 years: between the first draft in revolution Alberich openly admits that he fathered his son for this sole purpose and year 1848 of a drama about Siegfried titled Siegfrieds Tod and completion “raised him to implacable hate” in order to use him for his own vengeance. of the Götterdämmerung score in 1874 lay a quarter of a century – albeit Hagen, the joyless one, digs deeper into his memory and consequently with lengthy interruptions in the work. Strangely, then, Wagner began his into the primeval mud of the story of the ring: Alberich, finally renouncing telling of the Nibelung saga at the end, expanding it as more and more love once and for all, stole the Rhine gold to forge the ring from it. In the background became necessary until the Rheingold was written. Considering battle for absolute power, Alberich enslaved the Nibelungs and abused his this protracted, meandering composition history it is no wonder that brother Mime until he was eventually tricked by his rival Wotan and the jumps, breaks and gaps appear in the intricately woven plot that leave latter’s crafty counsellor Loge who took everything from him: power, dignity plenty of room for interpretation. The Ring is a drama of worlds, a story and wealth. The humiliated Alberich responded with a dreadful curse: of humanity and a criticism of capitalism; it tells of hunger for power and everyone will yearn for the ring, but it would bring death to whomever had abuse of power, of greed for money, a delight in destruction, the eternal it in his possession. The trail of blood left by the ring will be long. cycle of violence and not least of a family tragedy played out over three generations. Hagen, the son, is now expected to avenge the dispossession of his father by killing Wotan’s son Siegfried. Under the pretext of helping to find the The Ring-Trilogie, which was developed especially for the Theater an der best wife for his half-brother Gunther and the best husband for his half- Wien, explores the question of how the actions and guilt of the grand- sister Gutrune, Hagen hatches a terrible plot with a view to finally taking fathers’ generation – Wotan and Alberich – influence the lives of the the ring from Siegfried. Gutrune is to marry “the strongest hero Sieg- following generations at both a political and a private level; how the fried” and Gunther “the most splendid woman in the world”, Brünnhilde. younger family members fail to escape from the consequences of these To accomplish this, Hagen pulls out all the stops: he lies, cheats and deeds despite desperate efforts to resist them; and how they are sucked manipulates everyone involved. When Brünnhilde and Gunther realise that further in the more they try to fight. Consequently, this version of the Ring they have lost everything, even their self-respect, they swear to have their dares to try something entirely new: In order to tell the story of the Ring revenge and see Siegfried dead. from the perspective of the younger protagonists with the spotlight on Hagen, Siegfried and Brünnhilde, several scenes were cut and other parts The story of the eternal struggle for power from the loser’s perspective rearranged. As in Wagner’s original work, each evening begins with the unites scenes from Wagner’s Rheingold and Götterdämmerung, that is from final catastrophe, the killing of Siegfried, before moving on to focus on the the beginning and the end of his stage spectacle Der Ring des Nibelungen. memories of the various characters.

New production Theater an der Wien – World Premiere Introduction: Sunday, 19 November 2017, 11 a.m.

18 | | 19 MUSICAL THEATRE SIEGFRIED BRÜNNHILDE

Siegfried, the dragon slayer and “strongest hero”, Siegfried who never Brünnhilde looks on as Siegfried, the man she loves, is murdered by knew his parents, is murdered by Hagen. Brünnhilde looks on. As he dies, Hagen. She recalls the last dispute she had with her father Wotan that Siegfried thinks back to his youth. – Far away from civilisation, he grew changed her life so completely. The wild valkyrie and acknowledged up under the care of Mime. The older he grows, the more pressing the favourite daughter of her father had disobeyed his orders and tried to question of his identity becomes for Siegfried. In the end he forces Mime save the two lovers Siegmund and Sieglinde in the fight against Hunding. to tell him about his true parents: Sieglinde and Siegmund met each other Wotan could not forgive her this emancipatory disobedience and inten- in appalling circumstances. She had been forced to marry Hunding and ded to inflict a dreadful punishment on her. Cut off from everybody else, was very unhappy, while he was on the run and in mortal danger. Magically she was to be put to sleep – utterly at the mercy of any man who found drawn to one another, they secretly discovered their shared history: they her. But when Wotan heard that Sieglinde was expecting a child by Sieg- are twins, children of Wotan, who had been separated as infants. They fried, the next hero, he changed the punishment: the sleeping Brünnhilde rapturously declare their love for one another. As they fled from Hunding, was now to be protected by a ring of fire that only a “fearless, freest hero” the valkyrie Brünnhilde wanted to shelter Siegmund and Sieglinde, who could cross. And that could only be Siegfried. was now pregnant. But Wotan, with heavy heart, decided that Hunding should win the battle and caused Siegmund’s sword to shatter. Brünn- Brünnhilde feels irrevocably bound to Siegfried by love and so invincible hilde was only able to save Sieglinde who, as she later lay dying, entrusted that she can let him go to perform “new deeds”. At their parting, he gives her child to Mime’s care. her the ring as a gift, and she gives him her horse Grane. Waltraute, a valkyrie sister of Brünnhilde’s, pays her a clandestine visit to report to her Now that he knows his parentage, Siegfried wants to make his way in the on the disastrous state that Wotan and the world are in. She tells Brünn- world. He defeats the dragon Fafner. From the treasure of the Nibelungs hilde to return the ring to the Rhinemaidens, but Brünnhilde refuses to that the dragon guarded he takes only the Tarnhelm and the ring. When take responsibility for Wotan’s old faults. She insists on her pledge of love. Siegfried sees through Mime’s treacherous plans to obtain gold and power A stranger appears, overpowers her and tears the ring from her grasp. It is by using him, he kills his foster father. Without recognising him, Siegfried Siegfried, who has taken on the form of Gunther with the help of the encounters Wotan, his grandfather, who is dressed as a wanderer and is Tarnhelm. He has come to take Brünnhilde to marry his blood brother still pursuing his master plan to regain world domination and the treasure. Gunther. When the new couples Siegfried-Gutrune and Gunther-Brünn- Wotan tries to stop Siegfried from going on, but Siegfried rebels against hilde are about to celebrate their double weddings, the cruel deception the “old man”; he is in a hurry to find “the most splendid woman becomes apparent. Brünnhilde denounces the treachery, Hagen breeds Brünnhilde”. Together, Brünnhilde and Siegfried discover love. A brief mo- discord. After he has killed Siegfried, everything falls apart. Brünnhilde ment of utopia. throws the old world on the fire; the days of the gods are over. Is it now possible for something new to begin? Scenes from Die Walküre are interwoven in the story of Siegfried’s deve- lopment, who even as a member of the third generation cannot escape The final evening of the trilogy, in which old structures and the old balance the deadly structures and continues the eternal cycle of violence. of power are overcome, recounts a scene from Die Walküre combined with large parts of Götterdämmerung from a woman’s perspective.

Bettina Auer

20 | | 21 MUSICAL THEATRE HAGEN Music from Richard Wagner’s & Götterdämmerung Conductor Constantin Trinks Director Tatjana Gürbaca Set designer Henrik Ahr Costume designer Barbara Drosihn Light designer Stefan Bolliger Dramatic advisor Bettina Auer Hagen Samuel Youn Siegfried Daniel Brenna Brünnhilde Ingela Brimberg Wotan Aris Argiris Alberich Martin Winkler Mime Marcel Beekman Loge Michael J. Scott Gutrune Liene Kincˇa Gunther Karoly Szemeredy Woglinde Mirella Hagen Wellgunde Raehann Bryce-Davis Flosshilde Ann-Beth Solvang

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

Supported by

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

| 23 MUSICAL THEATRE SIEGFRIED Music from Richard Wagner’s Siegfried & Die Walküre Conductor Constantin Trinks Director Tatjana Gürbaca Set designer Henrik Ahr Costume designer Barbara Drosihn Light designer Stefan Bolliger Dramatic advisor Bettina Auer Siegfried Daniel Brenna Sieglinde Liene Kincˇa Siegmund Daniel Johansson Brünnhilde Ingela Brimberg Wotan Aris Argiris Hunding Stefan Kocan Mime Marcel Beekman Fafner Stefan Kocan Waldvogel Mirella Hagen

ORF Radio-Symphonieorchester Wien

Supported by

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

| 25 MUSICAL THEATRE BRÜNNHILDE Music from Richard Wagner’s Die Walküre & Götterdämmerung Conductor Constantin Trinks Director Tatjana Gürbaca Set designer Henrik Ahr Costume designer Barbara Drosihn Light designer Stefan Bolliger Dramatic advisor Bettina Auer Brünnhilde Ingela Brimberg Wotan Aris Argiris Siegfried Daniel Brenna Hagen Samuel Youn Gutrune Liene Kincˇa Gunther Karoly Szemeredy Waltraute Ann-Beth Solvang Woglinde Mirella Hagen Wellgunde Raehann Bryce-Davis Flosshilde Ann-Beth Solvang

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

Supported by

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

| 27 MUSICAL THEATRE MARIA STUARDA GAETANO DONIZETTI 19 – 30 JANUARY 2018 MARIA STUARDA Donizetti created this dazzling display of bel canto in for the Tragedia lirica in two acts (1835) Teatro San Carlo in 1834. The confrontation between the two queens MUSIC BY GAETANO DONIZETTI Elisabetta and Maria Stuarda and the emotionally charged final scenes that LIBRETTO BY GIUSEPPE BARDARI show Maria Stuarda shortly before her execution have gained widespread fame. Despite this, the opera was beset with difficulties: there were After Maria Stuart by Friedrich Schiller (1805) problems with the censors, the two leading ladies came to blows during Performed in Italian with German surtitles a rehearsal and Queen Maria Christina is said to have attended the dress rehearsal and to have fainted during Maria’s confession scene. As a result, Conductor Paolo Arrivabeni the opera had to be completely rewritten at short notice and appeared Director Christof Loy with the title of Buondelmonte. It was obvious that the libretto and the Set designer Katrin Lea Tag music did not match, and the opera flopped. An attempt by the famous Light designer Bernd Purkrabek singer Maria Malibran to revive the work in failed when the two Dramatic advisor Yvonne Gebauer leading ladies were struck down by a severe virus. Consequently, the opera was forgotten, and was not rediscovered until 1958. Because it contains Maria Stuarda Marlis Petersen two outstanding parts for coloratura sopranos it has since become a fix- Elisabetta Alexandra Deshorties ture of the operatic repertoire. Roberto, Conte di Leicester Norman Reinhardt Giorgio Talbot Stefan Cerny Elisabetta, queen of England, is holding Maria Stuarda, the former queen of Lord Guglielmo Cecil Tobias Greenhalgh Scotland, prisoner. From her prison, the latter is allegedly an accessory to a Anna Kennedy Natalia Kawalek series of plots to kill Elisabetta. The Queen’s advisers urge her to finally execute her rival for the throne. Elisabetta, however, is more interested in affairs of ORF Radio-Symphonieorchester Wien the heart. She is negotiating a marriage to the king of France, although she Arnold Schoenberg Chor (Chorus master: Erwin Ortner) really loves Lord Leicester, who for his part is in love with Maria Stuarda and intends to save her. But his attempt to bring the beautiful Scot and her enemy New production Theater an der Wien closer together ends in disaster: he arranges a meeting between the two of them with a view to a reconciliation, but no sooner are the queens face to face than Leicester’s feelings for Maria become apparent. Filled with jealousy, Elisabetta provokes Maria and the two trade a torrent of insults. When, following this altercation, Leicester again asks for mercy for Maria, Elisabetta, who had previously been hesitant, furiously signs the death sentence and or- ders Leicester to witness the execution. Maria accepts her sentence. When her loyal friend Giorgio Talbot gives her final consolation with the rites of her Catholic religion, she finds inner peace. She courageously walks towards her executioner. PREMIERE: 19 JANUARY 2018 Performances: 21 / 23 / 26 / 28 / 30. January 2018, 7 p.m. Introduction: Sunday, 14 January 2018, 11 a.m.

| 31 MUSICAL THEATRE SAUL GEORGE FRIDERIC HANDEL 16 – 27 FEBRUARY 2018 SAUL From 1711 onward, George Frideric Handel had dominated musical life Oratorio in three acts (1739) in London with his Italian-style operas. From the outset, however, au- MUSIC BY GEORGE FRIDERIC HANDEL diences demanded operas in English. By the end of the 1730s Italian ope- LIBRETTO BY CHARLES JENNENS ras had fallen entirely out of favour in London, so the composer looked for new ways of captivating his listeners. He began to experiment more Performed in English with German surtitles extensively with English-language oratorios. In 1739, Saul marked the start of his new career. This work still shows a great affinity with opera, and its Conductor Laurence Cummings instrumentation is remarkably rich and novel: for a more vivid portrayal Director Claus Guth of the time of King David (1000 BC), Handel scored instruments that Set designer Christian Schmidt were thought at the time to have been used in David’s day: trombones, Light designer Bernd Purkrabek extensive percussion and a carillon, a set of bells played by striking a key- Choreographer Ramses Sigl board. Dramatic advisor Yvonne Gebauer Saul Florian Boesch The young David has done a great service to King Saul: he managed to kill Merab Anna Prohaska Goliath the giant with a precisely slung stone. Saul is initially full of grati- Michal Giulia Semenzato tude towards David and wants to give him the hand of Merab, his daugh- David Jake Arditti ter, in marriage. However, she rejects the union owing to David’s lowly li- Jonathan Andrew Staples neage. Her sister Michal, on the other hand, loves David, and he is also Witch of Endor Ray Chenez attracted to her. Saul gradually realises that his people and his entourage have more respect for David than they do for him and he begins to consi- Freiburger Barockorchester der ways of eliminating his rival. David is hard put to it to escape Saul’s Arnold Schoenberg Chor (Chorus master: Erwin Ortner) jealous assassination attempts. At the same time, he is also looking for a way to marry Michal. When Saul repeatedly fails to kill David he furiously New production Theater an der Wien consults the Witch of Endor, but she tells him only that his own end is near. When this really does happen, David becomes king and can marry Michal. The people all praise David.

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

| 35 MUSICAL THEATRE DER BESUCH DER ALTEN DAME GOTTFRIED VON EINEM 16 – 28 MARCH 2018 DER BESUCH DER ALTEN DAME Opera in three acts (1971) The comedy Der Besuch der alten Dame, first performed in 1956, made the playwright Friedrich Dürrenmatt world famous, especially following MUSIC BY GOTTFRIED VON EINEM the 1963 film version starring Ingrid Bergmann. Gottfried von Einem had LIBRETTO BY FRIEDRICH DÜRRENMATT seen the play shortly after its premiere and considered it as the basis of Performed in German with German surtitles an opera. However, it was to be ten years before he began work on it. When Dürrenmatt learned of this plan and became familiar with von Conductor Michael Boder Einem’s style he quickly agreed to adapt his play as a libretto himself. The Director Keith Warner hugely successful premiere took place on 23 May 1971 at the Vienna Set designer David Fielding State Opera. Dürrenmatt’s parable about the amorality of an apparently Light designer John Bishop decent, respectable but secretly money-loving and self-centred middle- class community is as topical in 2018 as it was when it was written. Von Claire Zachanassian Katarina Karnéus Einem’s intense musical portrayal of the murderous atmosphere that gra- Ihr Gatte IX Erik Årman dually descends around Claire’s victim, Ill the shopkeeper, the evocative Der Butler Mark Milhofer use of orchestral colours and not least the part of Claire Zachanassian, Alfred Ill Russell Braun a tour de force for a mezzo-soprano, made the opera one of von Einem’s Seine Frau Cornelia Horak most enduring successes. Seine Tochter Anna Marshania * Sein Sohn Julian Henao Gonzalez * As a young woman, Claire Zachanassian was made pregnant and then aban- Bürgermeister Raymond Very doned by Ill, the shopkeeper, in her home town of Güllen. She was driven Prediger Markus Butter out of the small town by the sanctimonious inhabitants, humiliated and Lehrer Adrian Eröd branded a whore. Many years later, her numerous marriages have left her Doktor Martin Achrainer fabulously wealthy, and she returns to Güllen, which is now utterly decrepit Polizist Florian Köfler * and impoverished. She has an empty coffin with her: she plans to take deadly Erste Frau Anna Gillingham * revenge on the man who seduced her so heartlessly. If Ill is murdered for her Zweite Frau Carolina Lippo * in Güllen, she will give the town a billion. Following the initial shock, the Stationsvorsteher Matteo Loi * greed for money prevails and the cynical plan works. Ill is captured by the ORF Radio-Symphonieorchester Wien townsfolk and killed, and they receive the billion. Claire departs again with Arnold Schoenberg Chor (Chorus master: Erwin Ortner) his body in the coffin as a hunting trophy.

New production Theater an der Wien *Young Ensemble Theater an der Wien Supported by PREMIERE: 16 MARCH 2018 Performances: 18 / 20 / 23 / 26 / 28 March 2018, 7 p.m. Introduction: Sunday, 11 March 2018, 11 a.m.

| 39 MUSICAL THEATRE A MIDSUMMER NIGHT’S DREAM BENJAMIN BRITTEN 15 – 25 APRIL 2018 A MIDSUMMER NIGHT’S DREAM Benjamin Britten and Peter Pears used Shakespeare’s famous text al- Opera in three acts (1960) most verbatim, the composer creating a score of suitably magical poten- MUSIC BY BENJAMIN BRITTEN cy, and this fairy-tale opera became one of his most successful works. LIBRETTO BY BENJAMIN BRITTEN UND PETER PEARS The allocation of the voices is unusual: Oberon is a countertenor, Titania a coloratura soprano – the king and queen of the fairies move in the After William Shakespeares comedy of the same name (1595) very highest dimensions. Britten found a characteristic musical language Performed in English with German surtitles for each of the magical and human spheres. Furthermore, in his compo- sition he is always mindful of his famous predecessors who had written Conductor Antonello Manacorda music for Shakespeare’s comedy: Henry Purcell, Carl Maria von Weber and Director Damiano Michieletto -Bartholdy. There is also a kind of history of opera hid- Set designer Paolo Fantin den in the score. This comes to the fore in highly amusing fashion with Costume designer Klaus Bruns the artisans’ performance in Act III: Britten presents Pyramus and Thisbe Light designer Alessandro Carletti as a parody of Italian opera. Oberon Bejun Mehta In Athens, preparations are under way for the marriage of the duke. Six arti- Tytania Anett Fritsch sans want to perform the play Pyramus and Thisbe in honour of the ruling Puck NN couple and are rehearsing in the nearby forest. At the same time, the four Theseus Günes Gürle young people Hermia, Helena, Demetrius and Lysander are having serious Hippolyta Ann-Beth Solvang amorous troubles: Hermia’s father wishes her to marry Demetrius, but she Lysander Rupert Charlesworth loves Lysander, while Helena loves Demetrius. Hermia and Lysander hide in Demetrius Tobias Greenhalgh the forest, Helena and Demetrius follow them. However, the king and queen Hermia Natalia Kawalek of the fairies who rule this woodland realm, Titania and Oberon, have fal- Helena Mirella Hagen len out over possession of a boy. The artisans and the four lovers are drawn Bottom Tareq Nazmi into the magical struggles of Titania and Oberon in the most bewildering Quince Lukas Jakobski fashion – Oberon’s court jester Puck creates chaos with a magic flower that Flute Michael Laurenz ignites love. Once enchantments have caused numerous protagonists to fall Snug Dumitru Madarašan in love with the wrong people and then to fall out of love again, a happy en- Snout Andrew Owens ding is finally reached: reconciliation in the realm of the fairies, weddings of Starveling Kristjan Johannesson the humans and a delightful performance by the artisans. Wiener Symphoniker New production Theater an der Wien

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

| 43 MUSICAL THEATRE DIE MÖWE JOHN NEUMEIER 7 – 8 MAY 2018 DIE MÖWE (BALLET) Ever since I was a student I wanted to choreograph one of Anton Chek- BALLET BY JOHN NEUMEIER hov’s plays. Reading Die Möwe generates moods, and moments arise in BASED ON ANTON CHEKHOV my head that are connected to my own experiences. They are not neces- MUSIC BY DMITRY SHOSTAKOVICH, EVELYN GLENNIE, sarily always the same ones as in the text, but events and scenes that PYOTR I. TCHAIKOVSKY, ALEXANDER SCRIABIN they provoke which evolve during the creative process. It is not my aim to transfer the characters and scenes in the play one to one into a ballet. Conductor Markus Lehtinen Chekhov’s dramas live from their inner action. With him, you have to read Choreographer, between the lines and grasp the subtleties, allusions and what remains Set & Costume designer John Neumeier unspoken. Chekhov’s theatre is one of emotions – and these are some- thing I can turn into dance. Wiener KammerOrchester The play is Russian, the music is Russian, and that immediately ma- HAMBURG BALLETT de me think of that very daring and important trend in modern art, ex- pressionist dance in Russia. The principal approach of my choreography follows on from the dramatic-emotional approach in the tradition of An- tony Tudor, Frederick Ashton and John Cranko. Other scenes in the ballet give insights into the world of classical dance inhabited by the ballerina Arkadina. Through Nina’s wish to become a professional dancer we dis- cover how exciting revue dance is. With these four levels or chapters from the history of dance, my Möwe becomes an exploration of dance itself.

John Neumeier

In John Neumeier’s version of Die Möwe the characters are not actors, writers and directors as in Chekhov’s original: he has transferred the events to the world of ballet while retaining the emotional turmoil. In a country house, the ageing ballerina Irina Arkadina and her lover, the successful cho- reograph Trigorin, meet Arkadina’s son Kostja and his young girlfriend Nina, who comes from a neighbouring farm. Nina also wants to be a dancer. Kostja loves her and dreams of choreographing dances for her and becoming fa- mous. But Nina chooses to become Trigorin’s mistress, hoping this will be more beneficial to her future career. She goes to Moscow and starts working as a dancer in a revue theatre. Years later, Nina and Kostja meet again: Nina has failed as an artist, while Kostja has made his way as a choreograph, but PREMIERE: 7 MAY 2018 is an emotional wreck. Finding that Nina still does not love him, he kills himself. Performance: 8 May 2018, 7 p.m.

| 47 MUSICAL THEATRE CONCERT PERFORMANCES

G. F. Handel: OTTONE, RÈ DI GERMANIA 50 G. F. Handel: GIULIO CESARE IN EGITTO 50 L. v. Beethoven: LEONORE 1805 51 L. v. Beethoven / J. W. v. Goethe: EGMONT 51 G. F. Handel: PUBLIO CORNELIO SCIPIONE 52 N. A. Zingarelli: GIULIETTA E ROMEO 52 J. Haydn: 53 L. v. Beethoven: FIDELIO 1814 53 W. A. Mozart: DIE SCHULDIGKEIT DES ERSTEN GEBOTS 54 G. F. Handel: RADAMISTO 54 OTTONE, RÈ DI GERMANIA LEONORE 1805 Dramma per musica in three acts (1723) Opera in three acts (1805) MUSIC BY GEORGE FRIDERIC HANDEL MUSIC BY LIBRETTO BY NICCOLÒ FRANCESCO HAYM LIBRETTO BY JOSEPH SONNLEITHNER After Jean Nicolas Bouilly’s Léonore ou L’amour conjugal Concertante performance in Italian Concertante performance in german Conductor George Petrou Conductor René Jacobs Ottone Max Emanuel Cencic Adalberto Xavier Sabata Leonore / Fidelio Marlis Petersen Gismonda Ann Hallenberg Florestan Maximilian Schmitt Matilda Anna Starushkevych Don Pizarro Johannes Weisser Emireno Pavel Kudinov Rocco Dimitry Ivashchenko Teofane Dilyara Idrisova Marzelline Robin Johannsen Jaquino / Pförtner / 1. Gefangener Johannes Chum Il pomo d’oro Don Fernando Tareq Nazmi SUNDAY, 24 SEPTEMBER 2017, 7 P.M. Freiburger Barockorchester Zürcher Sing-Akademie (Chorus master: Florian Helgath)

TUESDAY, 24 OCTOBER 2017, 7 P.M.

GIULIO CESARE IN EGITTO Dramma per musica in three acts (1724) EGMONT MUSIC BY GEORGE FRIDERIC HANDEL MUSIC BY LUDWIG VAN BEETHOVEN LIBRETTO BY NICCOLÒ FRANCESCO HAYM TEXTS BY JOHANN WOLFGANG VON GOETHE Concertante performance in Italian Conductor Laurence Equilbey Conductor Ottavio Dantone Director Séverine Chavrier Light designer Patrick Riou Giulio Cesare Lawrence Zazzo Video Emeric Adrien Cleopatra Emo˝ke Baráth Dramatic advisor Beate Haeckl Tolomeo Filippo Mineccia Cornelia Delphine Galou Klara Sheva Tehoval Sesto Julye Boulianne Graf Egmont / Wilhelm von Oranien Achilla Riccardo Novaro Herzog von Alba Stefan Kinsman, Niels Wea Accademia Bizzantina Insula Orchestra

WEDNESDAY, 18 OCTOBER 2017, 7 P.M. FRIDAY, 15 DECEMBER 2017, 7 P.M.

50 | | 51 CONCERT PERFORMANCES PUBLIO CORNELIO SCIPIONE ARMIDA Dramma per musica in three acts (1726) Dramma eroico in three acts (1784) MUSIC BY GEORGE FRIDERIC HANDEL MUSIC BY JOSEPH HAYDN | LIBRETTO BY NUNZIATO PORTA [?] LIBRETTO BY PAOLO ANTONIO ROLLI After Torquato Tasso’s La Gerusalemme liberata Concertante performance in Italian Concertante performance in Italian Conductor Markellos Chryssicos Conductor René Jacobs Lucejo Xavier Sabata Armida Birgitte Christensen Scipione Yuriy Mynenko Rinaldo Thomas Walker Armira Dilyara Idrisova Zelmira Robin Johannsen Berenice Myrto Papatanasiu Ubaldo Anicio Zorzi Giustiniani Ernando Pavel Kudinov Clotarco Magnus Staveland Armonia Atenea Kammerorchester Basel WEDNESDAY, 24 JANUARY 2018, 7 P.M. WEDNESDAY, 21 FEBRUARY 2018, 7 P.M. FIDELIO 1814 Opera in two acts (1814) MUSIC BY LUDWIG VAN BEETHOVEN LIBRETTO BY JOSEPH SONNLEITHNER, STEPHAN VON BREUNING GIULIETTA E ROMEO AND GEORG FRIEDRICH TREITSCHKE Tragedia per musica in three acts (1796) After Jean Nicolas Bouilly’s Léonore ou L’amour conjugal MUSIC BY NICCOLÒ ANTONIO ZINGARELLI Concertante performance in German LIBRETTO BY GIUSEPPE MARIA FOPPA Conductor Giovanni Antonini Concertante performance in Italian Leonore / Fidelio Annette Dasch Conductor George Petrou Florestan Klaus Florian Vogt Giulietta Ann Hallenberg Marzelline Regula Mühlemann Romeo Max Emanuel Cencic Don Pizarro Sebastian Holecek Everardo Daniel Behle Rocco Stefan Cerny Gilberto Xavier Sabata Jaquino Patrick Grahl Matilde Irini Karaianni Don Fernando Matthias Winckhler Armonia Atenea Kammerorchester Basel Arnold Schoenberg Chor (Chorus master: Erwin Ortner) Gaechinger Cantorey (Chorus master: Hans-Christoph Rademann)

SATURDAY, 27 JANUARY 2018, 7 P.M. MONTAG, 19 MARCH 2018, 7 P.M.

52 | | 53 CONCERT PERFORMANCES DIE SCHULDIGKEIT DES ERSTEN GEBOTS Sacred Singspiel (1767) MUSIC BY WOLFGANG AMADEUS MOZART TEXT BY IGNATZ ANTON VON WEISER Concertante performance in German Conductor Stefan Gottfried Christgeist Michael Schade Weltgeist Patricia Petibon Barmherzigkeit Juliane Banse Gerechtigkeit Anna Gillingham * Christ Julian Henao Gonzalez *

*Young Ensemble Theater an der Wien

TUESDAY, 27 MARCH 2018, 7 P.M.

RADAMISTO Opera seria in three acts (1720) MUSIC BY GEORGE FRIDERIC HANDEL LIBRETTO BY NICOLA FRANCESCO HAYM Concertante performance in Italian Conductor Martin Haselböck Radamisto Carlos Mena Zenobia Patricia Bardon Tiridate Florian Boesch Polissena Sophie Karthäuser Fraarte Valerie Vincent Orchester Wiener Akademie

FRIDAY, 20 APRIL 2018, 7 P.M.

54 | AT THE KAMMEROPER THEATER AN DER WIEN ARIANNA IN NASSO AT THE KAMMEROPER Dramma per musica in three acts (1733) MUSIC BY NICOLA ANTONIO PORPORA Our third Junges Ensemble at the Theater an der Wien enters its second LIBRETTO BY PAOLO ROLLI season in 2017/18! After a first season consisting mainly of unknown and rarely performed works, our young ensemble, the JETs, now tackles Performed in Italian with German surtitles some of the major works in the repertoire. There is one exception, how- Conductor Markellos Chryssicos ever, and it is with this that we begin the new season at the Kammer- Director Sergej Morozov oper: Arianna in Nasso by Nicola Antonio Porpora. Many people know Set designer Ksenia Peretruhina this composer chiefly in connection with the legendary castrato Farinelli. Costume designer Lyosha Lobanov Porpora was his teacher and wrote several stage works for him. Today, Light designer Franz Tscheck Porpora is almost forgotten and hardly ever performed. And this despi- te the fact that he wrote no fewer than 49 operas of which Arianna is Arianna Anna Gillingham among the most beautiful and gripping. From the baroque we move to Teseo Ray Chenez bel canto or, to be more precise, to Donizetti’s Don Pasquale. Tscho Antiope Carolina Lippo Theissing, whose interpretation of was a hit with our audience in Onaro Anna Marshania the spring of 2016, has written a version for the Kammeroper inspired Peritóo Matteo Loi by the flair of Italian movie epics of the 1950s, by Ennio Morricone and Bach Consort Wien Nino Rota, but also by schlager music and jazz. The mysterious-impres- sionistic world of sound of Debussy’s Pelléas et Mélisande, which the New production Theater an der Wien at the Kammeroper dramatist and theatre director Thomas Jonigk will bring to the stage, forms a stark contrast to this work. To finish the season, we present The story of Ariadne, abandoned by Theseus, has inspired many com- Mozart’s Così fan tutte, directed by the Austrian Valentin Schwarz and posers from Monteverdi to to a multitude of interpreta- conducted by Stefan Vladar. In addition, you will of course be able to ex- tions of this ancient myth. It also inspired Nicola Antonio Porpora whose perience our JETs Carolina Lippo, Anna Marshania, Julian Henao Gonza- Arianna in Nasso was first performed in 1733 with Farinelli as the debut lez, Matteo Loi, Florian Köfler and our newest member Anna Gillingham production at the newly founded Opera of Nobility that had been estab- in portrait concerts tailored to their individual talents! I wish you absor- lished to rival Handel’s opera company. Porpora, only a year younger than bing, moving and exhilarating evenings in the Kammeroper! Handel, was not only one of the greatest composers and singing tea- Best wishes, chers of his day, but was also held in higher regard on the continent than his rival who, only a few months later, presented his own version of this tale in London.

Jochen Breiholz Director of Artistic Administration

PREMIERE: 27 SEPTEMBER 2017 Performances: 29 September 2017, 1 / 3 / 5 / 7 / 10 October 2017, 7 p.m., Introduction: Sunday, 24 September 2017, 11 a.m.

58 | | 59 KAMMEROPER DON PASQUALE PELLÉAS ET MÉLISANDE Dramma buffo in three acts (1843) Drame lyrique in five acts (1902) MUSIC BY GAETANO DONIZETTI MUSIC BY CLAUDE DEBUSSY ARRANGEMENT BY TSCHO THEISSING ARRANGEMENT BY ANNELIES VAN PARYS LIBRETTO BY GIOVANNI RUFFINI LIBRETTO BY CLAUDE DEBUSSY Performed in Italian with German surtitles After Maurice Maeterlinck’s drama of the same name (1893) Conductor Tscho Theissing Performed in French with German surtitles Director Marcos Darbyshire Conductor Thomas Guggeis Set designer Annemarie Bulla Director Thomas Jonigk Light designer Franz Tscheck Set designer Lisa Däßler Don Pasquale Florian Köfler Light designer Franz Tscheck Norina Carolina Lippo Pelléas Julian Henao Gonzalez Ernesto Julian Henao Gonzalez Mélisande Anna Gillingham Malatesta Matteo Loi Golaud Matteo Loi Wiener Theatermusiker Arkel Florian Köfler Geneviève Anna Marshania New production Theater an der Wien at the Kammeroper Wiener KammerOrchester Since it was first performed in 1843, Don Pasquale has been regarded as New production Theater an der Wien at the Kammeroper one of the most popular and best-known buffo operas of them all. Still very much rooted in the tradition of the commedia dell’arte, it was written Pelléas et Mélisande, a key work of the modern era and the twentieth not just for Italy, but also for the Théâtre Italien in Paris. The plot is as old century’s first “literary opera” is the only opera that the master of im- as theatre itself and has never failed to achieve its effect. It is the story of pressionism ever completed. With this symbolist work based on Maurice a love-struck snobbish show-off who is completely cured of his desire to Maeterlinck’s drama of the same name Debussy distances himself from marry and, in the end, is happy to be able to pass his young betrothed the aesthetics of Richard Wagner, but at the same time cannot deny the on to her youthful lover because she makes his life hell. Tscho Theissing’s influence of the latter’sParsifal . The tragic ménage à trois that ends in arrangement gives this timeless comedy and Donizetti’s famous melodies death is a poignant work in which every one of the main characters carries fresh verve that is inspired by jazz. a secret that is never revealed. We are presenting Pelléas et Mélisande in an arrangement for small orchestra by Annelies Van Parys that neverthe- less retains the richness of the original score.

PREMIERE: 17 NOVEMBER 2017 PREMIERE: 12 FEBRUARY 2018 Performances: 19 / 21 / 24 / 26 / 28 / 30 November 2017, Performances: 17 / 22 / 26 February 2018, 4 / 6 / 12 December 2017, 7 p.m. 2 / 4 / 7 / 9 March 2018, 7 p.m. Introduction: Sunday, 12 November 2017, 11 a.m. Introduction: Sunday, 4 February 2018, 11 a.m.

60 | | 61 KAMMEROPER COSÌ FAN TUTTE PORTRAIT CONCERTS Dramma giocoso in two acts (1790) MUSIC BY WOLFGANG AMADEUS MOZART Julian Henao Gonzalez, Florian Köfler, bass LIBRETTO BY LORENZO DA PONTE 9 October 2017, 7.30 p.m. 24 February 2018, 7.30 p.m. Performed in Italian with German surtitles Anna Gillingham, soprano Carolina Lippo, soprano Conductor Stefan Vladar 23 November 2017, 7.30 p.m. 6 March 2018, 7.30 p.m. Director Valentin Schwarz Set designer Andrea Cozzi Matteo Loi, baritone Anna Marshania, mezzo-soprano Light designer Franz Tscheck 14 December 2017, 7.30 p.m. 4 June 2018, 7.30 p.m. Fiordiligi Anna Gillingham Piano: Marcin Koziel Dorabella Anna Marshania Ferrando Julian Henao Gonzalez Guglielmo Matteo Loi Don Alfonso Florian Köfler Despina Carolina Lippo GUEST PERFORMANCES AT THE KAMMEROPER: Wiener KammerOrchester

New production Theater an der Wien at the Kammeroper A QUIET PLACE Chamber version (2013) The composition history of no other opera by Mozart is shrouded in such MUSIC BY LEONARD BERNSTEIN uncertainty as that of Così fan tutte. And none of Mozart’s operas has ORCHESTRATION AND LIBRETTO ADAPTATION been so misunderstood and subject to such a variety of interpretations BY GARTH EDWIN SUNDERLAND in its history and reception as this scuola degli amanti. Soon after the premiere in Vienna in 1790 it was already being labelled as both “an en- Conductor: Walter Kobéra | Director: Philipp M. Krenn chanting masterpiece” and “a piece of foolishness”. Two men decide to Set designer: Christian Tabakoff | Light designer: Norbert Chmel test the faithfulness of their fiancées by trying to seduce the other’s be- Chorus master: Michael Grohotolsky trothed. The carousel of love begins to turn and a dangerous, dialectical With: Katrin Targo, Dániel Foki, Karl Huml, et al game between fiction and truth begins — and no one knows how it will end. Who loves whom, and who is cheating whom, and with whom? amadeus ensemble-wien Wiener Kammerchor

A production by Neue Oper Wien in coproduction with Müpa Budapest

PREMIERE: 15 MAY 2018 PREMIERE: 22 MARCH 2018 Performances: 17 / 19 / 23 / 25 / 27 May 2018, Performances: 24 / 27 / 29 / 30 / March 2018, 2 April 2018, 7.30 p.m. 6 / 8 / 10 / 12 June 2018, 7 p.m. Introduction with Walter Kobéra before each performance at 6.45 p.m. Introduction: Sunday, 13 May 2018, 11 a.m.

62 | | 63 KAMMEROPER AT THE “HÖLLE” DURCHS ROTE MEER The historical revues in the theatre and cabaret known as the “Hölle” in Cabaret performed in German the basement of the Theater an der Wien have been delighting audiences and the press since 2010. According to calculations done by Carl Fried- Concept & director Georg Wacks rich Gauss, Georg Wacks has now put together the ninth programme, Set designer Stefan Fleischhacker Durchs rote Meer (Through the red Sea), which, as ever, adheres strictly to With Elena Schreiber, Stefan Fleischhacker, Andy Warhol’s axiom, “Art is what you can get away with”. Martin Thoma, Georg Wacks and Christoph Wagner-Trenkwitz The ensemble, now a tighter unit than ever, moves with stylistic assu- rance on shaky ground between revolution and reformation, without ever Ensemble “Albero Verde”: forgetting the jubilee celebrations for Maria Theresia and the 100 th anni- Violin Barbara Klebel-Vock, Rainer Ullreich versary of the death of Mata Hari. Cello Ruth Ferlic Clarinet Reinhold Brunner Remarkable performances of historical cabaret and variety numbers, mo- Piano Christina Renghofer ving sea shanties sung in noble costumes, aristocratic choruses, interna- tional female metamorphoses, Egyptian dances and literary, humoristic Exhibition Marie-Theres Arnbom gems bring the mood of the “Hölle” back to life for two hours while the champagne flows freely and an oceanic atmosphere reigns to guaran- A production of the Armin Berg Gesellschaft on behalf tee an evening of Neptunian glee. Fritz Grünbaum, Joachim Ringelnatz, of the Theater an der Wien in cooperation with Karl Valentin and Walther Mehring guarantee literature and humour of Letztes Erfreuliches Operntheater (LEO). the highest standard. Songs by Marlene Dietrich, Paolo Tosti, Ralph Be- natzky and Maurice Ravel round the programme off. The extraordinarily sparse décor by Stefan Fleischhacker has been designed entirely on the theme of the 440 th birthday of Peter Paul Rubens.

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

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

| 67 HÖLLE JUGEND AN DER WIEN

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

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

The JUGEND AN DER WIEN education programme consists of three ma- jor sections: Jugend macht Oper: an annual participatory project, ages 14 - 24 Schule an der Wien: education activities for schools, age 14 + Kinder an der Wien: musical performance, ages 6 -10

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

Facebook: Jugend an der Wien Instagram: jugendanderwien

| 69 JUGEND

GUIDED TOURS

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

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

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

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

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

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

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

72 | INFORMATION BOOKING BY PHONE Tickets (except subscription tickets and other TICKET SALES concessions) can also be ordered by phone every day Tickets go on sale to the general public on 15 June 2017 at 10 a.m. for the from 8 a.m. - 8 p.m. from Wien-Ticket on +43 (0)1 58885. performances until 31 December 2017, at the box office at the Theater an Shipping charge*: within Austria: ¤ 5.90; abroad: ¤ 9.90. der Wien and the Wien-Ticket pavilion and can also be ordered by telephone (plus ¤ 2,- facility fee per booking) on +43 (0)1 58885. Tickets for performances from 1 January 2018, go on sale to the general public on 1 September 2017, at 10 a.m. Online ticket INTERNET www.theater-wien.at | www.kammeroper.at sale commences one day later. Cloak-room fees are included in the ticket Tickets can be purchased online by credit card from 16 June and price. Please note that no orders for individual tickets can be accepted 2 September 2017 respectively. Shipping charge*: within Austria ¤ 5.90; before tickets go on general sale. abroad ¤ 9.90. Print@home as well as arranging for advance tickets to be kept for collection at both box offices is free of charge. Arranging for BOX OFFICE THEATER AN DER WIEN & KAMMEROPER purchased tickets to be left for collection from the evening ticket offices Box office for both venues: of the Theater an der Wien and the Kammeroper costs ¤ 1.50. Theater an der Wien, Linke Wienzeile 6, 1060 Vienna Opening hours: Mon - Sat, 10 a.m. - 6 p.m.* The Theater an der Wien and Kammeroper newsletter can be subscribed Closed on Sundays, except for matinee performances (open from to free of charge at www.theater-wien.at. 10 a.m. - 1 p.m.) and evening performances (open from 2 p.m. - 6 p.m.)* Visit us on Facebook: www.facebook.com/TheateranderWien Information and phone sales: and twitter: twitter.com/TheaterWien Wien-Ticket on +43 (0)1 58885 Videos at: www.youtube.com/user/theateranderwien (plus ¤ 2,- facility fee per booking) * Shipping charges are subject to change. * Opening hours subject to change. GUIDED TOURS OF THE THEATER AN DER WIEN (see p. 72) EVENING BOX OFFICE Price: ¤ 7.-/5.- (concession)* | Groups of schoolchildren: ¤ 3.- Ticketsale and pickup for the respective performance Children under 6: free at Theater an der Wien: from 6 p.m. until curtain-up * Concessions apply to school pupils, students up to age 26, at der Kammeroper (address: Fleischmarkt 24, 1010 Vienna): persons in military/community service from one hour before curtain-up GROUP BOOKINGS For your convenience, please buy or pick up all tickets that are not for the For bookings for groups of 11 or more people, please contact next performance, and complete any subscription enquires (e.g. exchange) the Theater an der Wien sales department. at the Theater an der Wien box office no later than 6 p.m. phone +43(0)1 588 30 -1440 or by e-mail: [email protected] Please note that the box office at Theater an der Wien will be closed from 1 July to 15 August 2017. VOUCHERS Vouchers for productions of the Theater an der Wien or the Kammeroper WIEN-TICKET PAVILION can be purchased at all Vereinigte Bühnen Wien box offices, online Tickets (except subscription tickets) are also available from the Wien-Ticket at www.theater-wien.at or ordered by phone from Wien Ticket on pavilion on Herbert von Karajan-Platz by the State Opera from 15 June +43 (0) 1 58885 (plus ¤ 2,- facility fee per booking). Vouchers are and 1 September 2017 respectively. Open daily from 10 a.m. - 7 p.m. not valid for non-Theater an der Wien and Kammeroper productions (plus ¤ 2,- facility fee per booking) (e.g. Wiener Festwochen) held at those venues.

74 | | 75 INFORMATION WHEELCHAIR SPACES/SPECIAL NEEDS SAVE ON PARKING WHEN YOU VISIT PERSONS WITH REDUCED MOBILITY THE THEATER AN DER WIEN Wheelchair spaces can be reserved at the Theater an der Wien (also for Patrons of the Theater an der Wien can park in the Technical University’s an accompanying person if desired) up to a week before the performance WiPark garages for only ¤ 6.90 for the first five hours. Valid Mon-Sat, for which tickets have been bought on +43 (0) 1 58885 or at our box 5 p.m. - 8 a.m., Sundays and holidays. Pre-paid parking cards are offices. Price: ¤ 10,- (wheelchair space) with a 50 % concession for the available at the Theater an der Wien box office. accompanying person. Patrons with a disabled person ID are granted Addresses: a 25 % reduction up to one week before the performance for which Garage Technische Universität | Operngasse 13 | 1040 Vienna they have bought tickets. These concessions are available only at the Garage Lehárgasse | Lehárgasse 4 | 1060 Vienna theatre box offices on presentation of a disabled person ID (limited ticket availability). Please note that there are no lifts in the Theater an der SAVE ON PARKING WHEN YOU VISIT Wien or the Kammeroper, and there are no wheelchair spaces in the THE KAMMEROPER Kammeroper. Patrons of the Kammeroper can park in the BOE Garage on Franz-Josefs-Kai for ¤ 5,20 per day. Valid Mon-Sun, 6 p.m. - 7 a.m. STANDING ROOM Pre-paid parking cards are available at the Kammeroper evening box office. 50% of the available standing room tickets are on sale from one week Address: BOE Garage Franz-Josefs-Kai | Morzinplatz 1 | 1010 Vienna prior to the performance. The remaining tickets go on sale one hour before curtain-up. Price: ¤ 5,-. No standing room is available in the Ö1 CLUB Kammeroper. Ö1 club members receive a reduction of 10 % on a maximum of two tickets per performance. This reduction applies to all TICKETS FOR STUDENTS AND SCHOOLCHILDREN Theater an der Wien productions. No concessions are available Tickets for schoolchildren and students up to age 26 are available, on subscription tickets, tickets for standing room and events of at the theatre’s discretion and no earlier than 15 minutes before the Wiener Festwochen. To obtain the Ö1 Club concession, please show curtain-up, at the box offices of the Theater an der Wien and the your membership card or state your membership number. Kammeroper on presentation of appropriate ID. Theater an der Wien: Opera & Concert: ¤ 15,- WIENER FESTWOCHEN Kammeroper: Opera/Concert: ¤ 10,- | Portrait Concert: ¤ 7,- Tickets for Wiener Festwochen events in May/June 2018 at the Theater an der Wien are available from the Wiener Festwochen JUNIOR-TICKET only: www.festwochen.at; Festwochen service telephone Children or adolescents (under 16) who attend a Theater an der Wien +43 (0) 1 589 22 22. production are granted a 35% reduction on ticket prices in the categories A - E at Theater an der Wien and in the categories A - D at Kammeroper. Available at all VBW box offices, the Theater an der Wien online shop at www.theater-wien.at and by phone from Wien-Ticket on +43(0)1 58885 (plus ¤ 2,- facility fee per booking).

76 | | 77 INFORMATION The THEATER AN DER WIEN would like to thank all its partners, friends and sponsors

MAIN SPONSOR Agrana

GOLDEN CIRCLE SILVER CIRCLE Casinos Austria Akris DS Automobiles BDO Gewista ÖBB Photo © Peter M. Mayr

SPONSORING COOPERATION- KAMMEROPER PARTNER BUWOG Doetsch Grether AG Production Sponsor Kattus Kammeroper: Le Méridien Raiffeisen Bank International

The illustrations in this programme were designed for the Theater an der SPONSORING Wien by beyond.ag (Michael Huber & Thomas Riegler) and realised by the JUGEND & KINDER AN DER WIEN artist Emmanuel Polanco. Akris Pat & Marcus Meier Emmanuel Polanco is a french artist, illustrator and author living in Stock- holm. He works for international magazines (Time Magazine, Los Angeles Barbara & Martin Schlaff Times, Management Magazine etc.), publishing houses and theatres (Ro- yal Shakespeare Company). He has published children’s books like Les ani- maux dans la neige and Petite Alice aux merveilles. In his works he combines If you are interested in sponsoring the Theater an der Wien and our young ensemble, traditional collages with paint, pencil and India ink. please contact Ms. Sandra Risska, Head of Development Department on 01 588 30-1330.

vbw.at

DD_130x205_Ins_17_final_ENGLISCH.indd 1 29.06.17 14:59 PRICES THEATER AN DER WIEN LINKS BÜHNE RECHTS Seating plan 3. RANG 2. RANG 1. RANG PARTERRE PARTERRE 1. RANG 2. RANG 3. RANG Theater an der Wien 1 1 1 1 1 1 1 2 1 1 2 2 2 BELEUCHTERSTAND STEHPLÄTZE 2 2 2 1 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 2 3 1 1 2 2 3 3 3 GANZ SEITE 1 1 3 3 3 3 3 4 4 4 2 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 4 3 4 MUSICAL THEATRE Prices in ¤ * 4 4 1 4 5 5 5 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 CERCLE 4 5 3 5 5 4 1 5 1 1 1 2 3 3 2 1 SEITE GANZ Die Zauberflöte| Wozzeck | Hagen | Siegfried | Brünnhilde | Maria Stuarda 4 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 1 5 2 2 5 2 6 2 2 2 STEHPLÄTZE 2 2 6 1 1 2 3 1 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1 1 3 1 Saul | Der Besuch der alten Dame | A Midsummer Night’s Dream 6 3 1 7 6 7

1 1 2 3 2 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1 ORC H. 1 1 8 1 1

a 148 b 126 c 99 d 89 e 68 f 48 g 25 3 8 2 1 BELEUCHTERSTAND 3 2 1 2 3 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1

1 2 3 2 2 3 9 2 3 9 SEITE LINKS 1

1 2 3 2 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1 3 1 1 10

Die Möwe (Hamburg Ballett) 1 7 1 1 7 10 1 2 1 2 3 3 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1 1 4 1 1 11 2 4 2 2 8 2 2 11 2 a 118 b 98 c 78 d 62 e 48 f 31 g 14 1 2 3 4 5 6 7 8 9 10 10 9 8 7 6 5 4 3 2 1 8 4 2 2 1 12 4 3 1 3 1 2 4 3 9 SEITE RECHTS 1 3 12 1 2 1 2 5 3 4 5 6 7 8 9 10 10 9 8 7 6 5 4 3 2 1 9 2 1 2 13 2 5 10 2 13 1 2 5 1 1 2 6 3 4 5 6 7 8 9 10 10 9 8 7 6 5 4 3 2 1 PARKETT 1 10 14 CONCERT PERFORMANCES & SPECIAL PROJECTS 1 STEHPLÄTZE 2 11 1 2 14 2

1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 1

7 2 1 1 SEITE LINKS 11 15 3 2 1 3 1 3 5 3 12 2

24.9.17 Ottone | 18.10.17 Giulio Cesare in Egitto | 24.10.17 Leonore 1805 15 3 2 5 3 2 8 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 2 1 2 12 6 1

13 6 15.12.17 Egmont | 24.1.18 Publio Cornelio Scipione 1 9 1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 1 1 13 6 6 2 1 14 2 SEITE RECHTS 27.1.18 Giulietta e Romeo | 21.2.18 Armida | 19.3.18 Fidelio 1814 1 1 1 2 3 4 5 6 7 8 9 1 9 8 7 6 5 4 3 2 1 14 7 3 1 7 STEHPLÄTZE 1 1 3 1

15 2 1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 1 1

6 2 2 27.3.18 Die Schuldigkeit des ersten Gebots 1 2 4 6 15 2 8 2

8 1 2 4 1

1 16 1 2 3 4 5 6 7 8 9 3 9 8 7 6 5 4 3 2 1 1

1 1 1

20.4.18 Radamisto 16 1 9 1 9

1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 1 2 4 1 17 2

2 2 2

2

2 17 2 0 2 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 0 a 75 b 62 c 50 d 40 e 30 f 22 g 13 1 5 3 1 18 3 1 1 2 1 3 1 3 5 2 1 18

1 2 3 4 5 6 7 8 6 8 7 6 5 4 3 2 PARTERRE 1 4 1 1 5 2 1 1 1 4 2 2 2 2 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 2 7 2 2 2 2 2 3 2 4 3 2 2 2 3 3 1 2 3 4 5 8 5 4 3 2 1 4 1 2 4 3 3 CABARET AT THE „HÖLLE“ 3 3 3 1 3 4 1 3 2 5 4 3 2 3 2 4 1 1 5 4 5 2 4 5 4 1 2 3 3 / 5 / 6 / 8 / 14 / 15 / 16 / 18 / 20 / 25 November 2017 1 4 5 4 6 5 5 4 1 2 2 5 1 5 2 2 6 5 5 1 6 5 Durchs rote Meer 20 1 3 6 6 9 6 6 3 9 1 1 1 2 7 1 7 6 2 4 1 2 1 7 4 2 8 2 2 3 2 6 2 7 1 0 6 8 0 4 5 7 4 3 8 3 7 2 3 6 8 9 9 8 6 3 8 5 2 6 7 10 10 3 INTRODUCTIONS 5 2 7 6 2 2 4 8 8 2 1 5 9 4 5 1 1 10 11 10 9 7 7 2 1 2 4 7 5 9 8 9 8 5 4 2 10 10 11 10 9 7 3 2 1 2 6 6 1 9 6 9 1 1 3 2 12 10 9 6 2 2 2 8 10 13 13 12 11 2 5 2 2 10 8 7 1 7 5 3 1 2 2 JUGEND AN DER WIEN-OPERA 4 2 9 3 3 3 2 9 3 4 M 8 8 3 2 1 6 2 S I 4 T T 1 6 1 29 April 2018, 6 p.m. / 30 April 2018, 11 a.m. 7 2 4 H 5 2 T 4 0 0 E 9 9 1 C 4 4 2 4 7 E 5 L 5 2 1 3 5 R 2 7 IN 1 0 LICHT- UND TONREGIE 0 1 3 1 E 7 2 Shakespeare, ein Jugendtraum 10 / 5 K T 2 6 S 6 1 3 T 5 1 2 1 1 2 6 I 5 6 3 1 1 M 2 3 8 1 7 3 3 3 2 2 1 7 2 8 7 6 6 3 8 1 1 8 2 7 4 9 3 2 4 9 4 8 7 1 2 32 2 2 4 7 8 3 3 1 2 8 1 3 34 4 33 8 5 0 2 2 3 35 3 3 0 8 14 14 2 8 1 5 9 15 15 2 1 4 16 17 17 16 9 1 9 9 4 1 6 29 10 10 9 1 1 11 12 12 11 2 6 0 1 1 13 1 0 2 3 2 2 2 1 0 3 4 3 0 1 7 1 1 5 5 4 1 3 7 1 1 2 2 3 11 3 3 4 3 2 1 3 1 8 1 1 1 1 1 8 2 2 2 1 2 12 2 9 9 2 3 MITTELLOGE 31 31 3 4 32 32 1 14 33 33 14 4 5 3 1 34 34 13 1 5 35 36 36 35 15 5 9 4 16 16 14 15 17 18 18 17 5 9 10 1 19 19 1 0 no tickets are on sale for the boxes in 6 1 16 1 11 7 18 19 19 18 17 11 1 12 12 1 2 13 14 14 13 2 the second balcony at any concerts or 3 15 15 4 3 80 | *Cloak-room fees are included in the ticket price 5 6 6 5 4 concert performances of operas. PRICES KAMMEROPER PHOTOGRAPHIC MATERIAL Concept / Cover image © beyond / michael huber, thomas riegler Inside cover image in back © Peter M. Mayr

p. 8/9, 12/13, 16/17, 22, 24, 26, 28/29, 32/33, 36/37, 40/41, 44/45, 49, 57, 65 beyond | Emmanuel Polanco | colagene.com MUSICAL THEATRE Prices in ¤ * p. 55, 70/71, 73 © Peter M. Mayr Arianna in Nasso | Don Pasquale Pelléas et Mélisande | A Quiet Place | Così fan tutte PUBLISHING DETAILS a 51 b 40 c 29 d 19 Theater an der Wien – Director Prof. DI Roland Geyer Publisher & Proprietor: Vereinigte Bühnen Wien Ges.m.b.H. – CEO Prof. Dr. Franz Patay PORTRAIT CONCERTS 10 Theater an der Wien, Linke Wienzeile 6, 1060 Wien phone (+43/1) 588 30-1010 | Fax Ext. 99 2000 | [email protected] | www.theater-wien.at 9 October 2017 Julian Henao Gonzalez Responsible for content: Director Prof. DI Roland Geyer

23 November 2017 Anna Gillingham Editorial office: Bettina Auer (Die Ring-Trilogie), Karin Bohnert, Jochen Breiholz, Renate Futterknecht, 14 December 2017 Matteo Loi Martin Gassner, Sylvia Hödl, Catherine Leiter, Johannes Penninger, Tina Reithofer, Herbert Schäfer (Die Zauberflöte), Markus Schemmel, Sabine Seisenbacher, 24 February 2018 Florian Köfler Claudia Stobrawa, Ugo Varela, Georg Wacks, Philipp Wagner, Ksenija Zadravec 6 March 2018 Carolina Lippo Graphic design / Art Direction: Martina Heyduk Printing: TriSys DI Hans A. Gruber KG 4 June 2018 Anna Marshania Subject to change | July 2017 | DVR 0518751

INTRODUCTIONS 5 Vereinigte Bühnen Wien Ges.m.b.H. A Wien Holding Company

BÜHNE

LINKS PARKETT RECHTS Seating plan 14 13 12 11 10 9 8 7 6 5 4 3 2 1 1 Kammeroper 14 13 12 11 10 9 8 7 6 5 4 3 2 1 2 14 13 12 11 10 9 8 7 6 5 4 3 2 1 3 14 13 12 11 10 9 8 7 6 5 4 3 2 1 4 1 14 13 12 11 10 9 8 7 6 5 4 3 2 1 5 2 14 13 12 11 10 9 8 7 6 5 4 3 2 1 6 3 14 13 12 11 10 9 8 7 6 5 4 3 2 1 7 4 14 13 12 11 10 9 8 7 6 5 4 3 2 1 8 14 13 12 11 10 9 8 7 6 5 4 3 2 1 9 14 13 12 11 10 9 8 7 6 5 4 3 2 1 10 14 13 12 11 10 9 8 7 6 5 4 3 2 1 11 14 13 12 11 10 9 8 7 6 5 4 3 2 1 12 14 13 12 11 10 9 8 7 6 5 4 3 2 1 13 14 13 12 11 10 9 8 7 6 5 4 3 2 1 14 14 13 12 11 10 9 8 7 6 5 4 3 2 1 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 16 PARTNERS

LINKS PARKETT RECHTS JUGEND AN DER WIEN: 7 6 5 4 3 2 1 17 MEDIA PARTNER 17/18 6 5 4 3 2 1 18 Stadtschulrat für Wien 9 8 19 7 6 5 4 3 2 1 19 KulturKontakt Austria 9 8 20 7 6 5 4 3 2 1 20 TECHNIK Landsmann & Landsmann 9 8 21 7 6 5 4 3 2 1 21 9 8 22 7 6 5 4 3 2 1 22 * Cloak-room fees are 9 8 23 7 6 5 4 3 2 1 23 included in the ticket price