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The number “3” symbolises creativity, diversity and innovation. That del lago and Rachmaninoff’s Francesca da Rimini – between them lie three graces appear in so many works of art as goddesses of beau- Thomas’ Hamlet and Offenbach’s Les contes d’Hoffmann. A remarkable ty and watch over the theatre is no coincidence. Past, present and fu- musical journey with outstanding artists such as Kirill Petrenko, Marc ture; body, soul and intellect; birth, life and death: in every culture, re- Minkowski, Christof Loy, “Exorcist” William Friedkin, Kurt Streit, Sai- ligion and legend the Three plays an important and usually positive mir Pirgu, Malena Ernman, Marlis Petersen, Angel Blue and Chris- role. In numerology, three stands for lightness and artistic success. In tine Schäfer. The latter is also responsible for arranging our season’s his Poetics, Aristotle contends that the beauty of literary art is based on opening on 13 September with Schönberg’s Pierrot Lunaire. greatness and order and names three principal parameters: with lan- The programme of Theater an der Wien once again features several guage, rhythm and harmony one can create scenes taken from real life. premieres: we commissioned the young Russian composer Lera Au- The Theater an der Wien often uses the three letters “TAW” as an ab- erbach with the composition of the opera Gogol, which we will unveil breviation of the opera house and, in the programme for this season, to you on 15 November under the direction of Christine Mielitz, with has chosen “trinity” as a central principle. The essence of each opera Vladimir Fedoseyev conducting RSO Vienna and Bo Skovhus in the production is summed up in exactly three words. Illustrations have title role. This will be joined by premieres of two miniature operas in been specially created containing slogans that alternate between the our basement, the “Hölle”, one by the trio of composers Tsepkolenko, poetic and the pithy. Gryllus and Doderer, the other by Hans-Jürgen von Bose. Besides these eleven stage productions, the TAW also offers twelve concert The development of opera as an imitation of the tragedy of the an- performances of operas, the majority of them exquisite rarities. cient world was only possible in times of change. The emotions, rather than the intellect, were now the highest authority to which the Mozart, never averse to a game, is said to have often kept scraps of works aimed to appeal. Monteverdi’s life is a perfect example of paper in his pocket on which he played number games to let time these contrasts. On 24 February 1607 his Favola in musica d’Orfeo was pass. Mozart’s love of numbers has now been made the subject of premiered in Mantua. The new art form of opera was born. an installation by the artist Valie Export entitled “Anagrammatische At Theater an der Wien, L’Orfeo marks the start of a new Montever- Komposition mit Würfelspiel (nach W. A. Mozart, Klavier) für Sopran- di trilogy that will be staged over several years under the direction of saxophon” (“Anagrammatic Composition with Dice (after W. A. Mozart, the successful director Claus Guth. But we begin the season with one piano) for Soprano Saxophone”). Together with the new canopy de- of the most important operas of the 20th century, The Turn of the signed by the architect Golmar Kempinger-Khatibi, the new entrance to Screw, the third production in our Benjamin Britten cycle. The work Theater an der Wien is now completed. „reunites“ us with Robert Carsen and introduces the new principle I hope that you, dear visitors, will continue to enjoy passing through conductor of RSO Vienna, Cornelius Meister, on the rostrum. our entrance in future and will remain frequent guests to our new It goes without saying that the TAW once again pays its reference to opera house. the great masters of the baroque, Handel and Gluck. Whereas Serse with its famous “largo” Ombra mai fu made Handel popular far be- Best wishes, yond the confines of classical music, Gluck’s Telemaco is a rarity of the very highest order. And the baroque ensembles are led by two completely contrasting musicians in René Jacobs and Jean-Christophe Spinosi. In addition, we have decided to introduce a new feature in the com- ing season in the shape of a “timeline” of musical theatre that leads Roland Geyer through the 19th century: roughly 85 years separate Rossini’s La donna Intendant

2 | | 3 All the world’s a Inhalt opening 11/12 7 stage and every Music theatre B. Britten: The Turn of the Screw 9 G. F. Handel: Serse 13 role is sweet. L. Auerbach: Gogol 17 C. Monteverdi: L’Orfeo 21 P. I. Tchaikovsky / S. Rachmaninoff: Iolanta / Francesca da Rimini 25 Chr. W. Gluck: Telemaco 29 J. Offenbach: Les Contes d’Hoffmann 33 A. Thomas: Hamlet 39 G. Rossini: La donna del lago 43

Miniature operas in the “Hölle” 47 concertante Opera 51 Special concerts 64 cabaret in the “Hölle” 67 Demner, Merlicek & Bergmann Demner, Ich, Schikaneder 69

Jugend an der Wien 71 Presentation of the Season 78 Guided Tours 79 Prices 104 Seating Plan 105 Information 107 Imprint 124 Booking form 125

Main sponsor of Theater an der Wien. | 5

zu10039_AZ_Kultur_engl_130x205abf.indd 1 23.06.2010 15:33:59 Uhr opening 11/12

Klangforum Wien Michael Boder conductor Igor Strawinski (1882-1971) L’Histoire du Soldat Tobias Moretti speaker Karl Markovics soldier Michael Maertens devil (Performance in German) Arnold Schönberg (1874-1951) Pierrot Lunaire Christine Schäfer soprano

Tuesday, 13 September 2011, 7.30 p.m. Two parts, one whole. Two The Turn of the Screw Benjamin Britten 14-27 September 2011 Ghosts kill boy. Benjamin Britten wrote a brilliant musical adaptation of Henry James’ irritating novella The Turn of the Screw (1898) for the English Natio- The Turn of the Screw nal Opera Group. The opera focuses on themes that were important in Britten’s life: the difficulty of recognising good and evil and judging Opera in a prologue and two acts (1954) them, the loss of innocence and its uncontrollable infiltration by what is commonly known as evil. Britten uses a chamber ensemble of twel- Music by Benjamin Britten ve musicians to achieve the highest possible degree of precise and Libretto by Myfanwy Piper gripping harmonic tension. Claustrophobia, seduction and ambivalence after the novella by Henry James shimmer in the music. Performed in English with German surtitles A young, inexperienced woman takes on a position as governess for two Conductor Cornelius Meister orphans. She is forced to promise the children’s guardian never to bother Director Robert Carsen him with problems. Apprehensive about what awaits her, the governess tra- Set & costume designer Robert Carsen / Luis Carvalho vels to the remote country estate. Initially, she finds her two young charges, Light designer Robert Carsen / Peter van Praet Miles and Flora, delightful. But as time goes by the eerie atmosphere in Video projections Finn Ross the house casts a deeper and deeper spell over her. Ghosts appear to her of Dramatic advisor Ian Burton her deceased predecessor Miss Jessel and the manservant Quint, who is also dead. There seems to be a relationship between the ghosts and the children The Prologue / Quint Nikolai Schukoff that bodes no good. The governess decides to save the children from the The Governess Sally Matthews corrupting influence of the dead. She completely becomes caught up in this Mrs. Grose Ann Murray task until it finally results in a confrontation: when Quint approaches Miles, Miss Jessel Jennifer Larmore the governess tries to restrain the boy, but he dies in her arms. Flora Eleonor Burke / Julia Storm Miles Teddy Favre-Gilly / Stefan Leadbeater What really happens remains unclear, both in James’ novella and in the ORF Radio-Symphonieorchester Wien opera. Is the governess hallucinating or do the ghosts really exist? In sixteen scenes, called „variations“, Britten expounds on a basic theme New production Theater an der Wien that is introduced at the beginning, before bringing it to an agonising head in the final collapse. The perfect world at the estate turns out to be a place of dark seduction. Quint, the hell’s messenger, tempts with the silvery music of the spheres of a celesta, while the children, Premiere: 14 September 2011 with their songs that are neither musically nor lyrically innocent, prove Performances: 19 / 21 / 24 / 27 September 2011, 7.30 p.m. that they have long since fallen under the thrall of darkness. The on- Introduction: Sunday, 11 September 2011, 11 a.m. ly innocent at the beginning of the story is the governess who then is confronted by her own dark side and that of the world on the idyllic country estate.

Music theatre | 11 SERSE Georg Frideric Handel 16-27 October 2011 King seeks love. One of George Frideric Handel’s best-known compositions, the so-called „largo“ Ombra mai fu, is found in Serse. But there it is a larghetto Serse and the pathos with which it is sung is meant to be comic: a tree is serenaded. Although Serse is commonly described as an opera seria the Dramma per musica in three acts (1738) events it portrays are not meant to be taken entirely seriously. Whether Music by George Frideric Handel this work is actually a seria, and as such a forerunner of Mozart’s dram- libretto after Niccolò Minato ma giocoso, or a late example of Venetian light opera has been the sub- and Silvio Stampiglia ject of debate for centuries. At any rate, Serse is Handel’s most uncon- ventional contribution to Italian opera, telling as it does a crazy story Performed in Italian with German surtitles about love and heartbreak: Conductor Jean-Christophe Spinosi King Serse of Persia has abandoned Amastre, his betrothed. Lacking any Director Adrian Noble other object for his affections, he tenderly serenades a plane tree. He is over- Set & costume designer Tobias Hoheisel heard by Romilda, who wastes no time mocking him – and Serse falls in Light designer Alan Burrett love with her voice. She, however, rejects his advances since her heart be- Serse Malena Ernman longs to the King’s brother, Arsamene. Romilda’s sister Atalanta is also in Arsamene Bejun Mehta love with Arsamene and she hatches a plot to drive Romilda into Serse’s Amastre Luciana Mancini arms. The slighted Amastre appears at court disguised as a soldier, causing Romilda Adriana Kuˇcerová yet more confusion. In the meantime Serse has a bridge built over the Hel- Atalanta Danielle de Niese lespont with a view to conquering Europe. The bridge, however, is immedi- Ariodate Anton Scharinger ately destroyed in a storm. Everything resolves itself when Romilda’s father Elviro Andreas Wolf accidentally causes her to marry Arsamene. Amastra finally reveals her true identity to the furious Serse and threatens to kill herself out of unrequited Ensemble Matheus love. Serse is struck by remorse and marries her – all’s well that ends well. Arnold Schoenberg Chor (Chorus master: Erwin Ortner) Handel managed to secure the services of the famous castrato Caf- New production Theater an der Wien farelli to play the title role, but since no other stars were available to the composer for Serse the other parts are not especially demanding. Despite this, it is precisely the simpler melodic ideas that evoke parti- Premiere: 16 October 2011 cularly intense emotion. The forms of the arias and scenes are more playfully fashioned, and the plot, switching between comedy and tra- Performances: 18 / 20 / 23 / 25 / 27 October 2011, 7 p.m. gedy, was intended to satisfy the London audience’s desire to be en- Introduction: Sunday, 9 October 2011, 11 a.m. tertained – but failed to do so. It was not until the Handel Festival in Göttingen in 1924 that Serse began to establish itself in the repertoire.

Music theatre | 15 Gogol Lera Auerbach 15-26 November 2011 Devil’s own poet. Gogol

Opera in three acts (World premiere) The Russian composer Lera Auerbach has already produced outstanding work in virtually every musical genre. She is a regular guest in Music and Libretto after the play of the same name the major concert halls of the world as a pianist. Her poetic texts by Lera Auerbach are required reading at schools and universities in Russia. For the Performed in Russian with German surtitles work commissioned by Theater an der Wien the composer, born in 1973 in Chelyabinsk in the Urals, has chosen the writer Nikolai Gogol Conductor Vladimir Fedoseyev (1809-52) as main protagonist. Director Christine Mielitz Set designer Johannes Leiacker In the last stage of his life Gogol is increasingly consumed by a religious Costume designer Kaspar Glarner mania. He considers his past work a sin and burns the second part of his Dramatic advisor Christian Baier major novel, Dead Souls. In the end he refuses to eat. In his final hours Light designer Stefan Bolliger he is visited by the fantastic figures from his own works – and they show Choreographer Arila Siegert themselves to be more reasonable than he is himself at this point. Gogol has utterly broken with his previous life and renounces it; now it is aveng- Nikolai Gogol Martin Winkler & Otto Katzameier ing itself. In a whirlwind of images Gogol – accompanied by the devil Bes, Bes Ladislav Elgr a kind of alter ego – relives parts of his life: his hurried trips across Europe, Poshlust / Witch Natalya Ushakova made as if pursued, scraps of memories of his mother, the longing for love Death Stella Grigorian and his work as a lecturer. Time appears to go haywire. Gogol dances with Nikolka Sebastian Schaffer / Florian Lienhart Death. At the end, the critic and his own characters sit in judgement over Maria / Gogols Mother / Bride Nr. 1 him. Utterly cowed and distraught, the writer starves to death. Tatiana Plotnikova Priest / Doctor / Viys Voice Dejan Vatchkov This opera is not so much a biography as a poetic and satirical study Bride Nr. 2 / Nymph’s Voice of one of the greatest Russian writers, whose emotional life is as mys- Anna Gorbachyova terious and fascinating as his idiosyncratic works with which he re- Prosecutor / Defender Falko Hönisch defined Russian literature after Alexander Pushkin. Lera Auerbach’s Judge Tim Severloh style ignores seemingly obligatory trends in contemporary composition. Bride Nr. 3 Iwona Sakowicz She has found her own voice, and it is full of stylistic freedom and ORF Radio-Symphonieorchester Wien dramatic power. In it she combines atonal and tonal elements; the Arnold Schoenberg Chor (Chorus master: Erwin Ortner) history of European music is always present in her works. Grazer Kapellknaben & Mozart Knabenchor Wien Work commissioned by the Theater an der Wien World Premiere: 15 November 2011 Performances: 18 / 21 / 24 / 26 November 2011, 7.30 p.m. Introduction: Sunday, 13 November 2011, 11 a.m.

Music theatre | 19 L’ORfeo Claudio Monteverdi 14-31 December 2011 Loss of life. L’orfeo It is not the first opera, but it is the first masterpiece in the new genre: Favola in musica (1607) with L’Orfeo, Monteverdi showed at the inception of an art form whose Music by Claudio Monteverdi development has now lasted for over 400 years just what musical thea- Libretto by Alessandro Striggio the younger tre can be. The story concerns a great lover – and it is told by the music: “Favola in musica”, as it is termed. With psychological subtlety and Performed in Italian with German surtitles dramatic power the music conveys the protagonist’s extreme emotional states. At the same time it portrays starkly contrasting moods: from Conductor Ivor Bolton the idyll of the complete happiness of lovers to utter despair following Director Claus Guth Euridice’s death and Orfeo’s rebellion in the musical underworld and Set & costume desigher Christian Schmidt his total isolation at the end. Video projections Arian Andiel Dramatic advisor Konrad Kuhn Although he is a famous, universally admired man it was not easy for Or- Light designer Olaf Winter feo to capture the heart of the young and beautiful Euridice. His long and Orfeo John Mark Ainsley fruitless wooing is vividly recalled. But now great joy reigns: the wedding Euridice Mari Eriksmoen guests throw a riotous party for the happy couple. But then Orfeo is dev- La Musica / Messaggiera / Speranza astated by the news of the bride’s death. His anguish is overwhelming; he Katija Dragojevi´c refuses to accept this blow that fate has dealt him and embarks on a jour- Caronte / Plutone Phillip Ens ney that he believes will take him back to his beloved. He sings of his grief Proserpina / Ninfa Suzana Ograjensek so touchingly that he succeeds in slipping past Caronte, who guards the Apollo Mirko Guadagnini gateway to Hell, and arrives at the place where the shades are found. Plu- Pastori / Spiriti Cyril Auvity tone, whose realm this is, offers him a chance to rescue his wife – on con- Jeroen de Vaal dition that he does not look back at her on his way back to the world of Maciej Idziorek the living. But Orfeo‘s longing to see his beloved is too strong. Her irrevo- Jakob Huppmann cable loss is all the more devastating to him. In the end, his father Apol- lo takes him away to the only place where he can be reunited with Euri- Freiburger Barockorchester dice: to Heaven. Monteverdi Continuo Ensemble Arnold Schoenberg Chor (Chorus master: Erwin Ortner) Duke Francesco Gonzaga, in whose palace in Mantua L’Orfeo was premiered to mark his birthday in 1607, had the resources to make a New production Theater an der Wien masterpiece like this possible. He placed good singers and a large orchestra at the disposal of his head of music, the „divino Claudio“, who was able to exploit the wide variety of voices to outstanding effect. Premiere: 14 december 2011 The score is perfectly complemented by Alessandro Striggio the Young- er’s libretto which portrays true-to-life scenes and adapts the Orpheus Performances: 17 / 20 / 22 / 29 December 2011, 7.30 p.m., legend for the operatic stage in a highly convincing manner. 31 December 2011, 8 p.m. Introduction: Sunday, 11 December 2011, 11 a.m.

Music theatre | 23 Iolanta Peter Ilyich Tchaikovsky Francesca da Rimini Sergei Rachmaninoff

19-31 January 2012 Good and evil. Iolanta Lyrical opera in one act (1892) Music by Peter Ilyich Tchaikovsky Libretto by Modest Ilyich Tchaikovsky Performed in Russian with German surtitles Iolanta, Peter Ilyich Tchaikovsky’s last opera, and Sergei Rachmaninoff’s Francesca da Rimini are two love stories that differ not only on account Conductor Kirill Petrenko of the endings – one happy, one sad – but especially on account of the Director Stephen Lawless diametrically opposed relationship to the power of God: Iolanta has a Set designer Benoît Dugardyn fairytale ending, closing with rapturous songs to praise God, whereas Costume designer Jorge Jara the last scene of Francesca da Rimini shows the damned souls in hell Choreographer Lynne Hockney – and doubts begin to surface about divine justice, because guilt is not Light designer Patricia Collins readily apparent to us here. Iolanta Olga Mykytenko King René, her father David Pittsinger Princess Iolanta has been blind since birth. Her father, King René, decreed Robert Dalibor Jenis that no one should reveal this to her. A physician believes that an opera- Godefroy de Vaudémont Saimir Pirgu tion could help her, but she would have to know that she is blind and the Ibn-Hakia Elchin Azizov wish to see would have to come from her. Two men enter Iolanta‘s park: Alméric Ladislav Elgr the man chosen to be her husband, Robert of Burgundy, and the knight Bertrand Vladimir Baykov Vaudémont. In conversation with the knight, Iolanta realises what it means Martha Svetlana Shilova to see and that she is unable to do this. Because of this revelation, René Brigitta Rinnat Moriah wants to kill Vaudémont. In order to save him, Iolanta agrees to have the Laura Victoria Yarovaya operation. It is successful, Vaudémont is permitted to live and marry Iolanta. Mathilda Barbora Kohoutková In the second circle of the Inferno (fifth canto) Dante and Virgil, on their Francesca da Rimini journey through the Hereafter, discover two souls whose torment is particularly severe: Francesca and Paolo. Francesca was the wife of the deformed Opera in one act with a prologue and an epilogue (1906) warrior Lanceotto. In order to persuade her to marry him, he had sent his Music by Sergei Rachmaninoff handsome brother Paolo to court her on his behalf. It was not until lat- Libretto by Modest Ilyich Tchaikovsky er that she discovered whom she had really married. Lanceotto, however, after Dantes Inferno was plagued by jealousy: he pretended to leave Francesca and Paolo alone, Dante Ladislav Elgr caught them kissing and killed them both. The souls of the two lovers are Vergils spirit David Pittsinger swept away by the whirlwind of the Inferno. Lanceotto Malatesta Dmitry Beloselsky Francesca Olga Mykytenko In their atmospheric evocations both composers allow their full bril- Paolo Saimir Pirgu liance to unfold. The works are fin-de-siècle masterpieces: Iolanta‘s garden is, musically, a miniature Garden of Eden. In this fully scored ORF Radio-Symphonieorchester Wien idyll the Fall of Man occurs in reverse, as it were. Through love, Iolan- Arnold Schoenberg Chor (Chorus master: Erwin Ortner) ta comes to recognise light and darkness. Rachmaninoff, on the other hand, creates an overwhelming, roaring Inferno with an unusual choral New production Theater an der Wien part and paints polished psychological portraits of three people left at each other‘s mercy in claustrophobic, emotional torment. premiere: 19 JAnuary 2012 Performances: 21 / 24 / 26 / 29 / 31 January 2012, 7 p.m. Music theatre | 27 Introduction: Sunday, 8 January 2012, 11 a.m. Telemaco Christoph Willibald Gluck 19 February - 2 March 2012 Escape her trap. For the wedding of Emperor Joseph II to Maria Josepha of Bavaria in 1765, Christoph Willibald Gluck provided three works: the azione tea- Telemaco trale Il parnaso confuso, the ballet-mime Semiramide and the opera Telemaco. Only Il parnaso confuso was well received; the other two Dramma per musica in two acts (1765) works were greeted with consternation more than anything else, since Music by Christoph Willibald Gluck their plots were not really suitable for a wedding celebration. Gluck had Libretto by Marco Coltellini nevertheless taken the utmost care when composing Telemaco; it was only the ballet sequences customary at the time that he did not get Performed in Italian with German surtitles around to writing – which was another cause of displeasure. Telemaco disappeared from the stage immediately. Conductor René Jacobs Director Torsten Fischer Telemaco, searching for his father Ulisse who is believed missing, has land- Set & costume designer Vasilis Triantafillopoulos ed on the island of the sorceress Circe. There, he falls in love with Asteria Herbert Schäfer who was kidnapped as a child by Circe and does not know who her par- Light designer Diego Leetz ents are. The sorceress holds a feast for the god Amor in honour of her Dramatic advisor Herbert Schäfer guest. However, the festivities are ruined by an oracle which condemns all to Ulisse Rainer Trost suffering who are tyrannical in love. Circe feels that the warning is ad- Telemaco Bejun Mehta dressed to her, and she is not wrong to do so since she is keeping Ulisse Merione Anett Fritsch prisoner out of love. Filled with dismay she releases him and his companions, Asteria Valentina Farcas whom she had turned into trees. At length, Telemaco finds his father. Circe Alexandrina Pendatchanska But Circe is already beginning to regret her magnanimity and tries unsuc- Penelope Anna Franziska Srna cessfully to prevent Ulisse from departing by means of magic spells and in- trigues. Asteria flees with them to Ithaca: she is the daughter of the king Akademie für Alte Musik Berlin of Crete and was chosen as Telemaco’s bride while still a child. The lone- Arnold Schoenberg Chor (Chorus master: Erwin Ortner) ly Circe devastates the island in her disappointment and flies off on the back of a dragon. Venus and Amor turn the island into a paradise of love. New production Theater an der Wien Gluck combined elements of the French tragédie lyrique with those of the Italian opera. In consequence, Telemaco is clearly classifiable as a Premiere: 19 February 2012 reformed opera. In terms of the subject matter, it is Circe’s magical capabilities that are inspired by French magic operas. Gluck used a wide Performances: 22 / 24 / 27 / 29 February, 2 March 2012, 7 p.m. variety of different forms of aria and gave the chorus a meaningful role Introduction: Sunday, 12 February 2012, 11 a.m. in the plot. For the part of Circe he created emotional outbursts of im- pressive virtuosity. In 1987 the work was performed in Salzburg for the first time since its premiere, in concert form. The stage version was first performed again in 2003 at the English Bach Festival in London.

Music theatre | 31 Les Contes d’Hoffmann Jacques Offenbach 19 March - 2 April 2012 A soul’s inferno. Les Contes d’Hoffmann

Opéra fantastique in five acts (1881) E. T. A. Hoffmann produced tales full of comical, witty and sometimes Music by Jacques Offenbach disconcerting imagination. Into the cosy world of the German bourgeoi- Libretto by Jules Barbier after the play sie he placed demons, sorceresses and changelings. Sometimes these by Jules Barbier and Michel Carré encounters bring happiness, sometimes ruination. It is also often unclear whether the events are real or merely in the heads of the char- Performed in French with German surtitles acters. More than any other writer, Hoffmann focused on the question of how we perceive the world. His work was more popular in France Conductor Riccardo Frizza than it was in his homeland. In 1851 Jules Barbier and Michel Carré Director William Friedkin made the idiosyncratic writer the hero of his own adventures in their Set designer Michael Curry drama Les contes d’Hoffmann. Jacques Offenbach was inspired by the Costume designer Andrea Schmidt-Futterer play to create his last large-scale theatrical production. Light designer Mark Jonathan Hoffmann Kurt Streit With his friend Nicklausse and a few students, Hoffmann is waiting in the Olympia Mari Eriksmoen Lutter & Wegner tavern for the woman he loves, the singer Stella, who is Antonia Juanita Lascarro at that moment putting in a brilliant performance as Donna Anna in the Giulietta Angel Blue theatre next door. To pass the time he tells the stories of his ill-fated amo- Stella Magdalena Anna Hofmann rous adventures with Olympia, Antonia and Giulietta. He was passionate- La Muse / Nicklausse Roxana Constantinescu ly in love with all three, and lost all three under peculiar circumstances. Lindorf / Coppélius / Le docteur Miracle / Le capitaine Dapertutto Again and again it appears that his happiness has been wrecked by an ad- Aris Argiris versary who is pursuing him in various guises. Even now Hoffmann recog- Andrès / Cochenille / Frantz / Pitichinaccio nises his nemesis in one of the listeners, Councillor Lindorf. The villain is Andreas Conrad now after Stella. When Hoffmann finishes his tales, Lindorf really does leave Spalanzani Oliver Ringelhahn with the singer. Is this pursuer a man or a devil? And Hoffmann’s faith- La voix de la tombe Ann-Beth Solvang ful friend Nicklausse, is he a man, a woman, a helpful muse or a creature Hermann / Schlémil Martijn Cornet of the devil? At the end Nicklausse, as a muse, promises the lonely Hoff- Luther / Crespel Pavel Kudinov mann great fame as a writer, but is that an adequate substitute for love? Nathanael Julien Behr Jacques Offenbach died shortly after the premiere of Les contes d’Hoff- Wiener Symphoniker mann. Consequently, only a considerably abridged version of the work was Arnold Schoenberg Chor (Chorus master: Erwin Ortner) performed, much of which no longer bore the composer’s stamp. But not so very long ago important documents were discovered that mean New production Theater an der Wien the majority of the work can now be reconstructed as Offenbach intended. The Theater an der Wien presents the recently reconstructed original version of Les contes d’Hoffmann in Vienna for the first time. Premiere: 19 march 2012 sponsored by Performances: 23 / 25 / 27 / 29 March & 2 April 2012, 7 p.m. Introduction: Sunday, 18 March 2012, 11 a.m.

Music theatre | 35 Les Contes d’Hoffmann

Opéra fantastique in five acts (1881) Music by Jacques Offenbach Libretto by Jules Barbier after the play by Jules Barbier and Michel Carré Performed in French with German surtitles

Conductor Riccardo Frizza Director William Friedkin Set designer Michael Curry Costume designer Andrea Schmidt-Futterer Light designer Mark Jonathan Hoffmann Kurt Streit Olympia / Antonia / Giulietta / Stella Marlis Petersen 2. Series La Muse / Nicklausse Roxana Constantinescu Lindorf / Coppélius / Le docteur Miracle / Le capitaine Dapertutto Les Contes d’Hoffmann John Relyea Jacques Offenbach Andrès / Cochenille / Frantz / Pitichinaccio 4-10 July 2012 Oliver Ringelhahn Spalanzani Erik Årman La voix de la tombe Ann-Beth Solvang Hermann / Schlémil Martijn Cornet Luther / Crespel Pavel Kudinov Nathanael Julien Behr Wiener Symphoniker Arnold Schoenberg Chor (Chorus master: Erwin Ortner)

New production Theater an der Wien

Premiere 2. Series: 4 July 2012 Performances: 6 / 8 / 10 July 2012, 7 p.m. Hamlet Ambroise Thomas 23 April - 5 May 2012 Trauma and grief. Trauma In the middle of the 19th century the whole of France had been grip- Hamlet ped by a great enthusiasm for the works of William Shakespeare. With her performance as Ophelia in Paris in 1827, the actress Harriet Opéra in five acts(1868) Smithson triggered an Ophelia-mania that swept all over Europe. Am- broise Thomas, in his opera adaptation of Hamlet, gave the fate of Music by Ambroise Thomas this female character greater prominence. An entire scene is dedicat- Libretto by Michel Carré and Jules Barbier ed to the death of the beautiful, gentle woman who loses her mind after William Shakespeare without the love of her beloved, whereas Shakespeare needs only a Performed in French with German surtitles few lines of verse to report the event. Genuine and fake madness and Hamlet’s conflict between love and filial duty are at the heart of the Conductor Marc Minkowski operatic version. Director Olivier Py Set & costume designer Pierre-André Weitz Prince Hamlet is still in mourning for his father, the recently deceased King Light designer Bertrand Killy of Denmark, when his mother marries Claudius, the dead King’s brother. During the wedding celebrations the ghost of the King appears to his son Hamlet Stéphane Degout and reveals to him that Claudius murdered him with the complicity of Ophélie Christine Schäfer the queen. He tells Hamlet he must take revenge for the murder and kill Claudius Phillip Ens Claudius. So that he can make his plans without arousing suspicion, Ham- La reine Gertrude Stella Grigorian let pretends to have gone mad. Love no longer has any place in his plans Laërte Frédéric Antoun for vengeance: he coldly rebuffs Ophélie, the woman who loves him. Ophélie, Le Spectre Jérôme Varnier believing she has lost Hamlet’s love, really does go mad and drowns her- Polonius Pavel Kudinov self. Beside her coffin, Hamlet wreaks his revenge. He stabs Claudius with Horatio / 1er Fossoyeur Martijn Cornet his sword and then dies himself over Ophélie’s body. Marcellus / 2ème Fossoyeur Julien Behr Wiener Symphoniker Although Ambroise Thomas had already completed the work in 1864 he Arnold Schoenberg Chor (Chorus master: Erwin Ortner) did not immediately release it for performance – apparently he could not find a suitable singer for the part of Ophélie. But then he met the New production Theater an der Wien Swedish soprano Christine Nilsson, and with her Hamlet became a huge success at the Opéra in Paris in 1867. For the first time, a saxophone is used in an opera score; it creates the extraordinary atmosphere during the theatre scene. Especially for Nilsson, Thomas incorpo- Premiere: 23 April 2012 rated a Swedish folk song into the madness scene to add some local Performances: 26 / 28 / 30 April 2012, 2 / 5 May 2012, 7 p.m. Nordic colour. This scene has remained a pièce de résistance for so- Introduction: Sunday, 15 April 2012, 11 a.m. pranos ever since.

Music theatre | 41 La donna del lago Gioachino Rossini 10-19 August 2012 Ring in vain. “The subject is rather romantic, but I think it is effective.” A satisfied Gioachino Rossini wrote these lines to his mother following the com- La donna del lago pletion of his opera La donna del lago. His own intention had been to take the development of the opera seria further, but from this “rather Melodramma in two acts (1819) romantic” subject that he mentions with some embarrassment the Music by Gioachino Rossini entire genre of romantic Italian opera emerged. The story on which Libretto by Leone Andrea Tottola the work is based, The Lady of the Lake, is by Sir Walter Scott whose after Sir Walter Scott historical, heroic writings were tremendously popular in Europe at the time. Rossini was the first of many composers to be inspired by these Performed in Italian with German surtitles atmospheric, gripping tales. Conductor Leo Hussain The idyllic Loch Katrine in the Scottish Highlands is the scene of political Director Christof Loy conflict. The Highlanders are rising up against King James V. For this rea- Set & costume designer Herbert Murauer son, the King travels through the dangerous region incognito, calling him- Choreographer Thomas Wilhelm self “Uberto”. On the shore of the loch he meets Elena, the “lady of the Light designer Reinhard Traub lake”, and falls in love with her. But her father, Douglas, has promised her to Rodrigo, the leader of the rebellion. She herself loves the sensitive Elena Malena Ernman Malcom, so the disguised King has no chance of winning her. He suppresses Giacomo Luciano Botelho his own feelings and gives Elena a ring, telling her to take it to the King Rodrigo di Dhu Gregory Kunde whenever danger threatens. This gift brings “Uberto” into conflict with the Malcom Groeme Varduhi Abrahamyan jealous Rodrigo. The two fight a duel, and Rodrigo is killed. The rebels are Douglas d’Angus Maurizio Muraro defeated and the leaders thrown into a dungeon, Elena’s father and Mal- Albina Bénédicte Tauran com among them. Elena then brings the ring to the King. “Uberto” now Serano Erik Årman reveals his true identity as the monarch and releases Douglas and Malcom ORF Radio-Symphonieorchester Wien from prison. Arnold Schoenberg Chor (Chorus master: Erwin Ortner) Soon after its premiere at Teatro San Carlo in Naples on 24 October, 1819 La donna del lago became one of Rossini’s most popular ope- Coproduction with the Grand Théâtre de Genève ras. He had created the brilliant title role for the legendary singer Isabella Colbran, who later became his wife. Malcom was portrayed by the alto Rosmunda Pisaroni. This breeches part of the adolescent Premiere: 10 August 2012 lover goes back to the castrato tradition and consequently requires enormous coloratura abilities. In this work, Rossini invented something Performances: 12 / 14 / 17 / 19 August 2012, 7.30 p.m. that had never been heard in opera before: he used music to evoke Introduction: Sunday, 5 August 2012, 11 a.m. the atmosphere of the Scottish Highlands. One particular highlight is the chorus of bards – Rossini himself was so delighted with it that he resurrected the melody in 1846 as his musical contribution to the proclamation of Pope Pius IX – with different words, of course.

Music theatre | 45 Miniature operas in the “Hölle” Vogel Herzog Idiot 4-12 November 2011 Kafka-Fragmente 12-16 March 2012 Opera up close. Vogel Herzog Idiot Kafka-Fragmente Three mini-mono-operas for bass baritone and chamber ensemble Music theatre by Hans-Jürgen von Bose (*1953) for countertenor, Bariton, Violoncello und Akkordeon Idea and concept Rupert Bergmann & Jury Everhartz Conductor Anna Sushon Inszenierung Peter Pawlik Director Kristine Tornquist Violoncello Sebastian Hess Costume designer Markus Kuscher Akkordeon Krassimir Sterev Set designer Roman Spiess Countertenor, baritone N. N. Bass baritone Rupert Bergmann Waking up one morning as a monstrous insect and finding the world turned so completely on its head – the concept of nonconformity can Heute Abend Boris Godunow (2008/11) scarcely be depicted more vividly than by this onset of puberty over- Music by Karmella Tsepkolenko night that overcomes the young travelling salesman Gregor Samsa. But Libretto by Kristine Tornquist Kafka would not be Kafka if his protagonist’s outlandishness did not eventually turn out to be his undoing. For his nearly hour-long work Blaubarts (2011) Hans-Jürgen von Bose uses excerpts from The Metamorphosis and The Music by Samu Gryllus Trial and incorporates diary entries and passages from letters into this Libretto by Zoltán András Bán collage. The result is a musical portrait of Kafka for the theatre in the form of a series of texts set to music and played out on stage that al- Papagenono. Eine Ausflucht (2011) most has revue character and is full of contrast: the texts are sometimes Music by Johanna Doderer short, epigrammatic and draw on a wide variety of different sources, Libretto by Franzobel while others are more drawn out, but they always remain true to Kafka’s original work. The musical expression tries to make Kafka’s convoluted At the half-way point of his life, possibly in the middle of his career, an thought processes accessible to the audience and shed light on them. opera singer asks himself whether he has not already achieved everything he once set out to do as a young student of music. He has World premiere: Monday, 12 MArch 2012, 8 p.m. performed on many stages, both large and small, and has played all Performances: 14 / 16 March 2012, 8 p.m. kinds of roles, both large and small. Despite this he still imagines himself clothed in many other costumes and recalls the mighty tones of Boris Godunov and the seven doors of Duke Bluebeard. And why has he still not been allowed to make the audience laugh as Papageno? As if in a dream he embarks on a musical journey – from Ukraine via Hungary to Austria – both serious and light-hearted, that takes him through the realm of his desires on whose horizon he may per- haps find self-knowledge.

New production Theater an der Wien In Cooperation with MuPATh

World Premiere: Friday, 4 November 2011, 8 p.m. Performances: 6 / 8 / 10 / 12 November, 8 p.m.

48 | Music theatre | 49 Voltaires

Das Streben der tragédie lyrique in Frankreich, die dramatische Situation und die große Szene der klassischen Dichtkunst Corneilles, Racines oder mit den Mitteln der Musik ganz zu ersetzen, war selbstverständlich auch jedem Aber im Rahmen der von Neapel - gebildeten Italiener bekannt, auch wenn er diese Forderung in Metastasios reinsten Schöpfungen bereits eingelöst sah. - Venedig her bestimmten Opernwelt war an eine Unterwerfung des gestei und concertante Opera gerten Empfindungs-Augenblicks unter die BühnensituationVoraussetzung kaum auch zu für denken. Wenn darum das von den Zeitgenossen immer wieder reflektierte Gegeneinan K. Weill: Street Scene 52 der von Italien und Frankreich die notwendige A. Vivaldi: Orlando furioso 53 Ausbildung seiner G. F. Handel: Jephtha 54 Glucks MusiktheaterVoraussetzung bildete, so fürwar die doch erste die, wie italienische genau er die Herkunft von Glucks die notwendige G. F. Handel: Giulio Cesare in Egitto 55 r. Von Wien aus erst wird sichtbar Reformope A. Vivaldi: Catone in Utica 56 gegebenen Elementefekt-Umrisses der unverwechselbaren minus die Melodieerfindungsinnfrei-ausufernde dort aus vor Af G. Aperghis: les boulingrin 57 und des geschlossenen - G. F. Handel: Deidamia 58 Vokalvirtuosität für die Schöpfung seiner Bühnenvision ausnützte, die ihm die A. Vivaldi: Il giustino 59 Gunst der Stunde in die Hand gespieltAuftrag hatte. des Grafen Man kann Durazzo, darauf des hinweisen, Kavalier dass xtdichter Calzabigi schuf, im H. Purcell: The Fairy Queen 60 seine Wiener Opern, die er im Te Tragödien sind, dass sie sich G. F. Handel: Ariodante 61 Intendanten am Kaiserhof, mit dem G. F. Handel: Theodora 62 strengen Sinn noch keine musikalischen ˇ von anderen Experimenten der Zeit nicht grundsätzlich unterscheidenTatsächlich wird erstA. Dvoˇrák: in Svatební Kosile 63 und dass Gluck erst in Frankreich zu einer eigenständigen Stellung innerhalb der Szene der Opernentwicklung gelangt sei. der Begegnung mit Paris und ganz im Zeichen einer französischenTonsprache Bühnenkon- und seiner zeption Gluck zum Dramatiker der Musik und trennt sich entsprechend konse- Aber die Grundbestandteileen und seiner hatten sich dann in der en geschaff quent von Calzabigi. Wi - TraëttasOpera minus set. für die itali Bühnenanschauung wurdenVerhältnisse in zu bewähren. Formexperimente sind alle drei Werken Jommellis oder Adaption an fremde rgleichbar mit Calzabigi-Opern, ve Street Scene Orlando furioso American opera in two acts (1947) Dramma per musica in three acts (1727) Music by Kurt Weill (1900-1950) Music by Antonio Vivaldi (1678-1741) Text by Elmer Rice Libretto by Grazio Braccioli Song texts by Langston Hughes Concertante performance in Italian with permission of the European American Music Corporation Semi-scenic performance in English Conductor Jean-Christophe Spinosi Conductor Keith Lockhart Orlando Delphine Galou Director John Fulljames Alcina Renata Pokupic Costume designer Dick Bird Bradamante Kristina Hammarström Sam Kaplan Paul Curievici Ruggiero Iestyn Davies Frank Maurrant Geoffrey Dolton Medoro Blandine Staskiewicz Mr. Kaplan Paul Featherstone Angelica Veronica Cangemi Mrs. Maurrant Elena Ferrari Astolfo Christian Senn Rose Maurrant Susanna Hurrell Ensemble Matheus Mr. Easter James McOran-Campbell Henry John Moabi Not until he has been cured of his madness can the knight Orlando, Shirley Kaplan Kate Nelson the “raving Roland”, understand the true joy of love. The story of Al- Mrs. Jones Charlotte Page cina’s magical island draws its subject matter from the circle of leg- Mr. Olsen Paul Reeves ends surrounding the knight Roland who is rejected by the woman Mrs. Fiorentino Simone Sauphanor he loves and loses his mind as a result. Vivaldi had first attempted a Lippo Fiorentino Joseph Shovelton musical adaptation of Ariosto’s epic poem Orlando furioso in 1713 Mrs. Olsen Harriet Williams when he was director of Teatro Sant’Angelo in Venice, but the work Buchanan Nathan Vale flopped. In December 1727 another arrangement of this subject mat- BBC Concert Orchestra ter by Vivaldi appeared in the programme. Judging by the composer’s Gumpoldskirchner Spatzen (Chorus master: Elisabeth Ziegler) autograph score, parts of which have been preserved, it seems that Orlando furioso was a late addition to the programme, since the score Coproduction of The Opera Group/Young Vic shows every sign of having been written in great haste with no time with Watford Palace Theatre being left even for the obligatory dedication. Vivaldi took the libretto A New York slum at the time of the premiere in 1947: the heat drives the from Giovanni Alberto Ristori’s successful Orlando furioso from 1713. inhabitants out into the street. They come from a wide variety of cultur- He composed the role of the eponymous hero, which was originally al backgrounds and represent a cross-section of the predominantly Eu- a bass part, especially for the Venetian singer Lucia Lancetti and once ropean immigrants. The central figures are the Maurrants, who at first again proved his capabilities as a born “musical storyteller”, utilising sight appear to be an unremarkable, typical American family. But be- the conventional structure of baroque dramma per musica for the pur- neath the façade the drama of disillusioned America is concealed, per- poses of psychological characterisation, especially in the scenes por- sonified by the sensitive Anna Maurrant who is torn between her duties traying Orlando’s increasing mental derangement. as a mother and everyday cares. Saturday, 22 October 2011, 7 p.m. Sunday, 25 September 2011, 7.30 p.m. Monday, 26 September 2011, 7.30 Uhr

52 | concertante opera | 53 Jephtha Giulio Cesare in Egitto Oratorio in three acts (1752) Dramma per musica in three acts (1724) Music by George Frideric Handel (1685-1759) Music by George Frideric Handel (1685-1759) Libretto by Thomas Morell Libretto by Niccolò Francesco Haym Concertante performance in English Concertante performance in Italian

Conductor William Christie Conductor Alan Curtis Jephtha Kurt Streit Giulio Cesare Marie Nicole Lemieux Iphis Katherine Watson Cleopatra Karina Gauvin Hamor David D. Q. Lee Tolomeo N. N. Zebus Neal Davies Cornelia Romina Basso Storge Kristina Hammarström Sesto N. N. Achilla Johannes Weisser Les Arts Florissants Curio Gianluca Buratto Nireno Milena Storti Because he is illegitimate, Jephtha is driven out of Gilead by his half- brothers according to the Old Testament Book of Judges. The people Il complesso barocco of Israel, however, choose him as the commander of their army. Before he goes to battle against the Ammonites, who are occupying the Is- Julius Caesar has defeated his political adversary Pompey in Greece and raelites’ land, he swears an oath. Whatever emerges first from his has pursued him as far as Egypt. As a token of friendship, the young house he will burn as a sacrifice to the Lord. Iphis, Jephtha’s daugh- ruler Tolomeo has Pompey’s severed head presented to the emperor ter, is the first to leave the house. But at the behest of an angel she is as a gift. Meanwhile Tolomeo’s sister Cleopatra wants sole occupancy not sacrificed. Instead she serves God from that day on as a virgin of the throne. To have it she must eliminate her brother. She succeeds priestess. In this way, librettist Reverend Thomas Morell replaced the in winning over Caesar. Following his failed attempt to assassinate vengeful God of the Old Testament with a merciful God in accordance Caesar, Tolomeo has Cleopatra taken prisoner. However, Caesar rescues with Anglican theology. Following a four-month trip on the continent, his beloved and crowns her queen of Egypt. But she wants to be regent Handel had asked the multitalented Morell to write him a libretto for and subject to the ruler of Rome and her own heart. an oratorio. Due to the problems Handel had with his eyes the work In 1719 George Frideric Handel was appointed director of the Royal took eight months to complete and he borrowed passages from oth- Academy of Music, a private operatic company run by English nobles. er composers that he had got to know on his travels. The premiere To arouse the public’s interest, the shareholders invited Giovanni Bon- in 1752 was the last premiere of a newly composed work that Han- oncini to London, whose operas with their catchy melodies were suc- del conducted himself. That same year he lost his eyesight entirely. cessful all over Europe. In this musical contest, Handel was favoured Jephtha was his last oratorio. by the king’s court while the Italian was supported by the aristocracy, led by the Duke of Marlborough. That the pendulum swung in Han- Thursday, 17 November 2011, 7 p.m. del’s favour is due to the outstanding success of Giulio Cesare in Egit- to, which went on to become his most successful opera.

Wednesday, 23 November 2011, 7 p.m.

54 | concertante opera | 55 Catone in Utica Les Boulingrin Dramma per musica in three acts (1737) Opéra bouffe (2010)

Music by Antonio Vivaldi (1678-1741) Music by Georges Aperghis (*1945) Libretto by Pietro Metastasio Libretto based on Les Boulingrin by Georges Courteline Concertante performance in Italian Concertante performance in French Conductor Federico Maria Sardelli Catone Magnus Staveland Conductor Emilio Pomárico Marzia Sonia Prina Des Rillettes Lionel Peintre Emilia Loriana Castellano Félicie Donatienne Michel-Dansac Cesare David Hansen Mme Boulingrin Edwige Bourdy Arbace Nicki Kennedy M Boulingrin Vincent Bouchot Modo Antiquo Klangforum Wien Commission by Opéra Comique Paris The tragedy of the Roman statesman Cato, who lived from 95 to 46 B. C. and went down in the history of Ancient Rome as the “father of Monsieur Des Rillettes, a professional scrounger, has received an invi- the fatherland”, is one of the subjects most frequently set to music in tation to tea from the apparently solidly middle-class couple, Monsieur the baroque period. In the city of Utica in northern Africa, the strict and Madame Boulingrin. He is already happily contemplating the pros- Republican Cato and the dictator Julius Caesar encounter each other. pect of being able to warm himself during the winter months by tak- In spite of his overwhelming military superiority, Caesar tries to win ing tea and biscuits – and maybe more – at least three times a week over Cato as his friend. But Cato refuses to give up his principles, de- at the pleasant Boulingrins’. But his warm refuge quickly becomes too spite Caesar’s willingness to compromise. The historical Cato com- hot for him to handle: the Boulingrins immediately make their guest a mitted suicide following Caesar’s victory in the civil war. This was party to the hell that is their marriage: they have become bored with too much for audiences in Vivaldi’s day, so the composer has Cato quarrelling alone. Des Rillettes finds himself hopelessly trapped as a surrender completely and remain alive. The 59-year-old Vivaldi set the witness and whipping boy of bourgeois madness. The couple are alive libretto by the well-known Pietro Metastasio to music for the 1737 to any escape attempt, which they quickly foil. In the end, bullets fly, carnival season in Verona and conducted the premiere of Catone in the apartment is on fire and when at long last a glass of champagne Utica in the Teatro Filarmonico in that city, and probably the five sub- is offered, Des Rillettes is unable to feel any pleasure… sequent performances as well, with the singer Anna Girò performing Georges Courteline wrote this little mixture of comedy and hell in the on stage. Writing from Verona, Vivaldi said, “We had only six perfor- grotesque style of the Grand Guignol. The composer Georges Aper- mances and our calculations seem to show that we have not made ghis was commissioned by the Opéra Comique Paris to write an op- a loss; on the contrary, should God favour us to the end, a profit is era based on this text that was premiered there in May 2010 with the quite certain, and possibly no small one.” He expressed the hope that, Klangforum Wien. Georges Aperghis, originally from Athens, has been “A similar opera could meet with much approval in Ferrara, too.” But living and working in Paris since 1963. He develops his compositions this was not to be: the archbishop of Ferrara refused to allow Vivaldi with his troupe, the Atelier Théâtre et Musique (ATEM), and has been to enter the city, because, “I am a priest who does not say mass, and exploring new forms of musical theatre for decades. because I have an amicizia with the singer Girò,” wrote Vivaldi. Monday, 23 January 2012, 8 p.m. Friday, 16 December 2011, 7 p.m.

56 | concertante opera | 57 Deidamia Il giustino Melodramma in three acts (1741) Dramma per musica in three acts (1724) Music by George Frideric Handel (1685-1759) Music by Antonio Vivaldi (1678-1741) Libretto by Paolo Antonio Rolli Libretto by Nicolò Berengani Concertante performance in Italian Concertante performance in Italian

Conductor Alan Curtis Conductor Stefano Molardi Deidamia Karina Gauvin First violin Jonathan Guyonnet Ulisse Marie-Claude Chappuis Anastasio José Maria Lo Monaco Achille Klara Ek Arianna Maria Grazia Schiavo Nerea Roberta Mameli Giustino Marina De Liso Fenice Johannes Weisser Leocasta Sabina Puértolas Licomede Antonio Abete Vitaliano Ed Lyon Andronico Varduhi Abrahamyan Il complesso barocco Amanzio / La Fortuna Lucia Cirillo Polidarte / Voce di Vitaliano Seniore Vincent Lesage The sea nymph Thetis is trying to prevent her mortal son Achille from participating in the Trojan war. She sends him to the court of the king I Virtuosi delle Muse of Skyros because the oracle had once prophesied that Achille would fall near Troy. At the court in Skyros he begins a love affair with the The career of Emperor Justin I is historical fact. Justin, a peasant’s son, king’s daughter, Deidamia. A Greek ship puts in at the harbour and was a soldier in Byzantium, rose to the rank of commander of the the Greek envoys demand that the King allow Achille to leave so that palace guard and, following the death of the emperor, made use of a he can go to war with them against Troy. Achille is living with the court intrigue to have himself crowned. The Venetian lawyer Nicolò young ladies-in-waiting in the palace, disguised in women’s clothes Berengani, an accomplished writer, created a libretto for an opera from and going by the name of Pirra. But the Greeks have watched “Pirra” the story. During the 1724 carnival season, Vivaldi was again in Rome, and saw how she killed game with an unerring shot while out hunting where he premiered first a pasticcio and then Il Giustino at the Teatro and are convinced that she is really Achille. Capranica. By papal decree, only men were allowed on stage in Rome The tale of Achilles in women’s clothes was a popular theme ever since at that time. Vivaldi did not allow himself to be hampered by this new opera first began. During the last stage of his time spent writing op- challenge. Il Giustino requires ten actors and, besides strings and con- era in London, Handel experimented with a number of different musi- tinuo two recorders, two oboes, two trumpets, two horns and two tim- cal and dramatic concepts. But Deidamia was not a success and was pani and even, for one aria, a dulcimer. A report of Vivaldi’s success performed only three times. With this work, Handel ended his career in the 1724 season comes from the German flautist Johann Joachim as an operatic composer and devoted himself henceforth to the new Quantz: “The newest thing that I have heard was the so-called Lom- genre of oratorio. bardi style that was hitherto entirely unknown to me and that Vival- di introduced a short time before in his operas in Rome and which Monday, 30 January 2012, 7 p.m. enchanted the citizens to such a degree that they scarcely wish to hear anything that is not similar to this style.“

Tuesday, 21 February 2012, 7 p.m.

58 | concertante opera | 59 The Fairy Queen Ariodante Semi-opera (1692) Dramma per musica in three acts (1735) Music by Henry Purcell (1659-1695) Music by George Frideric Handel (1685-1759) Libretto after William Shakespeare’s Libretto by Antonio Salvi A midsummer night’s dream Concertante performance in Italian Concertante performance in English Conductor Alan Curtis Conductor Robert King Ariodante Joyce di Donato Soprano Lucy Crowe Ginevra Karina Gauvin Tenor James Gilchrist Polinesso Marie-Nicole Lemieux Bass David Wilson-Johnson Dalinda Sabina Puértolas Lurcanio Nicholas Phan The King’s Consort Il Re di Scozia Matthew Brook During the course of one night, chaos breaks out among various pairs Il complesso barocco of lovers in the realm of Titania and Oberon, the king and queen of the fairies who have fallen out with one another. In the general air of Ginevra, the daughter of the Scottish king, and the knight Ariodante abandon, the concealing masks are removed. Not until daylight has re- are in love with each other. But Polinesso wants to usurp the throne turned can the couples recognise each other again and it seems as if by marrying Ginevra. By means of an intrigue he succeeds in persuad- the events of the night were nothing but a dream. ing Ariodante that Ginevra is unfaithful to him. However, his despic- In his semi-opera, Henry Purcell added song and dance to the spo- able deed is discovered and the two lovers are united with the King’s ken dialogues, an English peculiarity in the 17th century that arose blessings. from the combining of Elizabethan drama and the court masque with Handel’s three operas Orlando, Ariodante and Alcina are based on Lu- its lavish costumes and décor. The Fairy Queen is an arrangement of dovico Ariosto’s epic poem Orlando furioso and have plots which are Shakespeare’s A Midsummer Night’s Dream by an anonymous libret- particularly powerful and dramatic. Under great pressure from the com- tist whose textbook appeared in spring 1692 in London and the per- petition that originated from the Opera of the Nobility, Handel con- formance of which the public was eager to see, because in the prologue centrated on the fantastic world of courtly epics for his opera perfor- the speaker claims that this work will put all of Purcell’s previous mances in Covent Garden. The intrigue had already inspired Shake- successes well and truly in the shade. But it did not. The Fairy Queen speare, who used it as the basis of his comedy Much Ado About No- was never performed again in its original form and following Purcell’s thing. Handel spent two and a half months writing Ariodante, an un- untimely death in 1695 the score was believed lost. It was not until usually long time for him. The music and the perceptively drawn char- the first years of the 20th century that an almost complete score, parts acter portraits are among the most expressive things he ever wrote. of which were handwritten by the composer, came to light and made Besides this, he fully exploited the artistic potential offered by Cov- Purcell’s masterpiece widely known. ent Garden. While his competitors adhered strictly to the Italian style, Handel introduced ballet sequences of the type more readily associated Thursday, 1 MArch 2012, 7 p.m. with French opera in order to present something new that would be attractive to audiences.

Friday, 9 MArch 2012, 7 p.m.

60 | concertante opera | 61 Theodora Svatební Košile (The Spectre’s Bride) Oratorio in three parts (1749) Dramatic cantata (1885) Music by George Frideric Handel (1685-1759) Libretto by Thomas Morell Music by Antonín Dvorˇ ák (1841-1904) Text after the poem by Karel Jaromír Erben Concertante performance in English Concertante performance in Czech Conductor Hervé Niquet Theodora Sandrine Piau Conductor Tomáš Netopil Irene Patricia Bardon Girl Maria Porubcinova Didymus Lawrence Zazzo Dead Man Ladislav Elgr Septimius James Gilchrist Storyteller Ivan Kusnjer Valens Nathan Berg Prague Philharmonic Le Concert Spirituel Prague Philharmonic Choir

That the power of the ruling classes meets its ultimate end in death In England, Antonín Dvoˇráks oratorios and choral works had aroused is shown in Handel’s oratorio Theodora, that librettist Thomas Mo- great interest, and the composer, a resident of Prague who had man- rell based on The Martyrdom of Theodora and Didymus by Robert Boyle aged to carve out a perfectly respectable, if not brilliant, career in the and Corneille’s Théodore vierge et martyre. Theodora and her friend imperial and royal monarchy received several attractive offers from the Didymus refuse to abjure their faith and remain strong despite con- British Isles. An invitation from the Philharmonic Society was followed siderable repression and must die as martyrs. George Frideric Handel by a letter from the well-known London music publishers Novello ask- wrote the oratorio in 1749 and juxtaposes the two worlds of heathen ing whether he would be interested in writing a secular choral work Roman society and the first Christian communities in this introspec- the performance of which should last about one hour. “We believe that tive work. In Antioch in around 305 A.D., the Roman governor Valens it should be possible to us personally to place the work in one of the commands sacrifices to the god Jupiter. The Christian Theodora, who major festivals here in England in the year 1885 and to procure you an has renounced all worldly concerns, cannot obey this order and is invitation to conduct said work here.” forced into prostitution in the brothel. The officer Didymus, who is in The prospect of international recognition inspired Dvoˇrák, and in the love with Theodora, converts to Christianity and helps her to escape. ensuing years he was more productive as a composer than ever be- But Valens shows no pity to the pair and condemns them to death in fore. He decided to set the ballad The Spectre’s Bride by the Czech na- accordance with Roman law. Handel himself thought a great deal of tional poet Karel Jaromír Erben to music. In the romantic and dra- the oratorio. It was premiered on 16 May 1750 at the Royal Theatre in matic cantata, Dvoˇrák portrays the suffering, humility and redemption Covent Garden, but only two further performances followed. The num- of a girl who waits in vain for her bridegroom who has fallen in the ber of Londoners who wanted to hear it was extremely disappointing. war. In the end she lets herself be carried away into calling the ghost “The Jews will not come to it because it is a Christian story; and the of her dead lover. Dvoˇrák conducted the performance in Birmingham ladies will not come because it is a virtuous one,” Handel reportedly himself at which a 500-strong choir allegedly took part. Euphoric at its said to the librettist Morell in explanation of the failure. success, Dvoˇrák described Svatební Košile as the work “that surpasses all my previous successes.” Wednesday, 21 March 2012, 7 p.m. Friday, 27 April 2012, 7 p.m.

62 | concertante opera | 63 Special concerts

Margot, Memoirs of an Unhappy Queen Christus am Ölberge*

Voice, Guitar Goran Bregovi´c Ludwig van Beethoven (1770-1827) Percussion, Voice Alen Aemovi´c Christus am Ölberge Speaker Swintha Gersthofer Oratorio for three solo voices, choir and orchestra Wedding and Funeral Brass Band Conductor Philippe Jordan Belgrade Sextet of Male Voices Jesus Johan Botha String Quintet Petrus Gerald Finley Wedding and Funeral Orchestra Seraph Camilla Nylund Wiener Philharmoniker Sunday, 26 February 2012, 7.30 p.m. Arnold Schoenberg Chor (Chorus master: Erwin Ortner)

Saturday, 31 MArch 2012, 3.30 p.m. Sunday, 1 April 2012, 11 a.m.

Johannes-Passion* Johann Sebastian Bach (1685-1750) Johannes-Passion Conductor Stephen Layton Evangelist / tenor Ian Bostridge Christus Neal Davies Sopran Carolyn Sampson Countertenor Iestyn Davies Pilatus / bass Derek Welton Orchestra of the Age of Enlightenment Polyphony

Tuesday, 3 April 2012, 7 p.m.

* This concert is part of the festival OsterKlang ’12 (31. 3.-8. 4.).

64 | konzerte | 65 Im Opiumrausch

A celebratory revue: 105 years of the “Hölle”

Exactly 105 years ago, in October 1906, the two popular actors and theatre impresarios Sigmund and Leopold Natzler opened the theatre and cabaret known as “Die Hölle” (“Hell”) in the cellar of Thea- ter an der Wien. It was committed to the spirit of French cabaret and served as a breeding ground for every kind of entertainer. Josef Ur- ban and Heinrich Lefler designed two splendid Jugendstil rooms: the auditorium, in which the interval bar is now located, and the so-called Höllensaal with a colour scheme of red and red, with boxes, decorat- ed with licking flames of gold and furnished with tall mirrors. Both rooms were places of laughter, song and dance. Franz Lehár, Edmund Eysler and the young Robert Stolz wrote one-act variety operettas for the Hölle. Ralph Benatzky, Fritz Grünbaum, Karl Farkas, Hans Moser, Hugo Wiener, Mela Mars and Stella Kadmon are just some of the stars whose careers began there. Following the sensational success of the two revues Rouge & Noir and Tanz der Blinden, Georg Wacks is putting together an anniversary revue for the Hölle that – 105 years after the opening – will present previously unknown highlights with authentic costumes and magnificent sets. Fin-de-siècle flair will be provided by the diseuse Elena Schreiber with her racy chansons, Chris- toph Wagner-Trenkwitz with his grotesque dances, Martin Thoma with profound observations on local life and Stefan Fleischhacker as one of the last surviving virtuoso whistlers. In the accompanying exhibition, Marie-Theres Arnbom presents long-lost artefacts. The in-house catering service will provide an endless stream of champagne.

Compiled and directed by: Georg Wacks Performers: Elena Schreiber, Stefan Fleischhacker, Martin Thoma, Georg Wacks and Christoph Wagner-Trenkwitz Ensemble „Albero Verde“ (Leader: Hannes Drobetz)

Exhibition: Marie-Theres Arnbom

Premiere: Wednesday, 11 April 2012, 8 p.m. Performances: 13 / 14 / 15 / 17 / 18 / 19 / 20 April 2012, 8 p.m.

cabaret in the “Hölle“ | 67 Ich, Schikaneder Spoken Monologue with music Text by Susanne Wolf Director, Schikaneder: Adi Hirschal

Emanuel Schikaneder was the man responsible for the construction of the Theater an der Wien and was also a freemason, a friend of Mo- zart, librettist of The Magic Flute and the first Papageno. This would seem to be enough for one man, but these activities are merely the few highlights that are still known from a life full of adventure. Schi- kaneder experienced an extraordinary roller-coaster ride in his career. Besides The Magic Flute he also wrote numerous successful plays and libretti that drew the crowds first at the Freihaustheater auf der Wie- den, then in the new Theater an der Wien. With his plays and his con- tributions to the works of artist friends such as the aforementioned Mozart, but also Franz Teuber and not least Ludwig van Beethoven, he played a crucial role in shaping the history of the theatre in Vien- na. However, as long as he lived he and money remained uneasy bed- fellows. As a result he died impoverished and mentally deranged in Vienna in 1812. That is now 200 years ago, which is reason enough to bring Schikaneder back to life in his own house. For Mozart Year 2006, Susanne Wolf put together a fictional review of the sympathetic man of the theatre using original quotes. The Austrian actor Adi Hirschal recreates the role of Schikaneder and presents this review again at the Theater an der Wien.

Reopening: Saturday, 28 January 2012, 8 p.m. Performances: 24 March 2012, 8 p.m.; 24 / 25 June 2012, 11 a.m.

Music theatre | 69 Jugend an der Wien

Jugend an der Wien will be accompanying the 2011/12 programme of the Theater an der Wien and, as part of the Jugend macht Oper (Youth does Opera) project will be staging a performance of its own based on one of the productions in the current season. Over the past three years it has been possible to introduce over 3,000 young people to modern musical theatre. With the Friends of the Theater an der Wien’s youth club Jugend im Club these youngsters now have even more activities to choose from. The many different projects are aimed at schools in Vienna and Low- er Austria as well as at young people whose interest in opera goes beyond the classroom or would like to stage a work of their own. Jugend an der Wien provides information about many different aspects of culture in many different ways; on the one hand it enables young people to meet prominent artists such as Nikolaus Harnoncourt, Fabio Luisi, Torsten Fischer, Sian Edwards and Kurt Streit; on the other it promotes their own creativity. Practical experience and face-to- face contact with performers and employees who work in opera help to break down barriers and enable the youngsters to enter a world which is often completely new to them. They learn about all the steps required to stage an opera, and in the Jugend macht Oper project they have the chance to try out all these activities themselves. Visits to rehearsals or performances are backed up by introductory talks and in-depth analyses, while discussions on issues relating to the opera’s content encourage them to think for themselves. Jugend an der Wien offers young people an experience of opera that stays with them for a long time and is therefore a vital contribution from, and for, tomorrow’s audience. In the youngsters’ own words: „Since this project I have loved opera!“

Weblog: jugendanderwien.wordpress.com Facebook: Jugend Ander Wien

Membership & contact: Mag.a Catherine Leiter, MA [email protected] Tel.: +43 (0) 1 58830-616

| 71 Make a scene. Guided Tours

Theater an der Wien is one of the most beautiful theatres in Vienna and has one of the richest musical traditions. Now it offers you the uni- que opportunity to sample the theatrical atmosphere in a building that has enchanted audiences for over two centuries with its outstanding acoustics and its authentic and intimate setting.

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; the visitors then enter the theatre through the foyer. Tours are in Ger- man with English available on request and last approximately one hour.

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

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

For the dates and times of guided tours, see the website of Theater an der Wien (www.theater-wien.at), the theatre’s magazine, and the bimonth- ly folder.

Information: Philipp Wagner, Tel. +43 (0) 1 58830-664 E-mail: [email protected]

| 73 Foyer with „Anagrammatische Komposition mit Würfelspiel (nach W. A. Mozart, Klavier) für Sopransaxophon von VALIE EXPORT, 2010“ DevelopMent DepartMent

— What love is to man, music is to the arts and to mankind. Music is love itself – it is the purest, most ethereal language of passion, showing in a thousand ways all possible changes of colour and feeling; and though true in only a single instance, it yet can be understood by thousands of men – who all feel differently. — Carl Maria von WeBer (1786 – 1826) GerMan CoMpoSer anD tHeatre ConDUCtor

We are delighted: since founding vBW’s Development Department in 2008 we have been able to win many new partners. partners who through their dedication share the great and small moments in our theatres. Moments full of pleasure, feeling and emotion. evenings full of stories and shared memories. our thanks go to our sponsors, as well as to the city of vienna and all the vereinigten Bühnen Wien staff.

Main SponSor opera tHeater an Der Wien platin CirCle GolDen CirCle Silver CirCle

agrana verbund a1 akriS Gewista Fernwärme Wien iSpa Werbung lG electronics oesterreichische nationalbank ottakringer Skoda Walla Druck SUBSiDiSinG orGaniSation Cooperation partnerS

Wien kultur Die presse kattus le Méridien ludwig reiter Weingut Bründlmayer p icture © photocase.com Proud Sponsor of Theater an der Wien Contact: Mag. Ulrike Spann Head of Development Department [email protected] | + 43 (0)1 588 30-224

A1_Programmheft_TaW_130x205.indd 1 30.05.11 16:40 DD_130x205eng._Ins.indd 1 20.06.11 11:23 Prices 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 2 1 2 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 3 1 1 2 2 3 3 Music theatre Preise in ¤ 3 GANZ SEITE 3 1 1 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 4 4 1 4 5 5 5 Les contes d’Hoffmann | Hamlet 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 CERCLE 4 5 3 5 5 4 5 1 1 1 1 2 3 3 2 1 SEITE GANZ 4 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 1 5

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13 6 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 1 1 1 2 3 4 5 6 7 8 9 1 9 8 7 6 5 4 3 2 1 14 7 26 February 12: Margot, Memoirs of an Unhappy Queen (Goran Bregovi´c) 3 1 7 STEHPLÄTZE 1 1 3 1

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2 17 2 0 2 25 & 26 September 11: Street Scene | 22 October 11 Orlando furioso 1 1 2 3 4 5 6 7 8 5 8 7 6 5 4 3 2 1 0 3 1 18 3 1 1 2 1 3 1 3 5 2 1 18 17 November 11: Jephtha | 23 November 11: Giulio Cesare in Egitto 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 16. December 11: Catone in Utica | 23 January 12: Les Boulingrin 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 30 January 12: Deidamia | 21 February 12: Il Giustino | 1 March 12: The Fairy Queen 1 2 4 3 3 3 3 3 4 3 1 1 3 2 5 4 3 2 3 2 4 1 1 5 4 5 2 9 March 12: Ariodante | 21 March 12: Theodora | 27 April 12: Svatební Koˇsile 2 4 5 4 1 3 1 4 5 4 6 5 5 4 1 2 2 5 1 5 2 2 6 5 5 1 a 70 b 58 c 45 d 35 e 26 f 18 g 11 6 5 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 28. 1. 12, 24. 3. 12, 24. & 25. 6. 12 Ich, Schikaneder 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 2 2 4 7 6 2 8 8 2 1 5 9 4 5 1 1 10 11 10 9 a / b 35 c / d / e 25 f / g 15 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 4 2 9 3 3 3 2 9 3 4 M 8 8 3 2 1 6 2 S I 4 T Miniature operas & cabaret T 7 1 4 6 1 2 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 4 / 6 / 8 / 10 / 12 November 11: Vogel Herzog Idiot 2 7 IN 1 0 LICHT- UND TONREGIE 0 1 3 1 E 7 2 2 K T 6 S 6 1 3 T 5 1 2 1 1 2 6 I 5 6 3 1 1 M 2 12 / 14 / 16 March 12: Kafka-Fragmente 3 8 1 7 3 3 3 2 2 1 7 2 8 7 6 6 11. / 13. / 14. / 15. / 17. / 18. / 19. / 20. 4. 12 Im Opiumrausch 20 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 2 10 1 5 9 11 1 10 29 6 Introductions 1 12 13 12 1 0 0 1 1 1 1 2 30 2 3 3 2 0 12 7 1 1 4 5 5 4 3 7 1 1 2 2 1 1 3 3 3 13 1 8 1 4 3 2 1 Jugend an der Wien-Performances 5 / 3 12 1 2 1 1 2 8 2 MITTELLOGE 1 2 1 2 9 9 2 3 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 6 1 16 1 11 7 18 19 19 18 17 11 1 12 12 1 2 13 14 14 13 2 No tickets are on sale for the boxes in 3 15 15 4 3 76 | 5 6 6 5 4 the second balcony at any concerts or concert performances of operas. Information

Bookings Guided tours (see p. 73 for details) Student tickets Tickets go on sale to the general public on 16 June 2011 at 10 a.m. for Prices: regular: ¤ 7 / reduced: ¤ 5 / schools: ¤ 3 Student tickets are available at the evening box office at the earliest half an the performances until December ’11 only at the box office at the Theater Children under 6: free. hour before the performance starts. A valid photo ID must be presented. an der Wien and at the Wien-Ticket pavilion and can also be ordered by Registration: Tel. +43 (0) 1 588 30-664, E-Mail: [email protected] Price opera: ¤ 15 / Price concert: ¤ 10 telephone. Tickets for performances from January 2012 go on sale to the general Group bookings Junior-Ticket public on 1 September 2011 at 10 a.m. For group bookings (11 PAX and more) please contact the sales department Up to four children and teens (aged under 16) receive 35 % discount in the of Theater an der Wien at +43 (0) 1 588 30-560 or [email protected] categories A to E for in-house productions when accompanied by an adult Box office with a regular ticket. Tickets are available at all VBW ticket agencies, web Theater an der Wien, Linke Wienzeile 6, 1060 Vienna, Austria shop and Wien Ticket (plus handling fee). Gift vouchers Opening hours: Monday to Sunday, 10 a.m. to 7 p.m. Limited opening hours in July and August. Gift vouchers can be obtained by phoning +43 (0) 1 588 85 and are also Low-priced parking opportunities for available at the box office of Theater an der Wien. For performances of the visitors near Theater an der Wien Wiener Festwochen at Theater an der Wien these vouchers are not valid. Wien Ticket Pavillon At the WiPark Garage of the Technical University of Vienna, visitors of Tickets (except discounted tickets) are also available at the Wien Ticket Theater an der Wien have the possibility of low-priced parking only Pavillon at Karajan-Platz next to the Vienna State Opera. Wheelchair spaces 2 minutes from the theatre (first 5 hours ¤ 6.90 instead of ¤ 16.50). Opening hours: Monday to Sunday, 10 a.m. to 7 p.m. Handicapped persons This benefit is valid from 5 p.m. to 8 a.m., as well as on Sundays and public holidays. The required commutation ticket is available at the box Wheelchair spaces (incl. one person for escort) can be booked up to one office at Theater an der Wien. Telephone week before the respective performance by phoning +43 (0) 1 588 85. Adresses: Tickets (except discounted tickets) Price: ¤ 10 and 50 % discount for the accompanying person. Operngasse 13 | 1040 Vienna can also be booked by phone: Visitors receive 50 % discount on presentation of Disability ID Card up to Lehargasse 4 | 1060 Wien Monday to Sunday, 8 a.m. to 8 p.m. one week before the respective performance. Tickets are only available at the Postal charge: Domestic ¤ 5,90 | International ¤ 9,90 box office of Theater an der Wien (limited ticket availability). Arranging for advance tickets to be kept for collection at the We point out that Theater an der Wien does not have an elevator. Ö1 Club evening box office of the Theater an der Wien is free of charge. Handicapped persons are advised to choose tickets at the ground floor. Ö1 Club reductions of 10% for at most 2 tickets are obtainable at the Theater an der Wien box office. The reduction is valid for our own Internet www.theater-wien.at productions only, except standing room. Ö1 Club ID must be presented. Standing room Online bookings start 17 June and 2 September 2011. Credit card only. Tickets are available at the evening box office at the earliest 1 hour before the Postal charge: Domestic ¤ 4,50 | International ¤ 6,50. Arranging for Wiener Festwochen performance starts. Price: ¤ 7 advance tickets to be kept for collection at the evening box office of the Tickets for the performances of the Wiener Festwochen in May / June 2012 Theater an der Wien is free of charge. are only available at the Wiener Festwochen: The newsletter of Theater an der Wien (German only) can be subscribed www.festwochen.at, festival service hotline (+43/1) 589 22 22. at www.theater-wien.at/newsletter.

79 | 80 | Information | 81 Photographic material Cover image © beyond / michael huber . thomas riegler (art direction: thomas riegler) Inside cover image © Jakob Winkler | p. 3 Intendant Roland Geyer © Priska Ketterer beyond were commissioned to create all illustrations (S. 6-50 & 70) for this booklet by Theater an der Wien, using photographic material by corbis images. p. 72 Foyer with „Anagrammatische Komposition mit Würfelspiel (nach W. A. Mozart, Klavier) für Sopransaxophon von VALIE EXPORT, 2010“, photo © Rupert Steiner

Theater an der Wien Intendant Roland Geyer Assistant to Intendant Sylvia Hödl Artistic Planning Sebastian F. Schwarz, Claudia Stobrawa, Axel Schneider, Ugo Varela Production Management Petra Haidvogel, Anja Meyer, Axel Schneider Dramaturgy Karin Bohnert, Petra Aichinger Artistic Administration Renate Futterknecht | Assistant to Artistic Administration Edith Gutmaier Ticketing & Subscriptions Philipp Wagner, Markus Schemmel Public Relations Sabine Seisenbacher, Nadine Elfar Marketing Tina Osterauer Youth Projects Catherine Leiter Graphic design Anna Graf, Martina Heyduk Technical Director Christoph Bauch Head of Costume Department Doris Maria Aigner Technical Production Gerald Stotz Technical Office Rainer Kulczycki, Lena Lentz, Ulrike Ranft Lighting Ralf Sternberg Sound Robert Macalik Makeup Gabriele Kammerer Dresser Hannelore Habel Facility Management Erich Skrobanek

Publishing details Theater an der Wien – Intendant DI Roland Geyer Publisher & Proprietor: Vereinigte Bühnen Wien Ges.m.b.H. – Managing Director Thomas Drozda Theater an der Wien, Linke Wienzeile 6, 1060 Wien Tel. (+43/1) 588 30-660 | [email protected] | www.theater-wien.at Responsible for content: Intendant Roland Geyer Editorial office: Petra Aichinger, Karin Bohnert, Nadine Elfar, Anna Graf, Sylvia Hödl, Catherine Leiter, Tina Osterauer, Axel Schneider, Sebastian F. Schwarz, Sabine Seisenbacher, Claudia Stobrawa, Philipp Wagner Graphic design: Anna Graf Printing: Walla Druck Subject to change | June 2011 | DVR 0 187 1

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

MEDIa PARTNERs 11/12

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