Intendant Roland Geyer

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If theatre is a kind of play that shows us realities we would otherwise be teacher, Christoph Willibald Gluck, her protégé and brought him to the unable to see, it seems reasonable that play itself is repeatedly taken as Paris opera where he made his breakthrough with the reformed opera a subject of theatre. This should be palpable as soon as you enter the Iphigénie en Aulide and, with Iphigénie en Tauride, created a masterpiece of foyer of the Theater an der Wien and pass Valie Export’s glass installa- musical history. Director Torsten Fischer has condensed these two works tion Anagrammatische Komposition mit Würfelspiel (after W. A. Mozart) into a “new” Iphigénie evening, where here too there is “Flucht – Gefahr” (“Anagrammatic Composition with Dice (after W. A. Mozart)”). The theatre (Escape – Risk). provides the symbols capable of explaining to us the aimless playing we call life, because it is only that which is played out on the stage that Although Georges Bizet composed one of the most frequently perfor- makes sense of our existence. med operas in history, namely Carmen, he did not live to witness its triumph at the Opéra-Comique. His early opera Les pêcheurs de perles Friedrich Schiller said, “man only plays when in the full meaning of the also failed to ignite much interest initially. During his lifetime Bizet, like word he is a man, and he is only completely a man when he plays”, and the protagonists in the opera, met with “Miss – Gunst” (enviousness). his words can be taken to refer both to “living” stage plays and play Despite the exotic nature of the material, the Frenchman created a work with “lifeless” cards. Playing encourages intellectual analysis, it teaches free of folklore but full of imagination that demonstrates the great humility in defeat and, in Schopenhauer’s words, offers us every oppor- interest in non-European cultures prevalent in the 19th century. How- tunity: “Fate shuffles the cards and we play.” ever, the young Dutch director Lotte de Beer will show what sort of mirror this opera holds up to us in times of reality shows and C-lebrity jungle So theatre describes the place where the play in the true sense takes antics. place, since the Greek term théatron means the place where we follow (the) play. Thinking about the ticket, which is a kind of card that allows Fascinated by the extremes of sensuality and abstraction in Alban Berg’s us to join the play, gave me the idea of evoking the 2014/15 season Lulu, Olga Neuwirth was inspired to take a fresh look at this mythical using playing card motifs which show on the one hand the faces of sig- female figure from a women’s point of view. A jazz musician’s daughter nificant people (the leading men and women) and on the other, two who grew up with jazz, she transfers part of the plot of her American words as symbols that conjure up realms of play that are reflected in Lulu to the social context of the racist white South, and Lulu, Geschwitz our lives or may be able to explain it. This was the origin of the 16-part and Schigolch become Afro-Americans whose story is told against the “card deck” in this programme. background of the US American protest movements of the 60s and 70s. In Neuwirth too, Lulu is “Frei – Wild” (fair – game) in our “respect- AND AGAIN: A PREMIERE EVERY MONTH able” society. With the opening concert played by the Vienna Philharmonic under the new star conductor Gustavo Dudamel “Saison – Beginn”, (Season – Be- John Neumeier presents a very special work in progress of the staged ginning) featuring Russian works, we show the “Macht – Kampf” (Power “Ton – Art” (Tone). In 2007 he choreographed the first three parts of – Struggle) in Tchaikovsky’s rarely-played opera Charodeyka; a conflict Johann Sebastian Bach’s Christmas Oratorio for the TAW. Now the direc- between the love-struck, the grasping and the covetous at both a perso- tor of the Hamburg Ballet has chosen this version as the basis of a new nal and a political level. Composed 130 years ago, the work nevertheless ballet in which six cantatas from Bach’s oratorio are used. The work appears to have been written for today. The games played by the po- receives its Austrian premiere in December and will be the Christmas werful remain a latent threat for the oppressed. highlight of our programme.

The influence of politics on composers was, however, often mutual and Often, fear of what is new and unknown causes us to cling to old stimulating. Marie Antoinette, Queen of France, made her former singing structures. But the unknown attracts us just as much as it scares us.

2 | | 3 Vincenzo Bellini’s long-forgotten tragic opera La straniera portrays the with the permanent flow of new trends, the constant succession of unknown personified as the eponymous “stranger”. The principal cha- changing tastes, traditions and fashions than the Theater an der Wien. racteristic of this “Traum – Frau” (Dream – Woman) is her elusive and Consequently, the 2014/15 season sees us once again producing a pre- mysterious identity which, unfortunately for her, incites sexual desire on miere, in cooperation with the Bregenzer Festspiele. With Geschichten aus the one hand and rejection and aggression on the other. dem Wiener Wald (Tales From the Vienna Woods) the Austro-Hungarian writer Ödön von Horváth created a biting satire on the hypocrisy and For the first time, the TAW is showing an opera production with two brutality of the petty bourgeoisie, naming the play ironically after the different casts, with the title role being performed by turns by two ex- woods near Vienna that are idealized in the waltz of the same name. ceptional singers, Edita Gruberova and Marlis Petersen, who could not In the tragic tale of the sweet young girl Marianne and the honest but- be more different. A remarkable project which can only be experienced cher Oskar, the famed Viennese Gemütlichkeit turns out to be nothing once in this form. more than empty words, the joviality to be cruelty not far short of a “Blut – Rausch” (blood – lust). Horváth himself had the idea of setting French theatre spread all over Europe, not only, though especially, in the piece to music, and thought of commissioning the composer Kurt the 18th century, and aroused enthusiasm and strong disapproval in Weill, but nothing came of the project. So it seems logical to entrust equal measure. the task to the versatile HK Gruber, composer, conductor, chansonnier and Weill specialist. In his work, Gruber moves back and forth between “Not by wrath does one kill, but by laughter,” as Friedrich Nietzsche Viennese tradition and contemporary composition, between griping and postulated in his book Also sprach Zarathustra, thus putting forward an rapping, and turns the Geschichten aus dem Wiener Wald into modern unusual theory about the power of comedy. Few authors have reflected musical theatre. revolutionary trends more effectively in their comedies than the French writer Beaumarchais, creator of Figaro. “I must force myself to laugh at Last but not least I would like to draw your attention to the wide spec- everything lest I be obliged to weep,” says the Barber of Seville describing trum covered by our series of concert performances of opera at the The- his attitude towards the conditions of his era in the play of the same ater an der Wien and our five staged opera premieres at the Kammeroper. name. In his comedies and his actions, Beaumarchais’ liberal ideas chal- I hope you enjoy our new programme for 14/15 and that you will con- lenged the injustices of his time. We also find this stance in the critical tinue to visit our opera house in large numbers. thinkers of today who, in the spirit of Kierkegaard, find the courage to raise their voices against the compulsions of a society in which mate- “Then let us all be happy.”* rialism has come to hold sway: “Time and history have justified those who swam against the tide and clashed with the convictions of their Best wishes, times.”

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

4 | | 5 THE BEAUMARCHAIS TRILOGY

Pierre-Augustin Caron de Beaumarchais was a watchmaker, businessman, which he himself would have paid with his life: “Just because you are secret agent, politician, arms smuggler, musician as well as a Casanova a great nobleman, you think you are a great genius – Nobility, fortune, and a father. His remarkable life story shows him to be a typical repre- rank, position! How proud they make a man feel! What have you done sentative of the 18th century, which was characterized by upheavals to deserve such advantages? Put yourself to the trouble of being born culminating in the French Revolution of 1789. He was celebrated, con- – nothing more. For the rest – a very ordinary man!” demned, slandered and never received the recognition he deserved. More than once his life was in danger during the bloody rebellions in Paris. Such scathing criticism was unheard-of and could find its way onto the Although he welcomed the Revolution, Beaumarchais was arrested, dis- stage only under the cover of comedy due to unstable governmental possessed and exiled. He yearned for a settled life, and although this constellations and thanks to successful ruses. But its success also was denied him he still died surrounded by his family and friends fol- aroused the interest of librettists and composers, and the first one to lowing his return to Paris. work on it was Giovanni Paisiello in 1782. His musical version, written for the court of Empress Catherine the Great in Saint Petersburg, became Beaumarchais was no socio-political dreamer of the Enlightenment; he such a huge success all over Europe that as late as three decades later was too familiar with the harsh realities of life as a businessman for Rossini was warned not to set Il barbiere di Siviglia to music himself. that. Nor was he purely a writer, using words to conjure up false realities which were of no use to the oppressed lower classes. Beaumarchais was The whole of Europe was caught up in the enthusiasm for Beaumarchais, no man of letters; rather, he was a man of action who nevertheless put and in 1785 the resourceful founder of the Theater an der Wien, Emanu- his ideas and convictions into words. Music had already played an im- el Schikaneder, wanted to stage The Mad Day, or The Marriage of Figaro portant role for him while he was still in his father’s watch-making work- – the author now including his hero’s name in the title – in Vienna. shop. Songs were the essential element of Beaumarchais’ language, his But the work was an unprecedented attack on feudal despotism and elixir. Despite his numerous different occupations he remained a singing was banned three days before the premiere. Despite this, printing of the philosopher of the Enlightenment all his life. libretto was allowed to go ahead, and in the autumn of the same year Mozart and Da Ponte dared to propose this of all works as an opera. Few other authors demonstrate the extent to which theatre can influence society. No other character is more potent political dynamite than Beau- Joseph II gave permission for the opera to be performed, and the rea- marchais’ Figaro who, though a simple barber, had a hand in shaping sons for these apparently contradictory decisions may lie in the political the history of Europe. In a total of three plays, Beaumarchais gives Figa- situation of Vienna at the time. As a reformer, Joseph II wanted to curtail ro a voice and it is only logical that all three were used for musical the privileges enjoyed by the nobility while at the same time not under- theatre. mining the stability of the social order. Whereas the theatre was more popular with the middle classes, opera audiences consisted chiefly of With the character of Figaro, Beaumarchais changed theatre, had a for- nobles. Joseph II, while evidently wishing to prevent the middle classes mative influence on it and ensured his own place in history. In order to from embracing seditious ideas, seemed to think the work not inappro- expose the conniving of the authorities, Beaumarchais needed a simple priate as a warning to the nobility. In each of these cases, the explo- character in his plays and introduced a barber onto the stage. In an sive socio-political power which the theatre possesses is shown by the era when the authorities were noblemen this was also a political act. unusual decisions taken. The name may be a parody of “Fils Caron”, “Caron’s son”, and there- fore a play on his own name. What is certain is that Beaumarchais in- After the revolution, the character’s popularity led Beaumarchais to publish vented it and that it has long since become a household name. But the third Figaro play, L’autre Tartuffe ou La mère coupable (The Other Beaumarchais was able to have Figaro say things to the nobility for Tartuffe, or The Guilty Mother) in 1791. The new Tartuffe, based on

6 | | 7 Molière’s famous swindler, is a red-headed lawyer from Ireland who in- tends to cheat Count Almaviva out of his fortune. In truth, the Figaro saga is less a trilogy than a series of three plays with the same char- acters in three different situations and presents three theatrical tales in- volving the same character. In his last contribution to the Figaro series, Beaumarchais moved the action perilously close to those he was mocking. The tale begins in Seville before moving into the Count’s castle. But La mère coupable is set in Paris, in the midst of a revolution that ini- tially decimates the nobility, before going on to do the same to everyone else.

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

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

| 9 CONTENT Das Tempo machT Die musik ... OPENING 14/15 13 MUSIC THEATRE P.I. Tchaikovsky: CHARODEYKA 15 schnell, ursprünglich munter, fröhlich Ch.W. Gluck: IPHIGÉNIE 19 G. Bizet: LES PÊCHEURS DE PERLES 23 O. Neuwirth: AMERICAN LULU 27 sehr breit J.S. Bach: CHRISTMAS ORATORIO 31 V. Bellini: LA STRANIERA 35 G. Paisiello: IL BARBIERE DI SIVIGLIA 41 etwas breit HK Gruber: GESCHICHTEN AUS DEM WIENER WALD 45 A. Schneider: EPILOGUE TO WIENER WALD – FAHRT INS GLÜCK 49 langsam, ruhig W.A. Mozart: LE NOZZE DI FIGARO 51 D. Milhaud: LA MÈRE COUPABLE 55 CONCERT PERFORMANCES gehend, schreitend & SPECIAL PROJECTS 59 STEFAN MICKISCH 75 THEATER AN DER WIEN IN THE KAMMEROPER 77 IN THE “HÖLLE” 83 sehr lebhaft, sehr lebendig JUGEND AN DER WIEN 85 Introduction to the Season 86 Guided Tours 87 Information 88 Prices 92 Seating plan 93 Imprint 96 ... unD wir halTen schriTT! Booking form 97

www.agrana.com SAISON

OPENING 14/15

GUSTAVO DUDAMEL Conductor WIENER PHILHARMONIKER

Nikolai Rimski-Korsakow Overture Russian Easter Modest Mussorgski Night on Bald Mountain Nikolai Rimski-Korsakow Scheherazade

WEDNESDAY, 10 SEPTEMBER 2014, 7.30 P.M. BEGINN

| 13 OPENING MACHT

CHARODEYKA (THE ENCHANTRESS)

PYOTR ILYICH TCHAIKOVSKY

14 – 26 September 2014 KAMPF MUSIC THEATRE CHARODEYKA (THE ENCHANTRESS) In 1885, Pyotr I. Tchaikovsky was made aware by his brother Modest of Opera in four Acts (1887) a new drama by the writer Shpazhinsky, who was popular at the time: MUSIC BY PYOTR ILYICH TCHAIKOVSKY it contained a love scene, said Modest, well suited to being set to music. LIBRETTO BY IPPOLIT VASILIEVICH SHPAZHINSKY In the end, though, Tchaikovsky found the two main female characters more interesting than the love scene. He asked the author to adapt the Performed in Russian with German surtitles play to a libretto. However, Shpazhinsky’s text turned out too long, and the struggle to achieve a version that could be performed took two years. Conductor Mikhail Tatarnikov On 1 November 1887, Charodeyka was premiered in the Imperial Mari- Director Christof Loy inski Theatre in Saint Petersburg. Set & costume designer Christian Schmidt Light designer Bernd Purkrabek Nastasya, known as Kuma, runs an inn on the riverbank. In the liberal at- Choreographer Thomas Wilhelm mosphere she has created there, her guests also include political and social Prince Kurlyatev Vladislav Sulimsky outcasts who find refuge under her roof. Kuma has many suitors, but be- Princess Jewpraxija Agnes Zwierko stows her favours on no one. One day, Prince Yuriy passes by and she falls Prince Nikita, dubbed “Yuriy” Maxim Aksenov in love with him. However, she does not dare approach him. Kurlyatev, the Mamyrow Vladimir Ognovenko ruling prince, is Yuriy’s father, and the hostelry with the critical minds it at- Nenila Hanna Schwarz tracts are a thorn in his side. He wants to close it, but falls under the spell Nastasya, dubbed “Kuma” Asmik Grigorian of Kuma’s charm himself and suddenly, instead of closing the inn down, is Foka Martin Snell spending a lot of time there himself. The scheming Mamïrov tells the Prin- Polya Natalia Kawałek-Plewniak* cess, Prince Kurlyatev’s wife, about this, arousing her jealousy. When Yuriy Kitschiga Nikolay Didenko hears of his father’s behaviour he determines to kill the woman who has Balakin Erik Årman cast such a spell on his father that he is neglecting his wife and his duties Paisi Andreas Conrad as ruler. Kurlyatev confesses his love to Kuma, but she rejects him. When Potap Stefan Cerny Yuriy comes to her intending to kill her, she is able to convince him of her Lukasch Vasily Efimov innocence, and he too falls in love with her. The couple is about to escape Kudma Martin Winkler together when the Princess poisons Kuma, who dies in Yuriy’s arms. The Iwan Schuran Martijn Cornet Princess throws the dead body into the river. Prince Kurlyatev, searching for Kuma, kills his son in a fit of jealousy and is taken by madness. ORF Radio-Symphonieorchester Wien Arnold Schoenberg Chor (Chorus master: Erwin Ortner) New production Theater an der Wien

*Young Ensemble Theater an der Wien PREMIERE: 14 SEPTEMBER 2014 Performances: 16 / 19 / 21 / 23 / 26 September 2014, 7 p.m. Introduction: Sunday, 14 September 2014, 11 a.m.

| 17 MUSIC THEATRE FLUCHT

IPHIGÉNIE EN AULIDE ET TAURIDE

CHRISTOPH WILLIBALD GLUCK

16 – 29 October 2014 GEFAHR MUSIC THEATRE IPHIGÉNIE EN AULIDE ET TAURIDE War, the myth of sacrifice, the apparent inevitability of fate, a family’s curse and the utopian idea of overcoming it: Euripides’ ancient trage- Opera in two parts (Version: Torsten Fischer, 2014) dies, upon which Gluck’s operas Iphigénie en Aulide (1774) and Iphigénie MUSIC BY CHRISTOPH WILLIBALD GLUCK en Tauride (1779) are based, reflect the most extreme dangers of our mis- LIBRETTO BY MARIE FRANÇOIS LOUIS GAND BAILLI DU ROULLET conduct. The fight against barbarism and the struggle for humanity in a (AULIDE) AND NICOLAS-FRANÇOIS GUILLARD (TAURIDE) world which appears to be cursed are inherent to these works. Torsten Fischer has created a composite piece from his productions of both ope- Performed in French with German surtitles ras which tells of the fate of Iphigénie in one evening. Conductor Leo Hussain At the beginning of the Trojan War, Diana prevents the Greek fleet under Director & Light Designer Torsten Fischer Agamemnon from setting sail for Troy by calling up dead calm near Aulis. Set & costume designer Vasilis Triantafillopoulos An oracle announces that in order to continue the journey, Agamemnon Set & costume designer & Dramatic advisor Herbert Schäfer must sacrifice his daughter Iphigenia to the goddess. Neither Achilles nor AULIDE Iphigenia’s mother Clytemnestra can prevent the execution. Iphigenia is Agamemnon Christoph Pohl transported by Diana to Tauris where she must serve the goddess as a pries- Clytemnestre Michelle Breedt tess. Following his return from the war, Agamemnon is murdered by his wife, Iphigénie Ekaterina Siurina Clytemnestra. Iphigenia’s brother Orestes avenges the murder of his father Achille Maxim Mironov by killing his own mother. To escape the pursuing Erinyes, who want revenge Calchas Andreas Jankowitsch for the matricide, Orestes is commanded by Apollo to take a statue of Diana from Tauris to Athens. With his friend Pylades, Orestes travels to Tauris where TAURIDE they are both captured by the natives who intend to sacrifice them to Diana, Iphigénie Véronique Gens as they do with all strangers. However, the priestess of Diana who has been Thoas Christoph Pohl given the task of carrying out the sacrifice is Orestes’ sister Iphigenia, who Oreste Stéphane Degout fails to recognize him. It is not until the sacrificial ceremony itself that she Pylade Rainer Trost looks in his eyes and lifts the curse that has so long lain over the Atreide- Diana Ekaterina Siurina an family. The goddess Diana herself helps Iphigenia, Orestes and Pylades Scythe / Le Ministre Andreas Jankowitsch to escape from the Taurian king, Thoas, back to Greece. Première Prêtresse / Femme grecque Çig˘dem Soyarslan

Wiener Symphoniker Arnold Schoenberg Chor (Chorus master: Erwin Ortner)

New production Theater an der Wien PREMIERE: 16 OCTOBER 2014 Performances: 18 / 21 / 24 / 27 / 29 October 2014, 7 p.m. Introduction: Sunday, 12 October 2014, 11 a.m.

| 21 MUSIC THEATRE MISS

LES PÊCHEURS DE PERLES

GEORGES BIZET

16 – 30 November 2014 GUNST MUSIC THEATRE LES PÊCHEURS DE PERLES During the period of exoticism, far-off locations and ostensibly foreign Opera in three acts (1863) musical elements were also all the rage in 19th-century opera. In 1863, MUSIC BY GEORGES BIZET Georges Bizet was commissioned by the director of the Théâtre Lyrique LIBRETTO BY EUGÈNE CORMON in Paris to compose a work of this kind: it was the first major opera AND MICHEL FLORENTIN CARRÉ that Bizet was able to present. The three-way love story, written by the experienced librettists Cormon and Carré, featured exotic rituals and at- Performed in French with German surtitles tractive natives in whom the same tempestuous emotions raged as in works set in the Old World. Conductor Jean-Christophe Spinosi Director Lotte de Beer The pearl fishers await the consecrated virgin, who is to calm the sea with Set designer Marouscha Levy her prayers so that the fishers can go about their work in safety. Zurga, their Costume designer Jorine van Beek new leader, and his friend, the hunter Nadir, once fell in love with the same Light designer Alex Brok girl, but swore not to pursue her for the sake of their friendship. But Nadir has Video Finn Ross secretly broken the oath and approached her. When the veiled virgin appears Dramatic advisor Peter te Nuyl she has to swear never to belong to a man. But when he hears her voice, Nadir Leïla Diana Damrau immediately recognizes her as the girl he loves, Leila. At night the two lovers Nadir Dmitry Korchak meet, but are discovered by Nourabad, the High Priest. Zurga is obliged Zurga Nathan Gunn to sentence the two of them to death. At first, he wants to show mercy to Nourabad Nicolas Testé his friend and the virgin and pardon them, but when Nourabad tears the veil from the virgin’s face and Zurga is confronted with Nadir’s treach- ORF Radio-Symphonieorchester Wien ery he condemns them to death in a fit of jealous fury. However, he quickly Arnold Schoenberg Chor (Chorus master: Erwin Ortner) regrets his impulsiveness, especially when Leila, who begs him to spare Nadir’s life, reveals that she once saved his, Zurga’s, life. When the two lovers New production Theater an der Wien are being led away to be executed, Zurga starts a fire in the fishers’ camp so that Nadir and Leila can escape in the ensuing chaos.

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

| 25 MUSIC THEATRE FREI

AMERICAN LULU

OLGA NEUWIRTH

7 – 11 December 2014 WILD MUSIC THEATRE AMERICAN LULU On his death in 1935, Alban Berg left Lulu without the third act. In OVERALL CONCEPT AND NEW INTERPRETATION OF 1979, Friedrich Cerha was able to piece together a “complete” version ALBAN BERG'S OPERA LULU BY OLGA NEUWIRTH (2006-2011) using Berg’s sketches, and this was the only way that the work could be Music of Act I and II adapted and newly orchestrated by heard in its entirety. Since 2005, Berg’s music has been out of copyright, Olga Neuwirth | text of Acts I and II adapted by Olga Neuwirth and the composer Olga Neuwirth decided to take a new and feminine and Helga Utz using translations by Richard Stokes and Catherine look at the “mythical female figure”. To make the action more relevant Kerkhoff-Saxon | music and text of Act III by Olga Neuwirth, to today’s social and political conditions she transferred Lulu’s story to English translation by Catherine Kerkhoff-Saxon America in the 1950s and 1970s. Neuwirth’s Lulu is black. The aspect of discrimination against women is now joined by racial discrimination. Performed in English with German surtitles In New Orleans in the 1950s, Dr Bloom has rescued the beautiful young black Conductor Johannes Kalitzke girl Lulu from the gutter and made her his lover. However, he does not want Director & Set & costume designer Kirill Serebrennikov to publicly admit his liaison and marries her off to a professor. When she Light designer Diego Leetz cheats on her husband by sleeping with a photographer, the professor suffers Video Gonduras Jitomirsky a fatal stroke. The subsequent marriage to the photographer also ends in Dramatic advisor Johanna Wall, Sergej Newski death: he shoots himself when Bloom’s relationship to Lulu becomes clear to Lulu Marisol Montalvo him. Lulu then succeeds in marrying Bloom, believing that he is the one she Eleanor Della Miles truly loves. But she is unfaithful to him, too. In the quarrel that ensues, Clarence Jacques-Greg Belobo she shoots Bloom dead, and is sent to prison. Women, too, fall for Lulu’s Dr. Bloom Claudio Otelli charm: the singer Eleanor loves her and makes great personal sacrifices Jimmy / Young Man Rolf Romei to enable her to leave the prison. Lulu escapes to New York with Bloom’s son, Painter Dmitry Golovin Jimmy, where she works successfully as a high-class call-girl until the 1970s. Professor / Banker Hans-Peter Scheidegger But she becomes numbed to all feeling. When Eleanor leaves her as well, Commissioner Frank Baer Lulu finds herself left alone to face the consequences of her profession. Lulu-Double Jane-Lynn Steinbrunn

Orchestra of the Komische Oper Berlin Guest performance of the Komische Oper Berlin

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

| 29 MUSIC THEATRE TON

CHRISTMAS ORATORIO

JOHANN SEBASTIAN BACH JOHN NEUMEIER

17 – 20 December 2014 ART MUSIC THEATRE CHRISTMAS ORATORIO When Johann Sebastian Bach’s Christmas Oratorio opens with the famous Cantatas I-VI words “Jauchzet! Frohlocket!” (“Exult! Rejoice!”) the listener is often Ballet from John Neumeier (2013) tempted to yield to the illusion of floating. The rousing elation of this MUSIC BY JOHANN SEBASTIAN BACH chorus and its infectious optimism appear limitless. The chorus sings of hope, not of salvation already attained. John Neumeier comments, Performed in German “Salvation is not complete, it must be constantly regained. As soon as the music of the ’Exult! Rejoice!’ chorus begins, and this is the wonder Conductor Erwin Ortner of Bach’s music, a flame is kindled inside us that makes the idea of Choreographer / Costume / Light designer John Neumeier joy shine. When this music stops, stillness descends again and we sink Set designer Ferdinand Wögerbauer back into our life on Earth.” Soprano Lenneke Ruiten Alto Ann-Beth Solvang Hamburg’s ballet director choreographed the first three parts of the Tenor Andrew Tortise Christmas Oratorio for the Theater an der Wien back in 2007 to over- Bass Andrè Schuen whelming success. In these parts, Bach portrays the ups and downs of human nature so impressively and vividly evokes the vicissitudes of Wiener KammerOrchester faith. In 2013, Neumeier continued his work on it. For Neumeier it is im- Arnold Schoenberg Chor (Chorus master: Erwin Ortner) portant that two different ballets of equal status resulted from his work. “In my catalogue of works the opus number of the first three parts is In cooperation with the Hamburg Ballet different from that of the Christmas Oratorio as a whole. What we are New musical interpretation by the Theater an der Wien now presenting is in actual fact the premiere of a new work consisting of Bach’s six cantatas.” Accordingly, what can now be seen at the Theater an der Wien is the continuation of the work begun by Neumeier in 2007 with the premiere of the first version.

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

| 33 MUSIC THEATRE TRAUM

LA STRANIERA

VINCENZO BELLINI

Dates: Edita Gruberova & Dario Schmunck

14 / 18 / 22 / 26 January 2015 FRAU MUSIC THEATRE TRAUM

LA STRANIERA

VINCENZO BELLINI

Dates: Marlis Petersen & Norman Reinhardt

16 / 24 / 28 January 2015 FRAU MUSIC THEATRE LA STRANIERA An enthusiastic Vincenzo Bellini wrote of Victor d’Arlincourt’s successful Melodrama in two acts (1829) novel L’etrangère: “It is a book full of exciting moments, and all are new MUSIC BY VINCENZO BELLINI and marvellous.” In the book he found material replete with extreme LIBRETTO BY FELICE ROMANI AFTER THE NOVEL L’ÉTRANGÈRE characters in situations of exceptional emotion which he could use to BY CHARLES-VICTOR PRÉVOST VICOMTE D’ARLINCOURT develop his ideas of the romantic opera. In La straniera he produced his most radical score. Hector Berlioz, not one who found much to admire in Performed in Italian with German surtitles Italian opera, was impressed by this music, feeling that “deep passions, painful emotion” and a “fearful cry of insane love” had been incorporated Conductor Paolo Arrivabeni in the composition. Director Christof Loy Set designer Annette Kurz Count Arturo is engaged to Isoletta, but has fallen in love with a mysterious Costume designer Ursula Renzenbrink stranger who lives alone in the woods. The villagers think she is a witch. Light designer Franck Evin Arturo wants to run away with her, but the stranger refuses. Arturo’s friend Dramatic advisor Thomas Jonigk Baron Valdeburgo tries to persuade him to go back to Isoletta. To elicit Valdeburgo’s sympathy for his plight, Arturo takes him to the stranger. To Alaide Edita Gruberova (14 / 18 / 22 / 26 January) Arturo’s astonishment, the stranger and Valdeburgo greet one another with Marlis Petersen (16 / 24 / 28 January) a tender embrace. The jealous Arturo immediately fights a duel with his friend, Arturo, Conte di Ravenstel Dario Schmunck (14/ 18 / 22 / 26 January) and Valdeburgo falls into the lake. The stranger’s cry of “You have killed Norman Reinhardt (16 / 24 / 28 January) my brother!” explains the affectionate greeting. Arturo plunges into the lake, Isoletta Theresa Kronthaler leaving the despairing stranger alone with the bloodstained rapier. This is Barone Valdeburgo Franco Vassallo how the villagers find her, and they accuse her of murdering the two men. Osburgo Vladimir Dmitruk* At the trial, both men reappear, still alive, thus proving the stranger’s inno- Il signore di Montolino Martin Snell cence. Arturo still refuses to give up his passion for her. On the day of his Il priore degli Spedalieri Stefan Cerny wedding to Isoletta he runs away from the altar. When it emerges that the stranger is in fact the wife of the King of France and was forced to live in ORF Radio-Symphonieorchester Wien exile, Arturo stabs himself. Arnold Schoenberg Chor (Chorus master: Erwin Ortner)

In coproduction with the Opernhaus Zürich

*Young Ensemble Theater an der Wien

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

| 39 MUSIC THEATRE LUST

IL BARBIERE DI SIVIGLIA OSSIA LA PRECAUZIONE INUTILE GIOVANNI PAISIELLO

16 – 27 February 2015 SPIEL MUSIC THEATRE IL BARBIERE DI SIVIGLIA OSSIA LA PRECAUZIONE INUTILE Pierre-Augustin Caron de Beaumarchais (1732-1799), watchmaker to the court, inventor, author, diplomat and adventurer, offered Le barbier de Séville Dramma giocoso per musica in two acts (1782/87) to the Comédiens Italiens as an opera libretto in 1772. When it was re- jected, he rewrote it as a play which became a triumphant success at the MUSIC BY GIOVANNI PAISIELLO Comédie-Française in 1775. Beaumarchais had so many ideas for the fate LIBRETTO BY GIUSEPPE PETROSELLINI AFTER THE COMEDY awaiting the characters surrounding Figaro, his jack of all trades, that LA PRÉCAUTION INUTILE OU LE BARBIER DE SÉVILLE he created an entire trilogy which precisely reflects the rapid develop- BY PIERRE AUGUSTIN CARON DE BEAUMARCHAIS ments of social structures in the last third of the 18th century. Giovanni Performed in Italian with German surtitles Paisiello set the first play to music in 1782 as a commission for Catherine the Great in Saint Petersburg, and it soon became immensely popular Conductor René Jacobs all over Europe. Director Moshe Leiser / Patrice Caurier Set designer Christian Fenouillat In Seville, Rosina is being kept from prying eyes in the house of her guardian Costume designer Agostino Cavalca Bartolo. Because the young lady is beautiful and wealthy, Bartolo intends to Light designer Christophe Forey marry her. But Rosina has another admirer: a student by the name of Lindoro has secretly been courting her for some time, and she finds the young man Il conte di Almaviva Topi Lehtipuu considerably more attractive than her guardian. Lindoro is in fact the notorious Rosina Mari Eriksmoen womanizer Count Almaviva in disguise. This time, however, he is genuinely Bartolo Pietro Spagnoli in love and wants to make Rosina his wife, even though she is a commoner. Figaro Andrè Schuen He secures the aid of Figaro who, as a physician, apothecary and barber, is Don Basilio Fulvio Bettini free to enter Bartolo’s house. In the meantime, Bartolo has heard that the Lo Svegliato / un notaro Christoph Seidl* infamous Almaviva is in town and rightly guesses that he may have his ward in his sights. He tries to bring the date of his own wedding forward, but Fi- Freiburger Barockorchester garo and Almaviva hatch counter-plots. In the end, Bartolo loses out: Count Almaviva abandons his disguise and makes Rosina his countess. New production Theater an der Wien

*Young Ensemble Theater an der Wien

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

| 43 MUSIC THEATRE BLUT

GESCHICHTEN AUS DEM WIENER WALD HK GRUBER

14 – 23 March 2015 RAUSCH MUSIC THEATRE GESCHICHTEN AUS In 1931, Ödön von Horváth’s scathing but perspicacious “folk drama” DEM WIENER WALD premiered in Berlin. In it, he provides a precise, satirical snapshot of Opera in three parts (2014) the way the petty bourgeoisie thought at the time, as they preserved their prejudices and narrow-minded moral values under the guise of a MUSIC BY HK GRUBER self-righteous “Viennese Gemütlichkeit”. Characters like this did not only LIBRETTO BY MICHAEL STURMINGER exist in Vienna in the early 1930s, however; pompous members of the AFTER THE PLAY OF THE SAME NAME BY ÖDÖN VON HORVÁTH middle class whose stupidity makes them dangerous can be found every- Performed in German with German surtitles where and in every era. Now the Viennese composer, conductor, chan- sonnier and actor HK Gruber has set to work in collaboration with the Conductor HK Gruber director and librettist Michael Sturminger to turn Horváth’s play into an Director Michael Sturminger opera for the Bregenzer Festspiele and the Theater an der Wien. Set & costume designer Renate Martin & Andreas Donhauser Light designer Olaf Winter The old magician owns a doll’s hospital and has a daughter called Marianne. She is to marry Oskar, the proprietor of a neighbouring butcher’s shop. How- Marianne Ilse Eerens ever, she is not completely happy about this and on the day of her engagement Alfred Daniel Schmutzhard runs away with the rogue Alfred. She gives birth to a child, but the love Oskar Jörg Schneider she and Alfred had for each other quickly dies owing to financial problems. Valerie Angelika Kirchschlager When her father discovers her working as a nude dancer in a night club in Old magician Albert Pesendorfer an effort to earn some money, he indignantly disowns his wayward daughter. Mother Anke Vondung Alfred’s family does not like the destitute Marianne either, but they are stuck Grandmother Anja Silja with her because of the child. The grandmother solves the problem: she leaves Erich Michael Laurenz the troublesome infant outside in the cold and it dies of pneumonia. Cavalry captain / Confesser Markus Butter Now peace and order can return to the family. Oskar forgives Marianne and Mister David Pittman-Jennings plans to marry her after all and Alfred goes back to his old flame, the wealthy The Hierlinger Ferdinand Alexander Kaimbacher tobacconist Valerie. To his main characters Horváth adds a motley company Havlitschek Robert Maszl that provides a cross section of the petty bourgeoisie of the inter-war years: Hierlinger, a pimp; the cavalry captain who still lives in the days of the emperor; Wiener Symphoniker and the German law student Erich, whose opinions foreshadow Hitler’s Vocalensemble NOVA (Chorus master: Colin Mason) Pan-German madness. In coproduction with the Bregenzer Festspiele

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

| 47 MUSIC THEATRE EPILOGUE TO WIENER WALD “I can’t go on. I can go no further,” she says to Oskar. “Well, come on then,” FAHRT INS GLÜCK he replies. Those are the last words in Ödön von Horváth’s immortal stage A SECOND ENCOUNTER WITH MARIANNE play. What happened afterwards? What became of Marianne? FROM ÖDÖN VON HORVATH'S GESCHICHTEN AUS DEM WIENER WALD We meet her several years later in a park in Vienna. She is sitting on a STAGED MONOLOGUE BY ANGELA SCHNEIDER swing she once used to play with as a child. Austria is about to be an- nexed by Nazi Germany. The harbingers of this disastrous future hang Performed in German in the air. Marianne had gone with her fiancé Oskar and did, in the end, marry him. And she had another child, Robert. But she cannot love Director Cornelia Rainer him as she would like to for the child’s sake and for hers as a mother. Marianne Petra Morzé She is trapped in a life that she once thought she could escape from with Alfred. But the journey into happiness was soon over. Now she is Oskar’s wife, just as her father, the king of the magicians, foretold. Everyone is satisfied. Except her. She immerses herself in the past and gradually finds a foothold in the present which she cautiously accepts.

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

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

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

Venue: Hölle at the Theater an der Wien

| 49 MUSIC THEATRE NACHT

LE NOZZE DI FIGARO

WOLFGANG AMADEUS MOZART

11 – 22 April 2015 SCHICHT MUSIC THEATRE LE NOZZE DI FIGARO Mozart knew Paisiello’s Barbiere well, since the opera had been perform- Commedia per musica in four acts (1786) ed very successfully in Vienna in 1783 and the two composers had met MUSIC BY WOLFGANG AMADEUS MOZART the following year. So when the second play about this bustling barber LIBRETTO BY LORENZO DA PONTE appeared in Paris and was met by great acclaim and great scandal, it AFTER THE COMEDY LA FOLLE JOURNÉE OU LE MARIAGE DE FIGARO seemed logical to try to recreate the success Paisiello had with the first BY PIERRE AUGUSTIN CARON DE BEAUMARCHAIS Beaumarchais play with the second. However, Mozart and Da Ponte were forced to considerably tone down the politically explosive original Performed in Italian with German surtitles in order to receive permission to perform their version at the Vienna Court Opera. In the libretto, Da Ponte concentrated particularly on the Conductor Marc Minkowski problematical emotional relationships between the characters, thereby Director Felix Breisach providing the perfect canvas for Mozart’s compositional skill: his music Set designer Jens Kilian adds depth to the characters to a degree that has scarcely been matched Costume designer Doris Maria Aigner in the history of opera since and turns the comedy into a psychological Light designer Alessandro Carletti drama. ll Conte di Almaviva Stéphane Degout La Contessa di Almaviva Christine Schäfer Several years have passed since the events in Seville surrounding the marriage Susanna Emo´´ke Baráth of Rosina to the Count, and the love between the Count and Countess has Figaro Alex Esposito cooled somewhat. The Count is on the lookout for new subjects worthy of Cherubino Marianne Crebassa his favours, while the Countess is adored by the young page, Cherubino. Marcellina Helene Schneiderman Figaro has remained in the Count’s service and now wishes to marry Su- Bartolo Peter Kálmán sanna, the Countess’ chambermaid. In the 18th century, the aristocracy had Don Curzio / Basilio Sunnyboy Dladla the “ius primae noctis”, the droit du seigneur: a lord had the right to de- Barbarina Gan-ya Ben-gur Akselrod * flower the brides of his subjects. But around 1780 Count Almaviva wishes to appear enlightened and does away with the right to his possessions. Faced Les Musiciens du Louvre Grenoble with Susanna’s beauty, however, he starts to regret his progressiveness. He can Arnold Schoenberg Chor (Chorus master: Erwin Ortner) no longer insist on his right, but must resort to seduction and cunning in or- der to trap her. But Figaro and Susanna succeed in maintaining their sexual New production Theater an der Wien autonomy as a married couple. They thwart the Count’s schemes with plots of their own, and the Count realizes that in his servant he has an adversary *Young Ensemble Theater an der Wien who is every bit his equal.

Supported by

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

| 53 MUSIC THEATRE SEITEN

LA MÈRE COUPABLE

DARIUS MILHAUD

8 – 17 May 2015 SPRUNG MUSIC THEATRE LA MÈRE COUPABLE Beaumarchais’ third play about the Almavivas and their two married Opera in three acts (1966) servants is more of a bourgeois melodrama than a comedy like its two MUSIC BY DARIUS MILHAUD predecessors. La mère coupable was also a huge success during the LIBRETTO BY MADELEINE MILHAUD playwright’s lifetime and was intended to be set to music. A project wi- AFTER THE PLAY L’AUTRE TARTUFFE OU LA MÈRE COUPABLE th the French composer André Grétry, who was very successful at the BY PIERRE AUGUSTIN CARON DE BEAUMARCHAIS time, was in the pipeline, but Beaumarchais’ death in 1799 meant that it was abandoned, and La mère coupable had to wait a long time to be Performed in French with German surtitles set. It was rediscovered by the French composer Darius Milhaud (1892- 1974), who turned the melodrama into a gloomy studio play. Conductor Leo Hussain Director Herbert Föttinger The Almavivas live with their son Léon and foster daughter Florestine in Pa- Set designer Walter Vogelweider ris. Figaro and Suzanne are still in the Count’s service. Léon and Florestine Costume designer Birgit Hutter are in love. A schemer by the name of Begearss has wormed his way into Light designer Emmerich Steigberger the family. His aim is to lay his hands on the Count’s fortune, because only Dramatic advisor Ulrike Zemme he knows all the family’s guilty secrets which he cunningly exploits to further Le Comte Almaviva Markus Butter his own ends: Florestine is the Count’s illegitimate daughter and Léon the son Rosine, Comtesse Almaviva Mireille Delunsch the Countess had by Chérubin who has since fallen in the war. Begearss Léon Andrew Owens proves to the Count that Léon is not his son, whereupon the latter installs Florestine Frederikke Kampmann Florestine as his heir by means of a large dowry. The schemer now leads Figaro Aris Argiris Léon and Florestine to believe that they are brother and sister and so can- Suzanne Angelika Kirchschlager not marry. He then proceeds to woo Florestine himself. But Figaro and Begearss Thomas Johannes Mayer Suzanne see through his deceit and work against him. The tangle of half- Fal Christoph Seidl* truths and secrets of the heart kept hidden out of shame is not unravelled until the Count, as the confusion reaches its climax, realizes that he loves ORF Radio-Symphonieorchester Wien his wife: all the lies come to an end, Begearss is thrown out and Léon and Florestine can marry. New production Theater an der Wien

*Young Ensemble Theater an der Wien

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

| 57 MUSIC THEATRE KOPF HÖRER CONCERT PERFORMANCES New Year’s Eve intheKammeroper 73 New Year’s Eve Concert attheTheateranderWien Michael Heltau:Daswar’s,HerrDirektor! SPECIAL PROJECTS Hasse: J. A. J.-Ph. Rameau:ZAÏS G. F.Handel: HERCULES 67 Ch. Gounod:CINQ-MARS 66 G. F.Handel H. Purcell: Ch.W. Gluck:DEMOFONTE 63 F. Provenzale:LASTELLIDAURAVENDICANTE G. F.Handel: ALCINA 61 G. F. Ch.W. Gluck:LACLEMENZADITITO 70 Handel: TAMERLANO 60 KING ARTHUR SIROE et al.:BAROQUERIVALRIES 68 65 64 62 71 72 69

CONCERT PERFORMANCES & SPECIAL PROJECTS TAMERLANO ALCINA Dramma per musica in three acts (1724) Dramma per musica in three acts (1735) MUSIC BY GEORGE FRIDERIC HANDEL MUSIC BY GEORGE FRIDERIC HANDEL LIBRETTO BY NICOLA FRANCESCO HAYM AFTER ANONYMES LIBRETTO L’ISOLA DI ALCINA JACQUES PRADONS TAMERLANO OU LA MORT DE BAJAZET AFTER LUDOVICO ARIOSTOS ORLANDO FURIOSO Concertante performance in Italian Concertante performance in Italian Conductor Maxim Emelyanichev Conductor Harry Bicket Tamerlano Xavier Sabata Alcina Joyce DiDonato Bajazet John Mark Ainsley Ruggiero Alice Coote Asteria Sophie Karthäuser Morgana Anna Christy Andronico Max Emanuel Cenˇci´c Bradamante Sonia Prina Irene Ruxandra Donose Oronte Ben Johnson Leone Pavel Kudinov Melisso Wojtek Gierlach Oberto Anna Devin Il pomo d’oro The English Concert In Tamerlano, premiered at the King’s Theatre in London in 1724, the un- scrupulous Tartar prince and the uncompromising sultan Bajazet are pit- With the figure of the sorceress Alcina, whose story is told in the sixth and ted against each other. The (historical) power struggle and Tamerlane’s seventh cantos of Ludovico Ariosto’s epic poem Orlando furioso, Handel victory over the Ottomans was a popular subject for literature and theatre. makes his own contribution to the long list of Alcina settings that began However, in George Frideric Handel’s version, with a libretto by Nicola in Florence in 1625. Alcina enjoyed a tremendously successful premiere at Francesco Haym, the conflict continues as a private affair. Tamerlano de- London’s Covent Garden in 1735, and numbers among the most popular mands the hand of Asteria, the daughter of Bajazet, his captive, in mar- and frequently performed of George Frideric Handel’s operas. riage.But the hero who has been so successful on the field of battle is Ruggiero has fallen under the spell of the sorceress Alcina, abandoned his forced to accept defeat in this instance. military career for love of her and left his fiancée Bradamante. Alcina’s is- It is not Tamerlano, but the complex character of Bajazet, torn between land is his refuge. But his fiancée, who still loves him and hopes to win his pride as a captive ruler and as a father, who dominates proceedings him back, and Melisso, who needs him to win the impending war, are on and makes this opera of Handel’s so unusual. The death scene following his trail. These two are also caught up in Alcina’s labyrinth of love, and the Bajazet’s suicide is among the most dramatic moments Handel ever wrote. twists and turns take their course. It appears that with it he anticipates the death scenes in operas by Bellini In this opera of charms and sorcery, Handel shows himself at the peak of and Donizetti by over a hundred years. his creative powers. In it, every stage of longing and hope, of flirtation and devotion, of pain and injury, of deceit and fear, of rebellion and despair is THURSDAY, 25 SEPTEMBER 2014, 7 P.M. passed through.

FRIDAY, 17 OCTOBER 2014, 7 P.M.

60 | | 61 CONCERT PERFORMANCES CONCERT PERFORMANCES LA STELLIDAURA VENDICANTE DEMOFONTE (VENGEFUL STELLIDAURA) Dramma per musica in three acts (1743) Opera in three acts (1674) MUSIC BY CHRISTOPH WILLIBALD GLUCK MUSIC BY FRANCESCO PROVENZALE LIBRETTO BY PIETRO METASTASIO LIBRETTO BY ANDREA PERRUCCI Concertante performance in Italian Concertante performance in Italian Conductor Alan Curtis and old Calabrian dialect Timante Iestyn Davies Conductor Alessandro De Marchi Dircea Sylvia Schwartz Stellidaura Raffaella Milanesi Creusa Marie-Claude Chappuis Armidoro Adrian Strooper Demofonte Colin Balzer Orismondo Carlo Allemano Cherinto Romina Basso Giampetro Luigi de Donato Matusio Vittorio Prato Armillo Hagen Matzeit Adrasto Nerea Berraondo L’Academia Montis Regalis Il Complesso Barocco

Francesco Provenzale (1624 -1704) was the first well-known composer, Of the first eight operas that Christoph Willibald Gluck wrote during his musician and music teacher from Naples. He is considered the founder time in Milan only one, Ipermestra, has survived in its entirety. Of Demo- of the Neapolitan School and as such the man who paved the way for fonte at least all the solo songs are known, although it is thought that the Nicola Porpora, Leonardo Vinci and Johann Adolph Hasse. autographs were destroyed in a fire in the house of his heir. Following the His only extant stage works are the three-act melodrama Lo schiavo di sensational triumph of his first opera Artaserse (libretto by Pietro Metasta- sua moglie (1672; His Wife’s Slave) and the opera La Stellidaura vendi- sio) at the opening of the season at the Milan Court Theatre in 1742, which cante (1674), also in three acts. The latter was presented to a large au- far exceeded all expectations, Gluck was commissioned to write a scrittura dience in 2012 by Alessandro De Marchi at the Innsbruck Festival of for the next season as well. His second Milanese opera, Demofonte, is Old Music and was recorded on harmonia mundi. The opera’s plot con- again based on a libretto by Metastasio. tains both comic and tragic elements. Prince Orismondo and Armidoro, Every year, a human sacrifice must be made to the god Apollo. Demofonte, his friend and a knight at court, are in love with the beautiful Stellidau- the King of Thracia, has selected the young Dircea, who is secretly married ra. She returns the love of Armidoro. The two friends’ first encounter as to his son Timante, as this year’s sacrifice, and has chosen Princess Creu- rivals ends with a wounded arm for Armidoro and is at the same time sa as Timante’s new wife. When he finds out about his son’s clandestine the start of the comic and slapstick confusion caused by Orismondo’s marriage, he initially sticks to his original decision, but eventually changes servant, Giampetro, who sings in the old Calabrian dialect. In the end, his mind thanks to the intervention of Creusa, who is given to Timante’s Stellidaura is supposed to be poisoned for attempting to murder Oris- younger brother as a reward. Although it would not be appropriate to mondo, but once again it is Giampetro who interferes by giving her a try to detect traces of Gluck’s subsequent desire for reform in his early sleeping draught by mistake (?). At the end of the opera, after a sur- operas, they are nevertheless impressive records of his personal style which prising family relationship has come to light, the two lovers Armidoro is marked above all by the economy of the melody and the clarity of the and Stellidaura are successfully united. diatonic harmony.

THURSDAY, 23 OCTOBER 2014, 7 P.M. SUNDAY, 23 NOVEMBER 2014, 7 P.M.

62 | | 63 CONCERT PERFORMANCES CONCERT PERFORMANCES KING ARTHUR BAROQUE RIVALRIES (DIVA WARS) Semi-Opera in five acts (1691) FAUSTINA BORDONI VERSUS FRANCESCA CUZZONI MUSIC BY HENRY PURCELL Concert with arias by George Frideric Handel, Johann Adolf Hasse, LIBRETTO BY JOHN DRYDEN Antonio Lotti, Carlo Francesco Pollarolo, Nicola Antonio Porpora, Domenico Sarro, Leonardo Vinci and Antonio Vivaldi Concertante performance in English Performed in Italian Conductor Robert King Soprano Carolyn Sampson, Rebecca Outram, Conductor& Violin Andrés Gabetta Julie Cooper Soprano Simone Kermes High Tenor Daniel Auchincloss Mezzo soprano Vivica Genaux Tenor James Oxley Capella Gabetta Bass Matthew Brook The King’s Consort Nowadays, quarrelling “prima donnas” are only found in the soap operas that run on private television channels and boost ratings by battling for the The semi-opera King Arthur, or The British Worthy, which premiered in 1691, title of Jungle Queen. But older opera-goers can still vividly recall how the is based on a libretto by John Dryden (1631-1700) that was written in 1684. two prima donnas Maria Callas and Renata Tebaldi exchanged unpleasan- Dryden, a celebrated writer and dramatist in his lifetime, so admired the tries when at their peak, garnering generous media coverage. music of the equally famous composer Henry Purcell (c. 1659 -1695) that The most famous rival prima donnas in the history of music are without in 1690 he offered his revised King Arthur to Purcell for setting. The result doubt the two Handel stars, Faustina Bordoni and Francesca Cuzzoni, who was the first semi-opera; it was not based on an existing theatre play, but were sworn enemies. Their public quarrel of 6 June 1727 has gone down nevertheless combined spoken dialogue with musical scenes. King Arthur in the annals of opera history. It broke out on stage during a performance remained in the repertoire until well into the 18th century, its lasting popu- of Bononcini’s opera Astianatte, and was raucously cheered on by the Lon- larity being chiefly due to Purcell’s intimate and innovatively constructed don audience, eventually descending into torrents of abuse and a veritable score. brawl. As a tribute to these two great prima donnas of the first half of the In his plot, Dryden moved away from the legend of King Arthur, the Knights 18th century, Simone Kermes and Vivica Genaux have put together - in per- of the Round Table and the Holy Grail which had been continually embel- fectly friendly collaboration - Baroque Rivalries, a riotous soirée of baroque lished since the Middle Ages. Instead, a tale of love and war unfolds. The music bursting with rarities and jewels discovered in Bordoni’s and blind Emmeline is the daughter of Conon, Duke of Cornwall, and not just Cuzzoni’s repertoire including compositions by George Frideric Handel the object of King Arthur’s affections, but those of the Saxon King Oswald and Johann Adolf Hasse alongside numerous arias and duets by compo- too. A conflict over territory leads to the first military skirmish between sers who today are all but forgotten, such as Antonio Lotti, Giovanni Porta the two. Oswald is defeated, but manages to abduct Emmeline. Now she and Giuseppe Arena. becomes the reason for war: the rivals are aided in battle by magicians and spirits, principal among whom is Merlin on Arthur’s side. Merlin is TUESDAY, 20 JANUARY 2015, 7.30 P.M. thus virtually the only leftover from the famous legend. Oswald is defeated again and Arthur wins Emmeline. Arthur shows benevolence and pardons Oswald, and this leads Merlin to envision a united Britain under a just ruler.

SATURDAY, 29 NOVEMBER 2014, 7 P.M.

64 | | 65 CONCERT PERFORMANCES CONCERT PERFORMANCES CINQ-MARS HERCULES Drame lyrique in four acts (1877) Oratorio in three acts (1745) MUSIC BY CHARLES GOUNOD MUSIC BY GEORGE FRIDERIC HANDEL LIBRETTO BY PAUL POIRSON & LOUIS GALLET AFTER LIBRETTO BY THOMAS BROUGHTON AFTER SOPHOKLES’ ALFRED DE VIGNYS HISTORIC NOVEL OF THE SAME NAME TRAGEDY WOMEN OF TRACHIS AND OVIDS METAMORPHOSES Concertante performance in French Concertante performance in English Conductor Ulf Schirmer Conductor Harry Bicket La princesse Marie de Gonzague Véronique Gens Hercules Matthew Rose Le marquis de Cinq-Mars Charles Castronovo Dejanira Alice Coote Le conseiller de Thou Tassis Christoyannis Iole Elisabeth Watts Père Joseph Andrew Foster-Williams Hyllus James Gilchrist Le vicomte de Fontrailles André Heyboer Lichas Rupert Enticknap Le roi (Ludwig XIII.) / Le Chancelier Jean Teitgen The English Concert Ninon de l’Enclos Marie Lenormand Marion Delorme Hélène Guilmette Four years before the premiere in early January of 1745, George Frideric Münchner Rundfunkorchester Handel had abandoned his efforts with regard to this opera and devoted Chor des Bayerischen Rundfunks himself entirely to the oratorio. He nevertheless described this work, as he had done his Semele the previous year, explicitly as a “musical drama”, In cooperation with the Palazetto Bru Zane Venedig presumably because he wished to emphasize the dramatic character of the two works. The premiere of Hercules was a flop; withdrawals at short notice In 1852, Charles Gounod created one of the most famous works in the and croaky-voiced singers led, according to those who witnessed it, to unin- history of music: Méditation sur le 1er prélude de Bach, better known as tentionally grotesque situations. Unlike the ancient sources, the jealousy of Gounod’s Ave Maria. The deeply religious Gounod chiefly composed Hercules’ wife is groundless in Thomas Broughton’s libretto. In this work, masses, oratorios, cantatas and operas. He scored his first stage suc- Handel was less interested in the titular hero than in the apparently tragic cess in 1859 with his fourth opera, Faust, which remains his best known behaviour of his wife Dejanira, which contains pathological elements. In work in this genre to this day. In his first two operas, Sapho (1851) and her, Handel created one of his most absorbing and modern female cha- Le médecin malgré lui (1858, The physician in spite of himself) Gounod de- racters, who can only be explained using psychological techniques. monstrated his talent for creating a new work with and by means of the It may be that, contrary to usual practice, Hercules cannot be classified in imitation and combination of older styles. He employed the same tech- a particular genre, but according to the Handel expert Silke Leopold it is nique for his drame lyrique Cinq-Mars in 1877. The opera deals prima- one of the historically most important, dramatically moving and musically rily with the love story of Princess Marie de Gonzague and the Marquis enchanting works ever written by George Frideric Handel. de Cinq-Mars; for her sake, or rather because it has been decreed that she should marry the King of Poland, Cinq-Mars joins the conspiracy THURSDAY, 26 FEBRUARY 2015, 7 P.M. against Cardinal Richelieu. The conspiracy is discovered, and Cinq-Mars is incarcerated in a dungeon and sentenced to death. His confidant, de Thou, devises a plan to rescue him the next day, but the execution is brought forward one day, meaning that Cinq-Mars is doomed.

TUESDAY, 27 JANUARY 2015, 7 P.M.

66 | | 67 CONCERT PERFORMANCES CONCERT PERFORMANCES ZAÏS SIROE Pastorale héroïque in one prologue and four acts (1748) Opera seria in three acts (1762) MUSIC BY JEAN-PHILIPPE RAMEAU MUSIC BY JOHANN ADOLF HASSE LIBRETTO BY LOUIS DE CAHUSAC LIBRETTO BY PIETRO METASTASIO Concertante performance in French Concertante performance in Italian Conductor Christophe Rousset Conductor George Petrou Zaïs Julian Pregardien Siroe Max Emanuel Cenˇci´c Zelidie Sandrine Piau Medarse Franco Fagioli Oromazès Konstantin Wolff Laodice Julia Lezhneva Cindor Benoît Arnould Cosroe Juan Sancho Sylphide, La grande Prêtresse de l’amour Amel Brahim-Djelloul Emira Mary-Ellen Nesi Amour Hasnaa Bennani Armonia Atenea Un sylphe Zachary Wilder Chœur de Chambre de NAMUR Johann Adolf Hasse began his career in Italy, before becoming Kapellmeis- Les Talens Lyriques ter at the Saxon court in Dresden in 1733, a post he held for thirty years. However, when he presented his opera Siroe on 2 May 1733 at the Teatro In coproduction with the Centre de Musique Baroque de Versailles Malvezzi in Bologna he was still in Italy. He had composed it for the most famous singers of his day, the castrati Farinelli and Caffarelli and the sopra- Jean-Philippe Rameau wrote Zaïs in 1748 for the Paris Opera. A short time no Vittoria Tesi. These stars helped make the opera an immediate internati- before, the composer had been appointed compositeur du cabinet du roi onal success, and the score reflects their exceptional talent as singers. The and in the following years produced a series of lighter, more entertaining libretto was by Hasse’s friend Pietro Metastasio, Europe’s foremost opera opera ballets of which Zaïs was one. However, this does not mean that author. The text, written in 1726, was set to music not only by Hasse, but Rameau abandoned his own aim of redefining French opera. The epo- also by George Frideric Handel. Family turmoil that centres on a lust for nymous hero, Zaïs, is a spirit of the air who is in a love relationship with the power, love, hatred and revenge at the court of the Persian king keeps the mortal shepherdess Zelidie. To test her fidelity, he subjects her to several audience on the edge of their seats and inspired Hasse to produce one of trials, all of which she passes faultlessly. Eventually, she is granted immor- his most outstanding compositions: tality by Oromazès, king of the spirits, and Zaïs can marry her. The opera King Cosroe of Persia wishes to install his ambitious son Medarse as heir contains some of the most beautiful passages in French music, and was a to the throne instead of his first-born son, Siroe. The princess Emira is remarkable success right from its very first performance. The overture and living at court, disguised as a man. Long ago her father was murdered by prologue were singled out for particular praise and discussion: in them, the Cosroe and now she intends to kill him. Besides this, she is also Siroe’s se- possibilities of music are used to portray how the mighty Oromazès sepa- cret lover, but he refuses to help her with her plans for vengeance. Cosroe’s rates the elements and creates harmony in the world. Some contempora- mistress, Laodice, tries to seduce Siroe, but he rejects her advances. Offen- ries found the musical chaos too realistic, because it was too dissonant, ded, Laodice besmirches his name to Cosroe. The situation for Siroe seems while others were full of praise for the unconventional harmonies Rameau hopeless. In the end, the people rise up in support of the rightful crown used to evoke the creation of the Earth. prince and the confusion can be resolved. Forgiveness all round leads to a new beginning with Siroe and Emira as Persia’s royal couple. FRIDAY, 17 APRIL 2015, 7 P.M. TUESDAY, 21 APRIL 2015, 7 P.M.

68 | | 69 CONCERT PERFORMANCES CONCERT PERFORMANCES LA CLEMENZA DI TITO MICHAEL HELTAU Dramma per musica in three acts (1752) DAS WAR’S, HERR DIREKTOR! MUSIC BY CHRISTOPH WILLIBALD GLUCK It’s about desire, love and chansons by Jacques Brel and others. LIBRETTO BY PIETRO METASTASIO Concertante performance in Italian The Wiener Theatermusiker

Conductor Werner Ehrhardt Arrangements and Tito Benjamin Bruns musical Direction Tscho Theissing Vitellia Laura Aikin Performed in German Servilia Arantza Ezenarro Sesto Raffaella Milanesi THE WORLD MUST BE ROMANTICISED. Publio Flavio Ferri-Benedetti Orchester l’arte del mondo FRIDAY, 21 NOVEMBER 2014, 7.30 P.M. SUNDAY, 22 FEBRUARY 2015, 7.30 P.M. A production of l’arte del mondo and Bayer Kultur Leverkusen with the support of the Ministry of Families, Children, Youth, Culture and Sport of the State of North Rhine-Westphalia and the Arts Foundation of NRW. The production at the Theater an der Wien is supported by the Arts Foundation of NRW.

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

MONDAY, 11 MAY 2015, 7 P.M.

70 | | 71 SPECIAL PROJECTS NEW YEAR’S EVE CONCERT NEW YEAR’S EVE AT THE THEATER AN DER WIEN IN THE KAMMEROPER Conductor Constantin Trinks NA, WIE HAMAS Soprano Angela Denoke Double bass, Composition Georg Breinschmid ORF Radio-Symphonieorchester Wien Accordion Tommaso Huber Violin Sebastian Gürtler Four Last Songs by Richard Strauss This year the musical/musicological research conducted by Georg Brein- Richard Wagner – a filmbiography schmid and his colleagues Sebastian Gürtler and Tommaso Huber en- Music by J. Haydn, W.A. Mozart, L. van Beethoven, ters its third phase following the New Year programmes Wer ist Ivica G. Rossini and G. Becce to the silent film by Carl Froelich (1913), Strauss? and ArriveVerdi. Among the sensational highlights they present reconstructed by Bernd Schultheis (2013) are numbers from the restored operetta Na, wie Hamas by W. A. Mos- sad and the Singspiel Zwei Christen im Dreivierteltakt. In addition, new, Silent films have been back in fashion for several years now. They repre- up-to-the-minute findings about Ivica Strauss will be revealed: the oeuvre sent a complete contrast to today’s movie technology which can offer of this composer who has been criminally overlooked, and indeed snubbed, viewers three dimensions and sometimes even four or five. For many by scholars for years will, as in previous years, be one major feature of the cinema-lovers, silent movies are a welcome change because, depending programme. Among the works by Strauss, who was always ahead of his on their individual preferences, each can concentrate on the most impor- time by a good two weeks and therefore ranks among the progressives, tant aspects of the movie or the fundamentals of the art of filmmaking, a new musical has been found that tells the story of an Indian flatbread such as the plot or the actors’ facial expressions and gestures. kept in a cage and is appropriately entitled Ein Käfig voller Naan. But Richard Wagner’s 100th birthday in 1913 provided the opportunity to the programme does not stop short at the day’s very latest news: it also produce the first-ever film biography of a famous person. The director includes historical reviews of the rock ’n’ roll singer Screamin’ Jay Carl Froelich (1875 -1953) filmed Wagner’s life, and consequently his varied Strauss and the infamous Marco Strauss, who discovered Floridsdorf and fascinating career, from the composer’s 17th year up to his death in in 1492 – may include co-opted relatives. Venice in 1883. In 1913, Wagner’s music could not yet be used for copy- right reasons, so the leading actor, Giuseppe Becce, wrote a film score that used many different composers including Haydn, Mozart and Rossi- WEDNESDAY, 31 DECEMBER 2014, 8 P.M. ni. To mark Wagner’s 200th birthday this biographical silent movie has now been reconstructed and made available through a production by the television networks ZDF and ARTE. Bernd Schultheis has produced a new arrangement of Giuseppe Becce’s score which nevertheless remains faithful to the original.

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

WEDNESDAY, 31 DECEMBER 2014, 7.30 P.M.

72 | | 73 SPECIAL PROJECTS STEFAN MICKISCH DREI BEETHOVEN – WAGNER – STRAUSS Keys, zodiac signs and connections on the piano, presented in two parts by Stefan Mickisch

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

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

Part 2

TUESDAY, 28 OCTOBER 2014, 7.30 P.M. KLANG

| 75 SPECIAL PROJECTS JUGEND STIL citingly stagedoperaproductions. Join usinlookingforwardtoseeingouryoungensemble andfiveex- Blind inJanuary2015. nist inLeraAuerbach’sspine-tinglingandintensechamber operaThe the exceptional Arnold Schoenberg Choir which will act as a protago- Another newfeatureforthe2014/15seasoniscollaboration with pular weekendandweekdaysubscriptions. of sixconcertsforthefirsttime.Inaddition,weagainhaveourpo- the portraitconcertsalsoavailableasaconvenientcompletecycle So thatyoucangettoknowourJETs morequickly, thisyearseesall stage fournewoperaproductionsfromthebaroquetomodern. the threefemalesingersandmalewillrehearse performers andconsequentlyfornewdiscoveries.Asinthepast, In thenewseason,cyclebeginsagainforaensembleofyoung have attractedattentionoutsideAustria,too. productions andtheinterestingartiststhatcanbediscoveredhere performances overthelasttwoyearswereoutstanding,andouropera oper aspartoftheVienneseoperaticscene.Audiencefiguresfor Since thenyou,dearvisitors,havehelpedtoestablishtheKammer- after tostageaprogrammethatisbothvariedandambitious. to breathe new life into the Kammeroper for two seasons and there- theatre intheheartofVienna.Ayoungensemble(JET)wasfounded City of Vienna to take over the staging of productions at the historic In September2012theTheateranderWienwascommissionedby Sebastian F.Schwarz(artisticdirectoroftheKammeroper) IN THEKAMMEROPER THEATER ANDERWIEN programme. subscriptions for the performancesinKammeroper areofferedinsidethis the detailedprogramme oftheTheateranderWienin theKammeroper. Special A separatebrochureisavailablewith informationontheensemblemembersand

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KAMMEROPER EUGEN ONEGIN RINALDO Lyrical scenes in three acts (1878) Opera seria in three acts (1711/1731) MUSIC BY PYOTR ILYICH TCHAIKOVSKY MUSIC BY GEORGE FRIDERIC HANDEL LIBRETTO BY PYOTR ILYICH TCHAIKOVSKY AND LIBRETTO BY GIACOMO ROSSI AFTER AARON HILL KONSTANTIN SCHILOWSKI BASED ON THE VERSE NOVEL Performed in Italian with German surtitles OF THE SAME NAME BY ALEXANDER PUSCHKIN Conductor Rubén Dubrovsky Performed in Russian with German surtitles Director Christiane Lutz Conductor Peter Valentovic Set designer Christian Tabakoff Director Ted Huffman Costume designer Natascha Maraval Set & costume designer Samal Blak Rinaldo Jake Arditti Tatjana Viktorija Bakan Goffredo Vladimir Dmitruk Olga Natalia Kawałek-Plewniak Almirena Gan-ya Ben-Gur Akselrod Eugen Onegin Tobias Greenhalgh Argante Tobias Greenhalgh Lenski Vladimir Dmitruk Armida Natalia Kawałek-Plewniak Fürst Gremin Christoph Seidl Mago Christoph Seidl

Wiener KammerOrchester Bach Consort Wien New production by the Theater an der Wien at the Kammeroper New production by the Theater an der Wien at the Kammeroper

PREMIERE: 2 OCTOBER 2014 PREMIERE: 4 DECEMBER 2014 Performances: 4 / 8 / 10 / 13 / 22 / 25 / 28 October 2014, 7 p.m. Performances: 6 / 10 / 12 / 16 / 21 / 22 / 28 / 30 December 2014, 6 October 2014, 12 p.m.; 19 October 2014, 4 p.m. 7 p.m.; 14 December 2014, 4 p.m. Introduction: Sunday, 28 September 2014, 11 a.m. Introduction: Sunday, 23 November 2014, 11 a.m.

78 | | 79 KAMMEROPER THE BLIND L’HEURE ESPAGNOLE / A capella opera for 12 singers LES MAMELLES DE TIRÉSIAS MUSIC BY LERA AUERBACH L’HEURE ESPAGNOLE AFTER MAURICE MAETERLINCKS LES AVEUGLES Comédie musicale in one act (1911) Performed in English with German surtitles MUSIC BY MAURICE RAVEL | TEXT BY FRANC-NOHAIN CHAMBER VERSION BY GELSOMINO ROCCO Conductor Erwin Ortner / Jordi Casals Arnold Schoenberg Chor Performed in French with German surtitles

PREMIERE: 17 JANUARY 2015 LES MAMELLES DE TIRÉSIAS Opéra-bouffe in one prologue and two acts (1947) Performances: 21 / 23 / 29 January 2015, 8 p.m. 25 January 2015, 4 p.m. MUSIC BY FRANCIS POULENC | TEXT BY GUILLAUME APOLLINAIRE Introduction: Sunday, 11 January 2015, 11 a.m. CHAMBER VERSION BY GELSOMINO ROCCO Performed in French with German surtitles GLI UCCELLATORI Conductor Gelsomino Rocco Director Philipp M. Krenn Dramma giocoso in three acts (1768) Set & costume designer Uta Gruber-Ballehr MUSIC BY FLORIAN LEOPOLD GASSMANN L’HEURE ESPAGNOLE LIBRETTO BY CARLO GOLDONI Conception Natalia Kawałek-Plewniak Performed in Italian with German surtitles Gonzalve Vladimir Dmitruk Ramiro Tobias Greenhalgh Conductor Stefan Gottfried Don Inigo Gomez Christoph Seidl Director Jean Renshaw Set & costume designer Christof Cremer LES MAMELLES DE TIRÉSIAS Thérèse / La cartomancienne Gan-ya Ben-Gur Akselrod La Contessa Armelinda Viktorija Bakan La marchande de journaux / Il Marchese Riccardo Vladimir Dmitruk La dame élégante / La grosse dame Natalia Kawałek-Plewniak Roccolina Natalia Kawałek-Plewniak Le directeur / Le gendarme Tobias Greenhalgh Cecco Tobias Greenhalgh Lacouf / Le fils Vladimir Dmitruk Mariannina Frederikke Kampmann Presto / Le monsieur barbu Christoph Seidl Pierotto Christoph Seidl Wiener KammerOrchester Bach Consort Wien New production by the Theater an der Wien at the Kammeroper New production by the Theater an der Wien at the Kammeroper

PREMIERE: 22 MARCH 2015 PREMIERE: 28 MAY 2015 Performances: 30 May, 1 / 3 / 6 / 8 / 16 / 18 June 2015, 7 p.m. Performances: 24 / 26 / 28 / 30 / March, 1 / 8 / 10 /14 April 2015 20 June 2015, 4 p.m.; 23 June 2015, 12 p.m. 7 p.m., 12 April 2015, 4 p.m. Introduction: Sunday, 17 May 2015, 11 a.m. Introduction: Sunday, 15 March 2015, 11 a.m.

80 | DIE LETZTE NACHT

FEUER A celebratory revue to mark 108 years of the “Hölle”

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

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

Piano: Christina Renghofer

Exhibition: Marie-Theres Arnbom WERK PREMIERE: WEDNESDAY, 5 NOVEMBER 2014, 8 P.M. Performances: 6 / 8 / 10 / 12 / 18 / 20 / 24 / 26 / 27 November 2014 , 8 P.M.

| 83 HÖLLE TAT ORT Tel.: +4366488628130 [email protected] Weblog: jugendanderwien.wordpress.com Facebook: JugendAnderWien Friends oftheTheateranderWienclubwithJugendimClub. again havetheopportunitytomakemostofspecialoffersin sional settingoutsideschool.Fans ofJugendanderWienagedupto26 become activelyinvolvedonstageandintheorchestrapitaprofes- school lessons.JugendmachtOperoffersyoungpeoplethechanceto rehearsals are offered for selected opera productions as extensions of the TheateranderWien:preparatorymaterial,workshopsandvisitsto tary activities.Therearealsofascinatingschoolprojectstakingplacein mances can be accompanied by a comprehensive range of complemen- schools havebeenofferedintheKammeroper. Ifdesired,theseperfor- second venue.Sincethe2013/14season,morningperformancesfor grammes of boththeTheateranderWien and the Kammeroper as its This year, Jugend an der Wien will againbe accompanying the pro - ry highestlevel. the youngstershavechancetoexperiencemusicaltheatreatve- different angels.AttheTheateranderWienandinKammeroper musical theatreandbenefitfromalookatperformancesseveral the participantsinJugendanderWiencomeintocontactwithmodern tours behindthescenesandnotleastbysingingactingthemselves In introductorysessions,workshops,discussionswithartists,guided people and gives them the chance to findout more about this art form. Jugend anderWienmakesoperaandhouseaccessibletoyoung JUGEND ANDERWIEN Mag. Ksenija Zadravec,BA BOOKINGS &CONTACT: a Catherine Leiter, MA

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YOUTH INTRODUCTION TO THE SEASON GUIDED TOURS WITH DIRECTOR ROLAND GEYER AND GUESTS The Theater an der Wien ranks among the most beautiful theatres in Vi- Opera is music and theatre. What does that mean? It embraces music and enna and has one of the richest traditions. Take advantage of the unique drama as components of equal status. It means listening and watching in opportunity to sample the theatrical atmosphere in a building that a new way, asking and answering questions in a new way – and presenting has enchanted audiences for over two centuries with its outstanding it all to an audience that is invited to form its own opinion. acoustics and authentic, intimate ambience.

At the start of the 2014/15 season, Director Roland Geyer will present the Groups taking part in guided tours are limited to thirty people. The Theater an der Wien’s ten new productions along with several experts. 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 Anyone wishing to gain a detailed summary of the 2014/15 year of opera at are in German and last approximately one hour. the Theater an der Wien should not miss these special talks. The audience will, of course, have the opportunity to ask questions at the end. The experts The tour includes the foyer, the auditorium, the stage, the cellar and will try to “infect” the visitors with the fascination of the coming season in the dressing-room area. Visitors will learn about the building’s history, this roughly 90-minute event. its programme of performances, the way it is organised and the tech- nology used. Admission is free for Theater an der Wien subscription holders, Friends of the Theater an der Wien and school groups participating in Jugend an der It is of course also possible to book private tours (in other languages, Wien projects. 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. Bookings for this event can be made, and tickets for it go on sale, from 1 August 2014. Special offer for school groups: during private tours for classes, special Contact: Philipp Wagner, Tel. +43 (0) 1 58830-2015 emphasis can be placed on topics covered in lessons (such as technology, E-Mail: [email protected] fashion, music etc.).

For the dates and times of guided tours, see the website of the Theater MONDAY, 15 SEPTEMBER 2014, 7 P.M. an der Wien (www.theater-wien.at), the theatre’s magazine and the bi- monthly folder. See p. 89 for details of prices.

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

86 | | 87 GUIDED TOURS INFORMATION

TICKET SALES INTERNET www.theater-wien.at | www.kammeroper.at Tickets go on sale to the general public on 16 June 2014 at 10 a.m. for the Tickets can be purchased online by credit card from 17 June and performances until 31 December 2014, at the box office at the Theater an 2 September 2014, respectively. Shipping charge*: within Austria ¤ 4.50; der Wien and the Wien-Ticket pavilion and can also be ordered by tele- abroad ¤ 6.50. Arranging for advance tickets to be kept for collection at phone on +43 (0)1 58885. Tickets for performances from 1 January 2015, both box offices is free of charge. Arranging for purchased tickets to be left go on sale to the general public on 1 September 2014, at 10 a.m. Cloak- for collection from the evening ticket offices of the Theater an der Wien and room fees are included in the ticket price. Please note that no orders for the Kammeroper costs ¤ 1.50. The Theater an der Wien and Kammeroper individual tickets can be accepted before tickets go on general sale. newsletter can be subscribed to free of charge at www.theater-wien.at. Visit us on Facebook: www.facebook.com/TheateranderWien BOX OFFICE THEATER AN DER WIEN & KAMMEROPER Videos at: www.youtube.com/user/theateranderwien Box office for both venues: Theater an der Wien, Linke Wienzeile 6, 1060 Vienna | Opening hours: Mon–Sat, 10 a.m. –7 p.m. Closed on GUIDED TOURS OF THE THEATER AN DER WIEN (see P. 87) Sundays, except for matinee performances (open from 10 a.m.–1 p.m.) Price: ¤ 7 /5 (concession)* | Groups of schoolchildren: ¤ 3 and evening performances (open 2 p.m. until curtain-up) Children under 6: free Additional box office Kammeroper: Advance tickets for Kammeroper *Concessions apply to school pupils, students up to age 26, persons in military/community service performances are also available with immediate effect from Hotel Post, VOUCHERS Fleischmarkt 24, 1010 Vienna (hotel reception, daily from 9 a.m. to 8 p.m.) Vouchers for productions of the Theater an der Wien or the Kammeroper Information and phone sales: +43 (0)1 58885 can be ordered by phone on +43 (0) 1 58885 or purchased at the Evening box office: From one hour before curtain-up at the Theater an der Vereinigte Bühnen Wien box offices and the Wien-Ticket pavilion. Wien and the Kammeroper. For your convenience, please buy or pick up Vouchers are not valid for non-Theater an der Wien and Kammeroper all tickets that are not for the next performance, and complete any sub- productions (e. g. Wiener Festwochen) held at those venues. scription enquires (e.g. exchange) at the Theater an der Wien box office no later than 6 p.m. WHEELCHAIR SPACES/SPECIAL NEEDS WIEN TICKET PAVILION PERSONS WITH REDUCED MOBILITY Wheelchair spaces can be reserved at the Theater an der Wien (also for an Tickets (except subscription tickets) are also available from the Wien - accompanying person if desired) up to a week before the performance for Ticket pavilion on Herbert von Karajan-Platz by the State Opera from 16 which tickets have been bought on +43 (0) 1 58885 or at our box offices. June and 1 September 2014 respectively. Open daily from 10 a.m. to 7 p.m. Price: ¤ 10 (wheelchair space) with a 50 % concession for the accompa- BOOKING BY PHONE nying person. Patrons with a disabled person ID are granted a 25 % red- Tickets (except subscription tickets and other conces- uction up to one week before the performance for which they have bought sions) can also be ordered by phone every day from tickets. These concessions are available only at the theatre box offices on 8 a.m. to 8 p.m. from Wien-Ticket on +43 (0)1 58885. presentation of a disabled person ID (limited ticket availability). Please Shipping charge*: within Austria: ¤ 5.90; abroad: ¤ 9.90. note that there are no lifts in the Theater an der Wien or the Kammeroper, GROUP BOOKINGS and there are no wheelchair spaces in the Kammeroper. For bookings for groups of 11 or more people, please contact the STANDING ROOM Theater an der Wien sales department. Tel. +43(0)1 588 30-1440 or by Tickets for patrons wishing to stand at the Theater an der Wien are available e-mail: [email protected] at the box office at the theatre’s discretion and no earlier than one hour be- fore curtain-up. Price ¤ 7. No standing room is available in the Kammeroper. * Shipping charges subject to change 88 | | 89 INFORMATION The THEATER AN DER WIEN would like to thank all its partners, TICKETS FOR STUDENTS AND SCHOOLCHILDREN friends and sponsors Tickets for schoolchildren and students up to age 26 are available, at the theatre’s discretion and no earlier than 15 minutes before curtain-up, at the box offices of the Theater an der Wien and the Kammeroper on presen- tation of appropriate ID. Theater an der Wien: Opera: ¤ 15 | Concert: ¤ 15 Kammeroper: Opera: ¤ 10 | Concert: ¤ 7 JUNIOR-TICKET mAIN SpoNSoR Children or adolescents (under 16) who attend a Theater an der Wien production are granted a 35% reduction on ticket prices in the categories Agrana A - E. Available at all VBW ticket offices, the Theater an der Wien online shop and by phone from Wien-Ticket on +43(0)1 58885. SAVE ON PARKING WHEN YOU VISIT THE THEATER AN DER WIEN GolDEN CIRClE SIlvER CIRClE Patrons of the Theater an der Wien can park in the Technical University’s WiPark garages for only ¤ 6.90 for the first five hours. Gewista Akris Ottakringer Valid Mon-Sat, 5 p.m.–8 a.m., Sundays and holidays. ÖBB Casinos Austria ŠkODA Pre-paid parking cards are available at the Theater an der Wien box office. ISPA Werbung Walla Druck Addresses: Garage Technische Universität | Operngasse 13 | 1040 Vienna Garage Lehárgasse | Lehárgasse 4 | 1060 Vienna SAVE ON PARKING WHEN YOU VISIT THE KAMMEROPER SubSIDISING SpoNSoRING CoopERATIoNS- oRGANISATIoN KAmmERopER pARTNERS Patrons of the Kammeroper can park in the BOE Garage on Franz-Josefs- Kai for ¤ 5 per day. Valid Mon-Sun, 6 p.m. – 7 a.m. Pre-paid parking cards Wien kultur BUWOG Die Presse are available at the Kammeroper evening box office. Barbara & Martin Schlaff Doetsch Grether AG Address: BOE Garage Franz-Josefs-Kai | Morzinplatz 1 | 1010 Vienna Heldwein Ö1 CLUB Production Sponsor kattus Ö1 club members receive a reduction of 10 % on a maximum of two Kammeroper: Le Méridien tickets per performance. This reduction applies to all Theater an der Raiffeisen Zentralbank Wien productions. No concessions are available on subscription tickets, tickets for standing room and events of the Wiener Festwochen.

To obtain the Ö1 Club concession, please show your membership card or state your membership number. WIENER FESTWOCHEN Tickets for Wiener Festwochen events in May/June 2015 at the Theater an If you are interested in sponsoring the Theater an der Wien and our young ensemble, der Wien are available from the Wiener Festwochen only: please contact Ms. Sandra Risska, Head of Development Department on 01 588 30-1330. www.festwochen.at; Festwochen service telephone +43 (0) 1 589 22 22.

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vbw.at INFORMATION

DD_130x205_Ins_14-englisch-3.indd 1 12.06.14 16:39 PRICES THEATER AN DER WIEN MUSICAL THEATER Prices in ¤ * LINKS BÜHNE RECHTS Charodeyka / Iphigénie / Les pêcheurs de perles Seating plan 3. RANG 2. RANG 1. RANG PARTERRE PARTERRE 1. RANG 2. RANG 3. RANG La straniera / Il barbiere di Siviglia / Le nozze di Figaro Theater an der Wien 1 1 1 1 1 1 1 2 1 1 2 2 2 BELEUCHTERSTAND STEHPLÄTZE 2 a 145 b 124 c 98 d 87 e 66 f 46 g 24 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 American Lulu / Geschichten aus dem Wiener Wald / La mère coupable 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 a 130 b 108 c 85 d 73 e 55 f 38 g 19 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 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 6 3 1 7 Christmas Oratorio 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 3 8 2 1 BELEUCHTERSTAND 3 a 118 b 98 c 78 d 62 e 48 f 31 g 14 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 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 CONCERT PERFORMANCES & SPECIAL PROJECTS 2 4 2 2 8 2 2 11 2 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 Opening 14/15 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 a 98 b 87 c 75 d 62 e 49 f 31 g 14 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 1 STEHPLÄTZE 2 11 1 2 14 2

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25.09.14 Tamerlano | 17.10.14 Alcina | 23.10.14 La Stellidaura vendicante 3 12 2 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 23.11.14 Demofonte | 29.11.14 King Arthur | 20.01.15 Baroque Rivalries 1

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 27.01.15 Cinq-Mars | 26.02.15 Hercules | 17.04.15 Zaïs | 21.04.15 Siroe 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 11.05.15 La clemenza di Tito 3 1 7 STEHPLÄTZE 1 1 3 1

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New Year’s Eve Concert at the Theater an der Wien 2 17 2 0 2 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

1 2 3 4 5 6 7 8 6 8 7 6 5 4 3 2 PARTERRE 1 4 1 1 5 a 80 b 65 c 55 d 45 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 Mickisch Beethoven-Wagner-Strauss in two parts 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 4 5 4 1 2 3 a 43 b 43 c 35 d 35 e 27 f 17 g 11 1 4 5 4 6 5 5 4 1 2 2 5 1 5 2 2 6 5 5 1 6 5 1 3 6 6 Michael Heltau: Das war’s, Herr Direktor! 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 a 51 b 43 c 35 d 30 e 25 f 17 g 11 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 7 10 11 10 9 5 7 2 1 2 4 7 9 8 8 5 2 1 9 1 9 7 4 1 0 0 11 10 LECTURE 3 2 2 6 6 11 9 6 9 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 15 September 2014 Introduction to the Season 7 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 T 1 6 1 7 2 4 H 5 2 T 4 0 0 CABARET IN THE “HÖLLE” 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 5 / 6 / 8 / 10 / 12 / 18 / 20 / 24 / 26 / 27 November 2014 Die letzte Nacht 20 2 K T 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 FAHRT INS GLÜCK (EPILOGUE) 4 9 3 2 4 9 4 8 7 1 2 32 2 2 4 7 8 3 3 1 2 8 14 / 16 / 18 / 21 / 23 / 24 March 2015 25 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 Together with Geschichten aus dem Wiener Wald 15 9 11 1 10 29 6 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 If bought with a season ticket including Geschichten aus dem Wiener Wald 10 3 3 3 13 1 8 1 4 3 2 1 12 1 2 1 1 2 8 2 MITTELLOGE 1 2 1 2 9 9 2 3 INTRODUCTIONS 5 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 JUGEND AN DER WIEN-PERFORMANCES 10 / 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 92 | * Cloak-room fees are included in the ticket price 5 6 6 5 4 the second balcony at any concerts or concert performances of operas. PHOTOGRAPHIC MATERIAL PRICES KAMMEROPER Cover image © beyond / michael huber . thomas riegler (art direction: thomas riegler) Inside cover image © Paul Ott All illustrations (S. 12-84) were commissioned for this programm by Theater an der Wien to Thomas Riegler MUSICAL THEATER Prices in ¤ * (graphic design) and Michael Huber (text) All illustrations (pp. 12-84) were commissioned for this programme Eugen Onegin / Rinaldo / The Blind / Gli uccellatori by the Theater an der Wien from Thomas Riegler (graphic design) and Michael Huber (text) and are based on production photos and portrait photos, in some cases using material owned by corbis images. L’heure espagnole – Les mamelles de Tirésias / New Year’s Eve in the Kammeroper p. 8 Pierre-Augustin Caron de Beaumarchais. Engraving after a drawing by Nicholas Cochin, 1784. p. 12 Gustavo Dudamel © Chris Christodoulou a 51 b 40 c 29 d 19 p. 14 Asmik Grigorian © unnamed | Johannes Martin Kränzle © Monika Rittershaus p. 18 Veronique Gens © Albert Vo Van Tao/Virgin Classics | Rainer Trost © Am Haug Fo p. 22 Diana Damrau © Michael Tammaro/Virgin Classics | Nathan Gunn © Dario Acosta PORTRAIT CONCERTS 10 p. 26 Marisol Montalvo © Iko Freese/ drama-berlin.de | Jacques-Greg Belobo © unnamed p. 30 Weihnachtsoratorium © Holger Badekow/Hamburg Ballett 20.10.14 Christoph Seidl p. 34 Edita Gruberova © Georg Sagmeister | Dario Schmunck © Mark Kendall Artists Management Ltd 15.12.14 Viktorija Bakan p. 36 Marlis Petersen © Yiorgos Mavropoulos | Norman Reinhardt © Dirk Brzoska 19.01.15 Natalia Kawałek-Plewniak p. 40 Topi Lehtipuu © Kaappo Kamu | Mari Eriksmoen © Sveinung Bjelland p. 44 Angelika Kirchschlager © Peter M. Mayr | Daniel Schmutzhard © Julia Stix 10.02.15 Gan-ya Ben-gur Akselrod p. 50 Stéphane Degout © Thibault Stipal | Christine Schäfer © Bodo Vitus 07.04.15 Tobias Greenhalgh p. 54 Markus Butter © Matthias Creutziger | Mireille Delunsch © Studio cui cui, Aude Boissaye p. 58 Joyce di Donato © Josef Fischnaller | Max Emanuel Cenˇci´c © beetroot 11.06.15 Vladimir Dmitruk p. 74 Stefan Mickisch © S. M.

INTRODUCTIONS 5 THEATER AN DER WIEN Intendant Roland Geyer | Assistant to Intendant Sylvia Hödl Artistic Planning Sebastian F. Schwarz, Claudia Stobrawa, Ugo Varela Production Management Petra Haidvogel, Anja Meyer Dramaturgy Karin Bohnert, Franziska Korun, Petra Maderthaner, Ksenija Zadravec Artistic Administration Renate Futterknecht | Assistant to Artistic Administration Edith Gutmaier Ticketing & Subscriptions Markus Schemmel, Philipp Wagner Public Relations Sabine Seisenbacher, Andrea Brandner, Gabriela Pfeisinger | Marketing Tina Reithofer BÜHNE Youth Projects Catherine Leiter, Ksenija Zadravec | Graphic Design Nadine Dellitsch, Martina Heyduk Technical Director Christoph Bauch | Head of Costume Department Doris Maria Aigner LINKS PARKETT RECHTS Seating plan Technical Production Gerald Stotz | Technical Office Slav Gospodinov, Ulrike Müller Lighting Ralf Sternberg | Sound Robert Macalik | Makeup Gabriele Kammerer | Dresser Hannelore Habel 14 13 12 11 10 9 8 7 6 5 4 3 2 1 1 Kammeroper Facility Management Erich Skrobanek 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 PUBLISHING DETAILS 14 13 12 11 10 9 8 7 6 5 4 3 2 1 4 Theater an der Wien – Intendant DI Roland Geyer 1 14 13 12 11 10 9 8 7 6 5 4 3 2 1 5 Publisher & Proprietor: Vereinigte Bühnen Wien Ges.m.b.H. – Managing director Thomas Drozda Theater an der Wien, Linke Wienzeile 6, 1060 Vienna 2 14 13 12 11 10 9 8 7 6 5 4 3 2 1 6 Tel. (+43/1) 588 30-1010 | Fax Ext. 99 2000 | [email protected] | www.theater-wien.at 3 14 13 12 11 10 9 8 7 6 5 4 3 2 1 7 Responsible for content: Intendant DI Roland Geyer 4 14 13 12 11 10 9 8 7 6 5 4 3 2 1 8 Editorial office: Karin Bohnert, Renate Futterknecht, Martin Gassner, Sylvia Hödl, Franziska Korun, Catherine Leiter, 14 13 12 11 10 9 8 7 6 5 4 3 2 1 9 Johannes Penninger, Tina Reithofer, Herbert Schäfer, Markus Schemmel, Sebastian F. Schwarz, Sabine Seisenbacher, Claudia Stobrawa, Ugo Varela, Philipp Wagner, Ksenija Zadravec 14 13 12 11 10 9 8 7 6 5 4 3 2 1 10 Graphic design/Art Direction: Nadine Dellitsch, Martina Heyduk 14 13 12 11 10 9 8 7 6 5 4 3 2 1 11 Printing: Walla Druck 14 13 12 11 10 9 8 7 6 5 4 3 2 1 12 Subject to change | July 2014 | DVR 0 187 1

14 13 12 11 10 9 8 7 6 5 4 3 2 1 13 Vereinigte Bühnen Wien Ges.m.b.H. 14 13 12 11 10 9 8 7 6 5 4 3 2 1 14 A Wien Holding Company 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 MEDIA PARTNERS 14/15 PARTNERS LINKS PARKETT RECHTS JUGEND AN DER WIEN: 7 6 5 4 3 2 1 17 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 96 | 9 8 23 7 6 5 4 3 2 1 23 included in the ticket price