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A Wien Holding Company Intendant Roland Geyer General sponsors of the Theater an der Wien The Theater an der Wien recieves subsidies from the Cultural Department of the City of Vienna insNoten130x205_4c_E_TheaterRZ 04.06.2008 13:53 Uhr Seite 1 „WHOEVER HEARS BUTTERFLIES LAUGHING, KNOWS THE SCENT OF CLOUDS“ (Novalis) he butterfly is a wonderful symbol of transformation and freedom. And this is a requirement that art repeatedly demands, too. The mysterious Tmetamorphosis of the ugly caterpillar into the magnificent butterfly has sti- mulated man’s imagination from time immemorial. Everyone who watches Where does a butterfly is struck by its beauty, elegance and lightness. The ancient ability to think in images and symbols is inside each one of us – and in the world of opera, too. The opera is a treasure-house of the music call the tune? irrational. It unfolds “our imagination’s most beautiful alternative world.” Mozart himself confessed, “I need only to hear talk about opera, I need only to be in the theatre and hear voices – it suffices to transport me utterly.” The Theater an der Wien, the new opera house, is aiding a development in our city that no one can now fail to notice: more and more people with an interest in culture, and younger people too, are going to the opera! They are looking for a space where dreams and longings can unfold freely with great emotion and even pathos – and the opera provides a meeting place for them: everything appears bathed in “bright” light, and in this light one is drawn in by enchanting sounds. It is here that the magic of opera emer- ges in its most beautiful colours – and performs an absolutely fundamental function: “What cannot be spoken about must be sung about.” Our new programme for 2008/09 also offers fascinating music theatre: whether it’s works by Mozart, Gluck and Handel or Stravinsky, Strauss and Debussy, every new opera premiere at the Theater an der Wien – and there is one every month – enables you, dear visitor, to experience the diversity of opera. I wish you many magical moments in our wonderful opera house and hope that you too will often be “utterly transported”. Roland Geyer Under the wings of the lion Intendant First-class arrangement and quality at an international level with commitment to tradition and the modern. Values for which the Theater an der Wien and the Generali stand for in equal measure. That is why we are looking pleased to be able to support Vienna's only “stagione” opera house. For ultimate cultural pleasure under the wings of the lion. | Music Theatre G. F. Handel: AriodaNte Contents6 Ch. W. Gluck: ORFEO ED EURIDICE 10 I. Strawinski: THE RAKE’S PROGRESS 14 R. Strauss: INTERMEZZO 18 C. Debussy: PELLÉAS ET MÉLISANDE 22 J. Neumeier: TOD IN VENEDIG 26 G. F. Handel: PARTENOPE 0 G. F. Handel: MESSIAH 4 W. A. Mozart: Mitridate, RE DI PONTO 8 J. Ulrich: FIDELIO, EIN BALLETT 42 G. Rossini: IL TURCO IN ItaLIA 46 W. A. Mozart: DON GiovaNNI 0 OPERA IN CONCERT 4 CoNCERTS 8 KABINETTTHEATER 66 Guided Tours 71 Prices 72 Seating Plan 7 Information 7 Imprint 78 Booking form 79 | GAriodanteeorge Frideric Handel Misera me! Non posso aver quiete mie pene anche nel sonno. Woe is me! My anguish finds no relief, not even in sleep. (Ginevra) 16 September 2008 18 / 20 / 22 / 24 / 26 September 2008 andel’s thirty-third opera, Ariodante, was written in the midst of the fi- Dramma per musica in three acts HWVAriodante (17) nancial and artistic chaos that reigned during the “London opera war”. MUsic BY George Frideric HANdeL In the face of intense competition from the King’s Theatre Handel wrote based ON the LIBRETTO GINEVRA, PRINCIPESSA DI SCOZIA Hone of his best operas for Covent Garden. The subject is based on Ludo- BY ANTONIO SALVI vico Ariosto’s epos Orlando furioso. The intrigue surrounding the knight Ariodante had inspired numerous Performed in Italian with German surtitles composers and writers before Handel, including Shakespeare, who used the tale, albeit in humorous vein, for his comedy Much Ado About Nothing. Conductor Christophe Rousset Director & Set designer Lukas Hemleb Ginevra and Ariodante are lovers, but Polinesso wants to attain power by mar- Costume designer Marc Audibet rying Ginevra. He schemes against the lovers and forces Ginevra’s confidante Light designer Dominique Bruguière Dalinda to dress in Ginevra’s clothes and await him at night. Believing that Choreographer Thomas Stache Ginevra has been betraying him, Ariodante is driven close to suicide. Indeed, he is believed already dead when he foils an attempt to murder Dalinda that was Ariodante Angelika Kirchschlager instigated by Polinesso. Dalinda tells Ariodante about Polinesso’s plotting. In Ginevra Danielle de Niese the meantime, Lurcanio challenges Polinesso to a duel to avenge the supposed Il Re Luca Pisaroni death of his brother, Ariodante. Polinesso is mortally wounded, and as he lies Lurcanio Topi Lehtipuu dying confesses his disgraceful deed. Ariodante appears incognito to proclaim Dalinda Maria Grazia Schiavo Ginevra’s innocence. Nothing now stands in the way of the wedding of Ginevra Polinesso Vivica Genaux and Ariodante. Odoardo Martin Mairinger Handel spent two and a half months working on Ariodante, an unusually Dancers: Joseph Fowler, Sylvain Reboux, Sylvain Espagnol, long time for him. Both the music and the sensitive portrayal of the vari- Ivo Bauchiero, Magali Lesueur, Mélodie Joinville, Audrey Aubert ous characters are among the most expressive he ever wrote. Furthermore, Handel exploited the artistic potential of the Royal Theatre Covent Gar- Les Talens Lyriques den that opened in 172 to the full, incorporating choruses and dances as Arnold Schoenberg Chor (Chorus master: Erwin Ortner) central elements of the plot as well as arias da capo, ariosi and four duets. Coproduction with Théâtre des Champs-Elysées Paris Premiere: Tuesday, 16 September 2008, 7 p.m. Performances: 18, 20, 22, 24 & 26 September 2008 sponsored by Introduction: Sunday, 14 September 2008, 11 a.m. 8 | MUsiC theatre | 9 OrfeoChristoph ed Euridice Willibald Gluck Vieni: segui i miei passi, unico, amato oggetto del fedele amor mio. Come, follow my steps, my only one, the object of my desires, my love and devotion. (Orfeo) 14 October 2008 16 / 19 / 21 / 2 October 2008 he fascinating legend of Orpheus that tells of the power of music Azione teatrale perOrfeo musica in three acts ed (1762) Euridice and song has inspired many composers down the ages, among them MUsic BY Christoph wiLLibaLD GLUCK Christoph Willibald Gluck. Gluck first met the librettist Ranieri de’Calza- LIBRETTO BY RANIERI DE’CALZABIGI Tbigi at the emperor’s court in Vienna, and together they decided to crea- te a new ideal of music theatre with their work Orfeo ed Euridice. They wan- Performed in Italian with German surtitles ted music that was simple and natural, devoid of unnecessary flamboy- ance. In their efforts to capture the spirit and place special emphasis on Conductor René Jacobs the “genuinely human” Gluck and Calzabigi restricted plot and characte- Director Stephen Lawless risation to the strictly necessary. Set designer Benoît Dugardyn Costume designer Sue Willmington Orfeo laments the death of Euridice and demands that the gods return her. Choreographer Lynne Hockney The gods grant him permission to descend into the underworld bring Euri- Light designer Patricia Collins dice back. However, he is strictly forbidden to look at her before he has retur- ned to the Earth: if he does, she will be lost to him forever. With his singing Orfeo Bejun Mehta and lyre playing Orfeo succeeds in appeasing the furies, who then allow him Euridice Miah Persson to pass into the realm of shades. There he meets Euridice, takes her hand Amore Sunhae Im and starts to lead her back to the world of the living with his gaze averted. But the path is long and Euridice bemoans Orfeo’ incomprehensible cold- Freiburger Barockorchester ness. Eventually he can resist no longer and takes her in his arms. She im- Arnold Schoenberg Chor (Chorus master: Erwin Ortner) mediately drops lifeless to the ground. In the end, Amore brings her back to life again, because her dying twice has in fact only been a test of devotion. Gluck’s music is characterised by great melodic beauty and tremendous drama. He comments: “I have regarded music not simply as a way of amusing the ears but also as one of the most effective means of touching the heart and arousing emotion. I have consequently chosen to work on a dramatic plot and tried to find great and eloquent expression.” Far remo- ved from the stereotypes of the opera seria, Orfeo ed Euridice combines scenes consisting of lyrical songs, choruses, dance and stirring orches- tral interjections that all merge seamlessly. New production Theater an der Wien Premiere: Tuesday, 14 October 2008, 7.0 p.m. Performances: 16, 19, 21 & 2 October 2008 sponsored by Introduction: Sunday, 12 October 2008, 11 a.m. 12 | MUsiC theatre | 1 IThegor Strawinski Rake’s Progress In a foolish dream, in a gloomy labyrinth I hunted shadows, disdaining thy true love... (Tom Rakewell) 13 November 2008 15 / 17 /21 / 23 / 28 November 2008 wo hearts beat in one breast: one of them wants a well-ordered life, TheOpera in three acts (191)Rake’s Progress the other tends towards vice and immorality. A Rake’s Progress, a series MUsic BY Igor StrawiNSKI of eight satirical and socially critical copperplate engravings by the En- LIBRETTO BY WYSTAN HUGH AUDEN aND CHESTER KALLMAN Tglish artist William Hogarth inspired Igor Strawinski to compose his only full-length opera after he had seen them at an exhibition in the Chicago Performed in English with German surtitles Art Institute.

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