THE HOUSE

www.theater-wien.at

General sponsor

The receives subsidies from the Cultural Department of the City of AGRANA.COM PREFACE

This programme has been put together in times that see our theatrical operations and – and indeed the whole world – affected by a pan- demic of unprecedented proportions. Coronavirus will have a lasting im- pact, and at present we can only guess the extent to which it will change This is why cultural life, the economy and society in Austria.

As I write this preface, the Theater an der Wien has been forced to can- cultureis so cel at short notice three highlights that our director Geyer had conceived and prepared especially for you, our valued audience, for the spring of 2020. We just had time to produce a film of our production of the 1806 directed by Christoph Waltz and conducted by Manfred important Honeck as a record for posterity. However, the eagerly awaited premieres of The Fiery Angel directed by Andrea Breth and Norma with star Asmik Grigorian fell victim to the measures taken to contain the spread to us. of the virus. Of all people, we artists must remain optimistic about the future, since culture is “food for the soul”. That is why we hope that full-scale opera Fruit. Starch. Sugar. – It is with these performances at the Theater an der Wien and the Kammeroper will be three segments that AGRANA enjoys resumed for you to enjoy by the autumn of 2020 at the latest. success around the world. Quality is our top priority – even in areas This programme for the 20/21 season, titled “Before the afterglow”, once that are seemingly unrelated to our again offers a great variety of fascinating operatic experiences ranging company. Maintaining this requires from to the contemporary. both commitment and support. Our sponsorship of cultural activities enables It is my wish that you, our valued audience, continue your loyal patronage us to support a key aspect of society and to and do so in large numbers. make sure it gets the attention it deserves.

AGRANA is the main sponsor of the Franz Patay, Managing Director Theater an der Wien. Vereinigte Bühnen Wien

2 The natural upgrade 3 Foto © Peter M. Mayr Foto

TadW_137x205_3mm_Juni 2020_EN.indd 1 22.06.2020 12:56:44 In the third part of the four-year programme cycle “4 phases of the day” encouraging hope that dark times will be overcome – a kind of antithe- the Theater an der Wien and the Kammeroper have de facto reached sis to Hauptmann’s pessimism, if you will – is provided by Ludwig van BEFORE THE AFTERGLOW. Beethoven’s setting of Schiller’s Ode to Joy in his 9th Symphony: “Joy commands the hardy mainspring / Of the universe eterne. / Joy, oh joy When the Indonesian volcano Tambora erupted in 1815, the aftereffects the wheel is driving / Which the worlds’ great clock doth turn.” We pre- of the disaster were soon visible as far away as the other side of the sent John Neumeier’s latest choreography of this hymn to humanity. globe: the volcanic ash and fine particles from the eruption dispersed in the atmosphere, causing spectacular red sunsets as far away as Europe. What is de facto true can, in reality, scarcely be altered. In art, however, The famous English painter William Turner captured these brilliantly we have the possibility of defining conditions ourselves, of adapting time coloured skies for posterity in many of his later works, earning and space and of showing utopias as alternative models to an apparent- himself the title “master of light”. His paintings of sunsets ly hopeless reality. “For,” as Schopenhauer writes, “it plucks the object are arresting examples of how art can also serve as an of its contemplation from the stream of the world’s course, and indirect source of information about past changes holds it isolated before it. […] It stops the wheel of time; for it in the climate and atmosphere. The secret of this the relations vanish; its object is only the essential, the Idea.” display of colours in the sky lies in the way the sun’s rays are diffused in the atmosphere. On Time and space are the central elements of the art form fine evenings, aerosols in the air bathe the that is theatre: they inform every opera, and Schopen- sky in a breathtaking afterglow. “The heavens hauer too held them to be the constituents that make aflame. Slow dies the sun; such is beauty: red material action possible in the first place, that, de facto, evening skies mean evening’s demise”.* create it: “A combination of the two constitutes its es- DE FACTO sential nature, just because this, as we have shown,

The afterglow of sunset may fascinate us consists in action, in causality.” For the moments of PROLOGUE and promise protection, yet at the same time their performance in time and space the are as it also heralds the final departure of day; and real as reality, though their finality is less brutal: because darkness always stands for eternal darkness the performance can be repeated death is to some extent too. Vor Sonnenuntergang (Before Sundown) is eliminated, the same red sunset can appear time and time also the title of a naturalistic masterpiece by again and this particular reality can be repeated, which means Gerhart Hauptmann, written in around 1930 at a it can be put right – and in this way art can anticipate reality time when National Socialism was gaining an ever and set it an example. stronger foothold. In his pessimistic family drama Haupt- mann denounces the ruthless “other side” of humanity: its The aim of an opera house must now be to offer audiences in the audi- brutality, coldness, craving for power, violence and greed. Red evening torium a PROGRAMME SPACE as well, whose power of suggestion should skies mean evening’s demise. represent an open-ended compendium of possible realities through the myriad facets of the works and the ideas of the artists. It is from No other era allowed these human characteristics to gain such a here that, on the one hand, various dramaturgic interrelationships and, heinous hold as the twelve years of National Socialist rule starting in on the other, artistic paths can be evoked. It was in consideration of 1933. “Afterglow – the clouds burn, the sun dies in its own flames. The these aspects that the current 20/21 programme space was created with whole world stands still…”.* However, the world was able to liberate itself a total of 23 projects ranging from the Baroque to the contemporary. again and rebuilt its cultural and economic structures. Reassuring and

* From Traumspuren and Zauberwelten by Hans-Christoph Neuert (1958-2011), translation © wordworks. 4 5 The graphics and themes of the programme have been split into six clouds. (Naturally enough the clouds are – before the afterglow – red.) Cloud 1: shows four “lonely” women in rarely performed masterpieces Cloud 2: deals with the “love” relationships of four ill-matched couples Cloud 3: puts the spotlight on four “father figures” Cloud 4: has four men fail out of “jealousy” Cloud 5: tells tales that could begin with “Once upon a time” Cloud 6: pursues a visionary path

These six programme clouds are intended to be thought-provoking, but they are de facto neither fin- ished nor are their forms cast in stone: it is expressly recommended that audiences add to them with their own ideas.

There are of course aspects that the individual clouds share, such as this year’s artist in residence: In 20/21 Florian Boesch is our artistic standard bearer and appears in five productions. Then we have the trio of Italian composers Cavalli, Vivaldi and Rossini and their works Giasone, and Barbiere in the Kammeroper, and the two productions requested in our subscribers’ To close I would like to extend my heartfelt thanks to Mrs Hermine poll, “The best TAW production 2006-2018”: Robert Carsen’s Platée and Karigl-Wagenhofer who has provided us with 18 paintings and permis- Claus Guth’s . And let us not forget our new production of Proko- sion to reproduce them in this programme and on our website, and fiev’s The Fiery Angel directed by Andrea Breth which was cancelled in by doing so has beautifully embellished both. March 2020 because of the corona pandemic and has now been res- cued at short notice and will be juxtaposed with ’s Although, as Schopenhauer noted, even “by running we can never reach production of Massenet’s Thaïs. There is also Günther Groissböck’s the point where the clouds touch the horizon; art, on the contrary, is directorial debut as he dares to undertake a Tristan Experiment. everywhere at its goal.” I ask you to continue your patronage of the Theater an der Wien and the Kammeroper in future and assure you Last but not least, our exclusive new production of Porgy and Bess that you will once again experience marvellous opera at both in 20/21. with the fantastic South African opera choir from Cape Town will push boundaries in several ways as it embraces various artistic and cultural genres. George Gershwin’s masterpiece defies many classical parame- Best wishes, ters and categories, but is nevertheless the progenitor of American Roland Geyer, Director “classical” opera. Theater an der Wien

6 7 PROGRAMME SPACE Schub er 2020/21 t oven th shw e er in e G C av B WINTERREISE al li HIMMELERDE PORGY & BESS VISIONARYAN DIE FREUDE GIASONE & MEDEA RUPRECHT & RENATA PLOVINGTRISTAN & ISOLDE M ro ahler k

o fje w r e W agn Mozar allo t cav n H o R e am a L y

e d a FIGARO ZAZÀ u n PLATÉE vor abendrot BARBIERE V i JEALOUS THAÏS v a M LONELYARMIDA l d a i ss ene t i r i e n li ssi Sa Ro Porpo Ha ra nd e l i ld a CARLO v i BAJAZET ORESTE V FABULOUSCAJO PATERNALBELISARIO SAUL H a n d e e i l s tt s e Ha iz Don de facto The third part of the programme cycle “4 phases of the day 2018-22” has BEFORE THE AFTERGLOW as the focal point of the Theater an der Leoncavallo: ZAZÀ 12 Wien’s programme. The programme space for 20/21 features six clouds and consists of a total of 23 premieres: 13 staged opera productions Vivaldi: BAJAZET 14 plus eight concert performances and two semi-staged special projects Gershwin: PORGY AND BESS 16 with our artist in residence Florian Boesch. It is de facto a typical programme for a year at the Theater an der Wien Mozart: LE NOZZE DI FIGARO 18 and the Kammeroper, since it attempts to present all the virtues that Cavalli: GIASONE 20 our loyal audiences have appreciated so much over the past 14 years. It also includes our revue in the “Hölle”, Jugend an der Wien, Rameau: PLATÉE 22 concerts and exhibitions marking Beethoven’s 250th birthday Massenet: THAÏS 24 and on the Theater an der Wien itself. In September 2020 a new (the fifth) JET starts at the Donizetti: 26 Kammeroper, and some of the young singers will Rossini: IL BARBIERE DI SIVIGLIA 28 be showing what they can do at the “preview” on 19 September. Prokofiev: THE FIERY ANGEL 30 The music for this preliminary to the eve- Handel: SAUL 32 ning afterglow will be provided by the Vien- VOR na Chamber which has not only Hamburg Ballett: AN DIE FREUDE 34 become an important orchestral pillar at the Wagner: TRISTAN EXPERIMENT 36 ABENDROT Kammeroper over the last ten years, but al-

PREVIEW so often delights the ear in special projects OPERA IN CONCERT 38 CONTENT at the Theater an der Wien. SPECIAL PROJECTS 48 Our JET 56 JET Specials 57 : JUGEND / KINDER an der Wien 58 Symphony No. 8 in G major Le soir BEETHOVEN an der Wien DENKEN 62 I – Allegro molto 15 YEARS THE NEW OPERA HOUSE 63 Information 64 II – Andante Playing schedule 68 III – Menuetto Hermine Karigl-Wagenhofer 73 Organisation 74 IV – La Tempesta. Presto Prices 78 Wiener KammerOrchester Seating plan 79 Booking form 81 Duration: 90 mins approx. No interval. Imprint 82 Presented by Roland Geyer

Saturday, 19 September 2020, 6 p.m.

10 ZAZÀ RUGGERO LEONCAVALLO Commedia lirica in four acts (1919) by Ruggero Leoncavallo with the cooperation of Carlo Zangarini Performed in Italian with German surtitles

Conductor Stefan Soltész Director Set designer Raimund Orfeo Voigt Costume designer Herbert Murauer Light designer Reinhard Traub Choreographer Thomas Wilhelm Dramatic advisor Klaus Bertisch Zazà Svetlana Aksenova Milio Dufresne Nikolai Schukoff Cascart Christopher Maltman Floriana / Signora Dufresne Dorothea Herbert Anaide, Zazà's Mother Enkelejda Shkosa Natalia, Zazà's Maid Juliette Mars Bussy, Journalist Tobias Greenhalgh

Courtois, Impresario Paul Schweinester AN DER WIEN THEATER Zazà is the acclaimed star of the Alcazar variety theatre in St. Etienne. Duclou, Conductor Dumitru Mădăraşăn All the men adore her, with the exception of the businessman Milio Marco / Augusto Johannes Bamberger Dufresne. Zazà enters into a wager with the journalist Bussy that Milio Totò Dufresne Livia Gallenga / will fall for her in next to no time. The conquest is easy for her, since Vittoria Antonuzzo Milio secretly desires Zazà but has not yet had the courage to approach Claretta Ena Topcibasic a woman coveted by so many. Finally the two become lovers and Zazà Simona Liliya Namisnyk falls deeply in love with Milio, and wants to marry him and leave the Un signore Patrick Maria Kühn music hall behind. But the dream is shattered when a stage colleague tells her that he saw Milio with another woman. Furious, Zazà travels to ORF Radio-Symphonieorchester Wien Paris but the only person she finds in Milio’s flat is a little girl: Totò, Chor (Chorus master: Erwin Ortner) Milio’s daughter. She finds out that the little family will soon be going to New production Theater an der Wien America. Gradually Zazà realises that Milio has been lying to her about his circumstances. When Madame Dufresne comes home, Zazà quickly leaves. She decides not to destroy the family’s happiness. When Milio Premiere: 16 September 2020 next comes to Zazà she ends their affair and accepts her fate as a Performances: 18 | 21 | 23 | 25 and 27 September 2020 | 7 p.m. music hall star. Introduction: Sunday, 13 September 2020 | 11 a.m.

12 BAJAZET (Il Tamerlano)

ANTONIO VIVALDI Tragedia per musica in three acts (1735) Libretto by Agostino Piovene Performed in Italian with German surtitles

Conductor Roger Díaz-Cajamarca Director Krystian Lada Set designer Didzis Jaunzems Costume designer Natalia Kitamikado Light designer Franz Tscheck Bajazet Kristján Jóhannesson Tamerlano Rafał Tomkiewicz Asteria Sofia Vinnik * Andronico Andrew Morstein *

Irene Valentina Petraeva * THE KAMMEROPER AT The sultan Bajazet has been defeated by Tamerlano and is being held Idaspe Miriam Kutrowatz * captive with his daughter Asteria in the palace at Bursa. Asteria is in love with Andronico but also coveted by Tamerlano. For Bajazet, a marriage Bach Consort Wien between his daughter and his enemy Tamerlano is out of the question. * Young Ensemble Theater an der Wien Asteria feels betrayed by Andronico so she agrees to marry Tamerlano, but only so that she can murder him. During the coronation Bajazet New production Theater an der Wien at the Kammeroper bursts in, disrupting the ceremony and hurling abuse at his daughter. In her defence, Asteria shows him her dagger, thus revealing her true intentions. The humiliated Tamerlano resolves to kill Bajazet and make Asteria his personal slave. Asteria, though, takes advantage of the first opportunity that presents itself and laces his goblet with poison. In the face of the humiliation that now threatens his daughter whose evil schemes have once more been exposed, Bajazet kills himself. Now that Premiere: 26 September 2020 her father is dead Asteria pleads with Tamerlano to kill her as well. Performances: 28 and 30 September 2020 | 7 p.m. Tamerlano, appalled and chastened by what has happened, decrees a 2 | 4 | 7 | 9 | 11 and 13 October 2020 | 7 p.m. happy ending. Introduction: Sunday, 20 September 2020 | 11 a.m.

14 PORGY AND BESS Opera in three acts (1935) by George Gershwin, DuBose and Dorothy Heyward and Ira Gershwin Performed in English with German surtitles Conductor Wayne Marshall Director Matthew Wild Set & costume designer Katrin Lea Tag Co-Costume designer Lejla Ganic Light designer Bernd Purkrabek Choreographer Louisa Talbot Porgy Eric Greene / Simon Shibambu Bess Nicole Cabell / Jeanine De Bique Clara Nadine Benjamin / Brandie Sutton Crown Nmon Ford AN DER WIEN THEATER A slum in the neighbourhood of Catfish Row in Charleston is home to Norman Garrett many African Americans. One of them is the lame beggar Porgy who Sportin’ Life Ray M. Wade roams the slum with a goat and a handcart. During a fight the aggres- Zwakele Tshabalala sive Crown stabs his opponent to death and flees. He has been living Serena Mary Elizabeth Williams / with the attractive Bess who now finds shelter with Porgy. Amazingly, Pumeza Matshikiza Porgy and Bess fall in love. Sportin’ Life tries to persuade Bess to go Maria Tichina Vaughn to New York with him, she declines. The entire neighbourhood – except Jake Bongani Justice Kubheka Porgy – goes on a picnic to an island, Crown is hiding there. In secret he harasses Bess until she follows him into the wood. After one week she Wiener KammerOrchester special extended | Cape Town Opera Chorus returns to Porgy, distressed and sick. She slowly recovers and confesses New production Theater an der Wien all to Porgy, but Porgy forgives her. Later Crown returns and wants to take Bess with him, Porgy kills him. Although the police do not iden- tify him as the murderer they imprison him for a minor offence. Porgy Premiere: 14 October 2020 is unexpectedly released after one week and finds Bess gone. When he Supported by Performances: 15 | 16 | 17 | 18 hears that Sportin’ Life has taken Bess to New York he sets off with his 20 | 21 | 22 | 23 and 24 October 2020 | 7 p.m. goat and his handcart. Introduction: Sunday, 11 October 2020 | 11 a.m.

16 LE NOZZE DI FIGARO Commedia per musica in four acts (1786) Libretto by Lorenzo Da Ponte based on the comedy La folle journée ou Le mariage de Figaro by Pierre Augustin Caron de Beaumarchais Performed in Italian with German surtitles

Conductor Stefan Gottfried Director Alfred Dorfer Set & costume designer Christian Tabakoff Light designer Benedikt Zehm ll Conte di Almaviva Florian Boesch La Contessa di Almaviva Cristina Pasaroiu Giulia Semenzato Figaro Robert Gleadow

Cherubino Katie Coventry AN DER WIEN THEATER Several years have passed since the events in Seville surrounding the Marcellina Marie McLaughlin marriage of Rosina to the Count, and the love between the Count and Bartolo Maurizio Muraro Countess has cooled somewhat. The Count is on the lookout for new Basilio Andrew Owens subjects worthy of his favours, while the Countess is adored by the young Don Curzio Johannes Bamberger page, Cherubino. Figaro has remained in the Count’s service and now Barbarina Ekin Su Paker wishes to marry Susanna, the Countess’ chambermaid. In the 18th cen- Antonio Ivan Zinoviev * tury, the aristocracy had the “ius primae noctis”, the droit du seigneur: a lord had the right to deflower the brides of his subjects. But around 1780 Count Almaviva wishes to appear enlightened and does away Arnold Schoenberg Chor (Chorus master: Erwin Ortner) with the right to his possessions. Faced with Susanna’s beauty, however, * Young Ensemble Theater an der Wien he starts to regret his progressiveness. He can no longer insist on his right, but must resort to seduction and cunning in order to trap her. But New production Theater an der Wien Figaro and Susanna succeed in maintaining their sexual autonomy as a married couple. They thwart the Count’s schemes with plots of their Premiere: 12 November 2020 own, and the Count realizes that in his servant he has an adversary Performances: 14 | 16 | 19 | 21 and 23 November 2020 | 7 p.m. who is every bit his equal. Introduction: Sunday, 8 November 2020 | 11 a.m.

18 GIASONE

FRANCESCO CAVALLI Drama musicale in three acts (1649) Libretto by Giacinto Andrea Cicognini Performed in Italian with German surtitles

Conductor Benjamin Bayl Director Georg Zlabinger Set designer Martin Zlabinger Costume designer Angelika Pichler Light designer Franz Tscheck Giasone Rafał Tomkiewicz Medea Valentina Petraeva * Isifile Ekaterina Protsenko Egeo Andrew Morstein * Oreste Ivan Zinoviev * Alinda Miriam Kutrowatz * THE KAMMEROPER AT The Sun God is looking forward to the marriage of his granddaughter Ercole Benjamin Chamandy Medea to Giasone, while Amor is angry because he long ago united Giasone with Isifile. , for his part, is angry with Giasone because Bach Consort Wien his thoughts are occupied more by Medea than by his quest to find the Golden Fleece. As for Medea, she is happy to be with Giasone and pays * Young Ensemble Theater an der Wien no attention to the whining of Egeo, who is in love with her. She is New production Theater an der Wien at the Kammeroper prepared to help Giasone find the Golden Fleece and uses her magical powers therefore. Oreste was sent out by Isifile to look for her betrothed, but he now has to report to her that Giasone intends to marry Medea. This gives Oreste hope, since he himself is in love with Isifile, but Isifile is thinking only of vengeance. Giasone succeeds in stealing the Golden Fleece from the altar of Giove with the aid of Medea and Pluto, but he Premiere: 29 November 2020 and Medea are forced to flee from the irate people. After a lot of con- Performances: 4 | 6 | 10 | 12 and 19 December 2020 | 7 p.m. fusion Giasone takes his old beloved in a tender embrace all the gods 5 | 8 | 10 and 12 January 2021 | 7 p.m. are content since all the couples that Amor had decreed should be Introduction: Sunday, 29 November 2020 | 11 a.m. united are now together.

20 PLATÉE

JEAN-PHILIPPE RAMEAU Ballet bouffon in a prologue and three acts (1749) Libretto by Jacques Autreau revised by Adrien-Joseph Valois d’Orville and Balot de Sovot Performed in French with German surtitles

Conductor William Christie Director Robert Carsen Set & costume designer Davey Light designer Robert Carsen & Peter van Praet Choreographer Nicolas Paul Dramatic advisor Ian Burton Platée Marcel Beekman La Folie Jeanine De Bique Mercure / Thespis Cyril Auvity Cithéron / Momus Marc Mauillon

Jupiter Edwin Crossley-Mercer AN DER WIEN THEATER Juno causes severe storms to destroy the harvest because, once again, Clarine / Amour Emmanuelle de Negri she is angry with Jupiter, her philandering husband and supreme god. Junon Emilie Renard But this time her anger is groundless: Currently, though, Jupiter has Thalie Ilona Revolskaya no such amorous adventure in the pipeline. He can't approve of her Momus / Satyre Padraic Rowan behavior, therefore Mercure and his friend Cithéron devise a perfidious scheme to cure Juno and save humanity from its plight. For some time Les Arts Florissants now, Cithéron has been pestered by Platée, an ugly marsh nymph. She is Arnold Schoenberg Chor (Chorus master: Erwin Ortner) told that Jupiter has fallen in love with her. The father of the gods, who is in on the plan, appears to Platée in the form of a donkey, declares his New interpretation of the Theater an der Wien’s 2014 production (untrue) love for her and commands a wedding celebration. Just before the mock wedding Juno bursts in on the ceremony and furiously tears the veil from the face of the supposed bride. Faced with Platée’s ugli- ness she cannot help laughing at her own jealousy and patches up her differences with Jupiter. Cithéron and Jupiter now have peace and quiet Premiere: 14 December 2020 again, and fine weather returns to Earth; only Platée is lonely and hu- Performances: 16 | 18 | 20 | 29 and 31 December 2020 | 7 p.m. miliated in her marsh. Introduction: Sunday, 13 December 2020 | 11 a.m.

22 THAÏS

JULES MASSENET Comédie lyrique in three acts and seven pictures (1898) Libretto by Louis Gallet based on the novel of the same name by Anatole France Performed in French with German surtitles

Conductor Leo Hussain Director Peter Konwitschny Set & costume designer Johannes Leiacker Light designer Guido Petzold Thaïs Nicole Chevalier Athanaël Josef Wagner Nicias Roberto Saccà Crobyle Carolina Lippo Myrtale / Albine Sofia Vinnik * Palémon Günes Gürle AN DER WIEN THEATER Athanaël lives in the desert in a monastic brotherhood with other as- cetics. They have forsaken all worldly goods and desires. But this is not ORF Radio-Symphonieorchester Wien enough for Athanaël: he wants to convert others to his way of life. His Arnold Schoenberg Chor (Chorus master: Erwin Ortner) aim is to lead the most famous courtesan in all Egypt, Thaïs, to God. In Alexandria he encounters his childhood friend Nicias who can afford * Young Ensemble Theater an der Wien to keep the most costly mistress – and this is currently Thaïs. Athanaël New production Theater an der Wien accepts an invitation to a banquet so that he can approach Thaïs. And he does indeed succeed in drawing her into a conversation and is able to speak to her about his mission. Thaïs, though, merely laughs at him. But later she sees a chance of a new life in Athanaël’s ideas and agrees to let him take her to a convent. To reach the convent they must cross the desert. Thaïs’ strength fails her and she collapses. Suddenly Athanaël realises that he loves Thaïs – with both soul and body. He confesses his feelings to Thaïs. But it is too late, Thaïs is dying in Atha- Premiere: 19 January 2021 naël’s promises of salvation through God. She dies without hearing or Performances: 21 | 23 | 26 | 28 and 30 January 2021 | 7 p.m. understanding his words. Introduction: Sunday, 17 January 2021 | 11 a.m.

24 BELISARIO

GAETANO DONIZETTI Tragedia lirica in three acts (1836) Libretto by Performed in Italian with German surtitles

Conductor Oksana Lyniv Director, set & costume designer Nigel Lowery Light designer Lothar Baumgarte Dramatic advisor Ute Haferburg Belisario Roberto Frontali Antonina, his Wife Carmela Remigio Irene, her Daughter Iryna Zhytynska Alamiro Paolo Fanale Emperor Giustiniano Stefan Cerny Eutropio, Leader of the Guard Rainer Trost

Eudora, Irene’s Friend Valentina Petraeva * AN DER WIEN THEATER General Belisario returns victorious to Byzantium. However, honour is Eusebio / Ottario Ivan Zinoviev * not the only thing awaiting Belisario at home: he and his wife Antonina had two children, a son Alessi and a daughter Irene. As a little boy, Alessi ORF Radio-Symphonieorchester Wien disappeared. While her husband was away, Antonina learned some- Arnold Schoenberg Chor (Chorus master: Erwin Ortner) thing terrible: Belisario himself had arranged for the boy to disappear * Young Ensemble Theater an der Wien because in a dream he had seen that his son could one day rise up against Byzantium. Antonina wants revenge on her husband and her New production Theater an der Wien plan succeeds: Emperor Giustiniano has the general’s eyes put out and exiles him. Irene, horrified and filled with pity, resolves to be her blind father’s guide from now on and leaves with him. In the mountains they come across foreign troops on their way to attack Byzantium. They are led by Alamiro. An item of jewellery reveals that he is in fact Belisario’s long-lost son Alessi. The joy that they feel at their reunion is short- lived: Belisario is wounded as the fighting begins. He is brought to the Premiere: 16 February 2021 emperor where Antonina begs his forgiveness, but Belisario dies before Performances: 18 | 20 | 23 | 25 and 27 February 2021 | 7 p.m. he can say anything. Introduction: Sunday, 14 February 2021 | 11 a.m.

26 IL BARBIERE DI SIVIGLIA

GIOACHINO ROSSINI in two acts (1816) Libretto by Cesare Sterbini Performed in Italian with German surtitles

Conductor George Jackson Director Christoph Zauner Set designer Nikolaus Webern Costume designer Mareile von Stritzky Light designer Franz Tscheck Il Conte d’Almaviva Andrew Morstein * Figaro Sebastià Peris * Rosina Sofia Vinnik * Don Basilio Ivan Zinoviev *

Don Bartolo Dumitru Mădăraşăn THE KAMMEROPER AT In Seville, Doctor Bartolo lives with his ward Rosina whom he is keeping Berta Miriam Kutrowatz * like a prisoner. Also because the young lady is beautiful and wealthy, Bartolo intends to marry her. But Rosina has another admirer: a stu- Wiener KammerOrchester dent by the name of Lindoro has secretly been courting and serenading * Young Ensemble Theater an der Wien her for some time, and she finds the young man considerably more at- tractive than her guardian. Lindoro is in fact the notorious womanizer New production Theater an der Wien at the Kammeroper Count Almaviva in disguise. This time, however, he is genuinely in love and wants to make Rosina his wife, even though she is a commoner. He secures the aid of Figaro who, as a physician, apothecary and barber, is free to enter Bartolo’s house. In the meantime, Bartolo has heard that the 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 wed- ding forward, but Figaro and Almaviva hatch counter-plots. In the end, Bartolo is left empty-handed and is forced to accept that all his efforts Premiere: 5 March 2021 were nothing more than a useless precaution: Count Almaviva makes Performances: 7 | 10 | 13 | 16 | 18 | 20 | 23 | 25 and 27 March 2021 | 7 p.m. Rosina his countess. Introduction: Sunday, 28 February 2021 | 11 a.m.

28 THE FIERY ANGEL

SERGEI PROKOFIEV Opera in five acts (1927, WP 1954) Libretto by Sergei Prokofiev Performed in Russian with German surtitles

Conductor Constantin Trinks Director Andrea Breth Set designer Martin Zehetgruber Costume designer Carla Teti Light designer Alexander Koppelmann Dramatic advisor Antonio Cuenca Ruiz Renata Ausrine Stundyte Ruprecht Bo Skovhus Landlady / Abbess Natascha Petrinsky Fortune-teller Elena Zaremba

Agrippa / Mephistopheles Nikolai Schukoff AN DER WIEN THEATER 1534: Ruprecht spends the night in a run-down inn. Suddenly he hears Inquisitor Alexey Tikhomirov cries of fear from the next room, in which it seems a woman is in dan- Mathias / Markus Butter ger. He breaks down the connecting door to help her and comes face to Jakob Glock / Doctor Andrew Owens face with a stunningly beautiful woman – who is alone. She implores Innkeeper / Servant Kristján Jóhannesson him to protect her and tells him her extraordinary story: Her name, she says, is Renata, and ever since she was a child she had an intimate Wiener Symphoniker relationship with a fiery angel called Madiel, but she has lost him and Arnold Schoenberg Chor (Chorus master: Erwin Ortner) has been looking for him, constantly pursued by demons. Something about this strange woman moves Ruprecht. He becomes her protector New production Theater an der Wien and more and more he falls deeply in love with her, but she only takes advantage of him. After she decides to enter a convent, strange things start to happen there. The abbess summons an inquisitor, but his exor- cism spirals completely out of control. In the end the inquisitor senten- ces Renata to be burned at the stake. In March 2020 we were forced Premiere: 17 March 2021 to abandon rehearsals due to the corona pandemic. However, we are Performances: 19 | 21 | 24 | 26 and 28 March 2021 | 7 p.m. pleased to be able to resume our work in 2021. Introduction: Sunday, 14 March 2021 | 11 a.m.

30 SAUL

GEORGE FRIDERIC HANDEL Oratorium in three acts (1739) Libretto by Charles Jennens Performed in English with German surtitles

Conductor Christopher Moulds Director Claus Guth Set & costume designer Christian Schmidt Light designer Bernd Purkrabek Choreographer Ramses Sigl Dramatic advisor Yvonne Gebauer Saul Florian Boesch Merab Anna Prohaska Michal Giulia Semenzato David Jake Arditti Jonathan Rupert Charlesworth Witch of Endor Rafał Tomkiewicz High Priest David Webb AN DER WIEN THEATER Saul is the King of Israel, chosen by God and venerated by the peo- Amalekite Andrew Morstein * ple. After David killed Goliath in the battle against the Philistines and Samuel Paul Lorenger was able to return home in triumph, he is presented to Saul and his family. Everyone is dazzled by the young hero’s charisma. Saul’s son Freiburger Barockorchester Jonathan immediately offers to be his close friend, and Saul himself Arnold Schoenberg Chor (Chorus master: Erwin Ortner) would like to marry David to his daughter Merab. Merab, however, is dismissive of David, pointing out that he is of lowly birth. The people * Young Ensemble Theater an der Wien of Israel now praise not just the popular King Saul, but also David, the New interpretation of the Theater an der Wien’s 2018 production new hero. In Saul’s mind, one single sentence echoes: “Saul has slain his thousands, and David his tens of thousands.” This affront hurts Saul deeply and madness takes him. When Saul repeatedly fails to kill David he furiously consults the Witch of Endor, but she tells him only that his own end is near. And it is not long before the deaths of the King and his son Jonathan are announced: they died in battle against Premiere: 16 April 2021 the Philistines. David becomes king and can marry Michal. The people Performances: 18 | 20 | 23 | 25 and 27 April 2021 | 7 p.m. all praise David. Introduction: Sunday, 11 April 2021 | 11 a.m.

32 AN DIE FREUDE BEETHOVEN 9

HAMBURG BALLETT JOHN NEUMEIER Ballet by John Neumeier Music by

Choreographer & Light designer John Neumeier Set designer Heinrich Tröger Costume designer Albert Kriemler A-K-R-I-S

Conductor NN Soprano Valentina Petraeva * Mezzo-soprano Sofia Vinnik * Andrew Morstein * Ivan Zinoviev * THEATER AN DER WIEN THEATER Heroic as the Third, portentous as the Fifth, life-affirming as the Se- Wiener KammerOrchester venth: these are only three of the components that belong in the Ninth. Arnold Schoenberg Chor (Chorus master: Erwin Ortner) First sketches were written in 1815, the year following the final version * Young Ensemble Theater an der Wien of Fidelio, the year of Napoleon’s return and ultimate defeat near Wa- terloo, and the year in which the first edition of Friedrich Schiller’s com- In cooperation with Hamburg Ballett John Neumeier plete works was published. In addition to many outstanding musical and Theater an der Wien passages in all four movements the chorus – sacrilege or clever device? – with Schiller’s famous Ode to Joy makes the Ninth so famous. This proclaims nothing less than universal brotherhood and equality, beyond all differences. The Ninth epitomises the idea of the anthem perhaps more than any other ever written. John Neumeier already worked with Beethoven’s music on a Beethoven Project he created two years ago. He now continues this creative work with the 9th Symphony for which he will produce a full-length choreography. The ballet receives its pre- miere at the shortly before Beethoven’s presu- Premiere: 5 May 2021 Performances: 6 and 7 May 2021 | 7 p.m. med date of birth, 16 December.

34 TRISTAN EXPERIMENT

RICHARD WAGNER Muiskdrama in three acts (1865) Arranged for Kammerorchester by Saskia Bladt

Libretto by Performed in German with German surtitles

Conductor Hartmut Keil Director Günther Groissböck Set & costume designer Stefanie Seitz Light designer Franz Tscheck Video designer Philipp Batereau

Tristan Norbert Ernst Isolde Kristiane Kaiser

King Marke Günther Groissböck THE KAMMEROPER AT One man, one woman, entwined by a deep love of mysterious origin. Brangäne Juliette Mars But the two lovers are bound to others. Their feelings are so strong Kurwenal / Melot Kristján Jóhannesson that they press another dimension into existence and develop a parallel world in which their destiny unfolds to its tragic conclusion. What, then, Wiener KammerOrchester is real life? “Is our material world only a shell, a deception or even an experiment following a matrix-like experimental arrangement?” wonders New production Theater an der Wien at the Kammeroper director Günther Groissböck. The lovers see themselves reflected in a couple from the distant past: When Tristan brings Isolde, the Irish king’s daughter, over the sea for Cornwall’s King Marke the two have long been tacit lovers. A love potion by Brangäne only strengthens their love. Finally, Isolde has to marry Marke, but she cannot stop loving Tristan. At some point, Marke catches the couple unawares. Tristan desperately signals to Isolde that he will embrace death if she follows Premiere: 26 May 2021 him. Isolde agrees and Tristan falls on his sword and dies at last in Performances: 29 May 2021 | 7 p.m. her arms. When Marke comes to forgive her it is too late: Isolde dies 1 | 6 | 9 | 13 | 17 and 20 June 2021 | 7 p.m. over Tristan’s dead body. Introduction: Sunday, 16 May 2021 | 11 a.m.

36 Porpora: CARLO IL CALVO 40

Handel: ORESTE 41

Handel: MESSIAH 42

OPERA Hasse: CAJO FABRICIO 43 IN CONCERT Salieri: 44

Vivaldi: ARGIPPO 45

Haydn: 46

Handel: TAMERLANO 47 CARLO IL CALVO ORESTE NICOLA ANTONIO PORPORA Dramma per musica in three acts (1738) Opera pasticcio in three acts (1734) Libretto by Francesco Silvani Libretto by Giovanni Gualberto Barlocci in Italian Concert performance in Italian

Conductor Conductor Maxim Emelyanychev Lottario Max Emanuel Cencic Oreste Adalgiso Franco Fagioli Ermione Gildippe Julia Lezhneva Ifigenia Francesca Aspromonte Berardo Bruno de Sá Pilade Krystian Adam Giuditta Suzanne Jerosme Toante Renato Dolcini Eduige Nian Wang Filotete Francesca Ascioti Asprando Petr Nekoranec Il pomo d’oro Armonia Atenea Ifigenia narrowly escaped being sacrificed on Aulis by , her The Neapolitan Nicola Antonio Porpora was the leading singing teacher own father. As a result, her mother later stabbed Agamem- of the 18th century and also composed over 60 operas. He composed for non to death. Ifigenia’s brother Oreste avenged their father by killing the theatres in , , London, and Vienna, and 1738 their mother. The curse on the family of Tantalus looms over Ifigenia’s the Carlo il Calvo for the in Rome. The fate: as long as the wicked patriarch Tantalus has descendants every libretto is based on the life of Charles the Bald, king of West Francia one of them will kill a family member. At the beginning of the 1734 and later Italy in the 9th century and a grandson of . De- season in London, Handel moved into the new Covent Garden Theatre spite its name, ladies were not permitted to perform at the “Theatre and hurriedly cobbled the pasticcio Oreste together from parts of the of the Dames” because an edict issued by the pope allowed only men works he had written over the past 27 years. The plot follows a libret- to appear on Rome’s stages. Consequently, the cast for the first perfor- to by Giovanni Gualberto Barlocci which is based on ’ drama mance was entirely male. Porpora’s opera takes the audience to early in , but makes Ifigenia’s brother Oreste the titular he- mediaeval Europe where the quarrelling heirs of Charlemagne are fight- ro rather than Ifigenia. Oreste received its premiere on 18 December ing for power. In Porpora the eponymous hero is still a child whom 1734 in the Covent Garden Theatre, the predecessor of today’s Royal the composer also allows to sing a few lines. His step-brother kidnaps Opera House, in the presence of King George II and was greeted with the young Charles in order to seize the crown. Only the noble knight “great applause”. Although Handel regarded Oreste as a distinct piece Adalgiso can stop the usurper of the throne. Porpora wrote Carlo il Cal- and a drama in its own right, and although pasticcio was common prac- vo for some of his own pupils since it enabled him to precisely assess tice in the Baroque era, the work was completely forgotten for two and their abilities from a compositional standpoint. a half centuries. Sunday, 20 September 2020, 7 p.m. Sunday, 15 November 2020, 7 p.m.

40 41 MESSIAH CAJO FABRICIO GEORGE FRIDERIC HANDEL Oratorio in three parts (1742) Opera pasticcio in three acts (1732) Libretto by Charles Jennens Libretto by Apostolo Zeno Concert performance in English Concert performance in Italian

Conductor Robert King Conductor & concertmaster Martyna Pasztuszka Soprano Carolyn Sampson Cajo Fabricio Max Emanuel Cencic Hilary Summers Pirro Nian Wang Tenor Ellicott Bircenna Suzanne Jerosme Bass Matthew Brook Sestia Dilyara Idrisova Volusio Bruno de Sá Choir of The King’s Consort Turio Vasily Khoroshev The King’s Consort {oh!} Orkiestra Historyczna! George Frideric Handel is one of the few composers in history whose works have been performed continuously since their deaths. However, In 1732, Hasse composed Cajo Fabricio for the Teatro Capranica in this lasting popularity is due to his choruses. The most famous ones, Rome to a libretto by Apostolo Zeno. Because women were forbid- the “Hallelujah” chorus, is from Handel’s oratorio Messiah and has been den from performing on theatre stages in Rome by order of the pope, used many times in many different media. In the 1740 season, Handel Hasse did not write a stand-out role for his wife, Faustina Bordoni, once again tried to rekindle London audiences’ interest in Italian opera, instead choosing an entirely male ensemble for the premiere of Cajo but his efforts were in vain. Enthusiasm along the Thames had switched Fabricio with six and one tenor. The opera is structured like a to the genre of oratorio in which Handel had celebrated his first success classical opera seria, with strict separation of and . The with Saul in 1739. The libretto had been written by a wealthy landowner plot is taken from the history of Rome, but focuses on the emotional and admirer of Handel, Charles Jennens, who in 1741 sent him a second entanglements of the protagonists. The Roman senator Gaius Fabrici- unsolicited libretto titled Messiah. The work is structured like a theologi- us Luscinus is sent to Taranto because the southern Italian city with cal pamphlet. It does not tell a chronological story and the title character its powerful Greek influence has risen up against Rome with the aid does not appear either. Handel, who had just recovered from serious of Pyrrhus, king of Epirus. Pyrrhus, however, falls in love with Sestia, illness, was personally moved by Jennens’ text and is said to have com- Gaius Fabricius’ daughter, even though she is already promised to the posed the oratorio in only 24 days. In the abstract sequence of scenes Roman soldier Volusio. The historical Pyrrhus managed to defeat the the struggle for faith becomes the central theme, and Handel finds Romans in the battle of Asculum, but his losses were so heavy that magnificent sounds to portray human fears and feelings of guilt, for he afterwards remarked: “If we are victorious in one more battle with hope and ultimately for the salvation that has been prophesied. the Romans, we shall be utterly ruined.”

Thursday, 17 December 2020, 7 p.m. Monday, 25 January 2021, 7 p.m.

42 43 ARMIDA ARGIPPO Dramma per musica in three acts (1771) Opera pasticcio in three acts (1730) Libretto by Marco Coltellini Libretto by Concert performance in Italian Concert performance in Italian

Conductor Conductor Armida Anna El Kashem Argippo Ismene Teresa Iervolino Osira Marie Lys Florie Valiquette Silvero Giuseppina Bridelli Ubaldo Ashley Riches Zanaida Tissifaro Luigi di Donato Les Talens Lyriques Le Choeur de Chambre de Namur

In ’s epic poem La Gerusalemme liberata Armida has the At the height of his career Antonio Vivaldi was famed throughout task of preventing the crusaders from taking Jerusalem on behalf of her Europe, yet when he died in Vienna in 1741 he had been forgotten by uncle by using all the magical and feminine arts at her disposal. She cap- the music world. In the 19th century, Vivaldi was unknown as an opera tured the imagination of 18th-century composers like no other sorceress. composer; he himself claimed in a letter that he had written 94 operas. In 1771 Antonio Salieri from the Republic of Venice chose the subject By 2006, fifty of them were known. The opera Argippo, composed by matter for his first large-scale opera, which he wrote for the Burgthea- Vivaldi for Vienna and , was also thought lost up to that point. ter at the age of twenty. Salieri’s librettist Marco Coltellini reduced the All that survived were the German translations of the libretti from both plot to three main protagonists. Armida is holding Rinaldo captive on performances. In 2006 the Czech conductor Ondrej Macek discovered an island, but has fallen in love with the knight. Rinaldo’s compan- arias from Argippo in the archives of the Thurn und Taxis family in Re- ion Ubaldo lands on the island to free first the enchanted knight and gensburg, Bavaria, and their authenticity was confirmed by the scien- then, with him at his side, Jerusalem. Salieri aimed for an “opera of tific board of the Antonio Vivaldi Institute in Venice. In 2008 the first magic, heroism and love that is also touched by tragedy” and created performance of the reconstructed version of Argippo was given. The li- a through-composed work that no longer rigidly adheres to the strict bretto tells an exotic love story from faraway India, a land that Venice rules of opera seria, but espouses the ideas of reformed opera. This traded with. Zanaida, the daughter of the Great Mogul of India, feels is already evident from the overture which is not an introductory sin- betrayed by her former suitor, whom she believes to be the Bengal king fonia, but portrays Uberto’s arrival on the island. The premiere was a Argippo. Close to suicide, she is expecting a visit from Argippo and great success for Salieri, Armida was soon given all over Europe and his wife Osira. In reality, however, Zanaida was seduced by the court the opera became the first of his works to be printed in its entirety. counsellor Silvero who posed as Argippo and is now also plagued by feelings of guilt as a result. Friday, 19 February 2021, 7 p.m. Monday, 22 March 2021, 7 p.m.

44 45 ORLANDO PALADINO TAMERLANO JOSEPH HAYDN GEORGE FRIDERIC HANDEL Dramma eroicomico per musica in three acts (1782) Dramma per musica in three acts (1724) Libretto by Nunziato Porta Libretto by Nicola Francesco Haym Concert performance in Italian Concert performance in Italian

Conductor René Jacobs Conductor Orlando Thomas Walker Tamerlano Robin Johannsen Andronico Jakub Józef Orliński Konstantin Krimmel Bajazet Michael Spyres Eurilla Asteria Sophie Bevan Sophie Harmsen Irene Avery Amereau Leone Ashley Riches Kammerorchester Basel During his lifetime, Joseph Haydn was the most famous composer in Europe. As kapellmeister to Prince Esterházy he spent a great deal of Following his success with in Egitto, George Frideric Han- time, sometimes too much for his taste, at the prince’s country seat del turned his attention to Central Asian conqueror Timur, who during of Eszterháza. Despite this he was an artist with international connect- the Baroque age was known as Tamerlane. Handel was actually more ions. With the exception of his first opera, which is lost, and his last, interested in Tamerlane’s adversary Bajazet whose death inspired the L’anima del filosofo, a version of Orpheus and Eurydice that was not composer to write one of the first death scenes to be shown on an performed in his lifetime, Haydn wrote all his operas for the Esterházys’ opera stage. Tamerlano has defeated Bajazet and taken him prisoner. theatre at which operas were continuously staged from 1776 onward. What is more, the conqueror wants to force Bajazet’s daughter Asteria He composed the dramma eroicomico Orlando paladino, an opera with to marry him, but she loves his Greek ally Andronico. Bajazet is humil- heroic and comic elements, in anticipation of a visit from the Russian iated and poisons himself. It is the death of his opponent that finally crown prince Paul. The libretto is based on ’s epic brings Tamerlano to his senses, and he relinquishes Asteria. In Baroque poem . The first performance, on 6 December 1782, the opera, most of the protagonists were of noble descent and it was not prince’s name day, was one of Haydn’s greatest successes. Orlando, a permitted to demean them in public. Consequently, it was not usual knight and of Charlemagne, has fallen in love with the beauti- to show death scenes. For Tamerlano, Handel broke with this conven- ful Angelica, princess of Cathay. However, she rejects him because she tion. He gives the dying Bajazet ample room in his suffering. However, has already lost her heart to the handsome Medoro who is gallantly Handel was unable to show the death itself and shortly before he dies, courting her. Madness takes Orlando and he wants to kill Angelica and Bajazet leaves the stage on which one of the most melancholy closing the whole world. The good sorceress Alcina intervenes to cure him of ensembles in Baroque opera then begins. Bajazet is also the first lead his madness. role in an opera to be written for a tenor voice. Monday, 19 April 2021, 7 p.m. Thursday, 22 April 2021, 7 p.m.

46 47 Multi-venue concert LOOKING 4 LUDWIG 50

Satirical recital TOD EINES PUDELS 51

Cabaret SPECIAL REIF FÜR DIE INSEL 52 PROJECTS Concert EGMONT & FIDELIO 53

Scenic concert WINTERREISE 54

Scenic concert HIMMELERDE 55 LOOKING 4 LUDWIG TOD EINES PUDELS MULTI-VENUE CONCERT SATIRICAL RECITAL Music by Ludwig van Beethoven Mezzo-soprano Satirist Alfred Dorfer Text by Christoph Wagner-Trenkwitz & Ksenija Zadravec Piano Elizabete Šīrante Georg Wacks Leonore Anita Rosati Music by Ludwig van Beethoven, Rocco Ivan Zinoviev (Young Ensemble , , Johannes Brahms, Georges Bizet, Theater an der Wien) , Erich Wolfgang Korngold and others Maxim Tzekov Which of us is not familiar with the classic lieder recital? Generally the Flute Kathrin Waldner audience knows what to expect: song cycles written as such, songs on Guitar Anna Lesjak a particular theme such as the seasons of the year, (religious) festivals, Accordion Bojana Popovicki 250 countries or moods; or tributes to prominent people, composers or Piano Christina Renghofer famous singers. Few limitations are imposed on the artistic imagina- Hartmann Quartet Maxim Tzekov, Emil Geber, tion, so this basically simple concert form can take place all over the Nicolás Bernal-Montaña, world in myriad forms and be open to additions. However, there is one Domonkos Hartmann thing many song recitals share: often – not always! – they convey a cer- tain seriousness or detachment. But it doesn’t have to be that way! In In the early 19th century, opera and orchestral concerts shared the same the song recital Tod eines Pudels (“Death of a Poodle”), stage, namely the theatre stage. These large-scale concerts were called and comedy meet on stage in the persons of mezzo-soprano Angelika musical academies. Since 2006 it is not just Ludwig van Beethoven’s Kirchschlager and satirist Alfred Dorfer. And as if that is not enough, sole opera Fidelio part of our programme, but the music performed at the duo will be inviting a surprise singing guest to join them at every his musical academies as well. Emanuel Schikaneder, builder and first performance. At first sight, the composers listed in the programme – director of our opera house, opens “his” doors and sheds light on from Beethoven and Schubert, to Schumann and Brahms and all the Beethoven and his time at Theater an der Wien. The route takes the guests way to Mahler and Korngold – promise a very “classical” evening. But this not only to the red-carpeted aisles, but also behind closed doors, into promise is not kept. The evening is not intended as a simple cross- side rooms and along labyrinthine paths into the belly of the theatre. over of genres or a blend of styles, but aims to show what happens This multi-venue concert is accompanied by Beethoven’s music from behind the facade of this mysterious world of classical music. And who four relevant academies. better to spill the beans than Angelika Kirchschlager, who has seen what goes on backstage from New York to Tokyo? Saturday, 19 September 2020, 2 p.m. Tuesday, 22 September 2020, 6.30 p.m. Saturday, 10 October 2020, 7 p.m. Saturday, 26 September 2020, 4 p.m. | 6.30 p.m. Sunday, 13 December 2020, 7 p.m. Sunday, 27 September 2020, 11 a.m. | 2. p.m. Tuesday, 9 March 2021, 7 p.m. Friday, 27 November 2020, 6.30 p.m. Friday, 9 April 2021, 7 p.m. Tuesday, 15 December 2020, 6.30 p.m. Tuesday, 8 June 2021, 7 p.m.

50 51 REIF FÜR DIE INSEL EGMONT & FIDELIO CABARET PERFORMED IN GERMAN AT THE „HÖLLE“ CONCERT Concept & Director Georg Wacks on the occasion of Ludwig van Beethoven’s Set & costume designer Stefan Fleischhacker 250th birthday on 16.12.2020 & Elena Schreiber BEETHOVEN Light designer Franz Tscheck 250 With Elena Schreiber, Stefan Fleischhacker EGMONT Martin Thoma, Georg Wacks Incidental music (1810) to Johann Wolfgang von Goethe’s tragedy Egmont Christoph Wagner-Trenkwitz Klärchen Nicole Chevalier Sprecher Florian Boesch Ensemble „Albero Verde“ FIDELIO Violin Daniela Preimesberger, from the opera in two acts Eszter Augusztinovicz Cello Ruth Ferlic Overture Clarinet Reinhold Brunner Rocco’s | „Hat man nicht auch Gold beineben“ Piano Christina Renghofer Rocco Florian Boesch Exhibition Marie-Theres Arnbom Leonore’s Aria | „Komm, Hoffnung, lass’ den letzten Stern“ Leonore Nicole Chevalier A production of the Armin Berg Gesellschaft on behalf Prisoners’ Chorus | „O welche Lust, in freier Luft“ of the Theater an der Wien in cooperation with Letztes Erfreuliches Operntheater (LEO). Conductor Stefan Gottfried Concentus Musicus Wien In the autumn of 1906, the theatre and cabaret known as the “Hölle” Arnold Schoenberg Chor (Chorus master: Erwin Ortner) opened with the waltz Mephistos Höllenrufe. Since 2010, countless his- torical cabaret programmes have again delighted audiences and critics All his life, Beethoven concerned himself with the topos of liberty: what alike. Based on a painting by William Turner and a memory of the young it means for human beings and how important it is to us all. In Count Florence Nightingale, Georg Wacks, doggedly supported by his ensem- Egmont, the protagonist in Goethe’s drama, Beethoven found his ideal ble, creates the most wistful anniversary programme the historic caba- freedom fighter. For a performance of the play at Vienna’s ret has ever seen: Reif für die Insel (“Ready for the Isles”). The twelfth in 1810 he composed ten pieces of incidental music. The most famous programme is marked by departures to new shores and farewells and piece is the overture. Liberty is also the keyword of Beethoven’s on- switches between fish and chips, Frank and Sinatra and leads the au- ly opera Fidelio. It is the story of the courageous love of Leonore who, dience to the beautiful and bizarre world of historical cabaret. disguised as Fidelio, worms her way into the confidence of the gaoler Rocco because she suspects that her falsely imprisoned husband Don Premiere: 4 November 2020 Florestan is in Rocco’s cells. Performances: 6 | 7 | 8 and 9 November, 1 | 2 | 3 | 4 and 7 December 2020 | 8 p.m. Saturday, 28 November 2020, 7 p.m.

52 53 WINTERREISE HIMMELERDE FRANZ SCHUBERT MASKENMUSIKTHEATER Song cycle based on poems by Wilhelm Müller (1827) from Familie Flöz and Musicbanda Franui Based on works by Franz Schubert, Robert Schumann, Scenic arrangement Ingo Kerkhof Gustav Mahler, Anton Webern u.a. Light designer Franz Tscheck Baritone Florian Boesch Musical arrangement & composition Markus Kraler & Andreas Schett Piano Malcolm Martineau Conductor Andreas Schett Director Michael Vogel One year before his death, Schubert completed the song cycle The Win- Masks Hajo Schüler ter Journey to texts by the poet Wilhelm Müller. His first song cycle Die Set designer Felix Nolze schöne Müllerin (The Fair Maid of the Mill) is also based on poems by Costume designer Birgit Wentsch Müller and still has a chronological narrative. The Winter Journey, writ- Light designer Reinhard Hubert ten five years later, is a string of associations encountered en route by Video Andreas Dihm a traveller. When Schubert began setting Müller’s poems in February Short films Mats Süthoff 1827 he was already incurably ill with syphilis. Schubert himself, who Soprano Nikola Hillebrand had announced The Winter Journey as “a cycle of terrifying songs” re- Baritone Florian Boesch marked that “These songs please me more than all the rest, and in ti- Dance & Choreographer Paul White me they will please you as well”. In the extensive repertoire of baritone Florian Boesch the lied occupies a very special position and is his own Mask play by and with Anna Kistel, Björn Leese, particular passion. As this season’s artist in residence, Boesch will al- Hajo Schüler, Mats Süthoff so be performing as a lied singer at the Theater an der Wien and will present his own subtly individual approach to Schubert’s Winter Journey Musicbanda Franui in which he seeks a personal evocation of a work based on real life: As a volunteer in the Prussian army the young Wilhelm Müller was ra- A production by Familie Flöz and Musicbanda Franui pidly promoted to lieutenant, then just as quickly cashiered when he with Staatsoper Unter den Linden fell in love with a Jewish tradesman’s wife in Brussels. Robbed of all hope, Müller marched back to Berlin from Brussels alone, on foot and Franui Musicbanda is a switchyard between classical music, folk, jazz and in the depths of winter. Schubert, his death now inevitable, transposed contemporary chamber music. Their musical roots lie in the music of Müller’s prevailing mood into music: the wanderer’s heart is in the grip their home region. Familie Flöz is a theatrical collective from Berlin, of everlasting winter, only at night does he recall happier days, and he founded by students of mime and known for its non-verbal masked per- wavers between torpor and a hopless yearning for a better life. formances. These two approaches meet in the mask and music per- formance Himmelerde (“Heavenearth”) that takes as its starting point themes and motifs of German Romanticism.

Friday, 29 January 2021, 7 p.m. Friday, 26 February 2021, 7 p.m.

54 55 THE 5TH JUNGES ENSEMBLE DES THEATER AN DER WIEN JET SPECIALS Curtain up on our new young ensemble! From no fewer than 572 appli- cants from 56 countries we have chosen the six most outstanding young SONGS AND DANCES OF DEATH talents. Come and experience the Valentina Petraeva and Mi- Nowhere is the oft-cited Russian soul more palpably evident than in Rus- riam Kutrowatz, the mezzo-soprano Sofia Vinnik, the tenor Andrew Mor- sian music literature: Love, if it exists, is always found near death. Start- stein, the baritone Sebastià Peris and the bass Ivan Zinoviev in works from ing from Modest Mussorgsky’s song cycle Songs and Dances of Death the Baroque age and the 19th and 20th centuries at both the Theater an we embark on an exploration of the world of Russian opera. Boris Go- der Wien and the Kammeroper. Besides three opera productions tailo- dunov, Herman the gambler, Aleko and Marfa the tsar’s bride are all for- red to the JETs at the Kammeroper we are also continuing the series of tune hunters, driven by a vague greed for fulfilment of their longing. semi-staged JET specials that we began last season with great suc- Scenic arrangement: NN cess. Artistic director of the ensemble is Jochen Breiholz, head With: Valentina Petraeva, Miriam Kutrowatz, Sofia Vinnik, coach is Elizabete Šīrante. Andrew Morstein, Ivan Zinoviev | Piano: Elizabete Šīrante Friday, 16 October 2020, 7 p.m. VALENTINA PETRAEVA, soprano This season: Irene in Bajazet, Medea in Giasone, Eudora in Belisario, Ludwig van Beethoven’s DER FALL STRAUS (THE STRAUS AFFAIR) 9th Symphony. Five singles meet in a bar on New Year’s Eve. On this night, everyone is willing to take a chance. Especially when the irre- MIRIAM KUTROWATZ, soprano sistible music of Leo Fall and is playing. This season: Idaspe in Bajazet, Alinda OUR JET Scenic arrangement: Anna Katharina Bernreitner in Giasone, Berta in Il barbiere di Siviglia. With: Valentina Petraeva, Miriam Kutrowatz, Sofia Vinnik, Andrew Morstein, Ivan Zinoviev | Wiener Salonmusiker SOFIA VINNIK, mezzo-soprano

Conductor: Christoph Huber THE KAMMEROPER AT This season: Asteria in Bajazet, Myrtocle / Albine in Thaïs, Rosina in Il barbiere di Siviglia, Wednesday, 30 December 2020, 7 p.m. th Ludwig van Beethoven’s 9 Symphony. Thursday, 31 December 2020, 5 p.m. ANDREW MORSTEIN, tenor This season: Andronico in Bajazet, Egeo IN PROGRESS in Giasone, Il Conte d’Almaviva in Il barbiere di Siviglia, Everyone thinks they know Mozart’s Don Giovanni. And yet everyone sees it Amalekite in Saul, Ludwig van Beethoven’s 9th Symphony. differently. Don Giovanni in progress was originally planned for the 2019/20 season and will now be staged with the new JETs. Who is the victim, who SEBASTIÀ PERIS, baritone the offender, who wins and who loses? Only one thing is certain: Nothing This season: Figaro in Il barbiere di Siviglia. is as it seems. Scenic arrangement: Georg Zlabinger IVAN ZINOVIEV, bass With: Valentina Petraeva, Miriam Kutrowatz, Sofia Vinnik, Andrew This season: Antonio in Le nozze di Figaro, Oreste in Giasone, Morstein, Sebastià Peris, Ivan Zinoviev | Piano: Elizabete Šīrante Eusebio / Ottario in Belisario, Don Basilio in Il barbiere di Siviglia, Ludwig van Beethoven’s 9th Symphony, Looking 4 Ludwig. Wednesday, 31 March 2021, 7 p.m.

56 57 KINDER AN DER WIEN ages 6-10: In December 2020 children aged 6 and over have one last chance to go in search of the ghostly bat with Papagena, Prince Orlofsky and a small ensemble. On our way through the nooks and crannies of the opera house we meet laser beams, a tied-up Papageno, clues below stage, a lively little sister and much more.

In February and March 2021 the little experts can then hone their abil- ities as detectives and, with the aid of the opera gang’s four kidnap specialists, solve an exciting case: Figaro has been kidnapped! Dur- ing this nerve-tingling adventure we must look for clues, solve puzzles, open secret lockers and do many other things, all accompanied by Mozart’s music.

SCHULE AN DER WIEN age 14+: Secondary school pupils have the opportunity to find out about modern musical theatre and to expe- rience the art form that is opera first-hand by attending a dress rehearsal. The programme JUGEND is rounded off with workshops in coopera- tion with musicians of the Vienna Symphony AN DER WIEN Orchestra and the ORF Vienna Radio Sym- phony Orchestra.

JUGEND MACHT OPER ages 14-21: This year, young people with different backgrounds come together for the large-scale youth opera project DAFÜR! Together they will work on a major under- taking: an opera. The variety of art forms in opera means that everyone can find their own approach to it, through music, drama, dance, costumes, set design or visual arts. The piece will be performed in June 2021 at the Kammeroper and in youth centres in Vienna’s outlying districts.

Contact & Information: Catherine Leiter / Marie Huber Musiktheatervermittlung / Education Tel.: +43 664 886 281 30 | [email protected]

58 KINDER AN DER WIEN JUGEND MACHT OPER PAPAGENA JAGT DAFÜR! An exciting chase through the world of opera for children aged 6 to 10. Opera by and for young people aged 14 to 21 Prince Orlofsky invites our young visitors to a birthday party in his opera This season, we want to conquer all Vienna with our youth opera. The house. But suddenly a mysterious bat makes its presence felt: it flits about topics for the work titled DAFÜR! (“All for it!”) come from the young like a ghost and steals the birthday crown. The music is from Mozart’s Ma- participants themselves: together they express their support of something gic Flute and from Johann Strauss’ Die Fledermaus. that concerns them and moves them. They work on the text, dramatur- gy and music with professionals and are actively involved in all aspects. Concept & Text Anna Katharina Bernreitner Choir rehearsals, voice training and workshops on acting, choreography, & Catherine Leiter set design, costumes and music will be held all over the city. Arrangements Leonard Eröd Conductor Viktor Mitrevski From the autumn of 2020 the young people will be engaged in workshop Director Anna Katharina Bernreitner groups on various topics while at the same time choir rehearsals will be Set & costume designer Hannah Rosa Oellinger held for everyone. It is here that the youngsters contribute their own mu- & Manfred Rainer sic. Forms of movement will be explored and exchanged in choreography workshops, and the acting group will try out ideas in improvisations. From With: Anita Rosati, Barbara Angermaier, January the young participants can also join in the work on stage sets and Benjamin Chamandy, Petro-Pavlo Tkalenko and others costumes, designing and creating scenery and costumes themselves. 23 - 30 December 2020 Tickets: [email protected] | accompanying adults € 20,- / children € 8,- The piece will be performed in mid-June.

FIGARO UND DIE DETEKTIVE Duration: November 2020 to June 2021. An exciting journey of discovery through the world of opera for children Registration: [email protected] aged 6 to 10. A wandering instrumental ensemble accompanies the singers/performers Administration & Concept Catherine Leiter and the children on this interactive journey, while music from The Marriage Idea & Director Sara Ostertag of Figaro and The Abduction from the Seraglio is heard, albeit with different Conductor & Arrangements Christoph Huber lyrics. Choreographer Stefanie Wieser Concept Anna Katharina Bernreitner & Catherine Leiter Senior class orchestra of the Musikgymnasium Wien Text Catherine Leiter Arrangements Leonard Eröd Tickets: [email protected] Conductor Raphael Schluesselberg Director Anna Katharina Bernreitner Set & costume designer Hannah Rosa Oellinger & Manfred Rainer February and March 2021 Tickets: [email protected] | accompanying adults € 20,- / children € 8,-

60 61 Audiences have always associated Emanuel Schikaneder and The Magic • Lucio • • Die Schuldigkeit des ersten Gebots • Die Zauberflöte • Così fan tutte • Don Giovanni • Flute with the Theater an der Wien. Less well remembered is the fact • • Die Zauberflöte • I Hate Mozart • Idomeneo, that it was the industrious Schikaneder who also brought Beethoven Re di Creta • A Streetcar Named Desire • Giulio Cesare in Egitto • • Le nozze di Figaro • • Der 250 to the opera house. And it was here that the composer went on to per- Spieler • Eugen Onegin • Orlando paladino • Weihnachtsoratorium form not only his Fidelio, but many symphonies and concertos for the I-III • Dialogues des Carmélites • Médée • Katja Kabanova • Luisa Fernanda • Die Zauberflöte • • • The first time. Many people no longer know that Beethoven worked and Rake’s Progress • • Pelléas et Mélisande • • even lived at the theatre. Why is this? How do these sharp contours ari- Messiah • Mitridate, Re di Ponto • Il turco in Italia • Don Giovanni • Death in Venice • • Der Prinz von Homburg • Il mondo se that define places of commemoration? When was it that the Theater della luna • Weihnachtsoratorium I-III • L’incoronazione di Poppea • an der Wien entered cultural memory as a location with a link to Beet- Die Besessenen • Iphigénie en Tauride • Der Freischütz • Die Fledermaus • • • Die sieben hoven? The exhibition BEETHOVEN | AN der Wien | DENKEN Todsünden • • Il postino • Castor et tries to answer these questions: How did the Theater an der Pollux • The Rape of Lucretia • , Regina de’ Longobardi • Dialogues des Carmélites • Orpheus • Wien become a place of commemoration and what re- The Turn of the Screw • • Gogol • L’Orfeo • minders are there of the composer of Fidelio? It seems | Francesca da Rimini • Telemaco • Les contes d’Hoffmann (I) • Hamlet • Les that the idea of Beethoven as a “man of the the- contes d’Hoffmann (II) • atre” did not sit well with the widespread image • Il ritorno d’Ulisse in patria • Il trittico • La cambiale di matrimonio • Iphigénie en of the “lonely genius”. But here at the theatre Aulide • Verkehr mit Gespenstern • Beethoven was one artist among many. • • La bohème • Le Comte Ory • Fidelio • Béatrice et Bénédict • Orlando • • The Rake’s The exhibition looks at the time that Beetho- Progress • • A Harlot’s BEETHOVEN Progress • Idomeneo, Re di Creta • L a 15 YEARS ven spent working at the Theater an der Wien: Cenerentola • Lazarus • • AN der Wien Who did he live with, who did he work with? Mare Nostrum • Platée • Mozart-Da THE NEW Ponte-Trilogie • La clemenza di Tito • Mes- What was everyday life at the theatre like? siah • Die Kameliendame • • DENKEN What sort of music and which forms of thea- Charodeyka • Eugen Onegin • Iphigénie OPERA HOUSE en Aulide et Tauride • Les pêcheurs tre were presented on the stage? At the same de perles • Rinaldo • American • time the exhibition reflects on how particular Weihnachtsoratorium I-VI • La stranie- ra • The Blind • Il barbiere di Siviglia • narratives emerged during the course of history: Geschichten aus dem Wiener Wald • Gli How do the strains of music and stone comme- uccellatori • Le nozze di Figaro • La mère coupable • L’heure espagnole | Les mamelles morative plaques give tangible form to commemo- de Tirésias • Hans Heiling • L’incoronazione rative culture? A network member finder, an audience di Poppea • Der fliegende Holländer • Antigone • Peter Grimes • Die Dreigroschenoper • • chat and unconventional ideas for furnishing Beethoven’s • • Capriccio • Hänsel und Gretel apartment in the theatre invite visitors to see the composer • El Juez • Hamlet • La traviata • • Macbeth • Don Giovanni • Der Kaiser von Atlantis oder Die Tod- from a completely different perspective and so question their own Verweigerung • The Fairy-Queen • Peer Gynt • Oreste • Elisabetta image of Beethoven. • Gespenster • Carmen • Elegie für junge Liebende • Die Schule der Eifersucht • Die Zauberflöte • Ariadne auf Naxos • Wozzeck • • Ring-Trilogie: Hagen, Siegfried, Brünnhilde • Maria Joint project with the mdw – University of Music and Performing Arts Stuarda • Pélleas et Mélisande • Saul • Der Besuch der alten Dame • A Midsummer Night’s Dream • Così fan tutte • Die Möwe • Vienna, research project: Erinnerungsort Beethoven: Theater an der Wien Alcina • Die Zauberinsel • Guillaume Tell • • Don Carlos • (Supervisor: Melanie Unseld). The accompanying exhibition book, BEET- Euryanthe • King Arthur • L’enfant | Olympia • Die Jungfrau von Orleans • Orlando • Candide • Oberon • Rusalka • Faust • La HOVEN | AN | DENKEN, is available now, published by Böhlau Verlag. clemenza di Tito • • • Halka • • Egmont • Genia • Fidelio • Zazà • Bajazet • Porgy and Bess • Le nozze di Figaro • Giasone • Platée Exhibition at the Theatermuseum Exhibition at the Theatermuseum Theater an der Wien from 14 September 2020 Theater an der Wien from 17 January 2021 62 63 INFORMATION

TICKET SALES BOOKING BY PHONE Tickets go on sale to the general public on 16 June 2020 at 10 a.m. for the Tickets (except subscription tickets and other performances until 31 December 2020, at the box office at the Theater an concessions) can also be ordered by phone der Wien and the WIEN-TICKET Pavilion and can also be ordered by every day from 8 a.m. - 8 p.m. from WIEN-TICKET telephone on +43 (0)1 58885-111. Tickets for performances from 1 January Service on +43 (0)1 58885-111. Shipping charge*: within Austria: € 5,90; 2021, go on sale to the general public on 1 September 2020, at 10 a.m. abroad: € 9,90 (plus € 2 service charge per booking). In the online shop, tickets go on general sale one day after each of the two dates above. Please note that no orders for individual tickets can be INTERNET www.theater-wien.at | www.kammeroper.at accepted before tickets go on general sale. Individual tickets can be purchased online from 17 June and 2 September, 2020, respectively. Shipping charge*: within Austria € 5,90; BOX OFFICE THEATER AN DER WIEN & KAMMEROPER abroad € 9,90. There is no surcharge for print@home tickets, mobile Box office for both venues: tickets on your smartphone and holding purchased tickets for collection Theater an der Wien, Linke Wienzeile 6, 1060 Vienna at the Theater an der Wien daytime box office. € 1.50 will be charged Opening hours: Mon - Sat, 10 a.m. - 6 p.m.* for holding purchased tickets for collection at the Theater an der Wien Closed on Sundays, except for matinee performances (open from or Kammeroper evening box office. 10 a.m. - 1 p.m.) and evening performances (open from 2 p.m. - 6 p.m.)* * Shipping charges are subject to change.

Information and phone sales: The Theater an der Wien and Kammeroper newsletter can be subscribed WIEN-TICKET Service on +43 (0)1 58885-111 to free of charge at www.theater-wien.at. (plus € 2 facility fee per booking) * Opening hours subject to change. Visit us on Facebook: www.facebook.com/TheateranderWien twitter: twitter.com/TheaterWien EVENING BOX OFFICE and instagram: instagram.com/theateranderwien For purchasing and picking up tickets for that evening’s performance Videos at: www.youtube.com/theateranderwien at the Theater an der Wien: from 6 p.m. until curtain-up at the Kammeroper (address: Fleischmarkt 24, 1010 Vienna): GROUP BOOKINGS from one hour before curtain-up For bookings for groups of 11 or more, please e-mail the Theater an der Wien sales department. Please note that ticket sales for performances other than that evening’s Tel. +43 (0)1 588 30-2903 or e-mail: [email protected] and any subscription enquiries (e.g. exchange) are no longer possible at the Theater an der Wien box office after 6 p.m. VOUCHERS Vouchers for productions of the Theater an der Wien or the Kammeroper WIEN-TICKET PAVILION can be purchased at any VBW ticket office, in the online shop at Tickets (except subscription tickets) are also available from the www.theater-wien.at or by phone on +43 (0)1 58885-111 (+ € 2 service WIEN-TICKET Pavilion on Herbert von Karajan-Platz by the State charge per booking). Vouchers are not valid for non-Theater an der Opera from 16 June 2020 and 1 September 2020 respectively. Wien and Kammeroper productions (e.g. Wiener Festwochen) held at Open daily from 10 a.m. - 7 p.m.(plus € 2 service charge per booking). those venues.

64 65 WHEELCHAIR SPACES/SPECIAL NEEDS SAVE ON PARKING WHEN YOU VISIT THE THEATER AN DER WIEN PERSONS WITH REDUCED MOBILITY Patrons of the Theater an der Wien can park in the Technical University’s Wheelchair spaces can be reserved at the Theater an der Wien (also for WiPark garages on Operngasse and Lehárgasse for only € 6.90 for the an accompanying person if desired) up to a week before the performance first five hours. Valid Mon-Sat, 5 p.m. - 8 a.m., Sundays and holidays. for which tickets have been bought on +43 (0) 1 58885-111 or at our box Pre-paid parking cards are available at the Theater an der Wien box office. offices. Price: € 10 (wheelchair space) with a 50 % concession for the Addresses: Garage Technische Universität | Operngasse 13 | 1040 Vienna accompanying person. Patrons with a disabled person ID are granted Garage Lehárgasse | Lehárgasse 4 | 1060 Vienna a 25 % reduction up to one week before the performance for which they have bought tickets. These concessions are available only at the SAVE ON PARKING WHEN YOU VISIT THE KAMMEROPER theatre box offices on presentation of a disabled person ID (limited Patrons of the Kammeroper can park in the BOE Garage on ticket availability). Please note that there are no lifts in the Theater an Franz-Josefs-Kai for € 5.20 per day. Valid Mon-Sun, 6 p.m. - 7 a.m. der Wien or the Kammeroper, and there are no wheelchair spaces in Pre-paid parking cards are available at the Kammeroper the Kammeroper. evening box office. Address: BOE Garage Franz-Josefs-Kai | Morzinplatz 1 | 1010 Vienna STANDING ROOM 50% of the available standing room tickets are on sale from one week GUIDED TOURS OF THE THEATER AN DER WIEN prior to the performance. The remaining tickets go on sale one hour Groups taking part in guided tours are limited to thirty people. before curtain-up. Price: € 5. The meeting point is the main entrance where the group will be No standing room is available in the Kammeroper. picked up in good time; the visitors then enter the theatre through the foyer. Tours are in German and last approximately one hour. TICKETS FOR STUDENTS AND SCHOOLCHILDREN Tickets for schoolchildren and students up to age 26 are available, The tour includes the foyer, the auditorium, various stage areas and at the theatre’s discretion and no earlier than 15 minutes before the dressing-room area. Visitors will learn about the building’s history, curtain-up, at the box offices of the Theater an der Wien and the its programme of performances, the way it is organised and the Kammeroper on presentation of appropriate ID. technology used. Theater an der Wien: € 20 Kammeroper: € 12 It is of course also possible to book private tours (in other languages, for example, or at other times). If you require such a tour, please be sure JUNIOR-TICKET to book your appointment in advance, either in writing or by phone. Children or adolescents (under 16) who attend a Theater an der Wien production are granted a 35% reduction on ticket prices in the categories Contact for all tours of the Theater an der Wien: A - E at Theater an der Wien and in the categories A - D at Kammeroper. Philipp Wagner-Nguyen, phone +43 (0) 1 588 30-2015 Available at all VBW box offices, the Theater an der Wien online E-mail: [email protected] shop at www.theater-wien.at and by phone from WIEN-TICKET Service on +43(0)1 58885-111 (plus € 2 service charge per booking). Price: € 7/5 (concession)* | Groups of schoolchildren: € 3 Children under 6: free * Concessions apply to school pupils, students up to age 26, persons in military/community service

www.theater-wien.at

66 67 PLAYING SCHEDULE Day Date Time Performance Page Day Date Time Performance Page SEPTEMBER 2020 OCTOBER 2020 Sunday 13 11 a.m. Introduction Zazà 12 Sunday 18 7 p.m. Porgy and Bess 16 Wednesday 16 7 p.m. ZAZÀ / Leoncavallo | Premiere 12 Tuesday 20 7 p.m. Porgy and Bess 16 Friday 18 7 p.m. Zazà 12 Wednesday 21 7 p.m. Porgy and Bess 16 Saturday 19 2 p.m. Looking 4 Ludwig 50 Thursday 22 7 p.m. Porgy and Bess 16 Saturday 19 18.00 vor abendrot – Preview 10 Friday 23 7 p.m. Porgy and Bess 16 Sunday 20 11 a.m. Introduction Bajazet 14 Saturday 24 7 p.m. Porgy and Bess 16 Sunday 20 7 p.m. Carlo il Calvo / Porpora (Concert) 40 NOVEMBER 2020 Monday 21 7 p.m. Zazà 12 Tuesday 22 6.30 p.m. Looking 4 Ludwig 50 Wednesday 4 8 p.m. REIF FÜR DIE INSEL / Premiere (Hölle) 52 Wednesday 23 7 p.m. Zazà 12 Friday 6 8 p.m. Reif für die Insel (Hölle) 52 Friday 25 7 p.m. Zazà 12 Saturday 7 8 p.m. Reif für die Insel (Hölle) 52 Saturday 26 16.00 Looking 4 Ludwig 50 Sunday 8 11 a.m. Introduction Le nozze di Figaro 18 Saturday 26 6.30 p.m. Looking 4 Ludwig 50 Sunday 8 8 p.m. Reif für die Insel (Hölle) 52 Saturday 26 7 p.m. BAJAZET / Vivaldi | Premiere 14 Monday 9 8 p.m. Reif für die Insel (Hölle) 52 Sunday 27 11 a.m. Looking 4 Ludwig 50 Thursday 12 7 p.m. LE NOZZE DI FIGARO / Mozart Sunday 27 2 p.m. Looking 4 Ludwig 50 Premiere 18 Sunday 27 7 p.m. Zazà 12 Saturday 14 7 p.m. Le nozze di Figaro 18 Monday 28 7 p.m. Bajazet 14 Sunday 15 7 p.m. Oreste / Handel (Concert) 41 Wednesday 30 7 p.m. Bajazet 14 Monday 16 7 p.m. Le nozze di Figaro 18 Thursday 19 7 p.m. Le nozze di Figaro 18 OCTOBER 2020 Saturday 21 7 p.m. Le nozze di Figaro 18 Friday 2 7 p.m. Bajazet 14 Sunday 22 7.30 p.m. Nestroy Award Sunday 4 7 p.m. Bajazet 14 Monday 23 7 p.m. Le nozze di Figaro 18 Wednesday 7 7 p.m. Bajazet 14 Friday 27 6.30 p.m. Looking 4 Ludwig 50 Friday 9 7 p.m. Bajazet 16 Saturday 28 7 p.m. Egmont & Fidelio / Beethoven (Concert) 53 Saturday 10 7 p.m. Tod eines Pudels 51 Sunday 29 11 a.m. Introduction Giasone 20 Sunday 11 11 a.m. Introduction Porgy and Bess 16 Sunday 29 7 p.m. GIASONE / Cavalli | Premiere 20 Sunday 11 7 p.m. Bajazet 14 DECEMBER 2020 Tuesday 13 7 p.m. Bajazet 14 Wednesday 14 7 p.m. PORGY AND BESS / Gershwin | Premiere 16 Tuesday 1 8 p.m. Reif für die Insel (Hölle) 52 Thursday 15 7 p.m. Porgy and Bess 16 Wednesday 2 8 p.m. Reif für die Insel (Hölle) 52 Friday 16 7 p.m. Porgy and Bess 16 Thursday 3 8 p.m. Reif für die Insel (Hölle) 52 Friday 16 7 p.m. JET Special: Songs and Dances of Death 57 Friday 4 7 p.m. Giasone 20 Saturday 17 7 p.m. Porgy and Bess 16 Friday 4 8 p.m. Reif für die Insel (Hölle) 52 Sunday 6 7 p.m. Giasone 20

Performances highlighted in grey take place at Kammeroper. 68 69 Day Date Time Performance Page Day Date Time Performance Page DECEMBER 2020 JANUARY 2021 Monday 7 8 p.m. Reif für die Insel (Hölle) 52 Sunday 17 11 a.m. Introduction Thaïs 24 Thursday 10 7 p.m. Giasone 20 Tuesday 19 7 p.m. THAÏS / Massenet | Premiere 24 Saturday 12 7 p.m. Giasone 20 Thursday 21 7 p.m. Thaïs 24 Sunday 13 11 a.m. Introduction Platée 22 Saturday 23 7 p.m. Thaïs 24 Sunday 13 7 p.m. Tod eines Pudels 51 Monday 25 7 p.m. Cajo Fabrizio / Hasse (Concert) 43 Monday 14 7 p.m. PLATÉE / Rameau | Premiere 22 Tuesday 26 7 p.m. Thaïs 24 Tuesday 15 6.30 p.m. Looking 4 Ludwig 50 Thursday 28 7 p.m. Thaïs 24 Wednesday 16 7 p.m. Platée 22 Friday 29 7 p.m. Winterreise / Schubert 54 Thursday 17 7 p.m. Messiah / Handel (Concert) 42 Saturday 30 7 p.m. Thaïs 24 Friday 18 7 p.m. Platée 22 FEBRUARY 2021 Saturday 19 7 p.m. Giasone 20 Sunday 20 7 p.m. Platée 22 Sunday 14 11 a.m. Introduction Belisario 26 Wednesday 23 16.00 Kinder an der Wien Tuesday 16 7 p.m. BELISARIO / Donizetti | Premiere 26 Papagena jagt die Fledermaus 60 Thursday 18 7 p.m. Belisario 26 Sunday 27 11 a.m. Kinder an der Wien Friday 19 7 p.m. Armida / Salieri (Concert) 44 Papagena jagt die Fledermaus 60 Saturday 20 11 a.m. Kinder an der Wien Figaro und die Detektive 60 Sunday 27 2 p.m. Kinder an der Wien Saturday 20 7 p.m. Belisario 40 Papagena jagt die Fledermaus 60 Sunday 21 11 a.m. Kinder an der Wien Figaro und die Detektive 60 Monday 28 11 a.m. Kinder an der Wien Sunday 21 2 p.m. Kinder an der Wien Figaro und die Detektive 60 Papagena jagt die Fledermaus 60 Tuesday 23 7 p.m. Belisario 26 Monday 28 2 p.m. Kinder an der Wien Thursday 25 7 p.m. Belisario 26 Papagena jagt die Fledermaus 60 Friday 26 7 p.m. Himmelerde / Flöz & Franui (Concert) 55 Tuesday 29 7 p.m. Platée 22 Saturday 27 11 a.m. Kinder an der Wien Figaro und die Detektive 60 Wednesday 30 11 a.m. Kinder an der Wien Saturday 27 2 p.m. Kinder an der Wien Figaro und die Detektive 60 Papagena jagt die Fledermaus 60 Saturday 27 7 p.m. Belisario 26 Wednesday 30 2 p.m. Kinder an der Wien Sunday 28 11 a.m. Introduction Il barbiere di Siviglia 28 Papagena jagt die Fledermaus 60 MARCH 2021 Wednesday 30 7 p.m. JET Special: Der Fall Straus 57 Thursday 31 5 p.m. JET Special: Der Fall Straus 57 Friday 5 7 p.m. IL BARBIERE DI SIVIGLIA / Rossini Thursday 31 7 p.m. Platée 22 Premiere 28 Sunday 7 7 p.m. Il barbiere di Siviglia 28 JANUARY 2021 Tuesday 9 7 p.m. Tod eines Pudels 51 Tuesday 5 7 p.m. Giasone 20 Wednesday 10 7 p.m. Il barbiere di Siviglia 28 Friday 8 7 p.m. Giasone 20 Saturday 13 7 p.m. Il barbiere di Siviglia 28 Sunday 10 7 p.m. Giasone 20 Sunday 14 11 a.m. Introduction The Fiery Angel 30 Tuesday 12 7 p.m. Giasone 20 Tuesday 16 7 p.m. Il barbiere di Siviglia 28

Performances highlighted in grey take place at Kammeroper. 70 71 Day Date Time Performance Page Day Date Time Performance Page MARCH 2021 MAY 2021 Wednesday 17 7 p.m. THE FIERY ANGEL / Prokofiev | Premiere 30 Wednesday 5 7 p.m. AN DIE FREUDE / Hamburg Ballett Thursday 18 7 p.m. Il barbiere di Siviglia 28 Premiere 34 Friday 19 7 p.m. The Fiery Angel 30 Thursday 6 7 p.m. An die Freude / Hamburg Ballett 34 Saturday 20 11 a.m. Kinder an der Wien Figaro und die Detektive 60 Friday 7 7 p.m. An die Freude / Hamburg Ballett 34 Saturday 20 2 p.m. Kinder an der Wien Figaro und die Detektive 60 Sunday 16 11 a.m. Introduction Tristan Experiment 36 Saturday 20 7 p.m. Il barbiere di Siviglia 28 Wednesday 26 7 p.m. TRISTAN EXPERIMENT / Wagner Sunday 21 11 a.m. Kinder an der Wien Figaro und die Detektive 60 Premiere 36 Sunday 21 2 p.m. Kinder an der Wien Figaro und die Detektive 60 Saturday 29 7 p.m. Tristan Experiment 36 Sunday 21 7 p.m. The Fiery Angel 30 JUNE 2021 Monday 22 7 p.m. Argippo / Vivaldi (Concert) 45 Tuesday 23 7 p.m. Il barbiere di Siviglia 28 Tuesday 1 7 p.m. Tristan Experiment 36 Wednesday 24 7 p.m. The Fiery Angel 30 Sunday 6 7 p.m. Tristan Experiment 36 Thursday 25 5 p.m. Kinder an der Wien Figaro und die Detektive 60 Tuesday 8 7 p.m. Tod eines Pudels 51 Thursday 25 7 p.m. Il barbiere di Siviglia 28 Wednesday 9 7 p.m. Tristan Experiment 36 Friday 26 7 p.m. The Fiery Angel 30 Sunday 13 7 p.m. Tristan Experiment 36 Saturday 27 11 a.m. Kinder an der Wien Figaro und die Detektive 60 Thursday 17 7 p.m. Tristan Experiment 36 Saturday 27 2 p.m. Kinder an der Wien Figaro und die Detektive 60 Sunday 20 7 p.m. Tristan Experiment 36 Saturday 27 7 p.m. Il barbiere di Siviglia 28 Sunday 28 7 p.m. The Fiery Angel 30 Wednesday 31 7 p.m. JET Special: Don Giovanni in progress 57 APRIL 2021 All works of art in this programme are provided by Friday 9 7 p.m. Tod eines Pudels 51 HERMINE KARIGL-WAGENHOFER Sunday 11 11 a.m. Introduction Saul 32 Born in Sonntagberg in Lower Austria. Lives and works in Vienna. Friday 16 7 p.m. SAUL / Handel | Premiere 32 Sunday 18 7 p.m. Saul 32 Studied History at the University of Vienna and at the Academy of Fine Monday 19 7 p.m. Orlando paladino / Haydn (Concert) 46 Arts with Gustav Hessing and Friedensreich Hundertwasser; Teacher’s de- Tuesday 20 7 p.m. Saul 32 gree for Art Education and History; Lecturer at the academic secondary Thursday 22 7 p.m. Tamerlano / Handel (Concert) 47 school. After completing her studies, she worked as an artist. Friday 23 7 p.m. Saul 32 Kardinal-König Prize for Image Design; Art Education Prize, Academy Sunday 25 7 p.m. Saul 32 of Fine Arts; Füger Prize, Academy of Fine Arts; Adolf Peschek Prize, St. Tuesday 27 7 p.m. Saul 52 Pölten A selection of exhibitions and exhibition participations: Blau-Gelbe-Ga- lerie, Vienna; Grafenegg Castle; Art-Room-Würth, Tsukubu Art Museum, Tokyo; Big Gallery, Dortmund; Metropolitan Theatre, Tokyo; City Museum, St. Pölten; Performances highlighted in grey take place at Kammeroper. 72 73 THEATER AN DER WIEN Head Property Man Michael Haas General Manager of Sound Engineer Florian Bogner Vereinigte Bühnen Wien GmbH Franz Patay Chief Lighting Technician Gwen Lohmann ARTISTIC DIRECTION THEATER AN DER WIEN Head of Costume Doris Maria Aigner Artistic Director TAW & Dresser Coordination / General Manager Kammeroper Roland Geyer Costume Workshop Stagione Andreas Schaffler Assistant to Artistic Director Sylvia Hödl Chief Dresser Hannelore Habel Press Officer Sabine Seisenbacher Head of Make-Up Gabriele Kammerer Head of Administration / Deputy Artistic Director House Manager Sandra Swoboda & Managing Director Kammeroper Renate Futterknecht Subscriptions & Guided Tours Philipp Wagner-Nguyen GENERAL MANAGEMENT VEREINIGTE BÜHNEN WIEN Subscriptions & Website Markus Schemmel General Manager Franz Patay Head of Artistic Administration Assistants to General Manager Alexandra Plot, Alice Schmid & Artistic Director Kammeroper Jochen Breiholz Head of Communications Astrid Bader Assistant to Head of Head of Marketing / Sales Günther Hummer Artistic Administration Ugo Varela Head of Development Department Ulrike Spann Head of Scheduling Head of Finance & Controlling Florian Gradwohl & Artistic Administration Claudia Stobrawa Head of Accounts Frank Ellmer Dramaturgy Karin Bohnert, Ksenija Zadravec Head of Facility Management Christian Zisser Artistic Production Managers Petra Haidvogel, Anja Meyer, Simone Kraft Head of Human Resources Eva Planötscher-Stroh Production Manager Kammeroper Axel E. Schneider Central Purchasing Officer Petra Garai Head Coach Kammeroper Elizabete Šīrante Head of IT Peter Darrer Head of Education Catherine Leiter WORKS COUNCIL TECHNICAL DEPARTMENT & ADMINISTRATION VBW Chairman Ulrich Knarren TECHNICAL DIRECTION THEATER AN DER WIEN SUPERVISORY BOARD OF VEREINIGTE BÜHNEN WIEN G.M.B.H Technical Director Veronika Leitl Chair of the Supervisory Board Freismuth Technical Production Manager Michael Baumeister, Natascha Deputy Chair Kurt Gollowitzer Nouak, Christoph Andreas Fath Wolfgang Fischer, Arne Forke, Petra Martino, Christoph Maschek, Head of Technical Planning Gerald Stotz Thomas Neuwerth, Doris Rechberg-Missbichler, Chief Stage Technicians Bernd Kirchmayer, Johann Ponleitner, Eva Rosenauer-Albustin, Christian Strasser Horst Willmann, Günter Wladika Chief Engineer Robert Auer www.theater-wien.at | +43 (0) 1 588 30-1010

74 75 New release! THE THEATER AN DER WIEN BEETHOVEN IN VIENNA WOULD LIKE TO THANK ALL ITS All texts inside in German and English PARTNERS, FRIENDS AND SPONSORS

MAIN SPONSOR Agrana

GOLDEN COOPERATION CIRCLE PARTNERS Kulturformat Kattus Ottakringer Le Méridien Peugeot Photo © Peter M. Mayr

SPONSORING SPONSORING KAMMEROPER JUGEND & KINDER AN DER WIEN BUWOG Pat & Marcus Meier Martin Schlaff

If you are interested in sponsoring the Theater an der Wien and our Junges Ensemble des Theater an der Wien, please contact Ms Ulrike Spann / Head of Development Department or Mrs Sandra Risska-Proszowski / Head of Sponsoring on +43/1/ 588 30 1330. The book is available in all bookstores in Austria, Germany and Switzerland. Online: edition.lammerhuber.at and on Amazon. Price: € 29,90

vbw.at LINKS BÜHNE RECHTS PRICES THEATER AN DER WIEN Seating Plan Theater an der Wien 3. RANG 2. RANG 1. RANG PARTERRE PARTERRE 1. RANG 2. RANG 3. RANG 1 1 1 1 1 1 1 2 1 1 2 2 2 BELEUCHTERSTAND MUSICAL THEATRE Prices in € * STEHPLÄTZE 2 2 2 1 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 2 3 1 1 2 2 3 3 3 GANZ SEITE 1 1 3 3

Zazà | Porgy & Bess | Le nozze di Figaro | Platée 3 3 3 4 4 4 2 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 4 3 4 4 4 1 4 5 5 5 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 CERCLE 4 5 3 5

Thaïs | Belisario | The Fiery Angel | Saul 5 4 1 5 1 1 1 2 3 SEITE GANZ 4 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1 1 5

a 148 b 126 c 99 d 89 e 68 f 48 g 25 2 2 5 2 6 2 STEHPLÄTZE 2 2 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 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

CONCERT PERFORMANCES & SPECIAL PROJECTS 8 2 1 BELEUCHTERSTAND 3 2 1 2 3 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1

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

20.9.2020 Carlo il Calvo | 15.11.2020 Oreste | 28.11.2020 Egmont & Fidelio 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 17.12.2020 Messiah | 25.1.2021 Cajo Fabricio | 19.2.2021 Armida 1 2 3 3 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1 1 4 1 1 11 2 4 2 2 8 2 2 11 2 1 2 3 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1 8 4 2 2 1 12

22.3.2021 Argippo | 19.4.2021 Orlando paladino | 22.4.2021 Tamerlano 4 3 1 3 1 2 4 3 9 SEITE RECHTS 1 3 12 1 2 1 2 5 3 4 5 6 7 8 9 10 10 9 8 7 6 5 4 3 2 1 9 2 1 2 13

29.1.2021 Winterreise | 26.2.2021 Himmelerde 2 5 10 2 13 1 2 5 1 1 2 6 3 4 5 6 7 8 9 10 10 9 8 7 6 5 4 3 2 1 PARKETT 1 10 14 1 STEHPLÄTZE 2 11 a 75 b 62 c 50 d 40 e 30 f 22 g 13 1 2 14 2

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

7 2 1 1 SEITE LINKS 11 15 3 2 1 3 1 3 5 3 12 2 15 3 2 5 3 2 8 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 2 1 2 12 6 1

13 6 SPECIAL PROJECT 1 9 1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 1 1 13 6 6 2 1 14 2 SEITE RECHTS Hamburg Ballett – An die Freude 1 1 1 2 3 4 5 6 7 8 9 1 9 8 7 6 5 4 3 2 1 14 7 3 1 7 STEHPLÄTZE 1 1 3 1

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

6 2 2 1 2 4 6

a 125 b 106 c 85 d 69 e 52 f 35 g 20 15 2 8 2

8 1 2 4 1

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

1 1 1 16 1 9 1 9

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

2 2 2

2

2 17 2 0 2 19 | 22 | 26 | 27 September 2020 Looking 4 Ludwig 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 0 1 5 3 1 18 3 1 1 2 1 3 1 3 5 2 1 18 1 2 3 4 5 6 7 8 6 8 7 6 5 4 3 2 PARTERRE 1 4 1 1 5 27 November 2020 | 15 December 2020 20 2 1 1 1 4 2 2 2 2 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 2 7 2 2 2 2 2 3 2 4 3 2 2 2 3 3 1 2 3 4 5 8 5 4 3 2 1 4 1 2 4 3 3 3 3 3 4 3 1 1 3 2 5 4 3 2 25 2 1 CABARET AT THE „HÖLLE“ 3 4 1 5 4 5 2 4 5 4 1 2 3 1 4 5 4 6 5 5 4 2 2 1 4 | 6 | 7 | 8 | 9 November 2020 1 5 6 5 2 2 5 5 1 6 5 1 3 6 6 9 6 6 3 9 1 | 2 | 3 | 4 | 7 December 2020 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 Reif für die Insel 4 5 7 4 3 8 3 7 2 3 6 8 9 9 8 6 3 8 5 2 6 7 10 10 3 2 2 4 7 6 2 8 8 2 1 5 9 4 5 1 1 10 11 10 9 7 7 2 1 2 4 7 5 9 8 9 8 5 4 2 10 10 11 10 9 7 3 2 1 2 6 6 1 9 6 INTRODUCTIONS 5 9 1 1 3 2 12 10 9 6 2 2 2 8 10 13 13 12 11 2 5 2 2 10 8 7 1 7 5 3 1 2 2 4 2 9 3 3 3 2 9 3 4 M 8 8 3 2 1 6 2 S I 4 T T 7 1 4 6 1 vor abendrot – Preview 5 2 T 0 2 0 H 5 4 9 9 C 4 E 2 1 4 7 4 5 E 2 L 5 1 R 2 7 I 1 3 LICHT- UND TONREGIE 1 5 N 0 0 1 E 7 2 K 3 T 6 2 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 KINDER AN DER WIEN 20 / 8 2 2 1 7 2 8 7 6 6 3 8 1 1 8 2 7 4 9 3 December 2020 Papagena jagt die Fledermaus 2 4 9 4 8 7 1 2 32 2 2 4 7 8 3 3 1 2 8 1 3 34 4 33 8 5 0 2 2 3 35 3 3 0 February and March 2021 Figaro und die Detektive 8 14 14 2 8 1 5 9 15 15 2 1 4 16 17 17 16 9 1 9 9 4 1 6 29 10 10 9 1 1 11 12 12 11 2 6 0 1 1 13 1 0 2 3 2 2 2 1 0 3 4 3 0 1 7 1 1 5 5 4 1 3 7 1 1 2 2 3 11 3 3 4 3 2 1 3 1 8 1 1 1 1 1 8 2 2 2 1 2 12 2 9 9 2 3 MITTELLOGE 31 31 3 4 32 32 1 14 33 33 14 4 no tickets are on sale for the boxes in 5 3 1 34 34 13 1 5 35 36 36 35 15 5 9 4 16 16 14 15 17 18 18 17 5 9 the second balcony at any concerts or 10 1 19 19 1 0 6 1 16 1 11 7 18 19 19 18 17 11 * Cloak-room fees are included in the ticket price. 1 12 12 1 concert performances of operas. 2 13 14 14 13 2 3 15 15 4 3 5 6 6 5 4

78 PRICES KAMMEROPER

MUSICAL THEATRE Prices in € * Bajazet | Giasone | Il barbiere di Siviglia Tristan Experiment | Tod eines Pudels a 51 b 40 c 29 d 19

INTRODUCTIONS 5

JET SPECIALS Songs and Dances of Death | Der Fall Straus (The Straus Affair) Don Giovanni in progress a 20 b 15 c 12

BÜHNE

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

LINKS PARKETT RECHTS 7 6 5 4 3 2 1 17 6 5 4 3 2 1 18 9 8 19 7 6 5 4 3 2 1 19 9 8 20 7 6 5 4 3 2 1 20 TECHNIK 9 8 21 7 6 5 4 3 2 1 21 9 8 22 7 6 5 4 3 2 1 22 * Cloak-room fees are 9 8 23 7 6 5 4 3 2 1 23 included in the ticket price.