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Home , Cecilia Bartoli, Clemens Holzmeister, Salzburg Festival

Festival 2020

©SF/Kolarik

The is preparing to celebrate its centenary in 2020.

The festival’s “founding fathers” dreamed of a world capital of the arts on Austrian soil, first and foremost the poet , the theatre impresario and the composer . They wanted to establish it far from the distractions of the big cities, in Salzburg, because Salzburg is “the heart of the heart of Europe,” in Hugo von Hofmannsthal’s incomparably beautiful phrase. The Salzburg Festival was to be “one of the first peace projects” (Max Reinhardt) after the horrors of World War I, and a clear artistic statement from , which had gone from the Habsburg empire, which had included half of Europe to a petty state. and theatre, the best of both – such was their guideline, simple-sounding yet highly demanding. Art as a bringer of peace, and quality as the programming guideline – these two founding no- tions have borne us aloft through the decades. Today the Salzburg Festival, which began in 1920 with one sole drama performance, is the largest classical festival in the world. In 2019 we offered 199 performances in 43 days at 16 performance venues, welcoming visitors from 78 countries, 40 of them non-European. With music, the only language without borders, we wish to reach out to people from all corners of the earth, especially in our anniversary year. Max Reinhardt knew how important the audience and listeners are for a festival’s success. As he said, “the best must be assembled not only on stage, but also in the auditorium”. In this spirit, we invite you to make 2020 a very special year in the Salzburg Festival’s history.

The Directorate of the Salzburg Festival: Lukas Crepaz, Helga Rabl-Stadler, Markus Hinterhäuser ©SF/Gorges

The Salzburg Festival is preparing to celebrate its centenary in 2020.

The festival’s “founding fathers” dreamed of a world capital of the arts on Austrian soil, first and foremost the poet Hugo von Hofmannsthal, the theatre impresario Max Reinhardt and the composer Richard Strauss. They wanted to establish it far from the distractions of the big cities, in Salzburg, because Salzburg is “the heart of the heart of Europe,” in Hugo von Hofmannsthal’s incomparably beautiful phrase. The Salzburg Festival was to be “one of the first peace projects” (Max Reinhardt) after the horrors of World War I, and a clear artistic statement from Austria, which had gone from the Habsburg empire, which had included half of Europe to a petty state. Opera and theatre, the best of both – such was their guideline, simple-sounding yet highly demanding. Art as a bringer of peace, and quality as the programming guideline – these two founding no- tions have borne us aloft through the decades. Today the Salzburg Festival, which began in 1920 with one sole drama performance, is the largest classical festival in the world. In 2019 we offered 199 performances in 43 days at 16 performance venues, welcoming visitors from 78 countries, 40 of them non-European. With music, the only language without borders, we wish to reach out to people from all corners of the earth, especially in our anniversary year. Max Reinhardt knew how important the audience and listeners are for a festival’s success. As he said, “the best must be assembled not only on stage, but also in the auditorium”. In this spirit, we invite you to make 2020 a very special year in the Salzburg Festival’s history.

The Directorate of the Salzburg Festival: Lukas Crepaz, Helga Rabl-Stadler, Markus Hinterhäuser ©SF/Gorges

reat orld Theatre – The Salzburg Festival entenary in his founding manifesto, “the highest of all of them”. Or, as we would say today: the best. Thus, quality was the Festival’s founding guideline. hat began with a drama performance on a Max Reinhardt Hugo von Hofmannsthal ASFEllinger fter a brief setback – the 192 season had suare in the historical city centre (because to be cancelled for lack of funding – the building a theatre was unaffordable) has be event grew continuously. ore performance come the most important classical festival in days and additional venues now became reg- the world today. ular innovations. n 192 the name of the i- n 2020, there will be approximately 200 per enna hilharmonic first graced one of the formances at venues over a period of Salzburg Festival’s playbills. Since then, the days, attracting guests from 0 countries, 0 has been the musical heart of the of which nonEuropean. These figures alone Festival, having performed approimately demonstrate how much has changed in 2,200 and 00 concerts to this day. er osenkavalier 191 SFEllinger these almost 00 years. etween 19 and 19 the Salzburg Festi- The idea of holding regular celebrations of music in honour of the city’s greatest son – olf val represented a symbol of the national and cultural independence of ustria to the outside gang Amadeus Mozart, naturally – arose long before the Festival’s founding in 1920. How- world. rtists such as rturo Toscanini and runo alter worked ceaselessly to internation- ever, this idea only too on concrete shape toward the end of orld ar , when a group alize the Salzburg Festival, which positioned itself artistically and ideologically as an “Anti- surrounding the director and impresario Max Reinhardt, the poet Hugo von Hofmannsthal Bayreuth”, in opposition to the National Socialists who already ruled Germany. During the and the composer Richard Strauss revived these plans. summers, the city became a meeting-place of international high society. Through the idea of a festival, the “founding fathers” tried to wreak order from the post The anneation of ustria by Hitler-ermany in 19 and azi cultural policy changed the war period of chaos. After the breadown of the Austrian monarchy, theatre as a festive Festival several composers and works were now banned artists stayed away, or were forced institution was to foster tradition, national identity and a sense communality. The Festival to. fter the attempt on Hitler’s life in 1944, the Festival had to be cancelled entirely. became a project against the identity crisis and the loss of values of individuals, but also nd then, a small miracle took place only three months after the war had ended in Europe, entire peoples. And the best place to implement their audacious project seemed to the in the summer of 19, the merican occupying forces permitted and supported the Festi- founders to be Salzburg, with its natural and architectural charms. “Salzburg is the heart of val’s taking place again. the heart of Europe,” as Hugo von Hofmannsthal put it so beautifully. lthough the city was heavily damaged by bombing raids, although soldiers and refugees n 22 August 20 everything was ready edermann 20 ASFEllinger crowded the city and despite the shortage of Hugo von Hofmannsthal’s Jedermann was the most important supplies, most of all food first performed in Salzburg, directed by Max – once again, as after orld ar , the Festi- Reinhardt, outside the athedral, where it is val’s political mission carried the day: Gen- still enacted today. Ever since, the “play of eral ark lark, the high commander of the the rich man’s dying” has graced the pro merican occupying forces which governed gramme every year – with only two excep Salzburg until the 19 Treaty, chose the tions, from 22 to 2 and from to opening of the Salzburg Festival for his first . t has long become an icon and trade public appearance in ustria, as he consid- mar of the Festival. armen rehearsal with Herbert von araan 19 ered this a “celebration of the rebirth of cul- SFEllinger The next year, 2, already saw additional orchestra and concerts. And tural freedom”. when the three da onte operas by Mozart – , Le nozze di Figaro and Così fan s early as 19, one man appeared centre-stage whose name is still indelibly linked with tutte – were performed for the first time in 22, the Festival had found its core structure, the Salzburg Festival Herbert von araan. native of Salzburg – he was born only a few valid to this day operas, plays and concerts – and, as Hugo von Hofmannsthal demanded hundred metres from today’s Festival district – he conducted the incredible number of 2

in his founding manifesto, “the highest of all of them”. Or, as we would say today: the best. Thus, quality was the Festival’s founding guideline. fter a brief setback – the 192 season had to be cancelled for lack of funding – the event grew continuously. ore performance days and additional venues now became reg- ular innovations. n 192 the name of the i- enna hilharmonic first graced one of the Salzburg Festival’s playbills. Since then, the orchestra has been the musical heart of the Festival, having performed approimately 2,200 operas and 00 concerts to this day. er osenkavalier 191 SFEllinger etween 19 and 19 the Salzburg Festi- val represented a symbol of the national and cultural independence of ustria to the outside world. rtists such as rturo Toscanini and runo alter worked ceaselessly to internation- alize the Salzburg Festival, which positioned itself artistically and ideologically as an “Anti- Bayreuth”, in opposition to the National Socialists who already ruled Germany. During the summers, the city became a meeting-place of international high society. The anneation of ustria by Hitler-ermany in 19 and azi cultural policy changed the Festival several composers and works were now banned artists stayed away, or were forced to. fter the attempt on Hitler’s life in 1944, the Festival had to be cancelled entirely. nd then, a small miracle took place only three months after the war had ended in Europe, in the summer of 19, the merican occupying forces permitted and supported the Festi- val’s taking place again. lthough the city was heavily damaged by bombing raids, although soldiers and refugees crowded the city and despite the shortage of the most important supplies, most of all food – once again, as after orld ar , the Festi- val’s political mission carried the day: Gen- eral ark lark, the high commander of the merican occupying forces which governed Salzburg until the 19 Treaty, chose the opening of the Salzburg Festival for his first public appearance in ustria, as he consid- armen rehearsal with Herbert von araan 19 ered this a “celebration of the rebirth of cul- SFEllinger tural freedom”. s early as 19, one man appeared centre-stage whose name is still indelibly linked with the Salzburg Festival Herbert von araan. native of Salzburg – he was born only a few hundred metres from today’s Festival district – he conducted the incredible number of 2

operas and 9 concerts here between 19 and 199. He also directed 14 opera produc- A Fortuitous ymbiosis tions himself. araan focused on music, and especially on internationalization. He managed to entice high-carat world stars to Salzburg, along with the guests from all over the world he hilharmonic is part of the identity of the alburg Festival. And the alburg who followed them. n 19 he opened the newly-built Groes Festspielhaus, whose con- Festival in turn is a good part of the identity of the Vienna hilharmonic. his orchestra has cept he had influenced essentially. n 19 he founded the aster Festival, in 19 the Salz- performed so often in alburg and is such an important part of our cultural life that one burg hitsun oncerts. Herbert von araan was also an essential figure in the development might also call it the “Salzburg Philharmonic”. of multi-media use of recordings. arlier than most other artists, he recognized the huge t is a happy coincidence that the year 182 marked an important ne beginning in the potential of modern media to conquer new audiences worldwide. musical life of Vienna and alburg. tto icolai founded the most famous symphony or- When died in 1989 during the rehearsals for Verdi’s Un ballo in chestra in the orld, starting ith the musicians of the Vienna ourt pera the Vienna maschera, the Festival lost its leading figure – resulting in a vacuum which had to be filled hilharmonic. n alburg, resolute citiens pulled the small ton, hich had fallen into gradually. complete oblivion, from the mire of poverty by a special cultural deed they collected funds Gerard ortier became the new artistic director. ith competence and infectious passion, to erect a monument to Mozart, a reminder of the city’s great son, hose name at the time he considered it his mission to modernize and reuvenate the Festival. He focused on con- was only associated with Vienna in many people’s minds. The fact that the monument was temporary music, eciting productions of the classics and an accent on drama – strategies erected on the foundations of a Roman villa inscribed with the motto “Hic habitat Felicitas” which brought a new audience to Salzburg. – Here lives Happiness – as a good omen. One special year in the 1 years of Festival history was , thanks to eter uzicka, the n the history of the Vienna hilharmonic, alburg occupies a special position, being the artistic director at the time. The Salzburg Festival celebrated the th birthday of olfgang site of its first performance outside of Vienna, in 1877. Here it lent the “Musikfeste” special Amadeus ozart by performing all his operas, making Salzburg the world capital of o- brilliance until 1910. eginning in 1920, the orchestra gave benefit concerts in Vienna and zart interpretation, which found enormous resonance in the international media and met outh America for the Festspielhaus Association, hich as in dire financial straits. n 1922 with enthusiastic acclaim from the audience. it performed the Festival’s first opera. And since 1925 its summer residency in alburg has n keeping with the best tradition of high artistic standards throughout the Festival’s history, been a fixture in the orchestra’s annual calendar. Markus Hinterhäuser took up the position of artistic director of the Festival in 2017. “A fes- uring World War , the orchestra offered an unforgotten proof of its profound connection tival must be an epicentre of the extraordinary,” is his credo. Meaning more than a random ith alburg by bridging the year 190, in hich the Festival could not take place, ith a series of events with as prominent casts as possible. The festival is to create special artistic alburg concert cycle at its on expense. constellations, offering not mere diversion, but an invitation to think. This too was one of Another deeply moving event as the last performance of the Vienna hilharmonic in the the founding ideas of a einhardt and Hugo von Hofmannsthal, and it remains the mis- presence of ichard trauss, then already a very old man. After the dress rehearsal of his sion and the source of strength of the Salzburg Festival for the coming century as well. opera on 1 August 19, he took leave of the orchestra ith the words: “Gentlemen, I hope we meet again in a better world.” Unfortunately, this wish was not granted. After the failed attempt to assassinate Hitler, the Festival as cancelled. he opera’s first performance only took place after the composer’s death, at the 1952 Salzburg Festival. o this day, the Vienna hilharmonic has performed more than 2,20 operas and more than 800 concerts at the Festival. his means that the orchestra may rightfully claim to have made an essential contribution to the Festival’s reputation as one of the world’s best. From the beginning, the orchestra set the musical standards for hich alburg as to become famous. t brought the best conductors to alburg, but the Festival also enabled its musi- cians to ork ith some of the best conductors, and has arranged many a ne and inter- esting artistic encounter. Without the Vienna hilharmonic, there ould be a festival in iener hilharmoniker with iccardo uti 19 SFBorelli alburg, but it ould not be the alburg Festival

A Fortuitous ymbiosis

he Vienna hilharmonic is part of the identity of the alburg Festival. And the alburg Festival in turn is a good part of the identity of the Vienna hilharmonic. his orchestra has performed so often in alburg and is such an important part of our cultural life that one might also call it the “Salzburg Philharmonic”. t is a happy coincidence that the year 182 marked an important ne beginning in the musical life of Vienna and alburg. tto icolai founded the most famous symphony or- chestra in the orld, starting ith the musicians of the Vienna ourt pera the Vienna hilharmonic. n alburg, resolute citiens pulled the small ton, hich had fallen into complete oblivion, from the mire of poverty by a special cultural deed they collected funds to erect a monument to Mozart, a reminder of the city’s great son, hose name at the time was only associated with Vienna in many people’s minds. The fact that the monument was erected on the foundations of a Roman villa inscribed with the motto “Hic habitat Felicitas” – Here lives Happiness – as a good omen. n the history of the Vienna hilharmonic, alburg occupies a special position, being the site of its first performance outside of Vienna, in 1877. Here it lent the “Musikfeste” special brilliance until 1910. eginning in 1920, the orchestra gave benefit concerts in Vienna and outh America for the Festspielhaus Association, hich as in dire financial straits. n 1922 it performed the Festival’s first opera. And since 1925 its summer residency in alburg has been a fixture in the orchestra’s annual calendar. uring World War , the orchestra offered an unforgotten proof of its profound connection ith alburg by bridging the year 190, in hich the Festival could not take place, ith a alburg concert cycle at its on expense. Another deeply moving event as the last performance of the Vienna hilharmonic in the presence of ichard trauss, then already a very old man. After the dress rehearsal of his opera Die Liebe der Danae on 1 August 19, he took leave of the orchestra ith the words: “Gentlemen, I hope we meet again in a better world.” Unfortunately, this wish was not granted. After the failed attempt to assassinate Hitler, the Festival as cancelled. he opera’s first performance only took place after the composer’s death, at the 1952 Salzburg Festival. o this day, the Vienna hilharmonic has performed more than 2,20 operas and more than 800 concerts at the Festival. his means that the orchestra may rightfully claim to have made an essential contribution to the Festival’s reputation as one of the world’s best. From the beginning, the orchestra set the musical standards for hich alburg as to become famous. t brought the best conductors to alburg, but the Festival also enabled its musi- cians to ork ith some of the best conductors, and has arranged many a ne and inter- esting artistic encounter. Without the Vienna hilharmonic, there ould be a festival in alburg, but it ould not be the alburg Festival

Artists about the Salzburg Festival “Congratulations on the 100th anniversary of the Salzburger Festspiele. We still have a vivid memory of the Symphony rhestra performing at the elsen “Every artist dreams of one day performing at the prestigious Salzburger Festspiele. For me to reitshule in the summer of 01 t is uite an honour and privilege for the orhestra debut there this past summer in Mozart’s with Peter, Teodor and the whole team and its members that we beame part of the festival of suh a longstanding history was definitely one of the most important moments in my career. The whole experience was a and tradition. We wish you further prosperity.” Yoshinori Nemoto, chairman NHK true pleasure: open, welcoming, and inspiring I felt like being a part of a big family. Thank Symphony rhestra, oyo you!” – ing Fang,

ario Acosta

olfgang ienbaher The Salzburg Festival is one of the most important classical music festival in the world. It was an unforgettable experience for me because it gave me the fantastic feeling of being able to combine with the greatest musicians of today and those of the past. I am honored to have participated in the Salzburg festival in Aida and in rnani and I hope to return soon. Best wishes for the 100th anniversary of the Salzburg festival!”, says Vittoria Yeo, soprano.

“My Salzburg festival time was like a dream. I learned so much and I enjoyed so much.” Seii zawa, ondutor

Shintaro Shiratori

SFRittershaus

“Congratulations on the 100th anniversary of the Salzburger Festspiele. We still have a vivid memory of the Symphony rhestra performing at the elsen reitshule in the summer of 01 t is uite an honour and privilege for the orhestra and its members that we beame part of the festival of suh a longstanding history and tradition. We wish you further prosperity.” Yoshinori Nemoto, chairman NHK Symphony rhestra, oyo

olfgang ienbaher

“My Salzburg festival time was like a dream. I learned so much and I enjoyed so much.” Seii zawa, ondutor

Shintaro Shiratori

Selected wards

Musical merica Celebrating its centennial net summer, the Salzburg Festival has been chose Festival of the Year for the 00 Musical merica International irectory of the erforming rts. Only once before has an institution, rather than an artist, been chosen for MA’s “Of the Year” honor, and that was in 2000, when Carnegie Hall, celebrating its centenary, was deemed “ Concert Hall of the Century” MUSICAL AMERICA, October 2019

pera ward Since 2012 the „International opera Award“ awards the best of the best in the classical world. It has been called “Oscars of the Opera”. In 2013 the Salzburg Festival won the “International Opera Award” in the category “Best Opera Festival”. In 2014, the production “” was selected as winner in the category “best opera pro duction”.

pernwelt – erformance of the year “Salome” performed at the Salzburg Festival has been voted “Performance of the year 01” by the critic survey of the magazine “Opernwelt”; Romeo Castellucci provided the best stagedirection and stage design, and the ithuanian soprano smik rigorian in the title role was voted “Singer of the Year”.

SFNeumayreo

Selected wards

Musical merica Celebrating its centennial net summer, the Salzburg Festival has been chose Festival of the Year for the 00 Musical merica International irectory of the erforming rts. Only once before has an institution, rather than an artist, been chosen for MA’s “Of the Year” honor, and that was in 2000, when Carnegie Hall, celebrating its centenary, was deemed “ Concert Hall of the Century” MUSICAL AMERICA, October 2019

pera ward Since 2012 the „International opera Award“ awards the best of the best in the classical world. It has been called “Oscars of the Opera”. In 2013 the Salzburg Festival won the “International Opera Award” in the category “Best Opera Festival”. In 2014, the production “Norma” was selected as winner in the category “best opera pro duction”.

pernwelt – erformance of the year “Salome” performed at the Salzburg Festival has been voted “Performance of the year 01” by the critic survey of the magazine “Opernwelt”; Romeo Castellucci provided the best stagedirection and stage design, and the ithuanian soprano smik rigorian in the title role was voted “Singer of the Year”.

nna etreo in a Traviata laus efevre

Salzburg Festival 2020

July 18th 2020 – August 30th 2020

Approimately 200 Performances in 44 ays at 1 enues

Opera New Productions itridate re di onto laus efvre 2 Revivals 1 Concert Performances

Drama Jedermann • Hugo von Hofmannsthal New Productions – of which 1 world premiere Readings

Concerts Ouverture Spirituelle ienna Philharmonic uest „Time with“Series Chamber Concerts Lied Recitals Recitals Mozart Matinees

Camerata Salzburg ittoria eo and aterina Semenhu in ida SFitterhaus laus efevre Young Singers Proect

Children and Youth Opera, Concerts and rama Opera Camps Youth Subscriptions Young Friends Siemens>Children‘s>Festival Salzburger Festspiele und heater inderchor Sonderonzerte

Accompanying programme in the anniversary year

SFittershaus nna etreo in a Traviata laus efevre

itridate re di onto laus efvre

ittoria eo and aterina Semenhu in ida SFitterhaus laus efevre

SFittershaus

Salurg State hiition Chapter – ncounters in ialogue “Great World Theatre – The Salzburg Festival Centenary” The third chapter includes a tour which is being developed in collaboration with institutions such as the ewish useum in ienna, the ienna Theatre useum, the Salzburg iterary n hiition of the Salurg useum in ooeration with the Salurg Festival Archive and the ienna hilharmonic, as well as internationally renowned artists The latter have been invited to react to the Festival from their own perspective, contributing their oation eue esiden Salurg epertise and competence andor artistic interventions to the collective narrative hiition Sae m a suare feet uration ril to toer Chapter – useum on Stage

dea and Conet of the hiition The fourth chapter of the State hibition turns the Art hibition all of the Salzburg useum into a stage For the entire duration of the ehibition, from April to ctober The State hiition Great World Theatre – The Salzburg Festival Centenary is dediated and especially during the Festival summer, it serves as a performance venue to the world’s most important performing arts festival, offering insights into the history while also offering a stage for Festival histories within the overall concept for the Art and develoment towards the resent ut also oening ersetives uon the future of hibition all t provides a platform for artists, persons active on and behind stage, and the Salurg Festival the audience Further offerings include curated film programmes, panel discussions, fash The State hiition at the Salurg useum at the eue esiden there eomes a ion shows and numerous other performance series First and foremost, however, the mu lae of enounter with the Salurg Festival stories enatments and events offer visitors seum hosts a comprehensive children’s and youth programme. sae for eerienes artiiation and ersonal memories as well The shared goal is to view the Festival from different ersetives also leading to institutional and artisti on triutions and a narrative inluding multile voies The State hiition is divided into four maor haters ah hater has its own area within the eue esiden

Chater – The Salurg Festival on Sreen isitors of the ehiition will e welomed inside the ortio with a film introduing the histor of the Salurg Festival doumentar rovides initial orientation on the founding hronolog and historial ontet of the Salurg Festival

Chater – “The Archive” – The Salurg Festival Centenar walin enloaedia assemles douments and materials fats and figures sounds and images words and histories alongside human rotagonists and develoments of the Festival This hater is the heart of the ehiition reounting ears of Festival histor from to The lassial rhive with its hotograhs reviews uliations sethes and douments will e omlemented threedimensional oets from the ostume olletion the worshos and the furniture and ros olletion and enrihed sound lis and film and audio samles oets reresent ears of Festival histor

ASFAnders

Chapter – ncounters in ialogue The third chapter includes a tour which is being developed in collaboration with institutions such as the ewish useum in ienna, the ienna Theatre useum, the Salzburg iterary Archive and the ienna hilharmonic, as well as internationally renowned artists The latter have been invited to react to the Festival from their own perspective, contributing their epertise and competence andor artistic interventions to the collective narrative

Chapter – useum on Stage The fourth chapter of the State hibition turns the Art hibition all of the Salzburg useum into a stage For the entire duration of the ehibition, from April to ctober and especially during the Festival summer, it serves as a performance venue while also offering a stage for Festival histories within the overall concept for the Art hibition all t provides a platform for artists, persons active on and behind stage, and the audience Further offerings include curated film programmes, panel discussions, fash ion shows and numerous other performance series First and foremost, however, the mu seum hosts a comprehensive children’s and youth programme.

ASFAnders

he main venues o the alurg estival (“Horse riding school”) he rosses estspielhaus the aus r oart and the elsenreitschule orm the estival istrict together ith the athedral uare and the ollegienirche located meters rom them. n rchishop ol ietrich had stales uilt here to hich a inter riding academy as added in . uring the th century the comple as used as cav alry arracs eore gradually eing opened to the alurg estival rom onards. he perormances o the alurg estival tae place in more than dierent venues every year. he three main venues o the alurg estival – elsenreitschule aus r oart and roes estspielhaus are located in the heart o the city.

Giovanna d’Arco at the

ourismus alurg

(“Horse riding school”)

Giovanna d’Arco at the Felsenreitschule

Haus r oart (“House for Mozart”) rosses Festspielhaus (“Large Festival Hall”) A rovisional estival hall as uilt on the grounds o the large inter riding school in he plans for a rosses Festspielhaus (arge Festival Hall) where the former archiepiscopal hich as oened ith Das Salzburger Grosse Welttheater nl one ear later in princely stables were located were drawn up primarily by the architect lemens Holzmeis the architect leens Holeister suervised a irst hase o reuilding Adatations ere ter Herbert von araan also made many suggestions for the building proect in particular again made in 1927 so that operas could be performed: Beethoven’s as the irst regarding the design of the theatre hall very effort was made and no epense spared so oera to e erored here as to “insert” between the threecenturiesold faade of the former court stables and the he uilding as non as the and underent several ore recon Mnchsberg a theatre with an opera stage whose structure and technical euipment would struction hases in (the auditoriu as turned around ) and in the ears still meet highest international demands after fifty years Between autumn 195 and the (roveent o sight lines and acoustics) early summer of 190 55000 cubic metres of roc were blasted away to create the relevant For many years the Salzburg Festival had followed plans to create a “House for Mozart” space he building was largely financed from the state budget and as a result the epublic hich ould in ever resect be suitable for the performance of the composer’s stage of ustria is the owner of the rosses Festspielhaus ors ith ecellent acoustics and the est ossile sight lines ro all seats he rosses Festspielhaus was opened on 2 uly 190 with a festive ceremony and the For the celebrations for Mozart’s 250th irthda in oart ear the Haus r oart performance of by ichard Strauss conducted by Herbert von araan as inall oened ith the reiere o Le nozze di Figaro (conductor iolaus Har he ground plan of the auditorium is almost suare nearly 5 metres long and from the noncourt stage director laus Guth) stalls as well as from the circle offers ideal acoustic conditions and sightlines for 2179 seats

ie ro the stage o Haus r oart Folari roes Festspielhaus SFolari

rosses Festspielhaus (“Large Festival Hall”) he plans for a rosses Festspielhaus (arge Festival Hall) where the former archiepiscopal princely stables were located were drawn up primarily by the architect lemens Holzmeis ter Herbert von araan also made many suggestions for the building proect in particular regarding the design of the theatre hall very effort was made and no epense spared so as to “insert” between the threecenturiesold faade of the former court stables and the Mnchsberg a theatre with an opera stage whose structure and technical euipment would still meet highest international demands after fifty years Between autumn 195 and the early summer of 190 55000 cubic metres of roc were blasted away to create the relevant space he building was largely financed from the state budget and as a result the epublic of ustria is the owner of the rosses Festspielhaus he rosses Festspielhaus was opened on 2 uly 190 with a festive ceremony and the performance of Der Rosenkavalier by ichard Strauss conducted by Herbert von araan he ground plan of the auditorium is almost suare nearly 5 metres long and from the stalls as well as from the circle offers ideal acoustic conditions and sightlines for 2179 seats

roes Festspielhaus SFolari

Helga abltaler resient o albrg Festival

Helga abltaler stie law ornalis an olitial sienes Fro to she wore as a ornalist seialiing in eono an olitis he was the irst eale or nalist to write an eitorial oln or the strian ail newsaer rier n she beae a oowner an artner o the ail bsiness oehas esann in albrg an Lin Fro to she was eber o the strian arliaent n she beae irst eale resient o the albrg haber o oere n she was aointe resient o the albrg Festival an resigne ro all her o litial oies Amongst her general responsibilities as a member of the Festival’s directorate, she has anage to evelo an otstaning networ o sonsors he high oint o her sessl nraising eorts was the inaning o the reonstrtion o the Has er o art whih reoene in he also eveloe the iea o resentations o the albrg Festival rograe all over the worl whih also is a reason the Festival weloes visitors ro nations o the nonroean toa

ars Hinterhser rtisti iretor o the albrg Festival

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SFeuner

SFeuner

Salzburg hitsun Festival A sacred music concert on Saturday evening at the Felsenreitschule features the Reuiem by Gabriel Fauré, who was engaged to Marianne, Pauline Viardot’s daughter, for a while. May – une Although she had already retired from the stage, auline iardot returned one more time La couleur du temps – he Colour of ime in 1869 for a performance of Johannes Brahms’ Alt-Rhapsodie – at the composer’s own reuest. Both orks ill be conducted by ohn Eliot Gardiner, ho leads the rchestre auline Viardot-arcia – Rvolutionnaire et Romantiue as ell as the ontiverdi Choir Soloists.

he life of auline Viardot-arcia – singer, uropean ambassador of music, outstanding pi- Wherever auline iardot stayed, she also hosted salons here she enoyed performing her anist and composer – is the focus of the Salzburg Whitsun Festival’s programme in 2020. on compositions. er aim as alays lightness, it and vitality – the staged song matinee performed by mezzo-soprano ivica Genau and Carlos Aragn at the piano is appropriately efore , it was mainly men and castrati whose outstanding artistic personalities shaped entitled Jeux d’esprit. musical and social life. At the beginning of the th century, however, an increasing number of women assumed this role – the ‘divo’ became a ‘diva’. auline iardot triumphantly embodied the first female rphe on the French stage no less Orphée ‘As the rays of Enlightenment shone into a different-minded th century, aficionados began than 138 times. In the Salzburg performance of Hector Berlioz‘ on Whitsunday at to turn from those etravagant young men, who had been pampered at the courts of abso- the Grosses Festspielhaus, arianne Crebassa – ho celebrated enormous success at the lutist monarchs, to a different kind of deity the prima donna. Henceforward, they laid their 20 Festival as Sesto in – ill take on this role. pposite her, Andriana hearts at the feet of outstanding female artists. omen represented the values of a post- Chuchman sings the role of Eurydice and arie-Sophie Pollak that of L’Amour. The artistic revolutionary and bourgeois society better than , whose artificiality, admired by director and chief choreographer of the amburg Ballet, ohn eumeier, transfers the members of the highest classes, was now considered unnatural. uickly stepping into their mythical action of the original to today’s ballet world in his stage version. Thus, this ballet position, these ladies began to serve as muses for emerging composers, to eert control opera features to dancers in addition to the singers on stage Edvin Revazov rphe and over what actually ended up in a score, as well as repertoire policy in theatres, casts and Anna audere Eurydice. Gianluca Capuano conducts the Camerata Salzburg and the Salz- fees, some of them attaining influential public positions,’ says , Artistic Direc- burg Bach Choir. tor of the Salzburg hitsun Festival. he 2020 Whitsun Festival ends ith a gala concert at the Grosses Festspielhaus on onday At the centre of the Salzburg Whitsun Festival is Gaetano Donizetti’s opera buffa Don evening. It is entitled ne affaire de famille and pays homage to the entire Garca dynasty. Pasquale. Cecilia artoli takes on the role of orina, sung by auline Viardot in the mid-th In a seuence of vocal and instrumental orks, symphonic movements and arias as ell as century. ‘I am delighted to make my debut in Don Pasquale, an opera love dearly. will a ballet interlude, Cecilia Bartoli as aria alibran, arduhi Abrahamyan as auline iardot, sing the part of orina in a version containing variations, cadenzas and additions going back avier Camarena as anuel Garca and others capture the musical temperament of the fam- to a series of performances in St. etersburg in , where auline Viardot took this role. ily. aim engerov leads the rchestra del eatro di San Carlo as soloist and concertmas- he orchestra plays on period instruments, re-creating that new kind of sonority we previ- ter hatia Buniatishvili plays piano and ulia agen cello. ously applied to Bellini and Rossini,’ says Cecilia Bartoli, Artistic Director of the Salzburg hitsun Festival.

École classique is the title of the concert of arias on Saturday at the main auditorium of the Mozarteum Foundation – a homage to auline Viardot featuring arias and orchestral works by ossini, Meyerbeer, ounod and Handel. ianluca Capuano leads Les Musiciens du rince – Monaco mezzo-soprano Varduhi Abrahamyan sings, and Cecilia artoli makes an appearance as a special guest.

A sacred music concert on Saturday evening at the Felsenreitschule features the Reuiem by Gabriel Fauré, who was engaged to Marianne, Pauline Viardot’s daughter, for a while. Although she had already retired from the stage, auline iardot returned one more time in 1869 for a performance of Johannes Brahms’ Alt-Rhapsodie – at the composer’s own reuest. Both orks ill be conducted by ohn Eliot Gardiner, ho leads the rchestre Rvolutionnaire et Romantiue as ell as the ontiverdi Choir Soloists.

Wherever auline iardot stayed, she also hosted salons here she enoyed performing her on compositions. er aim as alays lightness, it and vitality – the staged song matinee performed by mezzo-soprano ivica Genau and Carlos Aragn at the piano is appropriately entitled Jeux d’esprit.

auline iardot triumphantly embodied the first female rphe on the French stage no less than 138 times. In the Salzburg performance of Hector Berlioz‘ Orphée on Whitsunday at the Grosses Festspielhaus, arianne Crebassa – ho celebrated enormous success at the 20 Festival as Sesto in La clemenza di Tito – ill take on this role. pposite her, Andriana Chuchman sings the role of Eurydice and arie-Sophie Pollak that of L’Amour. The artistic director and chief choreographer of the amburg Ballet, ohn eumeier, transfers the mythical action of the original to today’s ballet world in his stage version. Thus, this ballet opera features to dancers in addition to the singers on stage Edvin Revazov rphe and Anna audere Eurydice. Gianluca Capuano conducts the Camerata Salzburg and the Salz- burg Bach Choir.

he 2020 Whitsun Festival ends ith a gala concert at the Grosses Festspielhaus on onday evening. It is entitled ne affaire de famille and pays homage to the entire Garca dynasty. In a seuence of vocal and instrumental orks, symphonic movements and arias as ell as a ballet interlude, Cecilia Bartoli as aria alibran, arduhi Abrahamyan as auline iardot, avier Camarena as anuel Garca and others capture the musical temperament of the fam- ily. aim engerov leads the rchestra del eatro di San Carlo as soloist and concertmas- ter hatia Buniatishvili plays piano and ulia agen cello.

ecilia Bartoli at the Salzb urg hitsun Festival Since 1 ecilia Bartoli has been the artistic director of the Salzburg hitsun Festival from the beginning, she has designed programmes focusing on female fig SFHorn ures. In 1 the theme was leopatra – ecilia Bartoli sang the role of the Queen of Egypt in Handel’s Giulio esare in gitto. The motto of the 13 hitsun Festival was Sacrifice – pfer – Victim. The staged new production of ’s Norma was honoured with the International ecca li eber pera Award for best new production in London in 1. 1 saw a veritable ossini celebration – the motto ossinissimo says it all, and ecilia Bartoli sang the leading role in the new production of La enerentola. Thus will I call upon the gods was the theme of the 1 hitsun Festival. hristoph illibald Gluck’s Iphigénie en Tauride received standing ovations from the audi ence after each performance. In 16, the story of omeo and Juliet ran through the programme of the hitsun Festival like a red thread, with a new production of est Side Story as the pivotal SFLelli work. Joy of Grief – under this heading, George Frideric Han del’s Ariodante was performed in 1. ecilia Bartoli in the trouser role of was transformed from a knight in armour into a woman over the course of the opera’s three acts. 2018 saw the 150th anniversary of ’s death. The 18 Salzburg hitsun Festival was dedi cated to his memory, choosing the motto 1868 – ear of uptures. ecilia Bartoli took on the role of Isabella in the musical comedy L’italiana in Algeri. 19 was dedicated to Voci celesti – Heavenly Voices, and ’s Alcina is the focus of at tention at the Salzburg hitsun Festival, which thereby SFHorn explored the memory of great voices of the past.

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ranslations Alea Nieschlag

The programme will be available as of 13th November 2019