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Home , Angelika Kirchschlager, Dominique Visse, Eduard Devrient, George Petrou, Hans Heiling, Johannes Chum

10 YEARS HOUSE

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The receives subsidies A Wien Holding Company from the Cultural Department of the City of NOTHING IS AS POWERFUL AS AN IDEA WHOSE TIME HAS COME VICTOR HUGO

In the upcoming season we celebrate ten years of the “new opera theatre that does not shy away from the social and political issues of our house”. day, that plumbs the depths of the works and, I hope, is able to raise the right questions for our time. The last decade, full of innovative and When, on 8 January 2006, Austria’s president Dr. Heinz Fischer officially highly appreciated musical theatre, is naturally a great incentive for us opened the Theater an der Wien as an opera house during a gala concert to continue our chosen path with enthusiasm. For the early Hebrews, led by Plácido Domingo, he reminded those present that not only had the number ten was a symbol for the origin of things; accordingly, we been born 250 years earlier, but that Sig- wish to mark our anniversary by remaining alert to and inquisitive about mund Freud had followed one hundred years later. President Fischer saw the new and produce musical theatre of and for our age. “I can always a connection here that Freud’s daughter Anna was also fond of pointing be tempted by this house,” said before the The- out, namely that while her father described himself as unmusical, he ater an der Wien was reopened as a new opera house. Exactly ten years had a liking for the opera in general and for three Mozart in after this epoch-making event for Vienna as a city of music – the open- particular: Le nozze di Figaro, and Die Zauberflöte. That ing of the first opera owned by the City of Vienna – we come full circle, could not be coincidence. Mozart, the revolutionary, was a man who as Nikolaus Harnoncourt will underline the importance of the new opera searched for answers all his life. Although his works do not provide any house with a performance of Beethoven’s Fidelio, as will René Jacobs answers, they help us to this day to ask the right questions, in the vast who will conduct Mozart’s . Both maestri have found a musical land that is the human soul. “The effect of music is so very much more home at the Theater an der Wien where they can allow their vision of powerful and penetrating than is that of the other arts, for no other opera to unfold exactly as they imagine it. art reveals the true essence of the world to us so penetratingly and powerfully,” writes Arthur Schopenhauer. But if we set off in search of The road was a long one once the first plans were put forward to return the essence of the world, then it should be the essence of our contem- the building, which had been built by Emanuel Schikaneder for the per- porary world, even if that means that the “true essence” stays hidden formance of opera, exclusively to that genre. A lively debate arose about from us. On stage, however, what is shown can only appear real if the whether, and in what form, a third permanent opera house should be illusion of performance is removed. In this context, Brecht introduced opened in Vienna. Despite initial criticism, this heated discussion quickly the famous Verfremdungseffekt (distancing effect) which also has justi- proved superfluous. For aesthetic and architectural reasons it was logical fication on the opera stage. and Der (fliegende) Holländer, and most advantageous to adopt the “stagione” system. Consequently, two characters in the forthcoming season, are of course, as denizens the oldest Viennese opera house – now also the youngest – returned of other worlds, first and foremost reflections of our own souls and the to the original form of opera presentation as it began in Italy and was sensitivities of society. known by Handel and Mozart. This means that, from a more precise point of view, Vienna does not have three major opera houses, but Since the house reopened, it has always been, and remains, very im- three opera houses each with its own unmistakable and distinct focus. portant to me to challenge such images at the Theater an der Wien in a way that is in keeping with our times. An astute sensorium of knowl- That numerous famous artists and the opera-goers who have contributed edge and empathy is required to discover contemporary aspects in the to and supported the new path followed by the Theater an der Wien for ideas from the past that are sketched and defined in scores. Only then a decade now are, for me, a sign that the stagione system is the right does the idea rise to the status of artwork, because the eternally human one. Many notable singers, conductors and directors are happy to have and the pursuit of humanity, while they have developed over the course this opportunity to strive for the best possible staging of works that are of humankind’s history, have not changed. We want to offer musical there to be discovered anew, time and time again. Angelika Kirchschlager,

2 | | 3 AN OVERVIEW OF THE 2015/16 SEASON:

Anne Sofie von Otter, Edita Gruberová and Marlis Petersen are among To open the anniversary season 2015/16, and to commemorate the end those who return with pleasure and regularity to Wienzeile, as do Plácido of World War II, the Theater an der Wien presents Das Tagebuch der Anne Domingo, Tobias Moretti, Florian Boesch and Michael Schade along with Frank by the Russian composer Grigory Frid, born in 1915 and a Moscow Christof Loy, Claus Guth, Robert Carsen and Keith Warner – to cite just a award-winner. The opera features Juliane Banse and musicians of the Wie- few famous names. And of course we can add those of Nikolaus Harnon- ner Philharmoniker, conducted by Leo Hussain. Reto Nickler will direct this court, René Jacobs and John Neumeier. unusual mono-opera.

Composers have often and self-critically reflected on the fact that opera The first major opera premiere is devoted to one of the most important is a genre that frequently encounters the limits of what is possible in its composers of his day, but whose operas are nowadays only performed in constant striving to unite disparate art forms. However, what is real, at exceptional cases. In 1833, created a key work of ro- any time, on any given evening, is the effect it produces. The magic of mantic opera: Hans Heiling tells a story of love, absent love and loss based opera lives! on a Bohemian folk tale. Ten years after Marschner, com- posed Der fliegende Holländer, also based on a folk tale, and one of the I extend a warm welcome to the Theater an der Wien, highlights of romantic opera. The titular heroes of both works struggle to find their place in a world controlled by others and maybe even the love that would set them free – and both are destined to lose out. With this produc- tion, the Theater an der Wien, at which Wagner himself conducted excerpts from his operas in 1863, for the first time presents one of the Bayreuth master’s operas with the instrumentation used at the time of its premiere. Roland Geyer Marc Minkowski and his Musiciens du Louvre Grenoble will take on this Director challenging musical task.

Otello also longs for love, which is denied him by external circumstances and a lack of self-awareness. Ever since Shakespeare made the Venetian general a dramatic figure he, his secret wife Desdemona, but above all the scheming Iago have fired the imaginations of artists from every genre. Ros- sini adapted the work for the opera as early as 1816, albeit with consider- able differences from the Elizabethan version. With this work, the director Damiano Michieletto returns to the TAW following the resounding success SPECIAL THANKS he had with Idomeneo and Il trittico. When celebrating such a special anniversary as this it is particularly important to stress that the artistic and economic success of the Theater an der Wien as a As a pacifist who refused to allow himself to be swayed by rabble-rousing new opera house would not have been possible without the tremendous support propaganda even during World War II, remained an out- provided by the City of Vienna (especially the mayor, Dr. Michael Häupl, head sider all his life, despite his many triumphs. As a Briton he also had a life- of the City Finance Dept. and Deputy Mayor Renate Brauner and head of the long affinity with the sea. In his operaPeter Grimes, Britten combines these City Culture Dept. Dr. Andreas Mailath-Pokorny) and by General Director Johann two traits and shows, using a fisherman as an example, the kind of pressure Marihart (from our main sponsor, Agrana) and last but not least by the CEO of that society can exert on an individual. Following his impressive portrayal the Vereinigte Bühnen Wien, Thomas Drozda. of Gustav von Aschenbach, Kurt Streit again takes on the lead role in a Heartfelt thanks to you all. Britten opera, whose psychological depths will be plumbed by Christof Loy.

4 | | 5 Many contemporary composers cite Kurt Weill as a major influence. His The number 10 as the unit of a decade has excellent significance in our way of setting text to music shows as much intelligence as musicality, and current method of calculating time – not just in engineering science. In his operas – the first to have realistic, often failed everyday figures as titular present-day life we use it to mark many anniversaries, and this is why the heroes in keeping with folk drama – opened up new perspectives for the Theater an der Wien is presenting a total of ten new staged musical theatre genre. Although what may be his best-known work has the word “opera” in productions for its tenth anniversary. And it is no great surprise that the the title, it was conceived by Weill and his kindred spirit Bertolt Brecht as tenth premiere will be performed by the Hamburg Ballet, which has fea- a drama with music. Die Dreigroschenoper was written after the fashion of tured prominently in our programmes in recent years. To mark the 400th the successful and baroque The Beggar’s Opera, likewise a satirical dig at anniversary of the famous British poet and playwright’s death, John Neu- the genre’s mannerisms, and Brecht intended it to be so cheap that even meier will stage his Shakespeare Dances with music by Mozart, Tippett and its mendicant main characters could afford it. The cast is a veritable who’s Vivaldi. who of opera: Tobias Moretti, Angelika Kirchschlager, Anne Sofie von Otter, Florian Boesch. Keith Warner will be directing this anniversary production In addition to this, we will also be presenting ten operas as concert per- in January 2016. Together with the two gala concerts with Nikolaus Harnon- formances, staging five productions in the Kammeroper and invite you to court (Fidelio) and René Jacobs (Idomeneo) it will mark the high point of many other interesting events, ranging from Heltau’s Herr Direktor to Lum- the decennial of the “new opera house Theater an der Wien”. paci Vagabundus, from Rossinimania to Beethoven – and will also lure you to the Siebenter Himmel (“Seventh Heaven”) in the Hölle. With the late work L’incoronazione di Poppea, director Claus Guth brings his three-part Monteverdi cycle to a close and gives this erotically charged The entire team at the Theater an der Wien is looking forward to welcoming drama centred on relationships a profound interpretation. Of course, a large number of interested and critical visitors. And now: Curtain up! is once again featured as a regular part of our pro- gramme. At the end of his four-year stay in Italy, the 24-year-old composer experienced the high point of his tour with the performance of his ope- ra which made him the darling of the Venetian audience. The work deals with events leading up to the coronation of Poppaea, and we strongly urge our audience not to miss this dilogy. With Danielle de Niese and Robert Carsen, we welcome two artists who have brought tremendous The collages in this programme were commissioned by the Theater an der Wien and successes to the Theater an der Wien in the past decade. conceived by Michael Huber & Thomas Riegler (beyond.ag). They were created in cooperation with the artist André Sanchez. In his final opera, , purposely left the question of whether words must follow the music unanswered. This is a question that André Sanches, illustrator and photographer, lives and works in . His baroque, had already been set to music 150 years earlier by in the multi-layered fashion photos and graphic artworks appear in leading periodicals and divertimento Prima la musica e poi le parole. Director Tatjana Gürbaca, an daily newspapers in France, Germany, , Australia, Sweden and the USA. In award-winner in 2013, takes charge of a production at the Theater an der 2010 Sanchez won the Lürzer’s Archive Award, a competition among the World’s Wien for the first time. Whether the question stays unanswered in her inter- 200 best Illustrators, pretation of Capriccio remains to be seen. But as Bertolt Brecht says: “Indeed His creations are exhibited at international art fairs and in galleries in Berlin, Barce- it is a curious way of coping: to close the play, leaving the issue open”. lona, Amsterdam and London.

6 | | 7 CONTENT

AGRANA congratulates the OPENING 15/16 G. Frid: ANNE FRANK 10 MUSICAL THEATRE H. Marschner: HANS HEILING 14 C. Monteverdi: L’INCORONAZIONE DI POPPEA 18 R. Wagner: DER FLIEGENDE HOLLÄNDER 22 B. Britten: PETER GRIMES 26 K. Weill: DIE DREIGROSCHENOPER 30 G. Rossini: 34 G. F. Handel: AGRIPPINA 38 R. Strauss: CAPRICCIO 42 J. Neumeier: SHAKESPEARE DANCES 46

CONCERT PERFORMANCES 52 SPECIAL PROJECTS 64 AT THE KAMMEROPER 74 AT THE HÖLLE 82 JUGEND AN DER WIEN 86 Guided Tours 90 Introduction to the Season 91 Information 92 Prices 96 Seating plan 97 Imprint 100 Booking form 101

AGRANA and the Theater an der Wien have a track record spanning ten years and including many joint successes. We wish our partner as much success in the years to come.

WWW.AGRANA.COM DAS TAGEBUCH DER ANNE FRANK

GRIGORY FRID 10 SEPTEMBER 2015 Season Opening DAS TAGEBUCH DER ANNE FRANK It´s a wonder I haven´t abandoned all my ideals, they seem so absurd and im- practical. Yet I cling to them because I still believe, in spite of everything, that LEO HUSSAIN Conductor people are truly good at heart. WIENER VIRTUOSEN Anne Frank, diary entry, 15 July 1944 (members of the Wiener Philharmoniker) Emotional, passionate music that also evokes a sense of oppression lies Prelude: at the heart of the 15/16 season’s opening concert. Igor Stravinsky’s Igor Stravinsky (1882 -1971) score for L’histoire du soldat is not bound to the essence of the text; ra- Suite L’HISTOIRE DU SOLDAT (1918/1920) ther, it can also exist without it. The jazz elements it contains possess enormous power, and in the instrumental passages in particular Stra- Grigory Frid (1915 -2012) vinsky raises a wide range of musical expectations in the listener, most DAS TAGEBUCH DER ANNE FRANK of which he leaves unfulfilled, however. In contrast, Grigory Frid’s mono- Chamber opera in four scenes and opera Das Tagebuch der Anne Frank takes a very specific form, adhering al- twenty one episodes (1969/1999) most word for word to the famous diary it is based on. 21 brief episodes Libretto by Grigory Frid after relate Anne Frank’s life beyond the period covered by the diary and form Das Tagebuch der Anne Frank, a musical-lyrical account. Frid – the hundredth anniversary of his birth German adaption: Ulrike Patow falls in September this year – achieves a musical empathy with Frank’s soul, and evokes despair, fear and persecution as well as a fleeting ray Anne Frank Juliane Banse of hope. Scenic arrangement Reto Nickler

New Production Theater an der Wien

THURSDAY, 10 SEPTEMBER 2015, 7.30 P.M.

| 13 SEASON OPENING HANS HEILING

HEINRICH MARSCHNER 13 – 25 SEPTEMBER 2015 HANS HEILING In July 1831, Heinrich Marschner was sent an anonymous libretto. The Romantic opera in a prologue and three acts (1833) text, titled “Hans Heiling”, was based on a Bohemian tale. Marschner MUSIC BY HEINRICH MARSCHNER was immediately inspired and began to track down the author. It was LIBRETTO BY Eduard Devrient, a at the Berlin Opera. Within a year the com- position was finished, and it was premiered to great acclaim in Berlin Performed in German with German surtitles in May 1833 with Devrient in the title role. Marschner had already achie- ved fame with his operas (1828) and Der Templer und die Conductor Constantin Trinks Jüdin (1829), and Hans Heiling further cemented his reputation as suc- Director Roland Geyer cessor to . The romantic subject matter of the tale Set designer Herbert Murauer allowed Marschner to experiment with structure, and he used conventi- Costume designer Sibylle Gädeke onal and entirely new forms side by side. A through-composed prelude Choreographer Ramses Sigl is followed by the overture. In the opera itself the numbers are linked Light designer Reinhard Traub partly by dialogue, partly by recitatives. The musical exploration of Heiling’s Dramatic advisor Elisabeth Geyer complicated psyche as it alternates between a longing for love, jealousy, Hans Heiling Michael Nagy anger and melancholy proved to be influential: Wagner follows up these Die Königin, his mother Angela Denoke ideas in Der fliegende Holländer. Anna, his bride Katerina Tretyakova Gertrude, her mother Stephanie Houtzeel Hans Heiling, wishing to escape his mother’s over-protective love, moves to Konrad Peter Sonn a village where he falls in love with Anna. For her he is willing to chan- Stephan Christoph Seidl * ge his life completely. Heiling’s expensive gifts make a great impression on Niklas Patrick Maria Kühn ** Anna’s mother who encourages her daughter to marry the stranger. How- ever, the young woman feels uneasy in the presence of the mysterious and ORF Radio-Symphonieorchester Wien possessive man. She has another admirer, the handsome Konrad. But Hei- ** Arnold Schoenberg Chor (Chorus master Erwin Ortner) ling constantly asserts his right to Anna as his bride. He avoids the society of the villagers and refuses to let her dance at a party. Heiling’s mother vi- New Production Theater an der Wien sits Anna, reveals the true nature of her fiancé and threatens her to make * Young Ensemble Theater an der Wien her give up the planned union. Anna breaks off the engagement and turns her attentions to Konrad. Heiling then erupts in raging jealousy, confronts Konrad and stabs him as they quarrel. Afterwards, his inner voices cause him to have doubts about his actions. These almost drive him mad, but he nevertheless clings to the hope that he still has a chance of marrying Anna. In the end he realises that there is no hope.

PREMIERE: 13 SEPTEMBER 2015 Performances: 16 / 18 / 21 / 23 / 25 September 2015, 7 p.m. Introduction: Sunday, 13 September 2015, 11 a.m.

| 17 MUSICAL THEATRE L’INCORONAZIONE DI POPPEA

CLAUDIO MONTEVERDI 12 – 23 OCTOBER 2015 L’INCORONAZIONE DI POPPEA In his last opera, premiered in 1643, Monteverdi dealt with a histori- Dramma musicale in a prologue and three acts (1643) cal subject for the first time. The story of the scandalous marriage of MUSIC BY Emperor Nero to Poppea was well known to audiences. However, Mon- LIBRETTO BY GIOVANNI FRANCESCO BUSENELLO teverdi and his librettist Francesco Busenello made no judgement: the Performed in Italian with German surtitles music celebrates the two protagonists’ love with great sensuality, with- Conductor Jean-Christophe Spinosi out concealing the trail of violence they leave in their wake. Added to Director Claus Guth this is a colourful array of comic figures from the Commedia dell’arte, Set & costume designer Christian Schmidt evidently included to please the audience. Public opera houses for pay- Light designer Olaf Winter ing visitors existed in from 1637. Monteverdi bestows all his Dramatic advisor Konrad Kuhn skill on these episodic figures too. Director Claus Guth uses the great Video Arian Andiel diversity within the work to cause different worlds to collide and to pro- Choreographer Ramses Sigl vide space for the ramifications of the plot to unfold, which also allow theatrical exaggerations. Against the background of a failing empire, the Ottavia Jennifer Larmore historical characters reveal a set of people in whom we can see ourselves: Nerone Valer Sabadus They are all driven by their passions. Poppea Alex Penda Seneca Franz-Josef Selig Who controls the actions of humankind? This is the subject of a wager between Drusilla Sabina Puertolas Fortuna (Fate), Virtù (Virtue) and Amore (Love) in the prologue. Nerone, Nutrice, Ottavia’s nurse Marcel Beekman ruler of a great empire, is not interested in government. His attention is Arnalta, Poppea’s nurse José Manuel Zapata entirely taken up with the beautiful Poppaea whom he covets with a pas- Fortuna Viktorija Bakan * sion. Poppea, for her part, wants to be on the throne and shamelessly ex- Virtù / Pallade Natalia Kawalek * ploits her seductive powers. Those who lose out are Nero’s wife Ottavia and Amore / 1st friend of Seneca Jake Arditti * Poppaea’s former lover Ottone. Nerone rids himself of the philosopher Seneca, Damigella Gaia Petrone whose warnings irritate the emperor, by ordering him to commit suicide. Valletto Emilie Renard Ottavia, however, wants revenge and incites Ottone to try to murder Poppea. Lucano / 1st soldier / Ottone also involves Drusilla, who is in love with him, in the plot. The god a consul / 2nd friend of Seneca Rupert Charlesworth Amore himself prevents the murder and makes sure that he wins the wager: Liberto / 2nd soldier / a consul Manuel Günther Nerone crowns Poppea his empress, and Rome applauds. Is Amore really Mercurio / a tribune / 3rd friend of Seneca Christoph Seidl * victorious in the end? Littore / a tribune Tobias Greenhalgh * Ensemble Matheus New Production Theater an der Wien * Young Ensemble Theater an der Wien PREMIERE: 12 OCTOBER 2015 Performances: 14 / 16 / 19 / 21 / 23 Oktober 2015, 7 p.m. Introduction: Sunday, 11 October 2015, 11 a.m.

| 21 MUSICAL THEATRE DER FLIEGENDE HOLLÄNDER

RICHARD WAGNER 12 – 24 NOVEMBER 2015 DER FLIEGENDE HOLLÄNDER When Richard Wagner, sailing to England in 1839, was caught in several Romantic opera in three acts storms, the fear he felt of the raging sea left a deep impression on him. Original Version (1841) Allegedly it was then that he heard the sailors relating the legend of the MUSIC & LIBRETTO BY RICHARD WAGNER flying Dutchman. Subsequently, Heinrich Heine’s adaptation of the legend in his Memoirs of Mister von Schnabelewopski provided irresistible inspira- Performed in German with German surtitles tion. In Paris, Wagner began drafting an opera on this subject, submitting it to the Opéra with three completed numbers. Although the idea met Conductor Marc Minkowski with praise, another composer was commissioned. At least the draft Director Olivier Py earned Wagner enough money to make ends meet and buy a piano, on Set & costume designer Pierre-André Weitz which he then composed his own version. In mid-November 1841, his Light designer Bertrand Killy first version, set off the coast of Scotland, was complete. In this version Der Holländer Samuel Youn each act flows seamlessly into the next, since it was Wagner’s intention Senta Ingela Brimberg that the opera be played without an intermission, like a relentless Donald Lars Woldt tempest, so to speak. Der fliegende Holländer is Wagner’s fourth opera and Georg Bernard Richter with it he clearly adopts the style of romantic opera in the tradition of Der Steuermann Manuel Günther Spohr, Weber and Marschner. Mary Ann-Beth Solvang As a punishment for his arrogance towards God – he swore not to stop Les Musiciens du Louvre Grenoble sailing round the Cape of Good Hope despite the appalling weather – the Arnold Schoenberg Chor (Chorus master Erwin Ortner) flying Dutchman has been condemned to sail aimlessly around the seas for all eternity. Every seven years he is permitted to go ashore. If he finds a wo- New Production Theater an der Wien man there who is prepared to be faithful to him, he may find redemption. So far he has not succeeded. Shortly before he is next due to make landfall, the Dutchman meets the merchant Donald who promises the hand of his Supported by daughter Senta in marriage in exchange for a sum of money. Amazingly, Senta has always loved the Dutchman, because there is a portrait of him in the family home that she has worshipped since childhood. Her suitor, the hunter Georg, has always been jealous on account of the painting. Consequently, things bode well for the union initiated by Donald: Senta is delighted to be engaged to the man of her dreams. Georg, however, is fu- rious. When the Dutchman happens to overhear part of a quarrel between Senta and Georg, he believes that Senta has been unfaithful to him and sails away. But Senta is able to prove that she is true to him by plunging into the sea after the departing ship. PREMIERE: 12 NOVEMBER 2015 Performances: 14 / 17 / 19 / 22 / 24 November 2015, 7 p.m. Introduction: Sunday, 8 November 2015, 11 a.m.

| 25 MUSICAL THEATRE PETER GRIMES

BENJAMIN BRITTEN 12 – 22 DECEMBER 2015 PETER GRIMES Spending time in the USA during World War II, Benjamin Britten longed Opera in a prologue and three acts (1945) to be back in England and, in George Crabbe’s narrative poem The Borough, MUSIC BY BENJAMIN BRITTEN found a text that struck a particular chord with him at that time. In the LIBRETTO BY MONTAGU SLATER poem, Crabbe tells the story of a small fictional fishing village in Suffolk, AFTER GEORGE CRABBE’S POEM THE BOROUGH (1810) Britten’s home. Back in England, Britten composed Peter Grimes in 1944/45 to a libretto adapted by Montagu Slater from themes in Crabbe’s Performed in English with German surtitles text. Following the opera’s premiere at Sadler’s Wells Theatre in London, Britten was enthusiastically feted as “the new Purcell”. He had achieved Conductor Cornelius Meister his declared aim of restoring “to the musical setting of the English lan- Director Christof Loy guage a brilliance, freedom and vitality that have been curiously rare since Set designer Johannes Leiacker the death of Purcell”. Britten succeeded masterfully in portraying the vil- Costume designer Judith Weihrauch lagers, the communal mood and the mood of the individual characters. Choreographer Thomas Wilhelm The ambivalent figure of Peter Grimes, torn by inner conflict, was the Light designer Bernd Purkrabek first of many roles he wrote for his partner, the Peter Pears. The Peter Grimes Kurt Streit plot and the psychological events are given added depth by several sym- Ellen Orford Agneta Eichenholz phonic interludes which evoke the dawn, a storm, the atmosphere of a Auntie Hanna Schwarz Sunday morning and a moonlit night over the sea with overwhelming Niece 1 Kiandra Howarth musical vividness. With its succinct musical expression and mesmer- Niece 2 Frederikke Kampmann ising tone colours, Peter Grimes has now become a central part of the Balstrode Andrew Foster-Williams repertoire. Mrs Sedley Rosalind Plowright Swallow Stefan Cerny The fisherman Peter Grimes is an outsider in his own village. He is sus- Bob Boles Andreas Conrad pected of maltreating his apprentices. Because one of them has died under Reverend Horace Adams Erik Årman mysterious circumstances, an investigation is held. However, nothing can be Ned Keene Tobias Greenhalgh * proved against Grimes. The only person who sides with the eccentric fisher- Hobson Lukas Jakobski man is a teacher, Ellen Orford. Although he has been advised not to do so, John, Grimes’ apprentice Gieorgij Puchalski Grimes takes in another boy. The villagers keep a close and distrustful eye on him and the boy, and once again suspicions are aroused. Ellen wants to ORF Radio-Symphonieorchester Wien help, but Grimes refuses to allow her to interfere. The scrutiny of the village Arnold Schoenberg Chor (Chorus master Erwin Ortner) is torment to the fisherman, who dreams of peace. When he realises there is a danger that the villagers will lynch him, there is another fatal accident: New Production Theater an der Wien the boy falls off the cliffs. Now the hunt for Grimes begins in earnest. The * Young Ensemble Theater an der Wien former captain, Balstrode, advises Grimes to sail out to sea and let his own boat go down with him in it. PREMIERE: 12 DECEMBER 2015 Performances: 14 / 16 / 20 / 22 December 2015, 7 p.m. Introduction: Sunday, 29 November 2015, 11 a.m.

| 29 MUSICAL THEATRE DIE DREIGROSCHENOPER

KURT WEILL 13 – 30 JANUARY 2016 DIE DREIGROSCHENOPER In the 1920s, George Frideric Handel’s operas experienced a revival, and Play with music in a prologue and eight tableaux (1928) this led to the rediscovery of the parody of Handel, The Beggar’s Opera MUSIC BY KURT WEILL by John Gay and Christopher Pepusch. In 1928, Bertolt Brecht wrote Die TEXT BY BERTOLT BRECHT Dreigroschenoper for the Theater am Schiffbauerdamm in Berlin on the basis of a translation of The Beggar’s Opera (1728) by Elisabeth Haupt- Performed in German with German surtitles mann. When he learned that Kurt Weill, with his avant-garde leanings, had been entrusted with writing the music, Brecht was initially worried Conductor Johannes Kalitzke about the accessibility of the melodies, but the first samples of songs Director Keith Warner convinced him. Weill made use of forms and rhythms current at the time Set designer Boris Kudlicˇka as well as classical patterns: the tango and shimmy are represented, as Costume designer Kaspar Glarner are baroque polyphony and arias, but in Weill everything is given a second Choreographer Anthony van Laast layer; for example, Peachum’s morning choral becomes a provocative Light designer Bruno Poet caricature of the Protestant work ethic. Overall, the work is a cynical Macheath, satire on the hypocrisy of the bourgeoisie in the era of capitalism. Weill head of a band of street robbers Tobias Moretti himself described Die Dreigroschenoper as the “most logical reaction to Jonathan Jeremiah Peachum, Wagner”. The ballad of Pirate Jenny was written as a contrast to Senta’s head of a band of beggars Florian Boesch ballad in Der fliegende Holländer. The premiere was the start of a global Frau Peachum Angelika Kirchschlager success which, though interrupted by the National Socialists’ denunci- Polly Peachum, her daughter Nina Bernsteiner ation of it as “degenerate art”, continued unabated after World War II. Spelunkenjenny, a whore Anne Sofie von Otter Today, the work has lost none of its topicality. Brown, London’s chief of police Markus Butter Lucy N.N. Peachum controls and exploits all the beggars in London. However, he cannot control his daughter Polly. Without his permission she marries his adversary, Klangforum Wien the criminal Macheath, known as Mack the Knife. Polly’s parents hatch a Arnold Schoenberg Chor (Chorus master Erwin Ortner) plot to eliminate Macheath: they want him handed over to the police, and consequently the gallows. Polly warns Macheath and he escapes. There is New Production Theater an der Wien only one thing Macheath cannot resist, and that is his weekly visit to the brothel. The prostitute Jenny is bribed by Mrs Peachum and grasses on Mac- heath to the police. He is arrested, and a tug-of-war involving bribery and Supported by blackmail begins about whether he should be released or executed. In the end, no one is prepared to pay the hundred-pound bribe for Macheath’s re- lease, and the gangster is led to the gallows. At the last moment, a mounted messenger from the Queen arrives and announces that Macheath has been pardoned because today is coronation day. PREMIERE: 13 JANUARY 2016 Performances: 16 / 18 / 20 / 23 / 25 / 28 / 30 January 2016, 7 p.m. Introduction: Sunday, 10 January 2016, 11 a.m.

| 33 MUSICAL THEATRE OTELLO

GIOACHINO ROSSINI 19 FEBRUARY – 1 MARCH 2016 OTELLO OSSIA IL MORO DI VENEZIA Rossini wrote Otello in 1816, between Il barbiere di Siviglia and La Ceneren- tola, as a commission for the royal theatre in . Anyone expecting Dramma per musica in three acts (1816) a faithful musical rendition of Shakespeare – as Lord Byron did – was in for a disappointment. The poet saw a performance in Venice in 1818 and MUSIC BY thundered afterwards, “They have been crucifying Othello into an opera”. LIBRETTO BY FRANCESCO MARIA BERIO In Rossini’s day, Shakespeare’s plays were known on the continent almost Performed in Italian with German surtitles exclusively from adapted and sometimes almost unrecognisable versions. But if Rossini’s opera is considered as an original artistic reworking of Conductor Antonello Manacorda the Othello story, its extraordinary qualities become apparent and the re- Director Damiano Michieletto sounding success it met with in the 19th century becomes understand- Set designer Paolo Fantin able. It is especially in the vivid portraits of the characters’ souls and in Costume designer Carla Teti the third act in which the explosion of emotions occurs, accompanied Light designer Carletti by a storm, an explosion of natural forces, that Rossini abandons the hitherto customary number structure and – in the words of the Rossini Otello John Osborn expert Philip Gossett – “the watershed between opera of the 18th cen- Desdemona Nino Machaidze tury and that of the 19th is to be found.” Jago Vladimir Dmitruk Maxim Mironov Otello, a black African, is in the employ of Venice. He has won a battle Elmiro Barberigo Fulvio Bettini near Cyprus for the republic and now returns to Venice in triumph. He is Emilia Gaia Petrone secretly engaged to Desdemona, daughter of the distinguished Venetian gen- Doge Nicola Pamio tleman Elmiro. But the Doge’s son, Rodrigo, also wishes to win Desdemona. Un gondoliere / Lucio Julian Henao Gonzalez Both Elmiro and Rodrigo hate the successful immigrant Otello, while Elmiro would look very favourably on his daughter’s marriage to Rodrigo. But for Wiener Symphoniker some time now he has observed a growing and worrying intimacy between Arnold Schoenberg Chor (Chorus master Erwin Ortner) Desdemona and Otello. To settle matters, his daughter’s wedding to Rodrigo is scheduled to take place without delay. When Otello unexpectedly ap- New Production Theater an der Wien pears in the middle of the ceremony, the initially hesitant Desdemona once and for all refuses to plight her troth to Rodrigo. It becomes clear that Des- demona is already promised to Otello. Rodrigo now enlists the help of the scheming Jago to drive Desdemona and Otello apart. Jago knows that Otello is insanely jealous and hatches a plot with the aid of a letter. Otello now believes that Desdemona loves Rodrigo after all and stabs her to death. When the truth of the plot is revealed, Otello kills himself out of remorse. PREMIERE: 19 FEBRUARY 2016 Performances: 21 / 23 / 26 / 28 February, 1 March 2016, 7 p.m. Introduction: Sunday, 14 February 2016, 11 a.m.

| 37 MUSICAL THEATRE AGRIPPINA

GEORGE FRIDERIC HANDEL 18 MARCH – 2 APRIL 2016 AGRIPPINA In 1707/08, Agrippina gave the young Handel his big chance to establish Dramma per musica in three acts (1709) his reputation as an opera composer in Italy. The commission came MUSIC BY GEORGE FRIDERIC HANDEL from the famous Teatro San Giovanni Crisostomo in Venice, which was LIBRETTO BY VINCENZO GRIMANI [?] funded by the influential Grimani family. It is possible that the libretto was written by Cardinal Vincenzo Grimani. The Venetians were extremely Performed in Italian with German surtitles demanding when it came to music, but Handel succeeded in creating a wise, gripping and entertaining opera on the basis of the humorous Conductor Thomas Hengelbrock libretto about lust for power and sexual desires in Ancient Rome. With Director & light desinger Robert Carsen rich instrumentation and a huge variety of musical forms including dance Set & costume designer Gideon Davey movements and ensembles alongside da capo arias, cavatinas, ariosi and Light designer Peter van Praet accompagnato recitatives, plus melodies reminiscent of folksong and Dramatic advisor Ian Burton sophisticated , Handel showed his virtuosity as a composer. Agrippina Patricia Bardon The success was overwhelming. John Mainwaring, Handel’s first bio- Nerone Jake Arditti * grapher, reports that the audience “were thunderstruck with the gran- Poppea Danielle de Niese deur and sublimity of his style, for they had never known till then all Ottone Filippo Mineccia the powers of harmony and modulation so closely arranged and forcibly Claudio Mika Kares combined”. Handel was rapturously cheered with the cry of “Viva il caro Pallante Damien Pass Sassone!” – “Long live the beloved Saxon!” His international career began. Lesbo Christoph Seidl * Rome, 54 A.D. Agrippina is married to the Roman Emperor Claudio who is Balthasar-Neumann-Ensemble currently away on a crusade. When the rumour surfaces that he has been killed in battle, she tries to make her son Nerone, the result of an earlier New Production Theater an der Wien liaison with another man, emperor. It turns out, however, that Claudio is * Young Ensemble Theater an der Wien not dead, but was saved by Ottone, one of his generals. Out of gratitude, Claudio has made him his heir. Consequently, there are now two heirs. The situation is made even more complicated by the fact that Claudio, Nerone and Ottone are all in love with the same woman: Poppea. Who will win the woman and the throne? Agrippina schemes, sometimes successfully, sometimes less so. In the end, Ottone wins Poppea – for the time being – and Nerone is heir to the throne. But as we know from history and Monteverdi’s L’incoronazione di Poppea things are not going to re- main this way for long.

PREMIERE: 18 MARCH 2016 Performances: 20 / 22 / 29 / 31 March, 2 April 2016, 7 p.m. Introduction: Sunday, 13 March 2016, 11 a.m.

| 41 MUSICAL THEATRE CAPRICCIO

RICHARD STRAUSS 18 APRIL – 2 MAY 2016 CAPRICCIO What is of greater fundamental importance for a good opera, the text or Conversation piece for music in one act (1942) the music? Which element should be subject to the other? Stefan Zweig MUSIC BY RICHARD STRAUSS brought this question to the attention of Richard Strauss and wrote a LIBRETTO BY STEFAN ZWEIG, JOSEPH GREGOR, scenario on this old dispute of music history. However, he soon drop- CLEMENS KRAUSS, RICHARD STRAUSS, HANS SWAROWSKY ped out of the project: as a Jew, his right to work was being increasingly curtailed by the National Socialists, who were also active in Austria, and Performed in German with German surtitles in February 1934 he emigrated to England. But finding a replacement for Zweig was no easy matter. Joseph Gregor, Clemens Krauss, Hans Swa- Conductor Bertrand de Billy rowsky and Strauss himself all toiled over the libretto until the begin- Director Tatjana Gürbaca ning of 1941, and the work premiered on 28 October 1942 in Munich. Set designer Henrik Ahr Reflecting the subject matter, the text and music of Capriccio enter into Costume designer Barbara Drohsin a mutually beneficial alliance: in keeping with the quotations in the text Light designer Stefan Bolliger that refer to the history of music, a wide variety of forms from the his- Dramatic advisor Bettina Auer tory of opera are worked into the score. Strauss himself saw Capriccio The countess Maria Bengtsson less as a “piece for the audience” than as an “ingenious dramatic para- The count, her brother Andrè Schuen phrase”, and a “treat for cultural gourmets”: This lighthearted-melancholy Flamand, a musician Daniel Behle review of 300 years of operatic history is Strauss’s last opera and he Olivier, a poet Daniel Schmutzhard himself intended it as his artistic legacy. La Roche, a theatre director Lars Woldt Clairon, an actress Tanja Ariane Baumgartner Paris, ca. 1775. Countess Madeleine has two admirers: the poet Olivier and Monsieur Taupe Erik Årman the composer Flamand. Both are competing for the beautiful lady’s favour, An Italian Singer Elena Galitskaya and this rivalry extends to their dispute about whether the words or the An Italian Singer Jörg Schneider music is more important for a composition. A theatre director named La The Major-Domo Christoph Seidl * Roche is present because it is the Countess’ birthday and a private perfor- mance has been arranged in her honour. He joins in the discussion. In the Wiener Symphoniker meantime, Madeleine’s brother is making sure all is well with the dramatic theatre in the person of the charming actress Clairon. Over the course of New Production Theater an der Wien the special day there is a great deal of conversation and art, and Flamand * Young Ensemble Theater an der Wien and Olivier have the task of creating a new opera from it all. However, the two men are more interested in the question of which of them Madeleine will choose. The Countess is to make her decision next day, although this state of suspense seems to appeal to her very much. Neither the question of whether words or music is important for a composition, nor the question of who will be chosen as the Countess’ sweetheart is answered. At least, for PREMIERE: 18 APRIL 2016 a good opera, both are necessary: a good librettist and a good composer. Performances: 21 / 23 / 25 / 29 April, 2 May 2016, 7 p.m. Introduction: Sunday, 17 April 2016, 11 a.m.

| 45 MUSICAL THEATRE SHAKESPEARE DANCES

HAMBURG BALLETT 9 – 11 MAY 2016 SHAKESPEARE DANCES I believe that Shakespeare is the greatest fount of inspiration for a chore- Scenes from Shakespeare ballets by John Neumeier ographer. He is the most humane of all poets. He sees things, speaks of Hamburg Ballett things, that have a dimension far more powerful than his own words. But Conductor Simon Hewett that does not mean that I wish in any way to detract from his language. Wiener KammerOrchester Some critic or other said that you cannot understand Shakespeare unless you bring your own humanity along. I think that is the crux. He had such WIE ES EUCH GEFÄLLT a deep understanding of people, his descriptions of his characters and their Ballet in ten themes by John Neumeier based on William Shakespeare relationships were so tremendously complex and forceful that we under- stand them on the dance stage as well, even without words, as paradoxical Music Wolfgang Amadeus Mozart as that may sound. Choreographer & director John Neumeier John Neumeier Set & costume designer Klaus Hellenstein

HAMLET John Neumeier has created a large number of choreographies based on plays by William Shakespeare. He has revised some of them many Ballet by John Neumeier times over and shifted their perspectives. For the 40th anniversary of after Saxo Grammaticus and William Shakespeare the Hamburg Ballett, Neumeier has extracted material from three origi- Music Michael Tippett nally concert-length Shakespeare choreographies and distilled them into Choreographer & director John Neumeier a single evening that will serve as a representative overview of his long Set & costume designer Klaus Hellenstein years of work with the English dramatist’s plays. Neumeier’s latest ver- sion of Hamlet forms the core of the evening, bookended by the two WAS IHR WOLLT comedies As You Like It and Twelfth Night. In all three abridged ver- Ballet by John Neumeier after William Shakespeare sions, Neumeier brings what he regards as the essential aspects more clearly to the fore. One character appears throughout the whole evening Music to hold it all together: Jaques from As You Like It. Neumeier explains Choreographer & director John Neumeier his role: “In Shakespeare, Jaques speaks his monologue as an observer Set designer Hans-Martin Scholder of human nature and its vicissitudes. He is referring to the exposure of Costume designer Christina Engstrand human existence when he says ‘All the world’s a stage, and all the men and women merely players’. Hovering between amusement and serious- ness, energy and the will to live become visible even when life and death are switched. And so it could be said that at the theatre the strength prevails from which every beginning originates.”

PREMIERE: 9 MAY 2016 Performances: 10 / 11 May 2016, 7 p.m.

| 49 MUSICAL THEATRE CONCERT PERFORMANCES

SPECIAL PROJECTS

AT THE KAMMEROPER

AT THE HÖLLE

JUGEND AN DER WIEN CATONE IN UTICA Tragedia per musica in three acts (1728) MUSIC BY LIBRETTO BY PIETRO METASTASIO Concertante performance in Italian Conductor Riccardo Minasi Cesare Catone Juan Sancho Arsace Max Emanuel Cencic Marzia Ray Chenez CONCERT PERFORMANCES Emilia Vince Yi Fulvio Martin Mitterrutzner Il pomo d’oro

L. Vinci: CATONE IN UTICA 53 Pietro Metastasio’s libretto Catone in Utica, which portrays the profound conflict between the future dictator Julius Caesar and the statesman Mar- F. Cavalli: XERSE 54 cus Porcius Catone the Younger, is, along with and F. B. Conti: DON CHISCIOTTE IN SIERRA MORENA 55 Attilio Regolo, one of the few opera texts by Metastasio with a tragico fine, a tragic ending: Catone, an advocate of the Roman republic, has taken refuge J.-B. Lully: ARMIDE 56 in Utica, North Africa. When Cesare captures the town, Catone commits L. v. Beethoven: FIDELIO 57 suicide. But ultimately, Cesare does not emerge as the glorious victor ei- ther, since in Catone he has lost a political adversary, it is true, but also a W. A. Mozart: IDOMENEO, RÈ DI CRETA 58 highly respected man. Metastasio’s libretto has been adapted for the stage G. F. Handel: 59 and set to music almost seventy times. The Theater an der Wien has al- ready presented the version by Antonio Vivaldi (1737), and now the origi- A. Scarlatti: IL PRIMO OMICIDIO 60 nal version follows with music by Leonardo Vinci which was premiered in G. F. Handel: 61 1728 at the Teatro delle Dame in Rome. Catone’s prolonged death scene did not go down well with the audiences at the time, so Metastasio revised W. A. Mozart: LUCIO SILLA 62 his libretto for the later settings. This negative reaction by no means dimin- ished the composer’s popularity, however: “The Italians,” wrote Charles des Brosses in 1739/40 in his travel letters from Italy, “do not want to see any play again that they saw last year – unless it is one of Vinci’s marvellous operas.”

THURSDAY, 24 SEPTEMBER 2015, 7 P.M.

| 53 CONCERT PERFORMANCES XERSE DON CHISCIOTTE Dramma per musica in a prologue and three acts (1654) IN SIERRA MORENA MUSIC BY Tragicommedia in five acts (1719) LIBRETTO BY NICOLÒ MINATO MUSIC BY FRANCESCO BARTOLOMEO CONTI Concertante performance in Italian LIBRETTO BY APOSTOLO ZENO AND PIETRO PARIATI Conductor Emmanuelle Haïm Concertante performance in Italian Xerse Ugo Guagliardo Conductor René Jacobs Arsamene Tim Mead Don Chisciotte Stéphane Degout Ariodate Carlo Allemano Sancio Pansa Marcos Fink Romilda Emo˝ke Barath Dorotea Anett Fritsch Adelanta Camille Poul Lucinda Sophie Karthäuser Eumene Emiliano Gonzalez Toro Fernando Christophe Dumaux Amastre Emmanuelle De Negri Cardenio Lawrence Zazzo Aristone Frédéric Caton Lope Johannes Chum Elviro Rigo Dominique Visse Le Concert d’Astrée Mendo Fulvio Bettini In cooperation with the Centre de Musique Baroque de Versailles B’Rock Orchestra

With the opera Xerse, premiered in 1654 at the Teatro SS Giovanni e Paolo Francesco Bartolomeo Conti started his career in his hometown of Flo- in Venice, Francesco Cavalli was to achieve one of his greatest triumphs. rence as a theorbist, and it was to be a highly successful career that in 1723 At least nine productions of the work were presented in his lifetime in Italy earned him the honorary title of “The world’s first theorbist”. In 1701, he alone. Another and especially spectacular occasion at which Xerse was became a member of the emperor’s court orchestra in Vienna. However, performed was the celebration marking the wedding of Louis XIV and Ma- this prestigious position only served him as a stepping stone to greater ria Theresa of Spain in 1660, although in this case the performance came creative activity: on his travels he continued his education as a composer about more by accident than design: rehearsals for the opera scheduled and in 1713 Charles VI appointed him court composer. The tragicommedia for the wedding, L’Ercole amante, which Cavalli had written especially for Don Chisciotte in Sierra Morena was written for the 1719 carnival season and this occasion at the invitation of Cardinal Mazarin, were delayed because is an entertaining parody of the serious operas of the time. Don Chisciotte, building work on the new theatre in the Tuileries was not finished on time. after dubbing himself a knight-errant, has set out to accomplish imaginary The delay proved so long that it was finally decided to fall back on an opera heroic deeds. Now, his friends have decided to try to make him see sense. that the company had already performed and which presented no technical At the same time, the amorous entanglements of two couples are to be difficulties: and that wasXerse . This was at least a happy chance, since the resolved. In the end, the only way to bring Don Chisciotte back home is in work also deals with marriage among the highest in the land. The Persian a cage. But whether this is a satisfactory conclusion is doubtful. The music King Xerse and his brother Arsamene are rivals for the hand in marriage of with which Don Chisciotte’s dream-world is depicted is at any rate more Romilda, daughter of Ariodate, a prince of Abydos. Romilda clearly prefers enchanting and modern than those who have confined him. Arsamene, but this does not stop Xerse laying claim to her himself by re- garding the marriage as part of an alliance with Ariodate... SUNDAY, 15 NOVEMBER 2015, 7 P.M.

SUNDAY, 18 OCTOBER 2015, 7 P.M.

54 | | 55 CONCERT PERFORMANCES ARMIDE FIDELIO Tragédie en musique in a prologue and five acts (1686) MUSIC BY (1814) LIBRETTO BY JOSEPH SONNLEITHNER AND MUSIC BY JEAN-BAPTISTE LULLY GEORG FRIEDRICH TREITSCHKE AFTER JEAN-NICOLAS BOUILLY LIBRETTO BY PHILIPPE QUINAULT TEXT INTERMEZZI ROCCOS ERZÄHLUNG BY WALTER JENS (1985) AFTER TORQUATO TASSO’S EPIC POEM LA GERUSALEMME LIBERATA OVVERO IL GOFFREDO (1575) Concertante performance in German Concertante performance in French Conductor Nikolaus Harnoncourt Leonore (Fidelio) Juliane Banse Conductor Florestan Michael Schade ACTEURS DU PROLOGUE: Don Pizarro Martin Gantner La Gloire Hélène Le Corre Rocco Georg Zeppenfeld La Sagesse Marie-Claude Chappuis Marzelline Anna Prohaska ACTEURS DE LA TRAGÉDIE: Jaquino Rainer Trost Armide Marie-Adeline Henry Don Fernando Andrè Schuen Renaud Antonio Figueroa Narrator Herbert Föttinger Sidonie / Lucinde / une bergère héroïque Marie-Claude Chappuis Phénice / Mélisse Hélène Le Corre Arnold Schoenberg Chor Hidraot Douglas Williams Ubalde Julien Véronèse Nikolaus Harnoncourt congratulates the Theater an der Wien on its Aronte / La Haine Edwin Crossley-Mercer 10th anniversary as a new opera house with a concert performance of Artémidore Patrick Kabongo Fidelio, the most important opera associated with this theatre. Commis- Le chevalier danois / sioned by the management of the Theater an der Wien, both the first Un amant fortuné Fernando Guimarães version (1805) and the second (1806) received their premieres here. A Une nymphe des eaux Hasnaa Bennani second significant occasion that links Beethoven’s only opera with the Theater an der Wien was the resumption of performances by the en- Chœur de chambre de Namur semble of the here in October 1945 – 140 years after Fidelio had been heard here for the first time. The Theater an der Wien was chosen as the venue because the State Opera had been de- The opera Armide represents the last collaboration between Jean-Baptiste stroyed in the war. Lully and the librettist Philippe Quinault and is at the same time considered In Beethoven’s opera, Leonore, disguised as a man and going under one of their most successful. Quinault took material from Torquato Tasso’s the suggestive alias “Fidelio”, wins the confidence of the gaoler Rocco epic poem La Gerusalemme liberata as his subject matter: Armide, the niece in whose prison she believes her missing husband Florestan is being of King Hidraot of Damascus, has magical powers which she uses to great held as a political prisoner. When Florestan’s adversary, the governor effect in the battle against the enemy army of crusaders. Against her will Pizarro, orders his secret murder, Leonore is able to prevent it at the she falls in love with the Christian knight Renaud. She initially succeeds last moment. At the Theater an der Wien the work is performed with in ensnaring him, but his friends manage to free him from her spell. Hu- Roccos Erzählung (Rocco’s tale) by Walter Jens which tells the story from miliated and despairing, Armide destroys her own palace and hurtles off the gaoler’s perspective and replaces the spoken dialogues. through the air in a chariot. SUNDAY, 17 JANUARY 2016, 7 P.M. FRIDAY, 18 DECEMBER 2015, 7 P.M.

56 | | 57 CONCERT PERFORMANCES IDOMENEO, RÈ DI CRETA ORLANDO Dramma per musica in three acts (1781) Dramma per musica in three acts (1733) MUSIC BY WOLFGANG AMADEUS MOZART MUSIC BY GEORGE FRIDERIC HANDEL LIBRETTO BY GIAMBATTISTA VARESCO LIBRETTO ANONYMOUS ADAPTED FROM CARLO SIGISMONDO CAPECES LIBRETTO L’ORLANDO (1711) Concertante performance in Italian AFTER LUDOVICO ARIOSTO’S Conductor René Jacobs EPIC POEM ORLANDO FURIOSO (1532) Idomeneo Jeremy Ovenden Concertante performance in Italian Idamante Gaëlle Arquez Ilia Sophie Karthäuser Conductor Elettra Alex Penda Orlando Iestyn Davies Arbace Julien Behr Angelica Erin Morley Gran Sacerdote Medoro Sasha Cook di Nettuno Nicolas Rivenq Dorinda Carolyn Sampson La Voce Christoph Seidl * Zoroastro Kyle Ketelsen Freiburger Barockorchester The English Concert Arnold Schoenberg Chor *Junges Ensemble Theater an der Wien In his opera Orlando, written for the King’s Theatre on London’s Haymar- ket, George Frideric Handel turned to the story of the love-crazed knight For the 10th anniversary of the reopening of the Theater an der Wien from Ludovico Ariosto’s epic poem Orlando furioso (1532). The knight Or- as the City of Vienna’s new opera house, the two composers who have lando, a man with experience of armed combat, is driven to madness when been central to the theatre’s history are acknowledged with two anniver- Angelica, the woman he loves, chooses the warrior Medoro instead. By sary concerts: besides Beethoven’s Fidelio under Nikolaus Harnoncourt conjuring up various illusions, the magician Zoroastro succeeds in freeing we are also presenting Mozart’s Idomeneo, conducted by René Jacobs, Orlando from his love delirium and setting him back on the path to reason. who is not only one of the foremost conductors of 18th-century music, For this unusual libretto, Handel pulled out all the stops; not for nothing but has also been the most influential in establishing the Theater an is Orlando regarded as one of his most imaginative scores. The Handel der Wien’s reputation over the last ten years. specialist Reinhard Strohm judged the title role, written for the star castrato With Idomeneo, composed for the carnival at the Munich court (1781), Francesco Bernardi alias Senesino, to be “the only one that touches every the young Mozart was already trying his hand as a reformer of the opera emotion, tonal areas and singing style; he has to sing heroic, virtuoso, of his day: in it, he combined forms from French opera with those of the despairing and even meditative arias.” Of course, there is also a big mad- Italian and included choruses and ballet. In Munich, Mozart had one ness scene, which harks back to the English tradition of “mad songs”. This of the best orchestras of the day at his disposal, and it is for this rea- role, though, marked the end of Senesino’s collaboration with Handel: the son that the instrumental colours play a more important role than in all proud singer had fallen out with the irascible composer so badly that only his other operas. Using only the sound of the orchestra, Mozart subtly weeks after the end of the run of performances he defected to the rival portrays the emotional turmoil of the characters: a father who has to company, the so-called Opera of the Nobility sacrifice his son; a son who loves a sad, captive princess against his father’s will; an offended princess and an angered God – the drama un- WEDNESDAY, 24 FEBRUARY 2016, 7 P.M. folds in breathtaking fashion in the music.

FRIDAY, 22 JANUARY 2016, 7 P.M.

58 | | 59 CONCERT PERFORMANCES IL PRIMO OMICIDIO ARMINIO Oratorio in two parts (1707) Dramma per musica in three acts (1737) MUSIC BY MUSIC BY GEORGE FRIDERIC HANDEL LIBRETTO BY ANTONIO OTTOBONI LIBRETTO ANONYMOUS AFTER ANTONIO SALVIS ARMINIO Concertante performance in Italian Concertante performance in Italian Conductor Alessandrini Conductor George Petrou Adamo Carlo Alemanno Arminio Max Emanuel Cencic Eva Roberta Invernizzi Tusnelda Sandrine Piau Caino Sonia Prina Sigismondo Vince Yi Abele Monica Piccinini Ramise Ruxandra Donose Dio Aurelio Schiavoni Segeste Pavel Kudinov Lucifero Salvo Vitale Armonia Atenea Concerto Italiano In the 1736/37 season, Handel was extremely busy. His own opera compa- In the works of Alessandro Scarlatti, Italian music of the 17th and early ny at Covent Garden was under great pressure from the competition, the 18th centuries reached one of its zeniths. Scarlatti, a native of Palermo, was Opera of the Nobility at the King’s Theatre. Handel’s idea was to fight back maestro di cappella to Queen Christina of Sweden in Rome from 1680 to by staging as many new productions as possible, and so, between August 1684, before taking on the same position – after an intermezzo in Naples 1736 and January 1737 he wrote no fewer than three new operas: Giustino, – at the church of Santa Maria Maggiore in 1703. However, since the pa- Arminio and Berenice. But his efforts were in vain, and his company went pal decree of 1698 all opera and theatre performances were banned. This bankrupt at the end of the season. Handel suffered a breakdown, but may meant that musico-dramatic compositions could only be written disguised have drawn satisfaction from the fact that the Opera of the Nobility also as oratorios. With Il primo omicidio Scarlatti created a remarkable musical went bankrupt. Although Arminio was not much of a success at the time interpretation of the Old Testament tale of Cain and Abel, using the indi- because had gone out of fashion in London, Handel’s brilliant vidual instruments in an extremely original way. Unlike many oratorio texts, composition has a lot to offer for today’s fans of his music: the compo- the libretto is not in Latin, but in the language of opera, Italian. The work ser used a libretto that had been set many times previously. However, to portrays the first murder in the history of humanity: Adam and Eve bemoan rekindle interest in Italian opera he had the text condensed and modified their Fall which has caused their expulsion from Paradise. Abel, wishing to the rigid form of : he worked with duets and created unconven- comfort his parents, promises to sacrifice a lamb to God. But Cain, as the tional variations on the usual da capo arias. Against the background of the first-born, claims it is his right to perform the sacrifice. First aggressive and Battle of the Teutoburg Forest (9 A.D.), in which Germanic tribes led by the murderous thoughts descend on him. In the end, Cain hears the voice of Cherusci chieftain Arminius (Hermann) decisively weakened the Romans Lucifer encouraging him. Out in the field, he slays Abel. God condemns and stopped Roman conquests in Germania, the opera shows the private Cain; the first murderer is filled with remorse. In the end, Abel’s voice is complications – love, desire, loyalty, generation gaps – that Arminio’s heard describing celestial bliss and the voice of God promises salvation. family have to deal with, but which ultimately lead to the Battle of the Teutoburg Forest and the Germanic tribes’ victory. WEDNESDAY, 23 MARCH 2016, 7 P.M. WEDNESDAY, 20 APRIL 2016, 7 P.M.

60 | | 61 CONCERT PERFORMANCES LUCIO SILLA Dramma per musica in three acts (1772) MUSIC BY WOLFGANG AMADEUS MOZART LIBRETTO BY GIOVANNI DE GAMERRA Concertante performance in Italian Conductor Laurence Equilbey Lucio Silla Paolo Fanale Giunia Olga Pudova Cecilio Franco Fagioli Cinna Chiara Skerath Celia Ilse Eerens Insula Orchestra Arnold Schoenberg Chor In his second opera seria, Lucio Silla, the 16-year-old Mozart deals with one of the most bloodthirsty periods of Ancient Rome: Cornelius Lucius Sulla (138-78 B.C.) had, as a dictator, ordered the massacre of around 1,500 opposition nobles. In his opera, however, Mozart has Silla (Sulla) show clemency to his adversary Cecilio, whom he pardons. The commission for the opera came from the Teatro Regio Ducale in – which had also commissioned Mitridate from Mozart two years earlier – and was inten- ded for the 1772/73 carnival season. However, the composition was beset by several difficulties: the librettist Giovanni da Gamerra had sent his li- bretto to his esteemed fellow poet Metastasio in Vienna for revision, which meant that Mozart had to rework all the recitatives he had already written. In addition, some of the singers arrived in Milan late which delayed the setting of the arias. The premiere on 26 December 1772 was only a mode- rate success and after a run of 26 performances the work disappeared into obscurity for one and a half centuries. It was not until the late 20th century that the qualities of this opera began to be appreciated; conventional as it may be, Mozart’s attempt to increase the drama especially at the close of each act and distil the arias into larger units by means of recitatives with orchestral accompaniment and the use of choruses is impressive.

WEDNESDAY, 27 APRIL 2016, 7 P.M.

62 | | 63 CONCERT PERFORMANCES SPECIAL PROJECTS

MONSTRES, SORCIÈRES ET MAGICIENS 66 BEETHOVEN IM KONZERT 67 HELTAU: DAS WAR’S, HERR DIREKTOR! 68 ROSSINIMANIA 69 NEW YEAR’S EVE CONCERT 70 THE FLYING SCHNÖRTZENBREKKERS 71 LUMPACI VAGABUNDUS 73 MONSTRES, SORCIÈRES BEETHOVEN IM KONZERT ET MAGICIENS Conductor Martin Haselböck Orchester Wiener Akademie Concert with arias by George Frideric Handel and In cooperation with the Orchester Wiener Akademie Conductor Emmanuelle Haïm Soprano Patricia Petibon “There we sat, in the most bitter cold, from half past six until half past ten, Nahuel di Pierro and confirmed for ourselves the maxim that one may easily have too much Le Concert d’Astrée of a good thing, still more of a very good thing.” This is how the compo- ser and music writer Johann Friedrich Reichardt described the memorable Following the concert performance of Cavalli’s Xerse on 18 October 2015, concert of 22 December 1808 in which Beethoven performed several of his Emmanuelle Haïm will take you to an enchanted realm with Le Concert works, including his Fifth and Sixth Symphonies in the “great suburban d’Astrée. The portrayal of the supernatural and the fantastic (“merveil- theatre”, the (unheated) Theater an der Wien. But even at room temper- leux”) was originally a province of French opera, which saw it as a way ature the greatness of these two very different works, which appear so of establishing its own identity distinct from “tragédie classique” and revolutionary and yet classically structured, soon became apparent. The “comédie”. But George Frideric Handel found the world of magic in- romantic poet E.T.A Hoffmann, giving his assessment of the Fifth Sym- spirational, too. His operas and Orlando are based on Ariosto’s phony in one of the first important reviews, wrote that Beethoven’s music Orlando furioso. The sorceress Alcina turns her ex-lovers into animals “opens to us the realm of the monstrous and immeasurable”, but also on her island, but her beloved Ruggiero manages to escape from her “proclaims the self-possessed genius of this master”. Beethoven had in- spell with the help of his fiancée and destroys Alcina’s magical kingdom. terrupted his work on his Fifth Symphony in 1806 in order to write the The theme of the “abandoned sorceress” is also found in Rinaldo, which Fourth first, which received its premiere one year later in Palais Lobkowitz. is based on Gerusalemme liberata by Torquato Tasso: the sorceress Ar- Of the slow movement, Hector Berlioz wrote with as much enthusiasm as mida falls in love with an enemy, the crusader Rinaldo, who, with the grandiloquence that is resembled the sighing of the archangel Michael in a assistance of a magician, does not waver from his cause and defeats moment of melancholy. That same year, Beethoven was working on his only the Saracens. completed violin concerto, which he wrote for his friend Franz Clement, a Sorcery, elves and spirits also play a central role in Henry Purcell’s semi- violin virtuoso and “music director” at the Theater an der Wien. Legend has operas The Fairy-Queen (1692, based on Shakespeare’s A Midsummer it that Beethoven was still working on one part until shortly before the con- Night’s Dream) and King Arthur (1691) with a text by John Dryden: King certo was due to be performed so that Clement had virtually to sight-read it. Arthur succeeds in freeing his fiancée from the clutches of the Saxon King Oswald of Kent. Merlin, the magician, is on Arthur’s side, while Ludwig van Beethoven (1770 -1827) Oswald is also aided by a magician and two spirits. May you too be Symphony No. 6 F major, op. 68, Sinfonia pastorale enchanted! Symphony No. 5 c minor, op. 67 WEDNESDAY, 18 NOVEMBER 2015, 7.30 P.M. TUESDAY, 20 OCTOBER 2015, 7.30 P.M. Ludwig van Beethoven Symphony No. 4 B flat major, op. 60 Violin Concerto D major, op. 61 Violin Benjamin Schmid FRIDAY, 1 APRIL 2016, 7.30 P.M.

66 | | 67 SPECIAL PROJECTS MICHAEL HELTAU: ROSSINIMANIA DAS WAR’S, HERR DIREKTOR! Concert with arias by Gioachino Rossini and Wolfgang Amadeus Mozart Conductor Jean-Christophe Spinosi It’s about desire, love and chansons by Jacques Brel and others. Alto Marie-Nicole Lemieux Put together and performed by Michael Heltau Ensemble Matheus Performed in German If Rossini was not already one of the most popular composers in Italy, The Wiener Theatermusiker then he certainly became one following the premiere of La pietra del para- Arrangements & gone at in Milan in 1812 which sparked a Rossini craze that soon musical Direction Tscho Theissing gripped the entire country. Describing the mood after the premiere of Tancredi in Venice in 1813, the author and first Rossini biographer Stend- THE WORLD MUST BE ROMANTICISED hal writes: “Even if the emperor and king Napoleon had honoured Venice with a visit, his arrival would have deflected no one’s attention from Rossini. Revival – due to last season’s success It was pure madness, a genuine “furore”, as it is called in the beautiful Italian language …” SATURDAY, 21 NOVEMBER 2015, 7.30 P.M. With performances of Tancredi and L’italiana in Algeri by an Italian operatic company in Munich and Vienna, Rossini mania spread north of the Alps. The famous aria Di tanti palpiti, noted a disgruntled Viennese critic in 1817, “is heard here on every street corner and from the corner of every room” and neither Beethoven nor Schubert escaped the influence of the general enthusiasm. Whether “the tremendous din that you heard in La Scala” was, as Heinrich Heine believed, really the revolt of the politically subjugated Italy turned into song, or whether the frenzy caused by Rossini’s crescendi was intended to mask this political oppression – what is indisputable is that Rossini’s music had an addictive effect on those who heard it. Vienna, as the first centre of opera north of Italy, played an important role in this: as early as 1817, a parody of Tancredi written by Adolf Bäuerle was per- formed at the Theater in der Josefstadt, in which the famous Di tanti palpiti was replaced by Die Tant’, die talkerti (Viennese dialect for “the clueless aunt”). And in 1818, Tancredi was given in German for the first time – at the Theater an der Wien where, in 2015, Marie-Nicole Lemieux with the Ensemble Matheus conducted by Jean-Christophe Spinosi will trigger a new Rossinimania! The programme is completed by arias by Wolfgang Amadeus Mozart.

SUNDAY, 13 DECEMBER 2015, 7.30 P.M.

68 | | 69 SPECIAL PROJECTS NEW YEAR’S EVE CONCERT NEW YEAR’S EVE AT THE THEATER AN DER WIEN AT THE KAMMEROPER OSSIA “INTERMEZZO WITH 2 MEZZI” THE FLYING SCHNÖRTZENBREKKERS Conductor Rani Calderon , Composition Georg Breinschmid Violin Sebastian Gürtler Wiener KammerOrchester Accordion Tommaso Huber With: Angelika Kirchschlager, Anne Sofie von Otter and others Bang on time for the start of the new year (at about twenty-five past) Messrs There are many ways of spending the few hours on 31 December between Breinschmid, Gürtler and Huber will provide the long-awaited answers to nightfall and the beginning of the new year at midnight. One particular- those existential questions that keep recurring: Is there life after this con- ly crazy one would be to mark the Theater an der Wien’s anniversary by cert? Can I take my drink into the auditorium? What on earth am I doing walking round the building ten times singing the Donauwalzer. But maybe here anyway? In addition you will be given a list a new-year resolutions to be it would be a better idea to go into the Theater an der Wien itself to be used only once, and tips on the topics mentioned in the title. with Angelika Kirchschlager and Anne Sofie von Otter and celebrate the The concert’s main theme will be, as ever, the œuvre of Ivica Strauss – a new year with lieder and songs by Kurt Weill, George Gershwin, Jacques blank (or black?) area on the map of music history. Sensational new disco- Offenbach, Erich Wolfgang Korngold and others. Of course, this concert veries such as the church opera “In Belgrad steht ein Hofbräuhaus” or his is also intended to set the mood for the premiere of Die Dreigroschenoper groundbreaking work “Die Kunst der Wachstumsfuge” – for which he recei- which will be held in January 2016 to begin the tenth anniversary year of the ved the Discount Award (reduced prize for astounding disservice to music) Theater an der Wien as a new opera house. worth 99 cents – will be presented to audiences for the first time. Intimate details from Ivica Strauss’s private life, such as his ill-starred relationship You can expect other guests as well. And a few musical surprises. Only one with the Turkish dancer Hüften Schwüngür, known as “The Skeletal So- thing is certain: the gala concert ends at around 10 p.m. with a glass of phia”, and shocking diary entries (29 September 1820: “When am I finally champagne and a brief speech by the host to toast the new year. going to be born?”) round off the programme. In short, a festive-senseless programme of concerts is in store for you THURSDAY, 31 DECEMBER 2015, 7.30 P.M. whose negligible IQ emissions have earned it the Karl Moik Badge of the Region of Southern Carinthia-Upper Carniola.

THURSDAY, 31 DECEMBER 2015, 8 P.M.

70 | | 71 SPECIAL PROJECTS Scene fromthesilentfilm“DerböseGeistLumpaci Vagabundus” (1922) poser FlorianC.Reithner. quality. ThenewmusicscorewaswrittenbytheyoungAustrian com- experience German National Archives for digitisation so that you can once again has nowbeenmadeavailablebytheFilmArchiveDepartment ofthe and Swedishcinemas.90yearsafterthepremiere,export negative Dürnstein). Recordsshowthatthefinishedfilmranin German, Austrian (studio), withlocationfilminginthe Wachau region(KremsGatein children’s books.FilmingtookplaceinBerlinthesummerof 1922 who laterbecamefamousforhisillustrationsErich Kästner’s poster (andthecostumedesigns)wasbyillustrator Walter Trier, (as thefilmtitleisspelled)heengagedHansAlbers.The originalmovie director Carl Wilhelmforafilmversion. To playLumpaci Vagabundus Otto Laubinger. ThistriowasimmediatelyengagedbytheViennese popular VienneseactorKarlEtlingerandtheGermansFritz Hirschand indulgent journeymen who, in this production, were portrayed by the oftheplay’ssubtitlereferstothreeself- The “dissoluteclover-leaf” In 1921,aproductionoftheplaypremieredatStaatstheaterBerlin. his finalfarewelltoVienneseaudienceswithiton4March1862. he created,playedthisonemorethananyother, andalsobade premiere. NestroyhimselfplayedthepartofKnieriem;allroles tale farceDerböseGeist(“evilspirit”) 1,200 guldens.On11April1833whatisprobablyhisbest-knownfairy- gaged at this theatre as an actor and playwright for an annualsalary of From 1831, thewittiestsatiristofAlt-WienerVolkstheater wasen- history thatbeginswiththeyearinwhichtheywereboth“born”,1801. Johann NestroyandtheTheateranderWienareconnectedbyashared Viennese Premiere Wiener KammerOrchester Music Conductor Directed byCarl Wilhelm Silent film(Germany, 1922) LUMPACI VAGABUNDUS DER BÖSEGEIST SATURDAY, 27FEBRUARY2016,7.30P.M. Lumpaci Vagabundus onthebigscreenwithexcellent picture Florian C.Reithner Rani Calderon Lumpazivagabundus receivedits | 73

SPECIAL PROJECTS AT THE KAMMEROPER inside thisprogramme. Special subscriptionsfortheperformances intheKammeroperareoffered and thedetailedprogrammeof Theater anderWienintheKammeroper. A separatebrochureisavailablewith informationontheensemblemembers Natalia Kawalek,ChristophSeidl, N. Jake Arditti,ViktorijaBakan,Tobias Greenhalgh, The JungesEnsembledesTheateranderWien(JET)are: company andtheofourinspiringyoungensemble! We look forward to welcoming you and to spending another year in your house insightorahintofangelicromanticism. with a difference: a colourful chamber version with not a gingerbread .To closetheseason, comeandseeHänselGretel you –andweanticipateauniquetakeonthemuch-loved by sicians havejoinedforcestopresentanoperaarrangedespeciallyfor maso Huber. Thisyear, forthefirsttime,thesethreeoutstandingmu- virtuosity andwitofGeorgBreinschmid,SebastianGürtlerTom - few yearsyouhavebeenentertainedinourNewYear concertsbythe our policy of rediscovering works that are all but forgotten. In the last Haydn (OrlandoPaladino).Then,withTraetta’s Antigone wecontinue sentatives oftheirrespectiveeras,namelyShostakovich(TheNose)and for youtodiscover. To beginwith,wepresenttwooftheforemostrepre- The newseasonattheKammeroperalsohasexcitingmusicaltheatre at ourvenueforawhile. know our young singers personally and accompany their development numerous portraitconcertswhichgaveyoutheopportunitytoget frequently performedworksonasmallscale.Inaddition,therewere world premiere,Austrianpremieresandrevivalsaswellpopular of thelastseasonthatwasatotal116performances,includingone opera productionspreparedespeciallyforyouatthetheatre.Byend September 2012you,dearvisitors,havebeenabletoseeandhear13 Since theKammeroperwastakenoverbyTheateranderWienin Sebastian F.Schwarz(artisticdirectoroftheKammeroper) AT THEKAMMEROPER THEATER ANDERWIEN N. Tenor

completely breaking withItaliantradition. ideas fromavarietyofnationalschools, thusproducinganinnovativeworkwithout of GiovanniPaisiello’sascourtcomposer toCatherine theGreat,andincorporated posed forthecourtatSt.Petersburg whereTraetta wastheimmediatepredecessor Antigone, Tommaso Traetta didindeedcreatesomething extraordinary. Itwascom - composer whowasbornin1727 in Pugliaanddied1779Venice. Andwithhis ordinary,” notedthemusicologistEstebandeArteagain1783, writingaboutthe talent andartistryofTraetta, whoseworkisalwaysbeautifulandsometimesextra- New productionbytheTheateranderWienatKammeroper Bach Consort Wien Adrasto Emone Creonte N.N. Ismene Antigone Light designer Set designer Director Conductor Performed inItalianwithGermansurtitles LIBRETTO BYMARCOCOLTELLINI MUSIC BYTOMMASOTRAETTA Tragedia permusicainthree acts(1782) ANTIGONE “One musthavespentone “Who wasTommaso Traetta?” Introduction: Sunday, 22November2015,11a.m. 6 December2015,4p.m. p.m. 7 2015, December 2 /491115171921 Performaces: PREMIERE: 30NOVEMBER2015,7P.M. ’ s lifeonadesertislandtohavefailedrecognisethe Christoph Seidl Jake Arditti Natalia Kawalek Viktorija Bakan Franz Tscheck Zynovy Margolin Vasily Barkhatov Attilio Cremonesi

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KAMMEROPER CARMEN HÄNSEL UND GRETEL Opéra comique in four acts (1875) A fairy opera in three acts (1893) MUSIC BY GEORGES BIZET MUSIC BY ENGELBERT HUMPERDINCK ARRANGEMENT BY TSCHO THEISSING LIBRETTO BY ADELHEID WETTE LIBRETTO BY HENRI MEILHAC AND LUDOVIC HALÉVY AFTER THE FAIRY-TALE HÄNSEL UND GRETEL AFTER PROSPER MÉRIMÉE’S NOVEL FROM THE CHILDREN’S AND HOUSEHOLD TALES BY THE BROTHERS GRIMM Performed in French with German surtitles Conductor Vinzenz Praxmarer Director Andreas Zimmermann Director Christiane Lutz Set & costume designer Patricia Walczak Set designer Christian Tabakoff Light designer Franz Tscheck Costume designer Natascha Maraval Choreographer Felix Dumérli Light designer Franz Tscheck Accordion Tommaso Huber Hänsel Jake Arditti Violin Sebastian Gürtler Gretel Viktorija Bakan Double bass Georg Breinschmid Die Knusperhexe N.N. Carmen Natalia Kawalek Gertrud Natalia Kawalek Don José N.N. Peter, a broom-maker Tobias Greenhalgh Micaëla Viktorija Bakan Escamillo Tobias Greenhalgh Wiener KammerOrchester Dancer Felix Dumérli New production by the Theater an der Wien at the Kammeroper New production by the Theater an der Wien at the Kammeroper PREMIERE: 12 MAY 2016, 7 P.M. PREMIERE: 2 MARCH 2016, 7 P.M. Performances: 14 / 19 / 21 / 23 / 31 May, 3 / 9 / 11 / 16 June 2016, 7 p.m. Performaces: 4 / 6 / 8 / 17 / 27 / 30 March, 5 / 7 / 9 April 2016, 7 p.m. 5 June 2016, 4 p.m., 13 June 2016, 12 p.m. 14 March 2016, 12 p.m.; 3 April 2016, 4 p.m. Introduction: Sunday, 8 May 2016, 11 a.m. Introduction: Sunday, 21 February 2016, 11 a.m.

78 | | 79 KAMMEROPER DIE NASE ORLANDO PALADINO Opera in three acts, ten tableaux (1930) Dramma eroicomico in three acts (1782) MUSIC BY DMITRY SHOSTAKOVICH MUSIC BY LIBRETTO BY GEORGY JONIN, ALEXANDER PREIS, LIBRETTO BY NUNZIATO PORTA ADAPTED FROM YEVGENY ZAMYATIN AND DMITRY SHOSTAKOVICH CARLO FRANCESCO BADINI’S LIBRETTO AFTER NIKOLAI GOGOL’S STORY LE PAZZIE D’ORLANDO (1771) BASED ON LUDOVICO ARIOSTO’S Performed in Russian with German surtitles EPIC POEM ORLANDO FURIOSO (1532) Conductor Walter Kobéra Performed in Italian with German surtitles Director Matthias Oldag Set & costume designer Frank Fellmann Conductor Michael Fendre Light designer Norbert Chmel Director Vincent van den Elshout Chorus master Michael Grohotolsky Set & costume designer Emilie Lauwers Light designer Ace McCarron Platon Kuzmich Kovalev Marco Di Sapia Ivan Yakovlevich Igor Bakan Eurilla Olga Siemienczuk The Nose Alexander Kaimbacher Licone / Pasquale Alberto Sousa GUEST PERFORMANCES AT THE KAMMEROPER GUEST PERFORMANCES AT Police inspector Pablo Cameselle Rodomonte Cozmin Sime Angelica Dorothée Lorthiois With: Tamara Gallo, Megan Kahts, Ethel Merhaut, Alcina Sophie Goldrick Karl Huml, Georg Klimbacher und Lorin Wey

Medoro Christos Kechris GUEST PERFORMANCES AT THE KAMMEROPER Orlando Rafael Vazquez amadeus ensemble-wien Caronte Matthew Treviño Wiener Kammerchor Orchester Purpur / Latinitas Nostra (Basso Continuo) A production of the in co-production with the Palace of Arts Budapest within the CAFe Festival A production of ad Libitum Konzert-Werkstatt / Projekt Purpur (www.purpur.eu) supported by the Kulturprogramm der EU PREMIERE: 22 SEPTEMBER 2015, 7.30 P.M. Performaces: 26 / 28 / 30 September, 1 October 2015, 7.30 p.m. PREMIERE: 6 OCTOBER 2015, 7 P.M. Introduction to the opera before the performance Performances: 8 / 10 October 2015, 7 p.m. with Walter Kobéra at 6.45 p.m.

80 | | 81 AT THE HÖLLE IM SIEBENTEN HIMMEL The legendary historical revues in the theatre and cabaret known as the Concept Georg Wacks “Hölle” in the basement of the Theater an der Wien enter their seventh Set & costume designer Stefan Fleischhacker year, possibly suffering the customary itch, but definitely enjoying the cus- tomary ovations. With Elena Schreiber Stefan Fleischhacker Following the extravagant-decadent-historical end of the world shown in Martin Thoma Die letzte Nacht comes the snow-white morning which is pure cabaret. Georg Wacks After a successful clear-out, and in honour of Fritz Grünbaum’s 135th Christoph Wagner-Trenkwitz birthday, Georg Wacks creates the historical and fantastic revue Im sie- Ensemble “Albero Verde”: benten Himmel (In the Seventh Heaven). Violin Barbara Klebel-Vock Rainer Ullreich Remarkable performances of historical cabaret and variety numbers, moving Cello Ruth Ferlic songs sung in antique costumes, melancholy songs, demurely sublime Clarinet Reinhold Brunner dances, choirs of angels and literary, humoristic gems bring the mood of Piano Christina Renghofer the “Hölle” back to life for two hours while the champagne flows freely and celestial bliss reigns, and guarantee an evening of ambrosial merri- Exhibition Marie-Theres Arnbom ment. Fritz Grünbaum, Fritz Löhner-Beda, Joachim Ringelnatz and Kurt Tucholsky guarantee the very highest standards. Songs by Béla Laszky, Hermann Leopoldi, Ralph Benatzky, Robert Stolz and round the programme off.

The familiarly flamboyant and frankly overdone décor by Stefan Fleisch- hacker has been designed entirely on the theme of the 175th birthday of Claude Monet. The cultured Ensemble Albero Verde provides the music with their customary flawless playing. In the accompanying exhibition, Marie-Theres Arnbom presents a new set of long-lost artefacts from past revues.

PREMIERE: 29 OCTOBER 2015, 8 P.M. Performances: 30 October, 2 / 3 / 4 / 6 / 7 / 8 / 9 / 11 November 2015

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JUGEND GUIDED TOURS INTRODUCTION TO THE SEASON WITH HAIDE TENNER AND GUESTS The Theater an der Wien ranks among the most beautiful theatres in Vienna Opera is music and theatre. What does that mean? It embraces music and and has one of the richest traditions. Take advantage of the unique oppor- drama as components of equal status. It means listening and watching in tunity to sample the theatrical atmosphere in a building that has enchan- a new way, asking and answering questions in a new way – and presenting ted audiences for over two centuries with its outstanding acoustics and it all to an audience that is invited to form its own opinion. authentic, intimate ambience. We are delighted that Dr Haide Tenner has agreed to introduce the new Groups taking part in guided tours are limited to thirty people. The meeting opera projects of the Theater an der Wien and the Kammeroper at the point is the main entrance where the group will be picked up in good time; beginning of the 2015/16 season together with guests and artists. the visitors then enter the theatre through the foyer. Tours are in German and last approximately one hour. Haide Tenner has a longstanding association with the Theater an der Wien as former manager of the ORF Vienna Radio Symphonic Orchestra. Opera- The tour includes the foyer, the auditorium, the stage, the cellar and the goers are familiar with the author and culture manager as former head of dressing-room area. Visitors will learn about the building’s history, its pro- culture on Austrian state television, head of music at the radio station Ö1 gramme of performances, the way it is organised and the technology used. and the creator of countless radio and television productions.

It is of course also possible to book private tours (in other languages, for We cordially invite you to discover the fascination of the “world of opera at example, or at other times). If you require such a tour, please be sure to the Theater an der Wien”: book your appointment in advance, either in writing or by phone. You don’t need an opera guide! You shouldn’t listen to any analyses of works that drag on for hours, because this presentation aims to make you Special offer for school groups: during private tours for classes, special curious and increase your passion for musical theatre. emphasis can be placed on topics covered in lessons (such as technology, Get a detailed summary of the 2015/16 season at the Theater an der fashion, music etc.). Wien, which, from January 2016, will be dominated by the anniversary “10 years of the Theater an der Wien – the new opera house”. For the dates and times of guided tours, see the website of the Theater an der Wien (www.theater-wien.at), the theatre’s magazine and the bimonthly The Junges Ensemble des Theater an der Wien (JET) will perform during folder. See p. 93 for details of prices. the presentation.

Contact for all tours of the Theater an der Wien: Admission is free for Theater an der Wien subscription holders, Friends of Mag. Philipp Wagner, Tel. +43 (0) 1 588 30-2015 the Theater an der Wien and school groups participating in Jugend an der E-Mail: [email protected] Wien projects.

Bookings for this event can be made, and tickets for it go on sale, from 3 August 2015. Contact: Mag. Philipp Wagner, Tel. +43 (0) 1 58830-2015 E-Mail: [email protected]

TUESDAY, 15 SEPTEMBER 2015, 7.30 – approx. 9 P.M.

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TICKET SALES WIEN-TICKET PAVILION Tickets go on sale to the general public on 15 June 2015 at 10 a.m. for the Tickets (except subscription tickets) are also available from the Wien-Ticket performances until 31 December 2015, at the box office at the Theater an pavilion on Herbert von Karajan-Platz by the State Opera from 15 June and der Wien and the Wien-Ticket pavilion and can also be ordered by tele- 1 September 2015 respectively. Open daily from 10 a.m. to 7 p.m. phone on +43 (0)1 58885. Tickets for performances from 1 January 2016, go on sale to the general public on 1 September 2015, at 10 a.m. Cloak- BOOKING BY PHONE room fees are included in the ticket price. Please note that no orders for Tickets (except subscription tickets and other individual tickets can be accepted before tickets go on general sale. concessions) can also be ordered by phone every day from 8 a.m. to 8 p.m. from Wien-Ticket on BOX OFFICE THEATER AN DER WIEN & KAMMEROPER +43 (0)1 58885. Shipping charge*: within Austria: ¤ 5,90; abroad: ¤ 9,90. Box office for both venues: Theater an der Wien, Linke Wienzeile 6, 1060 Vienna INTERNET www.theater-wien.at | www.kammeroper.at Opening hours: Mon – Sat, 10 a.m. – 6 p.m.* Tickets can be purchased online by credit card from 16 June and Closed on Sundays, except for matinee performances (open from 2 September 2015, respectively. Shipping charge*: within Austria ¤ 4,50; 10 a.m. – 1 p.m.) and evening performances (open from 2 p.m.– 6 p.m.)* abroad ¤ 6,50. Print@home as well as arranging for advance tickets to be kept for collection at both box offices is free of charge. Arranging for Additional box office Kammeroper: Advance tickets for Kammeroper purchased tickets to be left for collection from the evening ticket offices performances are also available with immediate effect from Hotel Post, of the Theater an der Wien and the Kammeroper costs ¤ 1,50. Fleischmarkt 24, 1010 Vienna (hotel reception, daily from 9 a.m. to 8 p.m.)* The Theater an der Wien and Kammeroper newsletter can be subscribed to Information and phone sales: +43 (0)1 58885 free of charge at www.theater-wien.at. * Opening hours subject to change. Visit us on Facebook: www.facebook.com/TheateranderWien and twitter: twitter.com/TheaterWien EVENING BOX OFFICE Videos at: www.youtube.com/user/theateranderwien Ticketsale and pickup for the respective performance at Theater an der Wien: from 6 p.m. until curtain-up * Shipping charges are subject to change. at der Kammeroper (address: Fleischmarkt 24, 1010 Wien): from one hour before curtain-up GUIDED TOURS OF THE THEATER AN DER WIEN (see p. 90) Price: ¤ 7,–/5,– (concession)* | Groups of schoolchildren: ¤ 3,– For your convenience, please buy or pick up all tickets that are not for the Children under 6: free next performance, and complete any subscription enquires (e.g. exchange) at the Theater an der Wien box office no later than 6 p.m. * Concessions apply to school pupils, students up to age 26, persons in military/community service Please note that the box office at Theater an der Wien will be closed from 5 July to 16 August 2015. GROUP BOOKINGS For bookings for groups of 11 or more people, please contact the Theater an der Wien sales department. Tel. +43(0)1 588 30-1440 or by e-mail: [email protected]

92 | | 93 INFORMATION VOUCHERS JUNIOR-TICKET Vouchers for productions of the Theater an der Wien or the Kammeroper Children or adolescents (under 16) who attend a Theater an der Wien can be ordered by phone on +43 (0) 1 58885 or purchased at the Vereinigte production are granted a 35% reduction on ticket prices in the categories Bühnen Wien box offices and the Wien-Ticket pavilion. Vouchers are not A – E at Theater an der Wien and in the categories A – D at Kammeroper. valid for non-Theater an der Wien and Kammeroper productions Available at all VBW ticket offices, the Theater an der Wien online shop (e.g. Wiener Festwochen) held at those venues. and by phone from Wien-Ticket on +43(0)1 58885.

WHEELCHAIR SPACES/SPECIAL NEEDS SAVE ON PARKING WHEN YOU VISIT PERSONS WITH REDUCED MOBILITY THE THEATER AN DER WIEN Wheelchair spaces can be reserved at the Theater an der Wien (also for an Patrons of the Theater an der Wien can park in the Technical University’s accompanying person if desired) up to a week before the performance for WiPark garages for only ¤ 6.90 for the first five hours. Valid Mon-Sat, which tickets have been bought on +43 (0) 1 58885 or at our box offices. 5 p.m.–8 a.m., Sundays and holidays. Pre-paid parking cards are available Price: ¤ 10,– (wheelchair space) with a 50 % concession for the accompa- at the Theater an der Wien box office. nying person. Patrons with a disabled person ID are granted a 25 % Addresses: reduction up to one week before the performance for which they have Garage Technische Universität | Operngasse 13 | 1040 Vienna bought tickets. These concessions are available only at the theatre box Garage Lehargasse | Lehargasse 4 | 1060 Vienna offices on presentation of a disabled person ID (limited ticket availability). Please note that there are no lifts in the Theater an der Wien or the SAVE ON PARKING WHEN YOU VISIT THE KAMMEROPER Kammeroper, and there are no wheelchair spaces in the Kammeroper. Patrons of the Kammeroper can park in the BOE Garage on Franz-Josefs- Kai for ¤ 5,– per day. Valid Mon-Sun, 6 p.m. – 7 a.m. Pre-paid parking STANDING ROOM cards are available at the Kammeroper evening box office. Tickets for patrons wishing to stand at the Theater an der Wien are avail- able at the box office at the theatre’s discretion and no earlier than one Address: hour before curtain-up. Price: ¤ 7,–. No standing room is available in the BOE Garage Franz-Josefs-Kai | Morzinplatz 1 | 1010 Vienna Kammeroper Ö1 CLUB TICKETS FOR STUDENTS AND SCHOOLCHILDREN Ö1 club members receive a reduction of 10 % on a maximum of Tickets for schoolchildren and students up to age 26 are available, at the two tickets per performance. This reduction applies to all Theater theatre’s discretion and no earlier than 15 minutes before curtain-up, an der Wien productions. No concessions are available on sub- at the box offices of the Theater an der Wien and the Kammeroper on scription tickets, tickets for standing room and events of the Wiener presentation of appropriate ID. Festwochen. To obtain the Ö1 Club concession, please show your Theater an der Wien: Opera: ¤ 15,– | Concert: ¤ 15,– membership card or state your membership number. Kammeroper: Opera: ¤ 10,– | Concert: ¤ 7,– WIENER FESTWOCHEN Tickets for Wiener Festwochen events in May/June 2016 at the Theater an der Wien are available from the Wiener Festwochen only: www.festwochen.at; Festwochen service telephone +43 (0) 1 589 22 22.

| 95 INFORMATION PRICES THEATER AN DER WIEN MUSICAL THEATRE Prices in ¤ * LINKS BÜHNE RECHTS Hans Heiling | L’incoronazione di Poppea | Der fliegende Holländer Seating plan 3. RANG 2. RANG 1. RANG PARTERRE PARTERRE 1. RANG 2. RANG 3. RANG Peter Grimes | Die Dreigroschenoper | Otello | Agrippina | Capriccio Theater an der Wien 1 1 1 1 1 1 1 2 1 1 2 2 2 BELEUCHTERSTAND STEHPLÄTZE 2 2 2 a 145 b 124 c 98 d 87 e 66 f 46 g 24 1 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 2 3 1 1 2 2 3 3 3 GANZ SEITE 1 1 3 3 3 3 3 4 4 4 2 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 4 3 4 4 4 1 4 5 5 5 Shakespeare Dances 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 CERCLE 4 5 3 5 5 4 1 5 1 1 1 2 3 3 2 1 SEITE GANZ 4 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 1 5

a 118 b 98 c 78 d 62 e 48 f 31 g 14 2 2 5 2 6 2 2 2 STEHPLÄTZE 2 2 6 1 1 2 3 1 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1 1 3 1 6 3 1 7 6 7

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

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17.1.16 Fidelio | 22.1.16 Idomeneo, Ré die Creta | 31.12.15 Silvestergala 1 1 2 3 2 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1 3 1 1 10 1 7 1 1 7 10 1 2 1 2 3 3 4 5 6 7 8 9 10 11 11 10 9 8 7 6 5 4 3 2 1 1 4 1 1 11 a 110 b 94 c 84 d 72 e 55 f 36 g 20 2 4 2 2 8 2 2 11 2 1 2 3 4 5 6 7 8 9 10 10 9 8 7 6 5 4 3 2 1 8 4 2 2 1 12 4 3 1 3 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

10.9.15 Season Opening 15/16 Das Tagebuch der Anne Frank 13 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 24.9.15 Catone in Utica | 18.10.15 Xerse | 20.10.15 Monstres, sorcières et 1 STEHPLÄTZE 2 11 1 2 14 2

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7 2 1 1 SEITE LINKS 11 15 3 2 1 3 1 3 magiciens | 15.11.15 Don Chisciotte in Sierra Morena | 13.12.15 Rossinimania 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

18.12.15 Armide | 24.2.16 Orlando | 23.3.16 Il primo omicido 13 6 1 9 1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 1 1 13 6 6 2 1 20.4.16 Arminio | 27.4.16 Lucio Silla 14 2 SEITE RECHTS 1 1 1 2 3 4 5 6 7 8 9 1 9 8 7 6 5 4 3 2 1 14 7 3 1 7 STEHPLÄTZE 1 1 3 1

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1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 1 2 4 1 21.11.15 Michael Heltau: Das war’s, Herr Direktor! 17 2

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2 17 2 0 2 1 1 2 3 4 5 6 7 8 5 8 7 6 5 4 3 2 1 0 3 1 18 3 1 1 2 18.11.15 / 1.4.16 Beethoven im Konzert 3 1 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 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 a 60 b 51 c 43 d 34 e 26 f 17 g 11 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 27.2.16 Silent film: Der böse Geist Lumpaci Vagabundus 1 3 2 4 1 5 4 5 2 4 5 4 1 2 3 1 4 5 4 6 5 5 4 1 2 2 5 a 60 b 51 c 43 d 34 1 5 2 2 6 5 5 1 6 5 1 3 6 6 9 6 6 3 9 1 1 1 2 7 1 7 6 2 4 1 2 1 7 4 2 8 2 2 3 2 6 2 7 1 0 6 8 0 4 5 7 4 3 8 3 7 2 3 6 8 9 9 8 6 3 8 5 2 INTRODUCTION TO THE SEASON 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 15 September 2015 7 4 7 5 9 8 8 9 5 4 2 10 10 11 10 9 7 3 2 1 2 6 6 1 9 6 9 1 1 3 2 12 10 9 6 2 2 2 8 10 13 13 12 11 2 5 2 2 10 8 7 1 7 5 3 1 2 2 4 2 3 3 9 2 3 4 3 8 9 2 CABARET AT THE “HÖLLE” M 8 3 S 1 6 2 I 4 T T 1 6 1 7 2 4 H 5 2 T 4 0 0 E 9 9 1 C 4 4 2 4 7 E 5 29 / 30 October 2015, 2 / 3 / 4 / 6 / 7 / 8 / 9 / 11 November 2015 L 5 2 1 3 5 R 2 7 IN 1 0 LICHT- UND TONREGIE 0 1 3 1 E 7 2 2 K T 6 S 6 1 3 T 5 1 2 1 1 2 6 I 5 6 Im siebenten Himmel 20 3 1 1 M 2 3 8 1 7 3 3 3 2 2 1 7 2 8 7 6 6 3 8 1 1 8 2 7 4 9 3 2 4 9 4 8 7 1 2 32 2 2 4 7 8 3 3 1 2 8 1 3 34 4 33 8 5 0 2 2 3 35 3 3 0 8 14 14 2 8 1 5 INTRODUCTIONS 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 JUGEND AN DER WIEN-OPERA 8 1 1 1 1 1 8 2 2 2 1 2 12 2 9 9 2 30 April 2016, 2 May 2016 10 / 5 3 MITTELLOGE 31 31 3 4 32 32 1 14 33 33 14 4 5 3 1 34 34 13 1 5 35 36 36 35 15 5 9 4 16 16 14 15 17 18 18 17 5 9 10 1 19 19 1 0 No tickets are on sale for the boxes in 6 1 16 1 11 7 18 19 19 18 17 11 1 12 12 1 2 13 14 14 13 2 the second balcony at any concerts or 3 15 15 4 3 96 | * Cloak-room fees are included in the ticket price 5 6 6 5 4 concert performances of operas. PRICES KAMMEROPER PHOTOGRAPHIC MATERIAL Cover image © beyond / michael huber . thomas riegler (art direction: thomas riegler) Inside cover image in back © Rupert Steiner MUSICAL THEATRE Prices in ¤ * All illustrations (p. 11-87) were commissioned for this programm by Theater an der Wien to André Sanchez Die Nase | Orlando paladino | Antigone | Carmen (carolineseidler.com) and are based on portrait photos and archive material, in some cases using material Hänsel und Gretel | Silvester in der Kammeroper owned by Getty images, istock and canstock. S. 11 © beyond / André Sanchez / Getty Images / Anne Frank Fonds a 51 b 40 c 29 d 19 S. 15 © beyond / André Sanchez S. 19 © beyond / André Sanchez S. 23 © beyond / André Sanchez S. 27 © beyond / André Sanchez PORTRAIT CONCERTS 10 S. 31 © beyond / André Sanchez 17.10.15 Tobias Greenhalgh S. 35 © beyond / André Sanchez S. 39 © beyond / André Sanchez 10.12.15 Christoph Seidl S. 43 © beyond / André Sanchez 19.01.16 Jake Arditti S. 47 © beyond / André Sanchez S. 51 © beyond / André Sanchez 11.03.16 Viktorija Bakan S. 62 Kunstwerk Valie Export © Rupert Steiner 08.06.16 N. N., Tenor S. 65 © beyond / André Sanchez S. 72 Stummfilm Lumpaci Vagabundus © Filmharmonie (DVD) 21.06.16 Natalia Kawalek S. 75 © beyond / André Sanchez S. 83 © beyond / André Sanchez S. 87 © beyond / André Sanchez INTRODUCTIONS 5 PUBLISHING DETAILS Theater an der Wien – Intendant DI Roland Geyer Publisher & Proprietor: Vereinigte Bühnen Wien Ges.m.b.H. – Managing director Thomas Drozda Theater an der Wien, Linke Wienzeile 6, 1060 Vienna BÜHNE Tel. (+43/1) 588 30-1010 | Fax Ext. 99 2000 | [email protected] | www.theater-wien.at Responsible for content: Intendant DI Roland Geyer LINKS PARKETT RECHTS Seating plan Editorial office: Karin Bohnert, Renate Futterknecht, Martin Gassner, Sylvia Hödl, Konrad Kuhn, Marie-Louise Löffelhardt, Johannes Penninger, Tina Reithofer, Markus Schemmel, Sebastian F. Schwarz, Sabine Seisenbacher, 14 13 12 11 10 9 8 7 6 5 4 3 2 1 1 Kammeroper Claudia Stobrawa, Ugo Varela, Philipp Wagner, Lucia Weiss, Ksenija Zadravec 14 13 12 11 10 9 8 7 6 5 4 3 2 1 2 Graphic design/Art Direction: Nadine Dellitsch 14 13 12 11 10 9 8 7 6 5 4 3 2 1 3 Printing: Walla Druck 14 13 12 11 10 9 8 7 6 5 4 3 2 1 4 Subject to change | July 2015 | DVR 0 518751

1 14 13 12 11 10 9 8 7 6 5 4 3 2 1 5 Vereinigte Bühnen Wien Ges.m.b.H. 2 14 13 12 11 10 9 8 7 6 5 4 3 2 1 6 A Wien Holding Company 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 PARTNERS

LINKS PARKETT RECHTS JUGEND AN DER WIEN: MEDIA PARTNERS 15/16 7 6 5 4 3 2 1 17 6 5 4 3 2 1 18 Stadtschulrat für Wien 9 8 19 7 6 5 4 3 2 1 19 KulturKontakt Austria 9 8 20 7 6 5 4 3 2 1 20 TECHNIK Landsmann & Landsmann 9 8 21 7 6 5 4 3 2 1 21 9 8 22 7 6 5 4 3 2 1 22 * Cloak-room fees are 9 8 23 7 6 5 4 3 2 1 23 included in the ticket price