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Home , Aleksandra Kurzak, Bertrand de Billy, Concentus Musicus Wien, Elisabeth von Magnus, Eva Mei, Federico Moreno Torroba

General Manager Franz Häußler

Intendant Roland Geyer

General sponsors of the

The Theater an der Wien receives subsidies from the Cultural Department of the City of Raising our voices !

In the season 2007/08, the Theater an der Wien is once again proud to present a premiere of music theatre every month. In keeping with the philosophy of our programme we will be showing eleven “new” – from Monteverdi to Mozart – as well as well-known 20th century works. The musical direction is the responsibility of with his Concentus Musicus, with the , Bertrand de Billy with the Vienna Radio Symphonic Orchestra and Fabio Luisi with the Orchestra. But that’s not all: they will be joined by renowned conductors including Sian Edwards, Alessandro de Marchi and Kirill Petrenko. The star directors of 2007/08 are Robert Carsen, Nikolaus Lehnhoff, Keith Warner, Torsten Fischer and Achim Freyer. In addition, the leading choreographers John Neumeier and Anne Teresa De Keersmaeker with their own aesthetics of dance will be welcomed at Vienna’s new house, which is increasingly becoming their new home. Then there’s our “own” opera choir, the conducted by Erwin Ortner, which is well-known for world class performances.

The large number of premieres, coupled with the superb artistic quality that has been proved time and again over the past 15 months, is found nowhere else in Vienna and I’m delighted to be able to invite you to another series of exciting opera performances at the Theater an der Wien. In addition we will also be presenting about 20 special concerts and three so-called “Höllenspektakolos” performed by the marionette theatre.

The curtain rises: Let the magic of the theatre commence!

Roland Geyer Intendant

|  insNoten130x205_4c_E_TheaterRZ 16.05.2007 14:53 Uhr Seite 1

Contents

Music Theatre

J. Heggie: Dead Man Walking 6 S. Prokofjew: 8 Where does the opera P. I. Tschaikowsky: Eugen Onegin 10 J. Haydn: 12 J. S. Bach: Christmas- 14 find a new home? F. Poulenc: Dialogues des Carmélites 16 C. Monteverdi: Era la notte 18 L. Cherubini: Médée 20 L. Janáˇcek: Katja Kabanova 22 F. Moreno Torroba: Luisa Fernanda 24 W. A. Mozart: 26

Concerts 28 Kabinetttheater 42 Prices 44 Seating plan 45 Information 47 Imprint 50 Booking form 51

Under the wings of the lion

The modern, open approach to music theatre has found its ideal stage in the form of the Stagione opera house Theater an der Wien since January 2006. Being able to support this new and independent category in the sophisticated Viennese culture business gives us great pleasure. For continued quality at the highest international level under the wings of the lion.  | |  “D ead Man Walking” – this is what prison guards and inmates call out in American jails when a prisoner on death row takes his final walk from his cell to the execution room. Jake Heggie’s opera Dead Man Walking is based on the real-life experiences of the Catholic nun Helen Prejean, who has offered several convicts on death row spiritual support right up until their execution. Opera in two acts (2002) Music by Jake Heggie Libretto by Terrence McNally adapted from the novel by Sister Helen Prejean – Austrian Premiere – Performed in English with German surtitles Conductor Sian Edwards Director Nikolaus Lehnhoff Set designs Raimund Bauer Costume designs Stefan von Wedel Lighting Jens Klotzsche/Duane Schuler Sister Helen Prejean Kristine Jepson Joseph De Rocher John Packard Mrs. Patrick De Rocher Frederica von Stade Sister Rose Father Grenville Roman Sadnik Dead Man Sister Catherine ulla Pilz George Benton Peter Lobert walking Kitty Hart Donna Ellen Owen Hart Steffen Rössler Howard Boucher Erik Årman Jade Boucher Rita-Lucia Schneider Motor Cop/Prison Guard Johannes von Duisburg Jake Heggie Prison Guard Steven Scheschareg Vienna Radio Symphony Orchestra Premiere: Arnold Schoenberg Chor (Chorus director: Erwin Ortner) 26 September 2007, at 7.30 p.m. Children’s Choir of the Wiener Musikgymnasium (Director: Georg Kugi) Performances: Coproduction with the Sächsische Staatsoper Dresden 29 September & 2 / 4 / 7 / 10 October 2007 Introduction: 16 September 2007, at 11 a.m. (in German)

|  P rokofiew’s sarcastic and ironic opera The Gambler, written on the eve of the October Revolution, can be regarded as the high point of his early ex- perimental phase. Its unusual rhythms and jarring tone colourings form an exact aural counterpart to Dostojewsky’s study of obsession. In the final act the fateful spinning of the roulette wheel, a symbol of unexpected wealth or ruination, is represented by crazy maelstroms of instrumental colour which come to the fore as the true principal performer.

Opera in four acts and six pictures (1917/1929) Music and Libretto by Sergej Prokofjew adapted from the novel by Fjodor M. DostojewskY Performed in Russian with German surtitles

Conductor Valery Gergiev Director Temur Tcheidze Set designs Zinovy Margolin The Gambler Costume designs Tatiana Noginova Alexis Vladimir Galouzine General Sergei Alexashkin Polina Olga Guriakova Grandmother Larissa Diadkova Sergej Prokofjew Marquis Mr. Astley Premiere: Blanche Soloists of the Mariinsky Theatre 17 October 2007, at 7.30 p.m. Prince Nilsky Performances: Baron Wurmerhelm 20 & 22 October 2007 Potapytch

Orchestra of the Mariinsky Theatre Choir of the Mariinsky Theatre (Chorus director: Andreï Petrenko)

Global partner of the Mariinsky Theatre

sponsored by

Introduction Russian Opera: 14 October 2007, at 11 a.m. (in German)

|  T hese “lyrical scenes”, premiered in 1879 by voice students, re- present the first high point in Peter Tchaikowsky’s career as a composer. He had deliberately eschewed the description “opera” in order to emphasize the poetical, melancholy mood that prevails throughout Eugen Onegin.

Lyrical scenes in three acts and seven pictures (1879) Music by Peter Iljitsch TchaikowskY Libretto by P. I. Tchaikowsky and Konstantin Shylowsky adapted from the novel by Alexander Pushkin Performed in Russian with German surtitles

Conductor Valery Gergiev Director Moshe Leiser & Patrice Caurier Set designs Christian Fenouillat Costume designs Agostino Cavalca Lighting Christophe Forey

Larina Svetlana Volkova Tatjana Irina Mataeva Olga Ekaterina Sementchuk Eugen Onegin Alexey Markov Lenski Evgeny Akimov Eugen Prince Gremin Mikhaïl Kit Filipjewna Mr. Triquet Onegin Soloists of the Mariinsky Theatre A Captain Zaretzki

Orchestra of the Mariinsky Theatre Peter Iljitsch Tchaikowsky Choir of the Mariinsky Theatre (Chorus director: Andreï Petrenko) Global partner of the Mariinsky Theatre Premiere: 19 October 2007, at 7.30 p.m. sponsored by Performances: 23 & 25 October 2007 Introduction Russian Opera: 14 October 2007, at 11 a.m. (in German)

| 11 Orlando

Paladino A visit of the Russian tsar to Esterházy Palace had been arranged at short notice, and to mark the occasion Joseph Haydn had to compose a new ope- ra very quickly. The result was Orlando paladino with a libretto based on the well-known epic poem Orlando furioso by the Renaissance writer Ludovico Ariosto. The premiere on 6th of December, 1782 was a triumph for Haydn Joseph Haydn as a composer of operas. The audience could only gasp in astonishment as wave upon wave of melodious and brilliant arias, thrillingly dramatic ac- Premiere: compagnati and finely constructed finali swept over them. In next to no time 17 November 2007, at 7 p.m. Orlando paladino had become one of the most frequently performed operas in the last days of the 18th century. Performances: 20 / 22 / 25 / 27 / 29 November 2007 Dramma eroico-comico in three acts (1782) Music by Joseph Haydn Libretto by Nunziato Porta adapted from Carlo Francesco Badini Performed in Italian with German surtitles Conductor Nikolaus Harnoncourt Director Keith Warner Set and costume designs Ashley Martin-Davis Lighting Wolfgang Göbbel Orlando Angelica Eva Mei Medoro Bernard Richter Rodomonte Jonathan Lemalu Eurilla Juliane Banse Pasquale Markus Schäfer Licone Bernhard Berchtold Caronte Markus Butter

sponsored by

Introduction: 11 November 2007, at 11 a.m. (in German)

| 13 J ohann Sebastian Bach’s is among the favorite works of the Advent season. The American choreographer John Neumeier, whose legendary aesthetics in ballet became world famous, did not just add beau- tiful images to Bach’s music, but gave it an additional dimension with his personal creative dance style.

Ballet to Christmas Oratorio, BWV 248 (1734), Cantatas I-III Ballet by John Neumeier Music by

– World Premiere –

Conductor Alessandro de Marchi Choreography, Costume designs, Lighting John Neumeier Set designs Ferdinand Wögerbauer

Weihnachts- The Oratorium (Evangelist) Christoph Prégardien Soprano Aleksandra Kurzak Alto Kristina Hammarström Tenor Jeremy Ovenden (Christmas Oratorio) Bass Vito Priante John Neumeier | J. S. Bach Vienna Symphony Orchestra Premiere: Arnold Schoenberg Chor (Chorus director: Erwin Ortner) 12 December 2007, at 7 p.m. Coproduction with the Hamburg Ballet / Staatsoper Hamburg Performances: 13 & 14 December 2007 The Cantatas IV-VI of J. S. Bach’s Christmas Oratorio will be performed in concert on 21 December 2007 at 7.30 p.m. in the Theater an der Wien (conf. p. 30).

Introduction: 9 December 2007, at 11 a.m. (in German)

| 15 Dialogues des Carmélites W ith Dialogues des Carmélites by Georges Bernanos the French compo- ser Francis Poulenc chose unusual subject matter. The clash of revolution and religion serves as background; what holds Poulenc’s opera together at its core is the theme of fear. The theme is concentrated in the character of Blanche and expands this “dialogue opera” into a panoramic view of the Francis Poulenc period it originated in, namely the aftermath of the Second World War. Opera in three acts and twelve pictures (1957) Premiere: Music and Libretto by Francis Poulenc 19 January 2008, at 7 p.m. adapted from the play by GEORGES BERNANOS Performances: 21 / 23 / 26 / 29 & 31 January 2008 Performed in French with German surtitles

Conductor Bertrand de Billy Director Robert Carsen Set designs Michel Levine Costume designs Falk Bauer Choreography Philippe Giraudeau Lighting Jean Kalman Marquis de La Force Jean-Philippe Lafont Blanche Sally Matthews Le Chevalier Yann Beuron Madame de Croissy Marjana Lipovšek Madame Lidoine Heidi Brunner Mère Marie Michelle Breedt Sœur Constance Gaële Le Roi Mère Jeanne Elisabeth Wolfbauer Sœur Mathilde Christa Ratzenböck L’Aumônier Dietmar Kerschbaum 1er Commissaire Erik Årman 2ème Commissaire Daniel Schmutzhard Le Geôlier Klemens Sander Vienna Radio Symphony Orchestra Arnold Schoenberg Chor (Chorus director: Erwin Ortner) Coproduction with De Nederlandse Opera,

Introduction: 13 January 2008, at 11 a.m. (in German)

| 17 “ Night is the theatre of all desires, all confessions, all crimes. Above all, the way we hear music is different at night.” So says the director Juliette Deschamps, who, together with the singer Anna Caterina Antonacci, has developed this themed evening of theatre based on four dramatic solo vo- cal works from the 17th century. The four compositions, written between 1608 and 1650, all deal with the fate of a lonely woman who is lost on account of love. The first piece, the lament La Pazza by Pietro Antonio Giramo, is already a small character study that portrays a woman driven mad by love. Claudio Monteverdi’s famous opera fragment Lamento d’Arianna relates the despe- rate grief of Ariadne, who, after helping Theseus to escape, has now been left alone by him on the island of Naxos. To express Ariadne’s pleading, anger and lapse into dejected resignation, Monteverdi gives the music over entirely to dramatic expressive content. This lamentation became a model for numerous others in a similar vein, such as Barbara Strozzi’s Lagrime mie, a che vi trattenete?. The evening’s highlight of the tragedy of misplaced love is Monteverdi’s Il combattimento di e Clorinda, a veritable de- claration of war on love in which the music follows the passionate emo- tions described in Torquato Tasso’s story exactly.

Azione teatrale (1650/2006) MUSIc by CLAUDIO MONTEVERDI, PIETRO ANTONIO GIRAMO aND BARBARA STROZZI Performed in Italian with German surtitles Era la notte Conductor Julien Chauvin Director Juliette Deschamps Set designs Cécile Degos Claudio Monteverdi Costume designs Christian Lacroix Pietro Antonio Giramo Lighting Dominique Burguière Barbara Strozzi Anna Caterina Antonacci Soprano Premiere: Musiciens du Cercle de L’Harmonie 6 February 2008, at 8 p.m. Cooperation with the Théâtre des Champs-Elysées de Performances: and the Grand Théâtre de la Ville de Luxembourg 7 & 9 February 2008 Introduction: 3 February 2008, at 11 a.m. (in German)

| 19 D isappointed love, desperation, jealousy, revenge, infanticide – all this is contained in the ancient saga of Medea. One of the highlights of the tale’s Médée interpretation is without doubt Luigi Cherubini’s 1797 opera, that convin- cingly portrays the emotional restlessness of Medea’s inwardly torn perso- nality. It is upon this work that Cherubini’s fame as an artist is founded. The impressive role of Médée arouses both sympathy and horror, because Cherubini’s score is a graphic portrayal of her inner struggle and the rever- Luigi Cherubini sal of love to ruthless hatred. The emphasis is not so much on the events themselves as on the emotional turmoil the characters undergo. Its stylistic Premiere: diversity, sombre greatness, solemnity and large-scale, self-contained mu- 6 March 2008, at 7 p.m. sical scenes place Médée far above any of the other operas written at the time. It is not without reason that Haydn, Beethoven, Mendelssohn, Schu- Performances: 9 / 11 / 15 / 17 & 20 March 2008 mann, Wagner and Brahms praised the Italian composer’s work. Indeed the latter regarded Médée as the “epitome of dramatic art”.

Opera in three acts (1797) Music by luigi Cherubini LIBRETTO by FRANÇOIS BENOÎT HOFFMANN adapted from EURIPIDES Performed in French with German surtitles Conductor Fabio Luisi Director Torsten Fischer Set designs Herbert Schäfer Costume designs Andreas Janczyk Lighting Kurt Schöny Médée Iano Tamar Créon Olaf Bär Dircé Henriette Bonde-Hansen Jason Zoran Todorovich Néris Birgit Remmert Companion of Dircé Petra Simková Vienna Symphony Orchestra Arnold Schoenberg Chor (Chorus director: Erwin Ortner) Introduction: 2 March 2008, at 11 a.m. (in German)

| 21 Katja

Kabanova L eoš Janáˇcek wrote Katja Kabanova shortly after the end of the First World War when, at the age of 66 and in love with a much younger woman, he entered the most productive phase of his life. The somnambulistic cha- racter of Katja, who deliberately sacrifices her whole life to her vision of happiness, impressed the Czech composer so much that he decided to set Leo ˇs Janá ˇcek Ostrowsky’s tragedy about guilt, self-accusation and atonement to music. As in all his operas, Janáˇcek took the intonation of the spoken language Premiere: peculiar to every individual as the basis of his musical portraits. This means 13 April 2008, at 7.30 p.m. that the musical intonation does not simply form the background for the plot but expresses the way the protagonists think and feel. With Katja Ka- Performances: 15 / 17 / 20 / 22 & 24 April 2008 banova, Janáˇcek created a modern social-psychological ballad – an opera about unfulfilled dreams that raises the question of how far we are really capable of shaping our own lives. Opera in three acts (1921) MUSIc aND LIBRETTO by Leosˇ JANÁCEKˇ adapted from the play GROSA (the Storm) by ALEXANDER NIKOLAJEWITSCH OSTROWSKy translated by VINCENC CERVINKAˇ Performed in Czech with German surtitles Conductor Kirill Petrenko Director Keith Warner Set and Costume designs Kaspar Glarner Lighting Wolfgang Göbbel Dikoj Anatoli Kotscherga Boris Robert Brubaker Kabanicha Anja Silja Tichon Raymond Very Katja Melanie Diener Kudrjaš Varvara Stella Grigorian Kuligin Gabriele Nani Vienna Radio Symphony Orchestra Arnold Schoenberg Chor (Chorus director: Erwin Ortner) Introduction: 30 March 2008, at 11 a.m. (in German)

| 23 T he strains of Spanish music, bittersweet love stories and the charm of a nostalgic genre – all this is found in the , the Spanish counterpart of the French opéra comique and the German Singspiel. The zarzuela had its heyday from the mid-19th century, before the Spanish Civil War and the emergent cinema brought its popularity to a temporary end. It is during this latter period that Federico Moreno Torroba wrote his comedy of man- ners Luisa Fernanda, one of the most successful of all time. The melodies of the tenor’s brilliant romances, the lively parasol mazurka and Vidal’s song of farewell “Morena Clara” are world famous. Plácido Domin- go has sung the part of the fiery lover Javier countless times, now he takes to the stage at the Theater an der Wien as Vidal. Zarzuela in three acts (1932) MUSIK by FEDERICO MORENO TORROBA LIBRETTO by and GUILLERMO FERNÁNDEZ-SHAW Performed in Spanish with German surtitles Luisa Conductor Josep Caballé-Domenech Director & Set designs Emilio Sagi Fernanda Costume designs Pepa Ojanguren Choreography Nuria Castejon Lighting Eduardo Bravo Luisa Fernanda Maria José Montiel Vidal Hernando Plácido Domingo Federico Moreno Torroba La duquesa Carolina Javier Moreno Israel Lozano Premiere: Mariana Raquel Pierotti 7 July 2008, at 8 p.m. Rosita Maria José Suarez Don Luis Nogales Federico Gallar Performances: 10 / 14 / 16 & 18 July2008 Vienna Radio Symphony Orchestra Arnold Schoenberg Chor (Chorus director: Erwin Ortner) Coproduction with the , the Washington Opera and the Introduction: 29 June 2008, at 10.30 a.m. (in German)

| 25 I n the beginning there is a task, the path consists of trials and the goal is maturity – and love. Is it a fairytale, a parable, or is it really the Freema- sons’ secret manifesto? Hardly any other opera offers so many different possible interpretation as The Magic Flute, in which comedy and serious- ness, fairytale and the teachings of wisdom, mythology and enlightenment merge into a timeless game: “Love is the only way to achieve reconciliation and to bring us together. That is the Utopia in this work, that Tamino and Pamina as the intellectual and spiritual level, and Papageno und Papagena as the natural, sensual and physical level, have the strength to unite these opposites, man and woman, or the civilized world and the axis of evil in a humane way and lead it to a peaceful outcome.” says Achim Freyer, whose fairytale-like version is now being staged at the Theater an der Wien. Opera in two acts (1791) MUSIc by LIBRETTO by EMANUEL SCHIKANEDER Conductor Jean-Christophe Spinosi Director, Set designs, Lighting Achim Freyer Sarastro Georg Zeppenfeld Königin der Nacht Sen Guo Pamina Tamino Shawn Mathey Die Papageno Jonathan Lemalu Erste Dame Malin Byström Zauberflöte Zweite Dame Hermine Haselböck Dritte Dame Julia Oesch Drei Knaben St. Florianer Sängerknaben Papagena Gabriela Bone (The Magic Flute) Monostatos Karl-Michael Ebner Sprecher Markus Butter Wolfgang Amadeus Mozart Erster Priester/Erster Geharnischter Oliver Ringelhahn Zweiter Priester/Zweiter Geharnischter Michael Dries Premiere: Vienna Symphony Orchestra 10 August 2008, at 7 p.m. Arnold Schoenberg Chor (Chorus director: Erwin Ortner) Performances: 12 / 14 / 17 & 19 August 2008 Coproduction with the Sächsische Staatsoper Dresden

| 27 Concerts Opening night 2007/08 Wednesday, 5 September 2007, 7.30 p.m. Vienna Radio Symphony Orchestra Bertrand de Billy conductor Tobias Moretti recitation Annette Dasch soprano (1770-1827) Egmont op. 84 (1809) Symphonie Nr. 5 c minor, op. 67 (1804-08)

Beethoven-Cycle András Schiff performs all sonatas by Ludwig van Beethoven Four concerts in 2007 & four concerts in 2008 at the Theater an der Wien

Beethoven-Cycle Concert III Sunday, 30 September 2007, 11 a.m. AndrÁs Schiff piano Ludwig van Beethoven (1770-1827) Two piano sonatas, op. 49 (1795-96) Nr. 1 g minor Nr. 2 G major Two piano sonatas, op. 14 (1798-99) Nr. 1 E major Nr. 2 G major Piano sonata B flat major, op. 22 (1799-1800)

| 29 Concerts Success is having Motezuma time for the beautiful Saturday, 6 October 2007, 7 p.m. things in life. Dramma per musica in three acts, RV 723 (1733) Music by (1678-1741) Libretto by Girolamo Giusti Concert performance in Italian Il complesso barocco Alan Curtis conductor Motezuma Vito Priante Mitrena Marijana Mijanovic Teutile Karina Gauvin Fernando Cortes Ann Hallemberg Ramiro Asprano Laura Aikin

Beethoven-Cycle Concert IV Sunday, 28 October 2007, 11 a.m. AndrÁs Schiff piano Ludwig van Beethoven (1770-1827) Piano sonata A flat major, op. 26 (1800-01) Two piano sonatas, op. 27 (1800-01) As friends of the opera, we look forward Nr. 1 E flat major Sonata quasi una Fantasia to an exciting and varied opera season Nr. 2 c sharp minor Mondscheinsonate 2007/2008. How nice that as a sponsor, Piano sonata D major, op. 28 (1801) we can make our contribution to the Sonata pastorale success of the Theater an der Wien. Scope for Success.

30 | | 31

business.telekom.at

BS_Theater Wien_130x205_eng.indd1 1 21.05.2007 10:41:29 Uhr Concerts The eight seasons New Year’s Magic Flute Wednesday, 28 November 2007, 7.30 p.m. Monday, 31 December 2007, 8 p.m. Petra Morzé recitation „Zu Hilfe, zu Hilfe, sonst sind wir verloren“ W. A. Mozarts Zauberflöte in 90 minutes for one performer Ernst Kovacic violin Franz Bartolomey violoncello Herbert Wernicke director & set designs Herbert Mayr double bass Christoph Homberger singer Kurt Gold-Szklarski harpsichord Cornelia Löscher & Anna Knopp violin Gerhard Marschner viola Bach-Suites Matthias Bartolomey violoncello Saturday, 12 January 2008, 7.30 p.m. Antonio Vivaldi (1678-1741) Amsterdam Orchestra Le quattro stagioni conductor for violin, string orchestra and basso continuo, op. 8 (1725) Johann Sebastian Bach (1685-1750) Astor Piazzolla (1921-1992) Orchestra suite Nr. 2 b minor, BWV 1067 (1738-39) Las cuatro estaciones porteñas (1964-70) Orchestra suite Nr. 1 C major, BWV 1066 (1724) Texts by Antonio Vivaldi, Astor Piazzolla and Tango-poems. Orchestra suite Nr. 3 D major, BWV 1068 (1731) Orchestra suite Nr. 4 D major, BWV 1069 (1725) Christmas-Oratorio Friday, 21 December 2007, 7.30 p.m. Armonico Tributo Arnold Schoenberg Chor Erwin Ortner conductor Christoph Prégardien Evangelist & tenor soprano Kristina Hammarström alto Hanno Müller-Brachmann bass Johann Sebastian Bach (1685-1750) Christmas Oratorio, BWV 248 (1734) Cantatas IV-VI

32 | | 33 Concerts Goran Bregovi ´c’s „Karmen with a happy end“ Friday, 25 January 2008, 7.30 p.m. Goran bregoviC´ libretto, music & direction Wedding and funeral Band Nesoˇ LipanoviC´ costumes Vaska JANKOVSKA Kleopatra/Karmen Bokan STANKOViC´ Street sweeper/trumpetist/Fuad Dragan RISTEVSKI Trumpetist/Emilio Goran bregoviC´ Brega/drummer Ljudmila Ratkova-Trajkova Michaela/accordion et.al.

Franz Schubert – Rosamunde Wednesday, 30 January 2008, 7.30 p.m. Vienna Radio Symphony Orchestra Bertrand de Billy conductor Chorus N.N. recitation, mezzo-soprano (1797-1828) Rosamunde D 797 (1823)

| 35 Concerts

Complete musical performance with recitation String quintet Nr. 1 A major, op. 18 (1826, rev. 1832)

Beethoven-Cycle Concert V OsterKlang Wien 2008 Sunday, 17 February 2008, 11 a.m. 14 – 24 March 2008 AndrÁs Schiff piano The festival programme will be announced in December ’07 Ludwig van Beethoven (1770-1827) Three piano sonatas, op. 31 (1801-02) Franz Schubert – Song Composer Nr. 1 G major Wednesday, 19 March 2008, 7.30 p.m. Nr. 2 d minor Der Sturm Nr. 3 E flat major tenor Malcolm Martineau piano Piano sonata C major, op. 53 (1803-04) Waldsteinsonate Franz Schubert (1797-1828) Chosen songs (An die Musik, Ständchen, Der Musensohn e.a.) Songs and Words Saturday, 8 March 2008, 8 p.m. Beethoven-Cycle Concert VI Monday, 24 March 2008, 11 a.m. Brigitte Karner & Peter Simonischek recitation AndrÁs Schiff piano Christian Altenburger & Sabine Nova violin Lars Anders Tomter & Heinrich Koll viola Ludwig van Beethoven (1770-1827) Franz Bartolomey violoncello Piano sonata F major, op. 54 (1804) Mihaela ursuleasa piano Piano sonata f minor, op. 57 (1804-05) -Bartholdy (1809-1847) Appassionata From Lieder ohne Worte, op. 67 From Charakterstücke, op. 7 (1827) Piano sonata F sharp major, op. 78 (1809) Felix und Cécile Mendelssohn-Bartholdy Piano sonatina G major, op. 79 (1809) From Tagebuch der Hochzeitsreise Piano sonata E flat major, op. 81a (1809-10) Felix Mendelssohn-Bartholdy

36 | | 37 Concerts

Les Adieux

B eethoven & Saturday, 5 April 2008, 3.30 p.m. Sunday, 6 April 2008, 11 a.m. Vienna Philharmonic Orchestra piano & conductor Ludwig van Beethoven (1770-1827) Andante Cantabile from op. 97 (orchestrated by Franz Liszt) Piano Nr. 4 G major, op. 58 (1805-06) Piano concerto Nr. 3 c minor, op. 37 (1800)

La fida ninfa Friday, 18 April 2008, 7.30 p.m. Opera in three acts, RV 714 (1732) Music by Antonio Vivaldi (1678-1741) Libretto by Scipione Maffei Concert performance in Italian Ensemble Matheus jean-Christophe Spinosi conductor Morasto Veronica Cangemi Licori Osmino Elpina, Giunone Narete Stefano Ferrari

| 39 Concerts

Eolo, Oralto Lorenzo Regazzo

Ein fahrender Geselle Friday, 25 April 2008, 8 p.m. Brigitte Karner & Peter Simonischek recitation Bo Skovhus baritone Christian Altenburger violin Franz Bartolomey violoncello Markus Schirmer piano et.al. (1860-1911) Lieder eines fahrenden Gesellen (1883-85, rev. 1891-96) (in the version for chamber ensemble by Andreas N. Tarkmann) Alma & Gustav Mahler Texts and letters Alexander von Zemlinsky (1871-1942) Piano trio d minor, op. 3 (1896)

Franz Schubert – Opera composer Friday, 13 June 2008, 7.30 p.m. Vienna Radio Symphony Orchestra Bertrand de Billy conductor Genia Kühmeier soprano michael Schade tenor Franz Schubert (1797-1828) Arias and duets from the Operas Adrast, Alfonso und Estrella, Des Teufels Lustschloss, , Claudine von Villa Bella

40 | Kabinetttheater There’s hell to play – What is a cloaked figure doing creeping furtively through the corridors? What it is searching for down in an unlit cellar crammed with the junk of bygone performances? This is a gambling hell. Mozart’s passion for gambling is the stuff of legend, and in his day the whole of Vienna was in the grip of rapidly changing gambling fads. Even Maria Theresia secretly played faro. In fact, in the drawing room of the ban- ker Raimund Wetzlar, one of Mozart’s chief benefactors, the police staged several raids to break up illegal gambling sessions. While the opera unfolds on the stage above, Fortune’s aides and henchmen are turning her wheel down below in the catacombs, a bizarre fellowship. And sometimes one of the performers, finding he is not needed on stage just at that moment, tries his luck in Hell. Gambling makes no distinction between master and servant, all that exists are shared fates and sly bandits busy with all parts of their body, not just one arm. Irreconcilable enmity is forgotten, roles are ex- changed, and one man pushes another to the fore when payment is due. And once again music plays a leading role: in Mozart’s day it had already Kabinetttheater become common to arrange great music for ensembles that were often strange. And so a small, comical ensemble dares to tackle the most beauti- in der Hölle ful of musical challenges, including some that are entirely unexpected. In three productions the marionette theatre responds to the Theater an der Der Bürger als Edelmann Wien’s programme and, for once in a way, to football as well. The venue is Hell – Die Hölle, now a bar in the theatre’s basement that until the end of Premiere: 6 November 2007, at 8 p.m. the 1930s served as the stage for cabaret. Performances: 8 / 9 / 13 & 16 November 2007 KABINETTTHEATER | Marionette theater (in German)

Der fliegende „Der Bürger als Edelmann“ (Haydn and Mozart) Premiere: 21 February 2008, at 8 p.m. „Der fliegende Fidelio“ (From Beethoven to Wagner) Performances: 23 / 26 / 27 & 29 February 2008 „Eur o.per 2008“(Satie et caetera) eur o.per 2008 Venue: „Hölle“ at the Theater an der Wien Premiere: 9 June 2008, at 8 p.m. Performances: 11 / 18 & 19 June 2008 | 43 TAW 2007 / Oper, Konzerte Seating Prices plan Music theatre & Ballet Prices in ¤ Luisa Fernanda a 140 b 120 c 95 d 85 e 64 f 5 g 23 The Gambler | EUGEN ONEGIN | ORLANDO PALADINO Dialogues des Carmélites | Médée | Katja Kabanova Die Zauberflöte a 130 b 105 c 85 d 67 e 52 f 0 g 15

Christmas Oratorio a 115 b 98 c 78 d 60 e 7 f 28 g 11

Dead man walking | Era la notte a 98 b 85 c 69 d 53 e 0 f 25 g 11

Concerts 5 & 6 April 08: Beethoven & Vienna Philharmonic a 98 b 85 c 71 d 57 e  f 28 g 11

6 October 07: Motezuma | 25. 1. 08 Bregoviˇc’s Karmen a 78 b 65 c 53 d 2 e 2 f 23 g 11

18 April 08: a 78 b 50 c 9 d 2 e 26 f 18 g 11

5 September 07: Opening night | 30 September 07, 28 October 07, 17 February 08, 24 March 08: András Schiff Beethoven-Cycle | 21 December 07: Christmas-Oratorio | 12 January 08: Bach-Suites | 30 January 08: Franz Schubert – Rosamunde | 13 June 08: Franz Schubert – Opera composer a 62 b 50 c 9 d 2 e 26 f 18 g 11

28 November 07: The eight seasons | 31 December 07: New Year’s Magic Flute | 8 March 08: Songs and Words | 19 March 08: Franz Schubert – Song Composer | 25 April 08: Ein fahrender Geselle a  b 8 c  d 29 e 22 f 16 g 11

Kabinetttheater 6, 8, 9, 13 & 16 November 07 Der Bürger als Edelmann 21, 23, 26, 27 & 29 February 08 Der fliegende Fidelio 9, 11, 18 & 19 June 08 eur o.per 2008 18

44 | Dienstsitze Information

Bookings Processing charges STUDENT tickets Tickets for 2007/08 are available at the ticket agencies (box office at the Telephone Student Tickets are available at the evening box office at the earliest half Theater an der Wien, Vienna Ticket Pavillon) and can also be ordered by ¤ 4.- incl. postage with payment via credit card, ¤ 5.- inkl. postage with an hour before the performance starts. telephone and via internet. payment via bank transfer. Price opera: ¤ 15,- / Price concert: ¤ 10,- Internet Box office Guided Tours ¤ 4.- incl. postage with payment via credit card. Theater an der Wien, Linke Wienzeile 6, 1060 Vienna, Austria Guided Tours through the Theater an der Wien are offered in German Opening hours: Monday to Sunday, 10 a.m. to 7 p.m. Group bookings or English on request (10 and more PAX). The tour includes gate “Papageno”, foyer, auditorium (with the curtain “Magic flute” anno 1860) For group-bookings (8 PAX and more) please contact the sales Vienna Ticket Pavillon and stage. department of the Vereinigte Bühnen Wien. Prices: Adults: ¤ 6,- / Students: ¤ 3,50,- Tickets (except discounted tickets) are also available at the Vienna Ticket Monday to Friday, 9 a.m. to 5 p.m., Tel. (+43/1) 581 81 11-0, Registration: Tel.(+43/1) 588 30-616, e-mail: [email protected] Pavillon at the Karajan-Platz next to the Vienna State Opera. Fax (+43/1) 5 81 81 11-581, (Monday to Sunday, 10 a.m. to 7 p.m.) e-mail: [email protected] Low priced parking opportunities for visitors near the THEATER AN DER WIEN Telephone Gift vouchers Monday to Sunday, 10 a.m. to 7 p.m. At the WiPark Garage of the Technical University of Vienna, visitors of Gift vouchers to the value of ¤ 10, 20, 50 and 100 can be obtained by the Theater an der Wien have the possibility of low-priced parking only phoning (+43/1) 58885 and are also available at the Theater an der Wien 2 minutes from the theatre (first 5 hours ¤ 6,50,- instead of ¤ 15,-). This box office. benefit is valid from 5 p.m. to 8 a.m., as well as on Sundays and public For performances of the Wiener Festwochen at the Theater an der Wien Internet holidays. The required commutation ticket is available at the evening box those vouchers are not valid. office at the Theater an der Wien. www.theater-wien.at Adress of the WiPark Garage: Operngasse 13 | 1040 Vienna (orders only payable via credit card) Wheelchair spaces handicapped persons Ö1 CLUB Written Bookings Wheelchair spaces (incl. one person for escort) can be booked up to one Ö1 Club reductions are exclusively obtainable at the Theater an Bookings can be done in written form by filling out the booking form, week before the respective performance by phoning (+43/1) 588 85. der Wien box office and can not be ordered in written form, via which is enclosed to this programme. We point out that the Theater an der Wien does not have an elevator. telephone or internet. Therefore handicapped persons are advised to choose tickets at the ground floor. Wiener Festwochen Standing places Tickets for the performances of the Wiener Festwochen in May/June 2008 are only available at the Wiener Festwochen: www.festwochen.at, festival Standing places are available at the evening box office at the earliest 1 service hotline (+43/1) 589 22 22. hour before the performance starts. Price: ¤ 7,-

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Theater an der Wien Intendant Roland Geyer Assistant to Intendant Hödl | Artistic Department Christian Carlstedt (head), Claudia Stobrawa Production Management Petra Haidvogel, Anja Meyer, Axel Schneider | Dramaturgy Nora Schmid (head), Petra Aichinger | General Secretariat Renate Futterknecht | Assistant to General Secretariat Claudia Brandt Business Administration Christian Rameis | Ticketing & Subscriptions Harald Illeditsch | Press Officer Sabine Seisenbacher (head), Catherine Leiter | Marketing Tina Osterauer | Art Direction Anna Graf | Technical director of Vereinigte Bühnen Wien Peter Bouchier | Technical director of Theater an der Wien Valentin Essrich | Costume department Doris Maria Aigner (head) | Technical assistant Veronika Leitl | Technical Production Gerhard Pöll, Gerald Stotz | Lighting Kurt Schöny (head) | Sound Robert Macalik (head) | Mask Wilhelm Honauer (head) Dresser Josef Sonnberger (head)| Facility management Friedrich Bohland, Franz Slama photographic Material Cover picture and illustration page 22 © mauritius images | Illustrations pages 6 / 10 / 12 / 14 / 24 / 26 © Getty Images | Illustrations pages 8 / 18 / 20 / 28 / 42 © Corbis | Page 2: inside view of the auditorium © Wolfgang Simlinger | Page 34: entrance © Armin Bardel | Page 38/41 Inside views © Tali Amitai-Tabib Back inside cover: Stage, auditorium and atlases © Armin Bardel publishing details Theater an der Wien – Intendant DI Roland Geyer Publisher & Proprietor: Vereinigte Bühnen Wien Ges.m.b.H. – General Manager KR Franz Häußler Theater an der Wien, Linke Wienzeile 6, 1060 Vienna, Austria Tel. (+43/1) 588 30-660 | [email protected] | www.theater-wien.at Responsible for content: Intendant DI Roland Geyer Editorial office: Christian Carlstedt, Harald Illeditsch, Tina Osterauer, Nora Schmid, Sabine Seisenbacher Design concept 2007: Ultramarin | Harald Ströbel & Elke Zellinger | www-ultramarin-design.at Art Direction 2007/08: Anna Graf Printing: Walla Druck | Subject to change | May 2007 | DVR 0 187 1

Vereinigte Bühnen Wien Ges.m.b.H. A Wien Holding company

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