Intendant Roland Geyer

General sponsor

The Theater an der Wien receives subsidies A Wien Holding Company from the Cultural Department of the City of Vienna “Even a sea of dreams has another shore”

When Maja stands on the tennis court she trembles like aspen leaves, snorts Wien starts our first series of annual premieres from this season. This is like a horse and rages like a hurricane. Her shots are hard, vicious, it’s all her not just a firm statement of intent to embrace contemporary music; tennis coach can do to return them. It is no game but a bitter battle – and it is also the fulfilment of the vision to stimulate the genre of operato when they both collapse exhausted, Maja knows that this tennis coach has constant renewal and thereby concur with feelings already expressed by “the same tenacity and doggedness” as she has. Victor Hugo: “A dream is indispensable if you want to shape the future.” “Could you kill that squirrel?” He laughed, just like her, and, without stop- ping to think, hurled the animal against a tree with all his might. What is The new programme for the 2009/10 season once more brings one ope- that? Madness? Obsession? Mania? – or merely a dream? It seemed as ra premiere every month at the Theater an der Wien. Britten, Rossini, though they both desired to destroy each other. Henze, Haydn, Bach, Monteverdi, Kalitzke, Gluck, Mahler, Weber, and Strauß are the composers whose works will be premiered this year. In Exactly 40 years ago, Witold Gombrowicz, one of the Polish avant-garde’s addition, we are once again producing two world-class dance projects: “three musketeers”, died. His novel Possessed: The Secret of Myslotch John Neumeier’s Weihnachtsoratorium and Anne Teresa De Keersmae- evokes the ambivalence of human nature as it is caught between eroti- ker’s 3Adieux. Many outstanding artists will provide the Theater an der cism, disaster and crime. In particular the conflicting poles of individual Wien with artistic high points this season, of whom we may explicitly and history, and appearance and personality, often find forceful expres- mention Nikolaus Harnoncourt, who will be conducting Haydn’s fa- sion in his works. His language is that of fantasy, dreams, irony, even mous opera Il mondo della luna on his 80th birthday (in collaboration farce. Unlike the surrealists, Gombrowicz has not conceptually placed with director Tobias Moretti), and Austria’s sole Oscar winner Stefan something above reality; instead he describes what is above reality, uto- Ruzowitzky, who makes his debut as an opera director with Der Freischütz. pia, as man’s reality that is then destroyed, suppressed and ultimately murdered by man’s constructions. His biography makes it clear why he “All the world’s a stage,” proclaims William Shakespeare in his beloved views man’s reality as having no home, because home only describes comedy As You Like It. With these words, he boldly asserts the power of a public side of the human being who describes himself as mature and his own particular art and seeks the approbation of his audience. who by doing so surrenders himself to all the illusions and projections, all the chimaeras and all the struggle of interpersonal intercourse. With these words I hope that you, dear reader, will find our twelve new works enjoyable and that they will gain your approbation so that we “We are all possessed,” says Christian Morgenstern, “we simply have to may have the pleasure of welcoming you in our theatre. understand the word untheologically and sufficiently literally.” Conver- sely, it is precisely dreams and visions that make our lives a joyful cele- bration. Every human being carries in his heart a vision for his life that Best wishes, strives for fulfilment. It is an endless yearning that prompts us to live our dreams.

I am delighted that Johannes Kalitzke has set a libretto dramatisati- on by Christoph Klimke of this remarkable work by Gombrowicz to music, thereby making an important contribution to this year’s motto Roland Geyer “Dream and Obsession”. It is with Die Besessenen that the Theater an der Intendant

| 3 Music Theatre B. Britten: Death in Venice Contents7 G. Rossini: Tancredi 11 H. W. Henze: Der Prinz von homburg 15 J. Haydn: Il Mondo della Luna 19 J. S. Bach/J. Neumeier: Weihnachtsoratorium 23 C. Monteverdi: L’incoronazione di Poppea 27 J. Kalitzke: Die Besessenen 31 Chr. W. Gluck: Iphigénie en Tauride 35 G. Mahler/A. T. De Keersmaeker: 3Adieux 39 C. M. v. Weber: Der Freischütz 43 R. Wagner u. a.: Orlando misterioso 47 J. Strauß: Die Fledermaus 51

Opening night 2009/10 54 Opera in concert 55 Concerts 63 “Hölle” 68

Guided Tours 71

Prices 72

Seating Plan 73

Information 75

Imprint 78 Telekom Austria supports innovative opera! Booking form 79 Sustainable partnerships with cultural institutions are a special concern of ours. That‘s why Telekom Austria is a technology partner of Theater an der Wien, which is breaking new ground as an opera house by combining the traditional with the modern. www.telekom.at

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BusImage_Sekt_130x205_RZ.indd 1 20.07.2009 14:21:17 Uhr Death Benjaminin Venice Britten

It is true, it is all true. I can fall no further. (Gustav von Aschenbach)

17 September 2009 19 / 22 / 24 / 27 September 2009 enice as a symbol of sensuality and ambiguity, beauty and decay – in Opera in two acts (1973) his last and most personal stage work, the British composer Benjamin Death in Venice Music by Benjamin Britten Britten took Thomas Mann’s famous and much discussed novella Death Libretto by Myfanwy Piper VIn Venice as his source material, which had already been made into a film based on the novella by Thomas Mann by Visconti. The plot centres on the writer Gustav von Aschenbach and the story of the fate that befalls him as an artist: after years of self-con- Performed in English with German surtitles trol he is broken by the conflict between the struggle to achieve perfect beauty in his art and ardent, feverish passion. Conductor Donald Runnicles Director Ramin Gray The writer Gustav von Aschenbach, suffering from writer’s block, is seized Set designer Jeremy Herbert by a desire for change. He travels to Venice. On his arrival he finds the sea Costume designer Kandis Cook and sky grey, the air clammy. But then his attention is taken by Tadzio, the Choreographer Thomas Stuart son of a Polish family. His beauty and childlike grace fascinate the writer. Light designer Adam Silverman He falls in love with the youth, thereby going beyond the limits of anything he could previously have imagined. Aschenbach believes he has found the Gustav von Aschenbach Kurt Streit perfect form in Tadzio and surrenders to his fascination and his feelings to The Traveller Russell Braun such an extent that he passively submits to his impending death of cholera. The Voice of Apollo Christophe Dumaux Hotel porter Erik Årman Benjamin Britten and his librettist Myfanwy Piper created a world in English clerk Klemens Sander their opera that is largely composed of an introspective monologue by Aschenbach. Bound up by self-imposed shackles and social ostracism, Vokalensemble Nova: Britten’s alter ego gives an account of inspiration through youth, of Hotel Waiter, Russian Mother, Strawberry Seller, Russian Nanny, Gondolier, Apollo-like innocence and Dionysian desire and of a love that brings not Glass Maker, Guide in Venice, Priest in St. Mark’s, Polish Father, Beggar Lady, only destruction but also liberation. For the 17 scenes evoking the am- Hotel Guests, … bivalent relationship between youth and old age as well as between love and death, Britten composed an extremely suggestive score and used ORF Radio-Symphonieorchester Wien a small, transparent orchestra, percussion and a piano. Death in Venice premiered in 1973 at the Aldeburgh Festival, three years before Britten’s death. The part of Gustav von Aschenbach was played by Peter Pears, his life-long partner. Coproduction with Staatsoper Hamburg

Premiere: Thursday, 17 September 2009, 7 p.m. Performances: 19, 22, 24 & 27 September 2009, 7 p.m. Introduction: Sunday, 6 September 2009, 11 a.m.

8 | MusiC theatre | 9 GioachinoTancredi Rossini

Contro il destin crudele trionferà l’amor. Love will conquer cruel fate. (Tancredi)

15 October 2009 17 / 19 /21 / 23 October 2009 ancredi, the Sicilian drama of war and love that abounds with melo- Melodramma eroico in two acts (1813) dies and is based on Voltaire’s 1760 French tragedy of the same name, Tancredi Music by Gioachino Rossini was commissioned for the Venetian carnival season of 1812/13. For the LIBRETTO by GAetano Rossi T21-year-old Gioachino Rossini, who was at the beginning of his career, the work represented a particularly great challenge. The only way he Performed in Italian with German surtitles could make his name as an operatic composer was to produce a suc- cessful opera seria. To suit the taste of Italian audiences of the time Conductor René Jacobs the librettist Gaetano Rossi replaced the tragic ending of Voltaire’s dra- Director Stephen Lawless ma with a happy one. Set & costume designer Gideon Davey Choreographer Lynne Hockney After years of bloody feuding, the opposing families of the Argirios and the Light designer Patricia Collins Orbazzanos form an alliance to fight the Saracens who are laying siege to the city. To cement their new alliance, Argirio promises Orbazzano the hand Argirio Colin Lee of his daughter Amenaide in marriage. But Amenaide is in love with Tancre- Amenaide Aleksandra Kurzak di, who was dispossessed and banished during the civil war. For his part, Tan- Tancredi Vivica Genaux credi does not yet know anything about the planned marriage of Amenaide Orbazzano Konstantin Wolff to Orbazzano. In desperation, Amenaide tries to send a message to Tancredi Isaura Liora Grodnikaite asking him to rid the country of Orbazzano. But the letter goes astray and Roggiero Ruby Hughes finds its way to Orbazzano. However, he thinks the letter is intended for the Saracen leader Solamir. Amenaide is arrested and sentenced to death. Tan- Orchestre des Champs-Elysées credi, believing that he has been betrayed by Amenaide, appears incognito, Arnold Schoenberg Chor (Chorus master: Erwin Ortner) kills Orbazzano and later defeats the Saracens as well at the head of the ar- my. The populace rapturously cheers Tancredi and the lovers realise that each has remained faithful to the other after all. Nothing now stands in the way of the young couple’s union.

Tancredi is pure Rossini, a veritable explosion of virtuoso and lyrically in- spired arias. It was not long after the premiere in February 1813 at the Teatro La Fenice in Venice that Tancredi began its run of success on the opera stages of Europe. Vienna was also caught up by the spreading Rossini-mania: the first performance of Tancredi at the Theater an der New production Theater an der Wien Wien was as early as 1817. Even Richard Wagner, that staunch opponent of Rossini, was unable to resist his popularity and quoted Tancredi’s fa- Premiere: Thursday, 15 October 2009, 7 p.m. mous opening cavatina “Di tanti palpiti” in the third act of his Meister- Performances: 17, 19, 21 & 23 October 2009, 7 p.m. singer von Nürnberg Introduction: Sunday, 4 October 2009, 11 a.m.

12 | MusiC theatre | 13 Der Prinz vonHans Werner Homburg Henze

Nein, sagt, ist es ein Traum? No, tell me, is it a dream ? (Prinz von Homburg)

12 November 2009 14 / 17 / 20 November 2009 nly a few years following the publication in 1811 of Heinrich von Kleist’s Opera in three acts (1960) play Prinz Friedrich von Homburg, first efforts were made to set itto Der Prinz von Homburg Music by Hans Werner Henze music. Some 150 years later, Hans Werner Henze, one of the foremost LIBRETTO by Ingeborg Bachmann OGerman opera composers of the present day, was looking for suitable based on the stage play by Heinrich von Kleist material for an opera and chose this story of the legendary officer and dreamer. “I was looking for a language that would force my music to Performed in German perform new things when combined with it, a language that my music Conductor Marc Albrecht was aiming at,” says Henze, “and what I found was the Prinz.” Director Christof Loy Set designer Dirk Becker On the eve of the Battle of Fehrbellin, the Prince of Homburg wanders drea- Costume designer Herbert Murauer mily in the garden, watched by the electoral prince, his wife and Princess Light designer Olaf Winter Natalie. The sleepwalking prince takes hold of Natalie’s hand, removes the glove from it and keeps it. Next morning, while the officers are discussing Friedrich Wilhelm, the strategy for the impending battle, his thoughts turn longingly to Natalie Kurfürst von Brandenburg John Uhlenhopp and he pays no attention to the orders given. As a result, he breaks ranks Die Kurfürstin Helene Schneiderman too soon on the battlefield, but nevertheless leads his troops to victory. But Prinzessin Natalie Britta Stallmeister the electoral prince decrees that this unauthorised initiative is punishable by Prinz Friedrich Artur von Homburg Christian Gerhaher death. The prince is disarmed and arrested. Although Natalie protests, he Obrist Kottwitz Frode Olsen declares that he finds his punishment fitting and will face the consequences. Graf Hohenzollern Johannes Chum It is not until the corps of soldiers comes out in support of the prince that Feldmarschall Dörfling Andreas Scheibner the death sentence is rescinded. The prince is led blindfolded into the gar- Erste Hofdame Simona Eisinger den in which he once sleepwalked. When Natalie removes the blindfold, what Zweite Hofdame Nina Tarandek began as a dream becomes reality. Dritte Hofdame Jaroslava Pepper Erster Offizier Stefan Reichmann Whereas for Kleist the battle, obedience and punishment are the central Zweiter Offizier Andreas Jankowitsch themes, Henze focuses on the dream, love, the garden and the play- Dritter Offizier Rupert Bergmann ful characters in his opera. He has created a moving musical drama of Erster Heiduck Erik Årman love, liberty and responsibility that was premiered in Hamburg in 1960. Zweiter Heiduck/Wachtmeister Christian Kostal “What play is there that is accused in equal measure of possessing the Wiener Symphoniker spirit of servitude and the spirit of liberty?” wonders Henze’s librettist and friend, Ingeborg Bachmann. This dramatic ambivalence is also re- New production Theater an der Wien flected in the music: Henze brilliantly combines serial elements, twelve- note technique and tonality and by so doing creates a balance between Premiere: Thursday, 12 November 2009, 7.30 p.m. lyrical and dramatic moments. Performances: 14, 17 & 20 November 2009, 7.30 p.m. Introduction: Sunday, 8 November 2009, 11 a.m.

16 | MusiC theatre | 17 Il mondo dellaJoseph luna Haydn

O Luna lucente, di Febo sorella, che candida e bella risplendi lassù. O shimmering moon, sister to the sun, how clearly and beautifully you shine up there. (Ecclitico)

5 December 2009 7 / 9 / 11 / 13 / 22 December 2009 ave you ever flown to the moon thanks to nothing more than the Dramma giocoso in three acts (1777) power of your own imagination? In the summer of 1777, Joseph Haydn Il mondo della luna Music by Joseph Haydn sent the guests at the prince’s wedding in Esterházy Palace into the Libretto after Carlo Goldoni Hfantastic universe with the aid of their imagination, some 190 years be- fore the first moon landing. For Il mondo della luna he turned to a sour- Performed in Italian with German surtitles ce that had already been successfully used for a number of operas and was written originally by the Italian comic poet Carlo Goldoni. Haydn Conductor Nikolaus Harnoncourt created a work focusing on human longings, the fabled moon and a Director Tobias Moretti world turned on its head. Set designer Renate Martin & Andreas Donhauser Costume designer Heidi Hackl Ecclitico is in pursuit of Clarice while Ernesto loves her sister Flaminia. But Dramatic advisor Sebastian Huber Buonafede, the father of the two young ladies and an amateur astronomer, is strictly opposed to these matches. He is also suspicious of the growing affec- Buonafede Dietrich Henschel tion his servant Cecco is showing towards the maid Lisetta, especially since Ecclitico Bernard Richter he has his own designs on her. But the young lovers refuse to give in to pres- Ernesto Vivica Genaux sure. They trick the moonstruck Buonafede into believing he has been trans- Clarice Christina Landshamer ported to the moon. A journey of discovery into outer space and the joys of love Flaminia Irena Bespalovaite merge in the family garden into an increasingly manic muddle. The result: a Lisetta Maite Beaumont bull’s eye! At the end a triple wedding is in the offing! Cecco Markus Schäfer

In Haydn’s musical evocation of the surface of the moon, there are frag- Concentus Musicus Wien rant flowers and lush woodland instead of rocks and dust, birdsong and lyrically brilliant arias instead of silence. Haydn was international- ly renowned for his operas all his life and was even invited to undertake spectacular journeys to England. No wonder, because this score by the wittiest composer of Viennese classical music is simply bursting with creativity and is perfect for becoming “moonstruck”!

New production Theater an der Wien

Premiere: Saturday, 5 December 2009, 7 p.m. Performances: 7, 9, 11 & 22 December 2009 , 7 p.m., 13 December, 4 p.m. Introduction: Sunday, 22 November 2009, 11 a.m.

20 | MusiC theatre | 21 WeihnachtsoratoriumJohn Neumeier.

Schließe, mein Herze, dies selige Wunder fest in deinem Glauben ein! Enclose, my heart, this blessed wonder firmly in your faith ! (Weihnachts-Oratorium)

18 December 2009 19 & 20 December 2009 n music of reverence, God with his grace is always present.” This is Ballet to the Weihnachts-Oratorium, BWV 248 (1734), Cantatas I-III one of the notes that Johann Sebastian Bach made in his three-volu- Weihnachtsoratorium Ballet by John Neumeier me Luther Bible. The opening words of his Weihnachts-Oratorium, Music by Johann Sebastian Bach „I“Jauchzet, frohlocket” (“Rejoice, exult”) set the tone for the joyous out- pouring of exuberant anticipation that follows. It is the incarnation of Conductor Erwin Ortner Christ that is being celebrated. This is how it must have sounded during Choreography, the 1734/35 Christmas season in Leipzig when the coming of Christ Costume & Light designer John Neumeier was announced with great fanfare – “At St. Nicholas’ in the morning Set designer Ferdinand Wögerbauer and at St. Thomas’ in the afternoon on the 1st feast day of the holy Christmas season,” as the programme leaflet tells us. Hamburg Ballett John Neumeier has made ballet history, not only with his sense of the Evangelist & Tenor Christoph Prégardien aesthetic but also with his outstanding choreographic and philosophi- Soprano Sunhae Im cal interpretations of major religious works. Following on from Hän- Alto Marie-Claude Chappuis del’s Messiah, Bach’s Magnificat, Mozart’s Requiem and Bach’s Matt- Bass Hanno Müller-Brachmann häus-Passion he has created another ballet based on religious music with his choreographic treatment of the Weihnachts-Oratorium. The first Wiener Kammerorchester three parts of Bach’s Weihnachts-Oratorium will be performed, those Arnold Schoenberg Chor (Chorus master: Erwin Ortner) that deal with the story of Jesus’ birth as told in St. Luke’s Gospel. Mary and Joseph, the babe in the manger, the shepherds and the heavenly Coproduction with Hamburg Ballett / Staatsoper Hamburg host form the outer circle of characters that then leads to fundamental questions relating to faith, hope, doubt and devotion. In this way the biblical story becomes a story for us all.

John Neumeier’s Weihnachtsoratorium, this “marvellous combination of joy, jubilation, happiness and exuberance coupled with reflection, des- pondency, hesitancy and uncertainty. Light and darkness. Companion- ship and loneliness...“ was premiered in December 2007 at the Theater an der Wien. Now this moving evening of ballet returns for three per- formances.

Reopening: Friday, 18 December 2009, 7.30 p.m. Performances: 19 & 20 December 2009, 7.30 p.m.

24 | Music theatre | 25 L’incoronazione Claudio Monteverdi di Poppea

Oggi in un sol certame, l’un e l’altra di voi da me abbattuta, dirà, che’l mondo a’ cenni miei si muta. Even today I vanquish you both in a single contest, and you will have to concede that I shape the way of the world. (Amore)

21 January 2010 23 / 25 / 27 / 29 / 31 January 2010 ne would be hard-pressed to find a more immoral story: what the 74- Opera in two acts and a prologue (1642) year-old Claudio Monteverdi and his librettist Francesco Busenello L’incoronazione di Poppea Music by CLAUDIO MONTEVERDI came up with over 350 years ago with their drama of characters and in- Libretto by FRANCESCO BUSENELLO Otrigue L’incoronazione di Poppea undermined every moral code. In one of the first works to be written for a public theatre rather than the Performed in Italian with German surtitles court, Monteverdi abandoned the mythological tradition in favour of an authentically historical subject: the story of the Roman emperor and ty- Conductor Christopher Moulds rant Nero. Director Robert Carsen Set designer Michael Levine Nerone has fallen for Poppea’s seductive charms. Poppea’s husband, Otto- Costume designer Constance Hoffman ne, knows about his wife’s intimate relations with the emperor. Nerone’s wife, Light designer Robert Carsen & Peter van Praet Ottavia, also bemoans the loss of her marital harmony and asks the philo- sopher Seneca to help her through the people and the senate. Seneca points Ottone Lawrence Zazzo out to Nerone the difference between power and the abuse of power. But Poppea Juanita Lascarro Nerone, who removes anyone who stands in the way of his illegal love affair, Nerone Jacek Laszczkowski drives the philosopher to suicide. For her part, Poppea stops at no calumny Ottavia Anna Bonitatibus and exploits Nerone’s weakness to her own advantage. Following a failed as- Drusilla Ingela Bohlin sassination attempt on Poppea, Ottone and his accomplice Drusilla are ba- Seneca David Pittsinger nished. Nerone, obsessed by his love of the power-hungry Poppea, drives Ot- Arnalta Marcel Beekman tavia out and, in flagrant disregard of reasons of state, makes Poppea his Nutrice Jeffrey Francis new empress. The prophecy in the prologue, which says that reason and mo- rality are powerless in the face of power and love, proves true. In further roles: Ruby Hughes, Renate Arends, Trine Wilsberg Lund, Michael Dailey, Nicholas Watts, Andreas Wolf, Beate Ritter, Cornelia The musical text of Monteverdi’s last opera L’incoronazione di Poppea Horak, Dominik Köninger was believed lost for many years and was not rediscovered until the end of the 19th century in Venice. This work places the lust for power and Balthasar Neumann Ensemble feelings of helplessness in close proximity to each other. Monteverdi, one of the inventors of opera as an art form, set these human emotions and passions to music with depth and perceptiveness. Poppea and Ne- rone’s closing lovers’ duet in particular is of supernatural beauty despite Coproduction between Glyndebourne Festival Opera the horror by which the lovers are joined. and Opéra National de Bordeaux

Premiere: Thursday, 21 January 2010, 7 p.m. Performances: 23, 25, 27, 29 & 31 January 2010, 7 p.m. Introduction: Sunday, 17 January 2010, 11 a.m.

28 | Music theatre | 29 Die BesessenenJohannes Kalitzke

Den Kopf hast Du mir abgebissen und es tut gar nicht weh. You bit my head off and it doesn’t hurt at all. (Leszczuk)

19 February 2010 21 / 23 / 25 February 2010 ild characters, smouldering passion, avarice, a fateful towel and, to cap Opera (premiere) it all, a murder: these were the ingredients with which the Polish author Die Besessenen MUSIc by JOHANNES KALITZKE spiced up the novel Possessed: The Secret of Myslotch that he wrote in in- Libretto by CHRISTOPH KLIMKE Wstalments for the Polish newspapers Morning Express and Red Courier based on the novel by Witold Gombrowicz in 1939. For decades, the novel was believed lost due to the war. But in 1967 it was rediscovered and translated into many languages. Now the Performed in German German author Christoph Klimke has turned Gombrowicz’s work into a libretto dramatisation and concentrated on individual plot lines. Conductor Johannes Kalitzke Director Kasper Holten The egocentric, young and beautiful Maja is engaged to Cholawicki, the sup- Set designer Steffen Aarfing posed heir to an old, dilapidated castle that nevertheless contains numerous Costume designer Marie í Dali art treasures. With this inheritance, Maja believes he will also make her rich Light designer Jesper Kongshaug and save her mother from bankruptcy at the same time. These materialistic plans are thwarted by Leszczuk, however, a young tennis player who falls in Frau Ocholowska, Majas Mutter Noa Frenkel love with Maja. Both of them are unscrupulous egotists who share the blame Cholawicki Leigh Melrose for the self-destruction of society that is marked by morbid decay. The only Maja Hendrickje van Kerckhove person who really does anything to secure the future and preserve the coun- Leszczuk Benjamin Hulett try’s culture is the art historian Skolinski who carries out a valuation of the Fürst Holszanski Jochen Kowalski collection in the castle. On the other hand, the old prince and lord of the Skolinski Manfred Hemm castle is obsessed not only with material possessions but also by his missing Maliniak Rupert Bergmann son. The possessed are ultimately driven to destruction – all that remains at the end is disillusionment. Klangforum Wien

The music of Die Besessenen was written to suggest on the one hand the relation between the various different periods that the characters live in or feel they belong to, and on the other, the image of this bizarre ghost- ly apparition, the towel, that plunges the characters into confusion. Ele- ments of old music and commercial media combine with composer Johannes Kalitzke’s own tonal language to form a web of structural re- lationships that, like the folds of a towel or a fan that slowly closes lea- ving a pictureless shaft, contracts as the plot progresses to form a com- World premiere commissioned by the Theater an der Wien pact centre that sucks everything into it. Premiere: Friday, 19 February 2010, 7 p.m. Performances: 21, 23 & 25 February 2010, 7 p.m. Introduction: Sunday, 14 February 2010, 11 a.m.

32 | Music theatre | 33 IphigénieChristoph en Tauride Willibald Gluck

Il ne se fera pas, ce sacrifice abominable, impie... No longer will I make this abominable, ungodly sacrifice… (Iphigénie)

14 March 2010 16 / 18 / 20 / 23 March 2010 he story of the curse on the family of Tantalus and its tales of vengean- Tragédie opéra in four acts (1779) ce, hatred, sacrifice, deadly entanglements and murder has lost none of Iphigénie en Tauride MUSIc by CHRISTOPH WILLIBALD GLUCK its macabre fascination over the centuries. Countless dramatists, authors Libretto by NICOLAS-FRANÇOIS GUILLARD Tand composers have chosen to work with the ancient, bleak family dra- ma of the military commander Agamemnon, his wife Clytemnestra and Performed in French with German surtitles their children Iphigenia, Orestes and Electra. The French libretto written by Nicolas-François Guillard for Christoph Willibald Gluck’s opera Iphi- Conductor Harry Bicket génie en Tauride and based on Euripides contains great conflict and emo- Director Torsten Fischer tional turmoil. Set designer Vasilis Triantafillopoulos Costume designer Andreas Janczyk Iphigenia has been saved from being sacrificed by her father. She now lives Light designer Diego Leetz on the island of the Taurians and has the task of killing any foreigner that co- mes to the island seeking refuge. Her dreams are plagued by memories of the Iphigénie Véronique Gens bloody destruction of her family. She does not know that her brother Orestes Thoas Andrew Schroeder was able to escape the massacre. Years later she sees him and his friend Oreste Stéphane Degout Pylades who have been taken prisoner by the Taurians, but brother and sis- Pylade Rainer Trost ter fail to recognise each other. However, the unknown prisoner reminds Iphi- Prêtresse Petra Simková genia of Orestes, so she decides to save him. Orestes, though, prefers to face Femme grecque Teresa Gardner death instead of Pylades. During the sacrifice, brother and sister recognise each other. Just as Thoas, the king of the Scythians, is about to kill Orestes, Pylades Wiener Symphoniker suddenly appears and murders the king. The people sing in praise of the coming Arnold Schoenberg Chor (Chorus master: Erwin Ortner) peace and the end of the wars on Tauris.

The premiere of Iphigénie en Tauride in Paris in 1779 gave Gluck the grea- test success of his life. It was in this work that the ambitious composer succeeded in executing his ideas for reform in every respect and in gi- ving musical theatre greater authenticity again. His approach to the an- cient myth is an appeal for the values of humanity; at the same time, Gluck paved the way for modern musical drama with this work.

New production Theater an der Wien

Premiere: Sunday, 14 March 2010, 7 p.m. Performances: 16, 18, 20 & 23 March 2010, 7 p.m. Introduction: Sunday, 7 March 2010, 11 a.m.

36 | Music theatre | 37 3 Anne Teresa De Keersmaeker AdieuxJérôme Bel

Wohin ich geh? Ich geh, ich wandre in die Berge. Ich suche Ruhe für mein einsam Herz. Where am I going ? I’m going, wandering into the mountains. I’m looking for peace for my lonely heart. (Farewell)

28 & 29 March 2010 3

he dance evening 3Adieux sees an encounter between two original and Ballet by Anne Teresa De Keersmaeker and Jérôme Bel exceptionally talented artists: the mathematical and at the same time ex- Adieux Music by Gustav Mahler pressive choreographer Anne Teresa De Keersmaeker and the French transcribed by Arnold Schoenberg Tchoreographer Jérôme Bel, creator of controversial performances such as The Show Must Go On. The two found common ground for a joint pro- Conception Anne Teresa De Keersmaeker ject during the course of conversations about their work. This common Jérôme Bel ground consists primarily of their boundless curiosity to find out what the human body is capable of expressing, portraying and producing on stage. Dance Anne Teresa De Keersmaeker Voice Sara Fulgoni The source of 3Adieux is the final part of Gustav Mahler’s Lied von der Conductor Georges-Elie Octors Erde, the six-part cycle he composed in the fateful years 1907-09 based on ancient Chinese poetry rendered into German by Hans Bethge. At Ictus Ensemble first sight, the complex and mysterious score stubbornly refuses toal- low the kind of physical expression pursued by Anne Teresa De Keers- maeker and Jérôme Bel. In 3Adieux only the final section of Mahler’s work is heard, the parting, repeated three times. 3Adieux is a work about silence, reticence and surprise, translated into the reality of a physical stage performance.

“Precisely because of the risk of being caught up in repetition, as the title itself indicates, we will infuse this piece with our lifeblood. We will try to understand it and grasp it. It will not disclose itself to us readily, but like Gustav Mahler, who was not afraid when confronted by death, we will not be afraid, either.” (Anne Teresa De Keersmaeker and Jérôme Bel)

A commissioned production by Rosas Coproduction with Théâtre de la Monnaie Bruxelles, Opéra de Lille and Sadler’s Wells Dance House London

Premiere: Sunday, 28 March 2010, 7.30 p.m. Performance: 29 March 2010, 7.30 p.m.

40 | Music theatre | 41 DerCarl Freischütz Maria von Weber

Für welche Schuld muss ich bezahlen? Misera me! Non posso aver quiete mie pene Was weiht dem falschen Glück mein Haupt? anche nel sonno. Ich Unglückliche! Mein Schmerz findet keine WhatRuhe, isnicht the guilteinmal that im I Schlaf.must pay (Ginevra) for ? Why is my head fated to ill luck ? (Max)

19 April 2010 21 / 23 / 26 / 29 April & 3 May 2010 he marksman (Freischütz) has scored a bull’s eye,” wrote Carl Ma- Romantic opera in three acts (1821) ria von Weber to his librettist Johann Friedrich Kind in 1821 in the after- Der Freischütz Music by CARL MARIA VON WEBER math of the opera’s dazzling premiere. He was to be proved right, becau- LIbretto by JOHANN FRieDRICH KIND „Tse it was not long before Der Freischütz began packing one theatre after another. In fact, following further performances, it even turned into so- Performed in German mething resembling an acoustic epidemic. Conceived immediately after the Napoleonic Wars, this romantic opera about fear of failure, crumbling Conductor Bertrand de Billy conventions and woodland enchantment conjures up a fantasy world Director Stefan Ruzowitzky rich in symbols and eerie apparitions. Set designer Renate Martin & Andreas Donhauser Costume designer Nicole Fischnaller Max loves Agathe, the daughter of the ranger Kuno. In order to be able to Dramatic advisor Anton Maria Aigner marry her he must first pass a difficult shooting trial. But luck seems to have deserted Max of late, he keeps missing the target and fully expects to be a Agathe Elza Van den Heever laughingstock before very much longer. In desperation he turns to Kaspar, Ännchen Mojca Erdmann whom he believes to be his friend. Kaspar lures him into the fearsome Kaspar Falk Struckmann Wolf’s Glen at night to cast magic bullets. Six of these bullets will hit any Max Simon O’Neill target the marksman chooses, but the seventh will strike an innocent vic- Kuno Martin Snell tim. At the shooting contest in front of the assembled foresters, Max unsus- Kilian Dominik Köninger pectingly trusts to the accuracy of the seventh bullet. He shoots and Agathe Eremit Artur Korn drops to the ground. Miraculously, she is saved and Kaspar dies instead of Ottokar Henk Neven her. Max confesses to the swindle. He is not expelled from the company but Samiel Karl Markovics has to undergo another trial year before he can marry Agathe. After this ad- ditional year, no shooting trial will be necessary. ORF Radio-Symphonieorchester Wien Arnold Schoenberg Chor (Chorus master: Erwin Ortner) “Do not fail to see how, with this sinister main character, I am aided by the circumstance that half the opera is played in the dark,” said Weber, who uses tremendous melodic creativity, a rousing orchestra and moti- vic references in Der Freischütz to portray the victory over the powers of darkness.

New production Theater an der Wien

Premiere: Monday, 19 April 2010, 7 p.m. Performances: 21, 23, 26, 29 April & 3 May 2010, 7 p.m. sponsored by Introduction: Sunday, 18 April 2010, 11 a.m.

44 | Music theatre | 45 Orlando misteriosoNadja Michael

Ich möchte dir mein ganzes Innre zeigen, allein das Schicksal will es nicht. I wish to show you all I have inside, But fate will not allow it. (Mignon)

23 & 25 June 2010 song recital? The evening conceived by the soprano Nadja Michael A journey through song is much more than that. The singer and artist of exceptional talent takes Orlando misterioso MUSIc by Richard Wagner, Robert Schumann, the audience on an emotional, musical and visual journey that, like the Hugo Wolf, Gustav mahler, Richard Strauss Aone undertaken by Orlando, passes through different epochs. A jour- ney that begins with the stately pomp of a Mary, Queen of Scots and Idea, concept, soprano Nadja Michael increasingly turns inward through the various characters and changes Piano Miku Nishimoto-Neubert of sex. Irrespective of the transformations of the outer shell, “Orlando” finds himself repeatedly confronted by the same vital issues, albeit from Light design & Technical advisor Carsten Wank widely differing perspectives. Make-up & Props Kathrin Werger Sound & Effects Thomas Berlin The answers that the composers find with their protagonists Mary, Choreography Ophélia Volker Michl Queen of Scots, Ophelia, and Mignon, but also with the journeyman, Artistic advisor Franz Winter are as varied as those who ask the questions. Consequently, it is not the characters who take centre stage during this evening, but the con- stant transformation of a psychological state that has to find the answers to these questions.

To this end, Nadja Michael has chosen songs by Richard Wagner, Robert Schumann, Hugo Wolf, Gustav Mahler and Richard Strauss that trace this path of change and transformation, of evolution and maturing.

Premiere: Wednesday, 23 June 2010, 7.30 p.m. Performance: 25 June 2010, 7.30 p.m.

48 | Music theatre | 49 Die FledermausJohann Strauß.

Verlang nicht zu schaun, was hier verhüllt, erbeben würdest du vor diesem Bild ! Don’t demand to see what is hidden here, You would tremble at this image ! (Rosalinde)

15 July 2010 17 / 20 / 22 / 25 / 27 / 29 July & 3 / 5 / 8 August 2010 t tickles the ear and trickles through the blood all the way to the legs, Operetta in three acts (1874) and even the most sluggish person in the auditorium cannot help but Die Fledermaus MUSIc by JOHANN STRAUSS nod his head, rock his body and shake his feet. One can now be afflic- Libretto by CARL HAFFNER aND RICHARD GENÉE „Ited by the most pleasant sea-sickness in a box at Theater an der after Henri MEILHAC aND Ludovic HALÉVY Wien, such is the swaying movement in the stalls on account of the en- chanting sounds that Johann Strauß extracts from the orchestra with his Performed in German baton.” This description of Strauß’s mixture of waltzes and galops ap- peared in the Morgenpost following the triumphant premiere of Die Fle- Conductor Cornelius Meister dermaus on Easter Sunday, the 5th of April, 1874 at Theater an der Wien. Director Philipp Himmelmann Set designer Johannes Leiacker Rosalinde falls for the dulcet tones of Alfred’s tenor voice, while her husband, Costume designer Gesine Völlm Gabriel von Eisenstein, covets the ballet pupils, Adele the maid dreams of a Light designer Thomas Roscher career as a diva, the prison governor Frank turns himself into a French cheva- lier, his assistant Frosch drowns his last vestige of sense in slivovitz, Prince Or- Gabriel von Eisenstein Kurt Streit lofsky hopes to be entertained and Dr. Falke takes delight in wreaking ven- Rosalinde Nicola Beller Carbone geance – in a single night, they all surrender to these sensual temptations. In Adele Juanita Lascarro a maelstrom of betting, flirting, drinking, and dancing, inhibitions are cast Dr. Falke (Frosch) Florian Boesch aside to the extent that the night rings to the sound of avowals of eternal Prinz Orlofsky Jacek Laszczkowski friendship: “For all eternity, just as today, if we think about it tomorrow!” Alfred Rainer Trost Ah yes, tomorrow: that is when the truth is revealed, and what a sobering Frank Markus Butter effect it has! But who is to blame? The champagne, of course! Dr. Blind Erik Årman

Strauß found the cryptic joke underlying this story so appealing that he ORF Radio-Symphonieorchester Wien finished the score in only 42 days. The sensational international success Arnold Schoenberg Chor (Chorus master: Erwin Ortner) that followed made Die Fledermaus the ultimate in Viennese operetta. At the Theater an der Wien the work was performed 49 times in the first 65 days following the premiere alone. To date, the number of perfor- mances totals a remarkable 445. In the summer of 2009 the eternally fresh, night-loving Fledermaus returns to Theater an der Wien, the place where it was performed for the very first time. New production Theater an der Wien

Premiere: Thursday, 15 July 2010, 7.30 p.m. Performances: 17, 20, 22, 25, 27, 29 July & 3, 5, 8 August 2010, 7.30 p.m. Introduction: Sunday, 11 July 2010, 11 a.m.

52 | Music theatre | 53 Susanna Opening night 2009/10 L’animaOpera del infilosofo Concert Joseph Haydn Thursday, 10 September 2009, 7 p.m. Georg Friedrich Händel (1685-1759) Georg Friedrich Händel Susanna Agrippina Oratorio in three acts (1749) William Christie conductor Armida al campo d’Egitto Antonio Vivaldi Les Arts florissants chœur et orchestre Susanna Sophie Karthäuser Georg Friedrich Händel Joacim Max Emanuel Cenciˇc Ezio First Elder William Burden Second Elder Alan Ewing Antonio Vivaldi Daniel David DQ Lee Farnace Attendant Emmanuelle De Negri Giove in Argo Georg Friedrich Händel

25 September 2009 26 September 2009 22 October 2009 15 November 2009 24 February 2010 22 April 2010

54 | L’anima del filosofo Agrippina Friday, 25 September 2009, 7 p.m. Saturday, 26 September 2009, 7 p.m. Dramma per musica in four acts (1791) Dramma per musica in three acts (1709) Music by Joseph Haydn (1732-1809) Music by Georg Friedrich Händel (1685-1759) Libretto by Carlo Francesco Badini Libretto by Vincenzo Grimani Concert performance in Italian Concert performance in Italian Paul Goodwin conductor Alan Curtis conductor kammerorchesterbasel Il complesso barocco Wiener Kammerchor Agrippina Alexandrina Pendatchanska Euridice, Genio Simone Kermes Nerone Tuva Semmingsen Orfeo Paul Agnew Poppea Klara Ek Creonte, Pluto Jonathan Lemalu Ottone Iestyn Davies Claudio Umberto Chiummo Pallante Raffaele Costantini Narciso/Giunone Antonio Giovannini Lesbo Matteo Ferrara

56 | Opera in concert | 57 Armida al campo d’Egitto Ezio Thursday, 22 October 2009, 7 p.m. Sunday, 15 November 2009, 7 p.m. Dramma per musica in three acts (1718) Dramma per musica in three acts (1732) Music by Antonio Vivaldi (1678-1741) Music by Georg Friedrich Händel (1685-1759) Libretto by Giovanni Palazzi based on a libretto by Pietro Metastasio Concert performance in Italian Concert performance in Italian Rinaldo Alessandrini conductor Attilio Cremonesi conductor concerto italiano kammerorchesterbasel Califfo Furio Zanasi Fulvia Veronica Cangemi Armida Sara Mingardo Ezio Lawrence Zazzo Osmira Monica Bacelli Valentiniano Sonia Prina Erminia Raffaella Milanesi Onoria Kristina Hammarström Emireno Marina Comparato Massimo Vittorio Prato Adrasto Romina Basso Varo Antonio Abete Tisaferno Martin Oro

58 | Opera in concert | 59 Farnace Giove in Argo Wednesday, 24 February 2010, 7 p.m. Thursday, 22 April 2010, 7 p.m. Dramma per musica in three acts (1727) Composizione drammatica in three acts (1739) Music by Antonio Vivaldi (1678-1741) Music by Georg Friedrich Händel (1685-1759) Libretto by Antonio Maria Lucchini Based on the libretto Giove in Argo by Antonio Maria Lucchini Concert performance in Italian Concert performance in Italian Stefano Molardi conductor & cembalo Alan Curtis conductor Jonathan Guyonnet first violin Il complesso barocco I virtuosi delle Muse Iside Ann Hallenberg Farnace Sonia Prina Diana Theodora Baka Berenice Maria Grazia Schiavo Calisto Karina Gauvin Selinda Lucia Cirillo Arete Topi Lehtipuu Gilade Sabina Puértolas Erasto Vito Priante Pompeo Anders J. Dahlin Licaone Gianluca Buratto Aquilio Robert Getchell Tamiri Marina de Liso

60 | Opera in concert | 61 The Othello Syndrome Tuesday, 20 October 2009, 7.30 p.m. Concerts Music by Uri Caine based on the opera by Giuseppe Verdi Uri Caine Ensemble Bunny Sigler, Josefine Lindstrand, Sadiq Bey voice Uri Caine keyboard Chris Speed clarinet Ralph Alessi trumpet Tim Lefebvre bass Zach Danziger drums Nguyen Le guitar

Mozart piano concerti I Friday, 13 November 2009, 7.30 p.m. Stefan Vladar piano & conductor Wiener Kammerorchester Wolfgang Amadeus Mozart (1756-1791) Piano concerto A major K 414 Piano concerto A major K 488 Le nozze di Figaro K 492 – Overture Piano concerto A major K 537 Krönungskonzert Edita Gruberova La Grande-Duchesse de Gerolstein Saturday, 12 December 2009, 7.30 p.m. Friday, 8 January 2010, 7.30 p.m. Edita Gruberova soprano Opéra-bouffe in three acts (1867), concert performance Music by Jacques Offenbach (1819-1880) Wiener Kammerorchester Libretto by Henri Meilhac and Ludovic Halévy Andriy Yurkevych conductor Hervé Niquet conductor Arias by Wolfgang Amadeus Mozart, Kammerorchesterbasel Gaetano Donizetti and Vincenzo Bellini With Anne Sofie von Otter, Agatha Wilewska, Rolf Romei, Andrew Murphy, Karl-Heinz Brandt a. o. New Year’s Eve Concluding the Haydn anniversary year 2009 Handel-arias & concerti Thursday, 31 December 2009, 7.30 p.m. Sunday, 24 January 2010, 7.30 p.m. Joseph Haydn (1732-1809) Die Schöpfung Danielle de NIese soprano Oratorio in three parts (1799) Giovanni Antonini conductor Adam Fischer conductor Il giardino armonico Freiburger Barockorchester Arnold SChoenberg Chor Genia kühmeier soprano Mozart piano concerti II Michael Schade tenor Thursday, 28 January 2010, 7.30 p.m. Hanno Müller-Brachmann bass Stefan Vladar piano & conductor Wiener Kammerorchester Wolfgang Amadeus Mozart (1756-1791) Idomeneo K 367 – Ballet music Piano concerto G major K 453 Don Giovanni K 527 – Overture Piano concerto B major K 595

64 | Concerts | 65 Mozart piano concerti III Beethoven at the premiere venue Wednesday, 17 March 2010, 7.30 p.m. Sunday, 11 April 2010, 11 a.m. Stefan Vladar piano & conductor Christian Thielemann conductor Wiener Kammerorchester Wiener Philharmoniker Wolfgang Amadeus Mozart (1756-1791) Ludwig van Beethoven (1770-1827) Piano concerto E flat major K 271 Symphony No. 6 F major Sinfonia pastorale Symphony No. 5 C minor Schicksals-Symphonie Die ZauberflöteK 620 – Overture Piano concerto E flat major K 482 Schubert I Goran Bregovi ´c Friday, 30 April 2010, 7.30 p.m. Monday, 22 March 2010, 7.30 p.m. Julian Rachlin violin Itamar Golan piano Wedding and Funeral Orchestra Sonatas D major D 384, A minor D 385, G minor D 408, A major D 574 Best of Goran Bregovi´c – A birthday concert for and with Goran Bregovi´c.

Schubert II OsterKlang 2010 Sunday, 2 May 2010, 7.30 p.m. From Saturday, 27 March to Easter Monday, 4 April 2010 Julian Rachlin violin, viola The festival programme will be announced in December 2009. Itamar Golan piano Sonata A minor D 821 for arpeggione and piano Rondo B minor D 895 Fantasie C major D 934

These two concerts present Franz Schubert’s (1797-1828) entire works for violin and piano.

66 | Concerts | 67 Philemon und Baucis Tanz der Blinden KabinetttheaterPuppet theatre to the opera by Joseph Haydn The new “Hölle” In the autumn of 1906 Siegmund and Leopold Natzler opened a ca- A land in the grip of a crisis: the coffers are empty, the mood has hit rock baret company in the cellar of the Theater an der Wien: the Hölle (hell). bottom, despondency and despair are rife – what a miserable existence! The aim was to provide intelligent and popular entertainment. Good in- Even the slightest luxury, every paltry banquet – be it for a mere 1,000 house writers, a crowd-pulling leading lady and a programme cleverly guests – is greeted with envy! Even the state carriage is resented, while tailored to the audience’s wishes made the Hölle one of the most dura- the servants have been reduced to the bare minimum of a few hundred. ble cabaret theatres to be founded during the pre-war years. The stars As for the holiday residences, well, one hardly dares set foot there any of the Hölle were Fritz Grünbaum, Béla Lászky and his wife, the acclai- more… So the monarch Maria Theresa sets out to travel across the med diseuse Mela Mars, Ralph Benatzky, and Josma Selim. Music was country. But she finds no sign of true happiness. With the aid of Joseph provided by Franz Lehár who parodied his own successful works in the Haydn she descends into the catacombs of the city. Here, it is said, she Hölle, Leo Fall, Edmund Eysler, and a young Robert Stolz. The acts in- can find what she seeks! cluded chansons, ingeniously humorous monologues, solo numbers, sketches, risqué songs, one-act plays, and small-scale operettas. Guest Premiere: Tuesday, 3 November 2009, 8 p.m. performers and variety numbers made the programme still more varied. Performances: 6, 8, 25, 26, 28 & 30 November, 8 p.m. A modern restaurant in a Jugendstil ambience took care of the audien- ce’s gastronomic wishes. The greatest names of the Viennese caba- ret scene helped make the Hölle a success: Heinrich Eisenbach, Hans Haydn bricht auf Moser, Karl Farkas and Egon Friedell. In the 1920s the popularity of the or: 7 Tage die die Welt veränderten Hölle reached new heights thanks to Hugo Wiener, Fritz Heller, and Music by Bernhard Lang (reopening) Stella Kadmon. That “the ambivalence of the myth of creation” with its negative elements Marie-Theres Arnbom and Georg Wacks mark the theatre’s 104th an- of temptation, the Fall of Man and expulsion from Paradise is complete- niversary with a programme that takes audiences down into the depths ly ignored in Haydn’s popular oratorio, that everything is so “wholesome of the Hölle and presents highlights from twenty years of cabaret in au- and beautiful” in it and ends in an idyll hard to stomach in this day and thentic costumes and with magnificent sets. age, presented Bernhard Lang with a challenge. By “painting over” the Director, programme compiler, and conductor: Georg Wacks Creation to a libretto by Kabinetttheater director Thomas Reichert he in- With Christoph Wagner-Trenkwitz, Elena Schreiber, Stefan Fleischhacker, tends to allow the Devil at least a fraction of the role of adversary that Martin Thoma, and Georg Wacks he is entitled to so he can create the tension and conflict necessary for seeing Haydn’s perfect world from a contemporary perspective. The music is provide by the “Albero Verde” ensemble led by Christina Renghofer. Premiere: Tuesday, 12 January 2010, 8 p.m. Performances: 14, 16 & 18 January, 8 p.m. Premiere: Saturday, 6 March 2010, 8 p.m. Performances: 9, 10, 11 & 13 March, 8 p.m.

68 | | 69 „In derTheater Oper an der Wien ist thanks: alles falsch: das Licht, die Dekorationen, Theater an der Wien is one ofGuided the most beautiful theatresTours in Vienna and has one of the richest musical traditions. Now it offers you the uni- die FrisurenAgrana der Balleteusen, que opportunity to sample the theatrical atmosphere in a building that General sponsor has enchanted audiences for over two centuries with its outstanding ihre Büsten und ihr Lächeln. acoustics and its authentic and intimate setting. Austrian Airlines Groups taking part in guided tours are limited to thirty people. The Golden Circle Wahr sind nur die Wirkungen, meeting point is the main entrance where the group will be picked up; the visitors then enter the theatre through the foyer. Tours are in Ger- Telekomdie von Austria ihr ausgehen.“ man with English available on request and last approximately one hour. Golden Circle The tour includes the foyer, the auditorium, the stage, the cellar down- Edgar Degas stage, and the dressing-room area. Visitors will hear about the buil- ding’s history, its programme of performances, the way it is organised, Und Kulturengagement wirkt: and the technology used. Förderer und Partner tragen ideell und finanziell zur Realisierung unserer Opernproduktionen“In opera, bei, everything profitieren vom is positiven fake: Image the light,des neuen the It is of course also possible to book private tours (in other languages, for Opernhauses Theater an der Wien und genießen durch ihr Engagement example, or at other times). If you require such a tour, please be sure to viele Vorteile.decorations, Unser Circle-System the coiffures mit Silver-, Golden-of the und ballerinas, Platin-Circle book your appointment beforehand, either in writing or by phone. bietet einetheir ideale busts Plattform and für their gemeinsames smiles. Wirken. Only the effect that opera has upon us is real.” For the dates and times of guided tours, see the website of Theater an der Wien (www.theater-wien.at), the theatre’s magazine, and the bimonth- Das Theater an der Wien dankt: Edgar Degas ly folder.

AGRANA Information: Philipp Wagner, Tel. +43 (0) 1 58830-664 Hauptsponsor“Our commitment to culture is collaborative. Sponsors and partners E-mail: [email protected] contribute – both conceptually and financially – to the realization of our AUSTRIANproductions, AIRLINES they profit from our positive company image, and they en- Goldenjoy the Circle many advantages that result from their commitment. Our Circle System with its Silver, Golden, and Platinum Circles provides an ideal TELEKOMplatform for AUSTRIA artistic cooperation.” Golden Circle

Kontakt:Contact: Mag.Ulrike Ulrike Spann Spann | 71 Vereinigte Leitung Development Department Bühnen Head of Development Department Wien [email protected], 0043/01/58830-224 +43 (0) 1 58830-224 ein Unternehmen der Wien holding TAW 2009/10: Musiktheater

No tickets are on sale for the boxes in the second balcony at any concerts or concert performances of operas. Music theatre & ballet Prices in ¤ PricesIl mondo della luna | Der Freischütz Seating Plan a 140 b 120 c 95 d 85 e 64 f 45 g 23 Death in Venice | Tancredi | L’incoronazione di Poppea Iphigénie en Tauride | Die Fledermaus a 130 b 105 c 79 d 63 e 49 f 34 g 18

Weihnachtsoratorium (Hamburg Ballett) Der Prinz von Homburg | Die Besessenen a 115 b 96 c 75 d 59 e 46 f 28 g 12

3adieux | Goran Bregovic´ | orlando misterioso a 78 b 65 c 53 d 42 e 32 f 23 g 11

Concerts & Opera in concert 12 3 4 5 54 3 2 1 12 December 09: Edita Gruberova | 31 December 09: New Year’s Eve 11 April 10: Beethoven at the premiere venue a 96 b 85 c 72 d 59 e 46 f 28 g 12

10 September 09: Opening night 2009/10 a 86 b 74 c 60 d 49 e 38 f 25 g 11

25 September 09: L’anima del filosofo | 26 September 09: Agrippina 22 October 09: Armida al campo d’Egitto | 15 November 09: Ezio 8 January 10: La Grande-Duchesse de Gerolstein | 24 February 10: Farnace | 22 April 10: Giove in Argo a 62 b 52 c 40 d 32 e 26 f 18 g 11

20 October 09: The Othello Syndrome | 13 November 09, 28 January 10, 17 March 10: Mozart – piano concerti I, II & III | 24 January 10: Handel-Arias & Concerti | 30 April 10, 2 May 10: Schubert I & II a 55 b 48 c 40 d 32 e 24 f 17 g 11 2 2 4 Kabinetttheater 3 3, 6, 8, 25, 26, 28 & 30 November 09: Philemon und Baucis 2 12, 14, 16 & 18 January 10: HAydn bricht auf 18 1 The new “Hölle” 6, 9, 10, 11 & 13 March 10: Tanz der Blinden 18

Introductions 5

72 | Dienstsitze Bookings Processing charges (outside Austria) Student tickets Information Student tickets are available at the evening box office at the earliest half an Tickets for 2009/10 are available at the ticket agencies (box office at the Telephone Theater an der Wien, Vienna Ticket Pavillon) and can also be ordered by ¤ 6,- incl. postage with payment via credit card or bank transfer hour before the performance starts. A valid photo ID must be presented. Price opera: ¤ 15,- / Price concert: ¤ 10,- telephone and via internet. Internet ¤ 6,- incl. postage with payment via credit card. Box office Guided tours (see p. 71 for details) Theater an der Wien, Linke Wienzeile 6, 1060 Vienna, Austria Group bookings Prices: regular: ¤ 7,- / reduced: ¤ 5,-/ schools: ¤ 3,- Children under 6: free. Opening hours: Monday to Sunday, 10 a.m. to 7 p.m. For group bookings (8 PAX and more) please contact the sales department Registration: Tel. +43 (0) 1 588 30-664, E-Mail: [email protected] of the Theater an der Wien at +43 (0) 1 588 30-651 or [email protected] Vienna Ticket Pavillon Gift vouchers Low-priced parking opportunities for Tickets (except discounted tickets) are also available at the Vienna Ticket visitors near Theater an der Wien Pavillon at the Karajan-Platz next to the Vienna State Opera. Gift vouchers to the value of ¤ 10, 20, 50 und 100 can be obtained by pho- Opening hours: Monday to Sunday, 10 a.m. to 7 p.m. ning +43 (0) 1 588 85 and are also available at the Theater an der Wien box At the WiPark Garage of the Technical University of Vienna, visitors of the office. For performances of the Wiener Festwochen at the Theater an der Theater an der Wien have the possibility of low-priced parking only 2 mi- Telephone Wien these vouchers are not valid. nutes from the theatre (first 5 hours ¤ 6,90,- instead of ¤ 16,-). This benefit is Tickets (except discounted tickets) can also be valid from 5 p.m. to 8 a.m., as well as on Sundays and public holidays. The required commutation ticket is available at the box office at the Theater an booked by phone: Wheelchair spaces Monday to Sunday, 9 a.m. to 8 p.m. der Wien. Adress of the WiPark Garage: Operngasse 13 | 1040 Vienna Handicapped persons Internet Wheelchair spaces (incl. one person for escort) can be booked up to one Ö1 Club week before the respective performance by phoning +43 (0) 1 588 85. Ö1 Club reductions of 10% for at most 2 tickets are obtainable at the www.theater-wien.at Price: ¤ 10,- Theater an der Wien box office. The reduction is valid for our own pro- (orders only payable by credit card) We point out that the Theater an der Wien does not have an elevator. ductions only, except standing room. Ö1 Club ID must be presented. Handicapped persons are advised to choose tickets at the ground floor. Written bookings Wiener Festwochen Bookings can be done in written form by filling out the booking form, Standing room Tickets for the performances of the Wiener Festwochen in May/June 2010 which is enclosed in this programme. Tickets are available at the evening box office at the earliest 1 hour before are only available at the Wiener Festwochen: the performance starts. Price: ¤ 7,- www.festwochen.at, festival service hotline (+43/1) 589 22 22.

75 | 76 | Information | 77 Vereinigte Bühnen Wien Ges.m.b.h. Managing Director Thomas Drozda

Theater an der Wien Intendant Roland Geyer Assistant to Intendant Sylvia Hödl | Artistic Planning Sebastian Schwarz, Claudia Stobrawa, Axel Schneider Production Management Petra Haidvogel, Anja Meyer | Dramaturgy Nora Schmid, Petra Aichinger Artistic Administration Renate Futterknecht | Assistant to Artistic Administration Edith Gutmaier Ticketing & Subscriptions Philipp Wagner, Markus Schemmel | Public Relations Sabine Seisenbacher Marketing Tina Osterauer | Youth Projects Catherine Leiter | Art Direction Anna Graf | Technical Director Kurt Schöny | Head of Costume Department Doris Maria Aigner | Technical Production Gerald Stotz | Technical Office Rainer Kulczycki, Ulrike Ranft | Lighting Franz Vochoska | Sound Robert Macalik | Makeup Wilhelm Honauer | Dresser Andreas Schaffler | Facility Management Erich Skrobanek

Photographic Material Cover image © spot.ag / michael huber . thomas riegler (art direction: thomas riegler) Photo Theater an der Wien © Vereinigte Bühnen Wien | Inside cover © Wolfgang Simlinger p. 3 Intendant Roland Geyer © Priska Ketterer

Illustrations: p. 6 Death in Venice © Yann Bagot / yannbagot.com / ensaders.over-blog.com p. 10 Tancredi © Edward McGowan / colagene.com p. 14 Der Prinz von Homburg, S. 18 Il mondo della luna © Emmanuel Polanco / colagene.com p. 22 Weihnachtsoratorium © Mikyung Hwang / mkh.ultra-book.com / [email protected] p. 26 L’incoronazione di Poppea © Virginie Douay / picnicparty.net/virginie-douay p. 30 Die Besessenen © Hélène Rajcak / helenerajcak.net p. 34 Iphigénie en Tauride, S. 38 3Adieux © Caroline Gamon / carolinegamon.ultra-book.com p. 42 Der Freischütz © Sketch by Marc Bellini for Theater an der Wien p. 46 Orlando misterioso © Cécile de Beauvoir / pianocktail.info p. 50 Die Fledermaus © Laura Rodriguez / laurarodriguez.ultra-book.com p. 62 Concerts © Anette Renz / arenzette.com

Publishing Details Theater an der Wien – Intendant Roland Geyer Publisher & Proprietor: Vereinigte Bühnen Wien Ges.m.b.H. – Managing Director Thomas Drozda Theater an der Wien, Linke Wienzeile 6, 1060 Wien Tel. (+43/1) 588 30-660 | [email protected] | www.theater-wien.at Responsible for content: Intendant Roland Geyer Editorial office: Petra Aichinger, Anna Graf, Sylvia Hödl, Catherine Leiter, Tina Osterauer, Nora Schmid, Axel Schneider, Sebastian F. Schwarz, Sabine Seisenbacher, Claudia Stobrawa, Philipp Wagner, Michael Yashinsky English translation: wordworks Art Direction Theater an der Wien: Anna Graf Printing: Walla Druck Subject to change | July 2009 | DVR 0 187 1

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