· 2021. 1. 7. · argippo bajazet messiah belisario saul zazÀ platÉe thaÏs armida carlo oreste...

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The Theater an der Wien receives subsidies from the Cultural Department of the City of Vienna

www.theater-wien.at

THE OPERA HOUSE

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PREFACE

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

As I write this preface, the Theater an der Wien has been forced to can-cel at short notice three highlights that our director Roland Geyer had conceived and prepared especially for you, our valued audience, for the spring of 2020. We just had time to produce a film of our production of the 1806 Fidelio directed by Christoph Waltz and conducted by Manfred Honeck as a record for posterity. However, the eagerly awaited premieres of The Fiery Angel directed by Andrea Breth and Norma with star soprano Asmik Grigorian fell victim to the measures taken to contain the spread of the virus.

Of all people, we artists must remain optimistic about the future, since culture is “food for the soul”. That is why we hope that full-scale opera performances at the Theater an der Wien and the Kammeroper will be resumed for you to enjoy by the autumn of 2020 at the latest.

This programme for the 20/21 season, titled “Before the afterglow”, once again offers a great variety of fascinating operatic experiences ranging from early music to the contemporary.

It is my wish that you, our valued audience, continue your loyal patronage and do so in large numbers.

Franz Patay, Managing Director Vereinigte Bühnen Wien

Fruit. Starch. Sugar. – It is with these three segments that AGRANA enjoys success around the world. Quality is our top priority – even in areas that are seemingly unrelated to our company. Maintaining this requires both commitment and support. Our sponsorship of cultural activities enables us to support a key aspect of society and to make sure it gets the attention it deserves.

AGRANA is the main sponsor of the Theater an der Wien.

AGRANA.COM

The natural upgrade

This is whyculture

to us.

is soimportant

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In the third part of the four-year programme cycle “4 phases of the day” the Theater an der Wien and the Kammeroper have de facto reached BEFORE THE AFTERGLOW.

When the Indonesian volcano Tambora erupted in 1815, the aftereffects of the disaster were soon visible as far away as the other side of the globe: the volcanic ash and fine particles from the eruption dispersed in the atmosphere, causing spectacular red sunsets as far away as Europe. The famous English painter William Turner captured these brilliantly

coloured skies for posterity in many of his later works, earning himself the title “master of light”. His paintings of sunsets

are arresting examples of how art can also serve as an indirect source of information about past changes

in the climate and atmosphere. The secret of this display of colours in the sky lies in the way the

sun’s rays are diffused in the atmosphere. On fine evenings, aerosols in the air bathe the sky in a breathtaking afterglow. “The heavens aflame. Slow dies the sun; such is beauty: red evening skies mean evening’s demise”.*

The afterglow of sunset may fascinate us and promise protection, yet at the same time it also heralds the final departure of day; and

darkness always stands for eternal darkness too. Vor Sonnenuntergang (Before Sundown) is

also the title of a naturalistic masterpiece by Gerhart Hauptmann, written in around 1930 at a

time when National Socialism was gaining an ever stronger foothold. In his pessimistic family drama Haupt-

mann denounces the ruthless “other side” of humanity: its brutality, coldness, craving for power, violence and greed. Red evening

skies mean evening’s demise.

No other era allowed these human characteristics to gain such a heinous hold as the twelve years of National Socialist rule starting in 1933. “Afterglow – the clouds burn, the sun dies in its own flames. The whole world stands still…”.* However, the world was able to liberate itself again and rebuilt its cultural and economic structures. Reassuring and

DE FACTO

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encouraging hope that dark times will be overcome – a kind of antithe-sis to Hauptmann’s pessimism, if you will – is provided by Ludwig van Beethoven’s setting of Schiller’s Ode to Joy in his 9th Symphony: “Joy commands the hardy mainspring / Of the universe eterne. / Joy, oh joy the wheel is driving / Which the worlds’ great clock doth turn.” We present John Neumeier’s latest choreography of this hymn to humanity.

What is de facto true can, in reality, scarcely be altered. In art, however, we have the possibility of defining conditions ourselves, of adapting time and space and of showing utopias as alternative models to an apparent-ly hopeless reality. “For,” as Schopenhauer writes, “it plucks the object of its contemplation from the stream of the world’s course, and holds it isolated before it. […] It stops the wheel of time; for it the relations vanish; its object is only the essential, the Idea.”

Time and space are the central elements of the art form that is theatre: they inform every opera, and Schopen-hauer too held them to be the constituents that make material action possible in the first place, that, de facto, create it: “A combination of the two constitutes its es-sential nature, just because this, as we have shown, consists in action, in causality.” For the moments of their performance in time and space the operas are as real as reality, though their finality is less brutal: because the performance can be repeated death is to some extent eliminated, the same red sunset can appear time and time again and this particular reality can be repeated, which means it can be put right – and in this way art can anticipate reality and set it an example.

The aim of an opera house must now be to offer audiences in the auditorium a PROGRAMME SPACE as well, whose power of suggestion should represent an open-ended compendium of possible realities through the myriad facets of the works and the ideas of the artists. It is from here that, on the one hand, various dramaturgic interrelationships and, on the other, artistic paths can be evoked. It was in consideration of these aspects that the current 20/21 programme space was created with a total of 23 projects ranging from the Baroque to the contemporary.

* From Traumspuren and Zauberwelten by Hans-Christoph Neuert (1958-2011), translation © wordworks.

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

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

There are of course aspects that the individual clouds share, such as this year’s artist in residence: In 20/21 baritone Florian Boesch is our artistic standard bearer and appears in five productions. Then we have the trio of Italian composers Cavalli, Vivaldi and Rossini and their works Giasone, Bajazet and Barbiere in the Kammeroper, and the two productions requested in our subscribers’ poll, “The best TAW production 2006-2018”: Robert Carsen’s Platée and Claus Guth’s Saul. And let us not forget our new production of Proko-fiev’s The Fiery Angel directed by Andrea Breth which was cancelled in March 2020 because of the corona pandemic and has now been res- cued at short notice and will be juxtaposed with Peter Konwitschny’s production of Massenet’s Thaïs. There is also Günther Groissböck’s directorial debut as he dares to undertake a Tristan Experiment.

Last but not least, our exclusive new production of Porgy and Bess with the fantastic South African opera choir from Cape Town will push boundaries in several ways as it embraces various artistic and cultural genres. George Gershwin’s masterpiece defies many classical parame-ters and categories, but is nevertheless the progenitor of American “classical” opera.

To close I would like to extend my heartfelt thanks to Mrs Hermine Karigl-Wagenhofer who has provided us with 18 paintings and permis-sion to reproduce them in this programme and on our website, and by doing so has beautifully embellished both.

Although, as Schopenhauer noted, even “by running we can never reach the point where the clouds touch the horizon; art, on the contrary, is everywhere at its goal.” I ask you to continue your patronage of the Theater an der Wien and the Kammeroper in future and assure you that you will once again experience marvellous opera at both in 20/21.

Best wishes, Roland Geyer, Director Theater an der Wien

PROGRAMME SPACE 2020/21

Gershwin Cavalli

Beeth

ovenSchubert

Mahler

Mozart

Viv

aldi

Handel

Massenet

Handel

Vivaldi

Donizetti

Rossini

Salieri

Hasse

Haydn

vor abendrot

de facto

Prokofjew

Wagner

LOVINGVISIONARY

Le

oncavallo

PORGY & BESSGIASONE & MEDEA

RUPRECHT & RENATA TRISTAN & ISOLDE

WINTERREISEHIMMELERDE

AN DIE FREUDE

FIGAROORLANDOBARBIEREARGIPPO

BAJAZETMESSIAH

BELISARIOSAUL

ZAZÀPLATÉETHAÏS

ARMIDA

CARLOORESTE

CAJOTAMERLANO

Ram

eau

Porpora

LONELY JEALOUS

FABULOUS PATERNAL

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MUSICAL THEATRE

Leoncavallo: ZAZÀ 12

Vivaldi: BAJAZET 14

Gershwin: PORGY AND BESS 16

Mozart: LE NOZZE DI FIGARO 18

Cavalli: GIASONE 20

Rameau: PLATÉE 22

Massenet: THAÏS 24

Donizetti: BELISARIO 26

Rossini: IL BARBIERE DI SIVIGLIA 28

Prokofiev: THE FIERY ANGEL 30

Handel: SAUL 32

Hamburg Ballett: AN DIE FREUDE 34

Wagner: TRISTAN EXPERIMENT 36

OPERA IN CONCERT 38 SPECIAL PROJECTS 48 Our JET 56 JET Specials 57 JUGEND / KINDER an der Wien 58 BEETHOVEN an der Wien DENKEN 62 15 YEARS THE NEW OPERA HOUSE 63 Information 64 Playing schedule 68 Hermine Karigl-Wagenhofer 73 Organisation 74 Prices 78 Seating plan 79 Booking form 81 Imprint 82

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ABENDROTPREVIEW

Saturday, 19 September 2020, 6 p.m.

The third part of the programme cycle “4 phases of the day 2018-22” has BEFORE THE AFTERGLOW as the focal point of the Theater an der Wien’s programme. The programme space for 20/21 features six clouds and consists of a total of 23 premieres: 13 staged opera productions plus eight concert performances and two semi-staged special projects with our artist in residence Florian Boesch. It is de facto a typical programme for a year at the Theater an der Wien and the Kammeroper, since it attempts to present all the virtues that our loyal audiences have appreciated so much over the past 14 years.

It also includes our revue in the “Hölle”, Jugend an der Wien, concerts and exhibitions marking Beethoven’s 250th birthday

and on the Theater an der Wien itself. In September 2020 a new (the fifth) JET starts at the

Kammeroper, and some of the young singers will be showing what they can do at the “preview”

on 19 September. The music for this preliminary to the eve-ning afterglow will be provided by the Vien-na Chamber Orchestra which has not only become an important orchestral pillar at the Kammeroper over the last ten years, but al-so often delights the ear in special projects at the Theater an der Wien.

Joseph Haydn: Symphony No. 8 in G major Le soir

I – Allegro molto

II – Andante

III – Menuetto

IV – La Tempesta. Presto

Wiener KammerOrchester

Duration: 90 mins approx. No interval.

Presented by Roland Geyer

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RUGGERO LEONCAVALLO

Commedia lirica in four acts (1919)

Libretto by Ruggero Leoncavallo with the cooperation of Carlo Zangarini

Performed in Italian with German surtitles

Conductor Stefan Soltész Director Christof Loy Set designer Raimund Orfeo Voigt Costume designer Herbert Murauer Light designer Reinhard Traub Choreographer Thomas Wilhelm Dramatic advisor Klaus Bertisch

Zazà Svetlana Aksenova Milio Dufresne Nikolai Schukoff Cascart Christopher Maltman Floriana / Signora Dufresne Dorothea Herbert Anaide, Zazà's Mother Enkelejda Shkosa Natalia, Zazà's Maid Juliette Mars Bussy, Journalist Tobias Greenhalgh Courtois, Impresario Paul Schweinester Duclou, Conductor Dumitru Mădăraşăn Marco / Augusto Johannes Bamberger Totò Dufresne Livia Gallenga / Vittoria Antonuzzo Claretta Ena Topcibasic Simona Liliya Namisnyk Un signore Patrick Maria Kühn

ORF Radio-Symphonieorchester WienArnold Schoenberg Chor (Chorus master: Erwin Ortner)

New production Theater an der Wien

Premiere: 16 September 2020Performances: 18 | 21 | 23 | 25 and 27 September 2020 | 7 p.m.

Introduction: Sunday, 13 September 2020 | 11 a.m.

Zazà is the acclaimed star of the Alcazar variety theatre in St. Etienne. All the men adore her, with the exception of the businessman Milio Dufresne. Zazà enters into a wager with the journalist Bussy that Milio will fall for her in next to no time. The conquest is easy for her, since Milio secretly desires Zazà but has not yet had the courage to approach a woman coveted by so many. Finally the two become lovers and Zazà falls deeply in love with Milio, and wants to marry him and leave the music hall behind. But the dream is shattered when a stage colleague tells her that he saw Milio with another woman. Furious, Zazà travels to Paris but the only person she finds in Milio’s flat is a little girl: Totò, Milio’s daughter. She finds out that the little family will soon be going to America. Gradually Zazà realises that Milio has been lying to her about his circumstances. When Madame Dufresne comes home, Zazà quickly leaves. She decides not to destroy the family’s happiness. When Milio next comes to Zazà she ends their affair and accepts her fate as a music hall star.

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ANTONIO VIVALDI

Tragedia per musica in three acts (1735)

Libretto by Agostino Piovene


Conductor Roger Díaz-Cajamarca Director Krystian Lada Set designer Didzis Jaunzems Costume designer Natalia Kitamikado Light designer Franz Tscheck

Bajazet Kristján Jóhannesson Tamerlano Rafał Tomkiewicz Asteria Sofia Vinnik * Andronico Andrew Morstein * Irene Valentina Petraeva * Idaspe Miriam Kutrowatz *

Bach Consort Wien

* Young Ensemble Theater an der Wien

New production Theater an der Wien at the Kammeroper

Premiere: 26 September 2020Performances: 28 and 30 September 2020 | 7 p.m.

2 | 4 | 7 | 9 | 11 and 13 October 2020 | 7 p.m.Introduction: Sunday, 20 September 2020 | 11 a.m.

BAJAZET(Il Tamerlano)

The sultan Bajazet has been defeated by Tamerlano and is being held captive with his daughter Asteria in the palace at Bursa. Asteria is in love with Andronico but also coveted by Tamerlano. For Bajazet, a marriage between his daughter and his enemy Tamerlano is out of the question. Asteria feels betrayed by Andronico so she agrees to marry Tamerlano, but only so that she can murder him. During the coronation Bajazet bursts in, disrupting the ceremony and hurling abuse at his daughter. In her defence, Asteria shows him her dagger, thus revealing her true intentions. The humiliated Tamerlano resolves to kill Bajazet and make Asteria his personal slave. Asteria, though, takes advantage of the first opportunity that presents itself and laces his goblet with poison. In the face of the humiliation that now threatens his daughter whose evil schemes have once more been exposed, Bajazet kills himself. Now that her father is dead Asteria pleads with Tamerlano to kill her as well. Tamerlano, appalled and chastened by what has happened, decrees a happy ending.

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Opera in three acts (1935)

by George Gershwin, DuBose and Dorothy Heyward and Ira Gershwin

Performed in English with German surtitles

Conductor Wayne Marshall Director Matthew Wild Set & costume designer Katrin Lea Tag Co-Costume designer Lejla Ganic Light designer Bernd Purkrabek Choreographer Louisa Talbot

Porgy Eric Greene / Simon Shibambu Bess Nicole Cabell / Jeanine De Bique Clara Nadine Benjamin / Brandie Sutton Crown Nmon Ford Norman Garrett Sportin’ Life Ray M. Wade Zwakele Tshabalala Serena Mary Elizabeth Williams / Pumeza Matshikiza Maria Tichina Vaughn Jake Bongani Justice Kubheka

Wiener KammerOrchester special extended | Cape Town Opera Chorus


Premiere: 14 October 2020Performances: 15 | 16 | 17 | 18

20 | 21 | 22 | 23 and 24 October 2020 | 7 p.m.Introduction: Sunday, 11 October 2020 | 11 a.m.

PORGY AND BESS

Supported by

A slum in the neighbourhood of Catfish Row in Charleston is home to many African Americans. One of them is the lame beggar Porgy who roams the slum with a goat and a handcart. During a fight the aggres-sive Crown stabs his opponent to death and flees. He has been living with the attractive Bess who now finds shelter with Porgy. Amazingly, Porgy and Bess fall in love. Sportin’ Life tries to persuade Bess to go to New York with him, she declines. The entire neighbourhood – except Porgy – goes on a picnic to an island, Crown is hiding there. In secret he harasses Bess until she follows him into the wood. After one week she returns to Porgy, distressed and sick. She slowly recovers and confesses all to Porgy, but Porgy forgives her. Later Crown returns and wants to take Bess with him, Porgy kills him. Although the police do not iden-tify him as the murderer they imprison him for a minor offence. Porgy is unexpectedly released after one week and finds Bess gone. When he hears that Sportin’ Life has taken Bess to New York he sets off with his goat and his handcart.

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WOLFGANG AMADEUS MOZART

Commedia per musica in four acts (1786)

Libretto by Lorenzo Da Pontebased on the comedy La folle journée ou Le mariage de Figaro

by Pierre Augustin Caron de Beaumarchais


Conductor Stefan Gottfried Director Alfred Dorfer Set & costume designer Christian Tabakoff Light designer Benedikt Zehm

ll Conte di Almaviva Florian Boesch La Contessa di Almaviva Cristina Pasaroiu Susanna Giulia Semenzato Figaro Robert Gleadow Cherubino Katie Coventry Marcellina Marie McLaughlin Bartolo Maurizio Muraro Basilio Andrew Owens Don Curzio Johannes Bamberger Barbarina Ekin Su Paker Antonio Ivan Zinoviev *

Concentus Musicus WienArnold Schoenberg Chor (Chorus master: Erwin Ortner)



Premiere: 12 November 2020Performances: 14 | 16 | 19 | 21 and 23 November 2020 | 7 p.m.

Introduction: Sunday, 8 November 2020 | 11 a.m.

LE NOZZE DI FIGARO

Several years have passed since the events in Seville surrounding the marriage of Rosina to the Count, and the love between the Count and Countess has cooled somewhat. The Count is on the lookout for new subjects worthy of his favours, while the Countess is adored by the young page, Cherubino. Figaro has remained in the Count’s service and now wishes to marry Susanna, the Countess’ chambermaid. In the 18th cen-tury, the aristocracy had the “ius primae noctis”, the droit du seigneur: a lord had the right to deflower the brides of his subjects. But around 1780 Count Almaviva wishes to appear enlightened and does away with the right to his possessions. Faced with Susanna’s beauty, however, he starts to regret his progressiveness. He can no longer insist on his right, but must resort to seduction and cunning in order to trap her. But Figaro and Susanna succeed in maintaining their sexual autonomy as a married couple. They thwart the Count’s schemes with plots of their own, and the Count realizes that in his servant he has an adversary who is every bit his equal.

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FRANCESCO CAVALLI

Drama musicale in three acts (1649)

Libretto by Giacinto Andrea Cicognini


Conductor Benjamin Bayl Director Georg Zlabinger Set designer Martin Zlabinger Costume designer Angelika Pichler Light designer Franz Tscheck

Giasone Rafał Tomkiewicz Medea Valentina Petraeva * Isifile Ekaterina Protsenko Egeo Andrew Morstein * Oreste Ivan Zinoviev * Alinda Miriam Kutrowatz * Ercole Benjamin Chamandy

Bach Consort Wien



Premiere: 29 November 2020Performances: 4 | 6 | 10 | 12 and 19 December 2020 | 7 p.m.

5 | 8 | 10 and 12 January 2021 | 7 p.m.Introduction: Sunday, 29 November 2020 | 11 a.m.

GIASONE

The Sun God is looking forward to the marriage of his granddaughter Medea to Giasone, while Amor is angry because he long ago united Giasone with Isifile. Hercules, for his part, is angry with Giasone because his thoughts are occupied more by Medea than by his quest to find the Golden Fleece. As for Medea, she is happy to be with Giasone and pays no attention to the whining of Egeo, who is in love with her. She is prepared to help Giasone find the Golden Fleece and uses her magical powers therefore. Oreste was sent out by Isifile to look for her betrothed, but he now has to report to her that Giasone intends to marry Medea. This gives Oreste hope, since he himself is in love with Isifile, but Isifile is thinking only of vengeance. Giasone succeeds in stealing the Golden Fleece from the altar of Giove with the aid of Medea and Pluto, but he and Medea are forced to flee from the irate people. After a lot of con-fusion Giasone takes his old beloved in a tender embrace all the gods are content since all the couples that Amor had decreed should be united are now together.

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JEAN-PHILIPPE RAMEAU

Ballet bouffon in a prologue and three acts (1749)

Libretto by Jacques Autreaurevised by Adrien-Joseph Valois d’Orville and Balot de Sovot

Performed in French with German surtitles

Conductor William Christie Director Robert Carsen Set & costume designer Gideon Davey Light designer Robert Carsen & Peter van Praet Choreographer Nicolas Paul Dramatic advisor Ian Burton

Platée Marcel Beekman La Folie Jeanine De Bique Mercure / Thespis Cyril Auvity Cithéron / Momus Marc Mauillon Jupiter Edwin Crossley-Mercer Clarine / Amour Emmanuelle de Negri Junon Emilie Renard Thalie Ilona Revolskaya Momus / Satyre Padraic Rowan

Les Arts FlorissantsArnold Schoenberg Chor (Chorus master: Erwin Ortner)

New interpretation of the Theater an der Wien’s 2014 production

Premiere: 14 December 2020Performances: 16 | 18 | 20 | 29 and 31 December 2020 | 7 p.m.

Introduction: Sunday, 13 December 2020 | 11 a.m.

PLATÉE

Juno causes severe storms to destroy the harvest because, once again, she is angry with Jupiter, her philandering husband and supreme god. But this time her anger is groundless: Currently, though, Jupiter has no such amorous adventure in the pipeline. He can't approve of her behavior, therefore Mercure and his friend Cithéron devise a perfidious scheme to cure Juno and save humanity from its plight. For some time now, Cithéron has been pestered by Platée, an ugly marsh nymph. She is told that Jupiter has fallen in love with her. The father of the gods, who is in on the plan, appears to Platée in the form of a donkey, declares his (untrue) love for her and commands a wedding celebration. Just before the mock wedding Juno bursts in on the ceremony and furiously tears the veil from the face of the supposed bride. Faced with Platée’s ugli- ness she cannot help laughing at her own jealousy and patches up her differences with Jupiter. Cithéron and Jupiter now have peace and quiet again, and fine weather returns to Earth; only Platée is lonely and hu-miliated in her marsh.

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JULES MASSENET

Comédie lyrique in three acts and seven pictures (1898)

Libretto by Louis Gallet based on the novel of the same nameby Anatole France

Performed in French with German surtitles

Conductor Leo Hussain Director Peter Konwitschny Set & costume designer Johannes Leiacker Light designer Guido Petzold

Thaïs Nicole Chevalier Athanaël Josef Wagner Nicias Roberto Saccà Crobyle Carolina Lippo Myrtale / Albine Sofia Vinnik * Palémon Günes Gürle




Premiere: 19 January 2021Performances: 21 | 23 | 26 | 28 and 30 January 2021 | 7 p.m.

Introduction: Sunday, 17 January 2021 | 11 a.m.

THAÏS

Athanaël lives in the desert in a monastic brotherhood with other as- cetics. They have forsaken all worldly goods and desires. But this is not enough for Athanaël: he wants to convert others to his way of life. His aim is to lead the most famous courtesan in all Egypt, Thaïs, to God. In Alexandria he encounters his childhood friend Nicias who can afford to keep the most costly mistress – and this is currently Thaïs. Athanaël accepts an invitation to a banquet so that he can approach Thaïs. And he does indeed succeed in drawing her into a conversation and is able to speak to her about his mission. Thaïs, though, merely laughs at him. But later she sees a chance of a new life in Athanaël’s ideas and agrees to let him take her to a convent. To reach the convent they must cross the desert. Thaïs’ strength fails her and she collapses. Suddenly Athanaël realises that he loves Thaïs – with both soul and body. He confesses his feelings to Thaïs. But it is too late, Thaïs is dying in Atha- naël’s promises of salvation through God. She dies without hearing or understanding his words.

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GAETANO DONIZETTI

Tragedia lirica in three acts (1836)

Libretto by Salvadore Cammarano


Conductor Oksana Lyniv Director, set & costume designer Nigel Lowery Light designer Lothar Baumgarte Dramatic advisor Ute Haferburg

Belisario Roberto Frontali Antonina, his Wife Carmela Remigio Irene, her Daughter Iryna Zhytynska Alamiro Paolo Fanale Emperor Giustiniano Stefan Cerny Eutropio, Leader of the Guard Rainer Trost Eudora, Irene’s Friend Valentina Petraeva * Eusebio / Ottario Ivan Zinoviev *




Premiere: 16 February 2021Performances: 18 | 20 | 23 | 25 and 27 February 2021 | 7 p.m.

Introduction: Sunday, 14 February 2021 | 11 a.m.

BELISARIO

General Belisario returns victorious to Byzantium. However, honour is not the only thing awaiting Belisario at home: he and his wife Antonina had two children, a son Alessi and a daughter Irene. As a little boy, Alessi disappeared. While her husband was away, Antonina learned something terrible: Belisario himself had arranged for the boy to disappear because in a dream he had seen that his son could one day rise up against Byzantium. Antonina wants revenge on her husband and her plan succeeds: Emperor Giustiniano has the general’s eyes put out and exiles him. Irene, horrified and filled with pity, resolves to be her blind father’s guide from now on and leaves with him. In the mountains they come across foreign troops on their way to attack Byzantium. They are led by Alamiro. An item of jewellery reveals that he is in fact Belisario’s long-lost son Alessi. The joy that they feel at their reunion is short-lived: Belisario is wounded as the fighting begins. He is brought to the emperor where Antonina begs his forgiveness, but Belisario dies before he can say anything.

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GIOACHINO ROSSINI

Opera buffa in two acts (1816)

Libretto by Cesare Sterbini


Conductor George Jackson Director Christoph Zauner Set designer Nikolaus Webern Costume designer Mareile von Stritzky Light designer Franz Tscheck

Il Conte d’Almaviva Andrew Morstein * Figaro Sebastià Peris * Rosina Sofia Vinnik * Don Basilio Ivan Zinoviev * Don Bartolo Dumitru Mădăraşăn Berta Miriam Kutrowatz *




Premiere: 5 March 2021Performances: 7 | 10 | 13 | 16 | 18 | 20 | 23 | 25 and 27 March 2021 | 7 p.m.

Introduction: Sunday, 28 February 2021 | 11 a.m.

IL BARBIEREDI SIVIGLIA

In Seville, Doctor Bartolo lives with his ward Rosina whom he is keeping like a prisoner. Also because the young lady is beautiful and wealthy, Bartolo intends to marry her. But Rosina has another admirer: a stu-dent by the name of Lindoro has secretly been courting and serenading her for some time, and she finds the young man considerably more at-tractive than her guardian. Lindoro is in fact the notorious womanizer Count Almaviva in disguise. This time, however, he is genuinely in love and wants to make Rosina his wife, even though she is a commoner. He secures the aid of Figaro who, as a physician, apothecary and barber, is free to enter Bartolo’s house. In the meantime, Bartolo has heard that the infamous Almaviva is in town and rightly guesses that he may have his ward in his sights. He tries to bring the date of his own wed-ding forward, but Figaro and Almaviva hatch counter-plots. In the end, Bartolo is left empty-handed and is forced to accept that all his efforts were nothing more than a useless precaution: Count Almaviva makes Rosina his countess.

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Premiere: 17 March 2021Performances: 19 | 21 | 24 | 26 and 28 March 2021 | 7 p.m.

Introduction: Sunday, 14 March 2021 | 11 a.m.

SERGEI PROKOFIEV

Opera in five acts (1927, WP 1954)

Libretto by Sergei Prokofiev

Performed in Russian with German surtitles

Conductor Constantin Trinks Director Andrea Breth Set designer Martin Zehetgruber Costume designer Carla Teti Light designer Alexander Koppelmann Dramatic advisor Antonio Cuenca Ruiz

Renata Ausrine Stundyte Ruprecht Bo Skovhus Landlady / Abbess Natascha Petrinsky Fortune-teller Elena Zaremba Agrippa / Mephistopheles Nikolai Schukoff Inquisitor Alexey Tikhomirov Mathias / Faust Markus Butter Jakob Glock / Doctor Andrew Owens Innkeeper / Servant Kristján Jóhannesson

Wiener SymphonikerArnold Schoenberg Chor (Chorus master: Erwin Ortner)


THE FIERY ANGEL

1534: Ruprecht spends the night in a run-down inn. Suddenly he hears cries of fear from the next room, in which it seems a woman is in dan-ger. He breaks down the connecting door to help her and comes face to face with a stunningly beautiful woman – who is alone. She implores him to protect her and tells him her extraordinary story: Her name, she says, is Renata, and ever since she was a child she had an intimate relationship with a fiery angel called Madiel, but she has lost him and has been looking for him, constantly pursued by demons. Something about this strange woman moves Ruprecht. He becomes her protector and more and more he falls deeply in love with her, but she only takes advantage of him. After she decides to enter a convent, strange things start to happen there. The abbess summons an inquisitor, but his exor-cism spirals completely out of control. In the end the inquisitor senten-ces Renata to be burned at the stake. In March 2020 we were forced to abandon rehearsals due to the corona pandemic. However, we are pleased to be able to resume our work in 2021.

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GEORGE FRIDERIC HANDEL

Oratorium in three acts (1739)

Libretto by Charles Jennens

Performed in English with German surtitles

Conductor Christopher Moulds Director Claus Guth Set & costume designer Christian Schmidt Light designer Bernd Purkrabek Choreographer Ramses Sigl Dramatic advisor Yvonne Gebauer

Saul Florian Boesch Merab Anna Prohaska Michal Giulia Semenzato David Jake Arditti Jonathan Rupert Charlesworth Witch of Endor Rafał Tomkiewicz High Priest David Webb Amalekite Andrew Morstein * Samuel Paul Lorenger

Freiburger BarockorchesterArnold Schoenberg Chor (Chorus master: Erwin Ortner)


New interpretation of the Theater an der Wien’s 2018 production

Premiere: 16 April 2021Performances: 18 | 20 | 23 | 25 and 27 April 2021 | 7 p.m.

Introduction: Sunday, 11 April 2021 | 11 a.m.

SAUL

Saul is the King of Israel, chosen by God and venerated by the peo-ple. After David killed Goliath in the battle against the Philistines and was able to return home in triumph, he is presented to Saul and his family. Everyone is dazzled by the young hero’s charisma. Saul’s son Jonathan immediately offers to be his close friend, and Saul himself would like to marry David to his daughter Merab. Merab, however, is dismissive of David, pointing out that he is of lowly birth. The people of Israel now praise not just the popular King Saul, but also David, the new hero. In Saul’s mind, one single sentence echoes: “Saul has slain his thousands, and David his tens of thousands.” This affront hurts Saul deeply and madness takes him. When Saul repeatedly fails to kill David he furiously consults the Witch of Endor, but she tells him only that his own end is near. And it is not long before the deaths of the King and his son Jonathan are announced: they died in battle against the Philistines. David becomes king and can marry Michal. The people all praise David.

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HAMBURG BALLETT JOHN NEUMEIER

Ballet by John NeumeierMusic by Ludwig van Beethoven

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

Conductor NN Soprano Valentina Petraeva * Mezzo-soprano Sofia Vinnik * Tenor Andrew Morstein * Bass Ivan Zinoviev *

Wiener KammerOrchesterArnold Schoenberg Chor (Chorus master: Erwin Ortner)


In cooperation with Hamburg Ballett John Neumeier and Theater an der Wien

Premiere: 5 May 2021Performances: 6 and 7 May 2021 | 7 p.m.

AN DIE FREUDE

BEETHOVEN 9

Heroic as the Third, portentous as the Fifth, life-affirming as the Se-venth: these are only three of the components that belong in the Ninth. First sketches were written in 1815, the year following the final version of Fidelio, the year of Napoleon’s return and ultimate defeat near Wa- terloo, and the year in which the first edition of Friedrich Schiller’s com-plete works was published. In addition to many outstanding musical passages in all four movements the chorus – sacrilege or clever device? – with Schiller’s famous Ode to Joy makes the Ninth so famous. This proclaims nothing less than universal brotherhood and equality, beyond all differences. The Ninth epitomises the idea of the anthem perhaps more than any other ever written. John Neumeier already worked with Beethoven’s music on a Beethoven Project he created two years ago. He now continues this creative work with the 9th Symphony for which he will produce a full-length choreography. The ballet receives its pre-miere at the Hamburg State Opera shortly before Beethoven’s presu-med date of birth, 16 December.

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RICHARD WAGNER

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

Libretto by Richard Wagner

Performed in German with German surtitles

Conductor Hartmut Keil Director Günther Groissböck Set & costume designer Stefanie Seitz Light designer Franz Tscheck Video designer Philipp Batereau Tristan Norbert Ernst Isolde Kristiane Kaiser King Marke Günther Groissböck Brangäne Juliette Mars Kurwenal / Melot Kristján Jóhannesson



Premiere: 26 May 2021Performances: 29 May 2021 | 7 p.m.

1 | 6 | 9 | 13 | 17 and 20 June 2021 | 7 p.m.Introduction: Sunday, 16 May 2021 | 11 a.m.

TRISTAN EXPERIMENT

One man, one woman, entwined by a deep love of mysterious origin. But the two lovers are bound to others. Their feelings are so strong that they press another dimension into existence and develop a parallel world in which their destiny unfolds to its tragic conclusion. What, then, is real life? “Is our material world only a shell, a deception or even an experiment following a matrix-like experimental arrangement?” wonders director Günther Groissböck. The lovers see themselves reflected in a couple from the distant past: When Tristan brings Isolde, the Irish king’s daughter, over the sea for Cornwall’s King Marke the two have long been tacit lovers. A love potion by Brangäne only strengthens their love. Finally, Isolde has to marry Marke, but she cannot stop loving Tristan. At some point, Marke catches the couple unawares. Tristan desperately signals to Isolde that he will embrace death if she follows him. Isolde agrees and Tristan falls on his sword and dies at last in her arms. When Marke comes to forgive her it is too late: Isolde dies over Tristan’s dead body.

OPERA IN CONCERT

Porpora: CARLO IL CALVO 40

Handel: ORESTE 41

Handel: MESSIAH 42

Hasse: CAJO FABRICIO 43

Salieri: ARMIDA 44

Vivaldi: ARGIPPO 45

Haydn: ORLANDO PALADINO 46

Handel: TAMERLANO 47

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Sunday, 20 September 2020, 7 p.m. Sunday, 15 November 2020, 7 p.m.

CARLO IL CALVO ORESTENICOLA ANTONIO PORPORA

Dramma per musica in three acts (1738)

Libretto by Francesco Silvani

Concert performance in Italian

Conductor George Petrou

Lottario Max Emanuel Cencic Adalgiso Franco Fagioli Gildippe Julia Lezhneva Berardo Bruno de Sá Giuditta Suzanne Jerosme Eduige Nian Wang Asprando Petr Nekoranec

Armonia Atenea

The Neapolitan Nicola Antonio Porpora was the leading singing teacher of the 18th century and also composed over 60 operas. He composed for the theatres in Naples, Venice, London, Dresden and Vienna, and 1738 the opera seria Carlo il Calvo for the Teatro delle Dame in Rome. The libretto is based on the life of Charles the Bald, king of West Francia and later Italy in the 9th century and a grandson of Charlemagne. De- spite its name, ladies were not permitted to perform at the “Theatre of the Dames” because an edict issued by the pope allowed only men to appear on Rome’s stages. Consequently, the cast for the first perfor-mance was entirely male. Porpora’s opera takes the audience to early mediaeval Europe where the quarrelling heirs of Charlemagne are fighting for power. In Porpora the eponymous hero is still a child whom the composer also allows to sing a few lines. His step-brother kidnaps the young Charles in order to seize the crown. Only the noble knight Adalgiso can stop the usurper of the throne. Porpora wrote Carlo il Cal-vo for some of his own pupils since it enabled him to precisely assess their abilities from a compositional standpoint.


Opera pasticcio in three acts (1734)

Libretto by Giovanni Gualberto Barlocci


Conductor Maxim Emelyanychev

Oreste Franco Fagioli Ermione Julia Lezhneva Ifigenia Francesca Aspromonte Pilade Krystian Adam Toante Renato Dolcini Filotete Francesca Ascioti

Il pomo d’oro

Ifigenia narrowly escaped being sacrificed on Aulis by Agamemnon, her own father. As a result, her mother Clytemnestra later stabbed Agamem-non to death. Ifigenia’s brother Oreste avenged their father by killing their mother. The curse on the family of Tantalus looms over Ifigenia’s fate: as long as the wicked patriarch Tantalus has descendants every one of them will kill a family member. At the beginning of the 1734 season in London, Handel moved into the new Covent Garden Theatre and hurriedly cobbled the pasticcio Oreste together from parts of the works he had written over the past 27 years. The plot follows a libret-to by Giovanni Gualberto Barlocci which is based on Euripides’ drama Iphigenia in Tauris, but makes Ifigenia’s brother Oreste the titular he-ro rather than Ifigenia. Oreste received its premiere on 18 December 1734 in the Covent Garden Theatre, the predecessor of today’s Royal Opera House, in the presence of King George II and was greeted with “great applause”. Although Handel regarded Oreste as a distinct piece and a drama in its own right, and although pasticcio was common prac- tice in the Baroque era, the work was completely forgotten for two and a half centuries.

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

MESSIAH CAJO FABRICIO GEORGE FRIDERIC HANDEL

Oratorio in three parts (1742)

Libretto by Charles Jennens

Concert performance in English

Conductor Robert King

Soprano Carolyn Sampson Alto Hilary Summers Tenor Joshua Ellicott Bass Matthew Brook

Choir of The King’s Consort The King’s Consort

George Frideric Handel is one of the few composers in history whose works have been performed continuously since their deaths. However, this lasting popularity is due to his choruses. The most famous ones, the “Hallelujah” chorus, is from Handel’s oratorio Messiah and has been used many times in many different media. In the 1740 season, Handel once again tried to rekindle London audiences’ interest in Italian opera, but his efforts were in vain. Enthusiasm along the Thames had switched to the genre of oratorio in which Handel had celebrated his first success with Saul in 1739. The libretto had been written by a wealthy landowner and admirer of Handel, Charles Jennens, who in 1741 sent him a second unsolicited libretto titled Messiah. The work is structured like a theologi-cal pamphlet. It does not tell a chronological story and the title character does not appear either. Handel, who had just recovered from serious illness, was personally moved by Jennens’ text and is said to have composed the oratorio in only 24 days. In the abstract sequence of scenes the struggle for faith becomes the central theme, and Handel finds magnificent sounds to portray human fears and feelings of guilt, for hope and ultimately for the salvation that has been prophesied.

JOHANN ADOLPH HASSE


Libretto by Apostolo Zeno


Conductor & concertmaster Martyna Pasztuszka

Cajo Fabricio Max Emanuel Cencic Pirro Nian Wang Bircenna Suzanne Jerosme Sestia Dilyara Idrisova Volusio Bruno de Sá Turio Vasily Khoroshev

{oh!} Orkiestra Historyczna!

In 1732, Hasse composed Cajo Fabricio for the Teatro Capranica in Rome to a libretto by Apostolo Zeno. Because women were forbid-den from performing on theatre stages in Rome by order of the pope, Hasse did not write a stand-out role for his wife, Faustina Bordoni, instead choosing an entirely male ensemble for the premiere of Cajo Fabricio with six castratos and one tenor. The opera is structured like a classical opera seria, with strict separation of recitatives and arias. The plot is taken from the history of Rome, but focuses on the emotional entanglements of the protagonists. The Roman senator Gaius Fabrici-us Luscinus is sent to Taranto because the southern Italian city with its powerful Greek influence has risen up against Rome with the aid of Pyrrhus, king of Epirus. Pyrrhus, however, falls in love with Sestia, Gaius Fabricius’ daughter, even though she is already promised to the Roman soldier Volusio. The historical Pyrrhus managed to defeat the Romans in the battle of Asculum, but his losses were so heavy that he afterwards remarked: “If we are victorious in one more battle with the Romans, we shall be utterly ruined.”

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Friday, 19 February 2021, 7 p.m. Monday, 22 March 2021, 7 p.m.

ARMIDA ARGIPPOANTONIO SALIERI


Libretto by Marco Coltellini


Conductor Christophe Rousset

Armida Anna El Kashem Ismene Teresa Iervolino Rinaldo Florie Valiquette Ubaldo Ashley Riches

Les Talens LyriquesLe Choeur de Chambre de Namur

In Torquato Tasso’s epic poem La Gerusalemme liberata Armida has the task of preventing the crusaders from taking Jerusalem on behalf of her uncle by using all the magical and feminine arts at her disposal. She cap-tured the imagination of 18th-century composers like no other sorceress. In 1771 Antonio Salieri from the Republic of Venice chose the subject matter for his first large-scale opera, which he wrote for the Burgthea-ter at the age of twenty. Salieri’s librettist Marco Coltellini reduced the plot to three main protagonists. Armida is holding Rinaldo captive on an island, but has fallen in love with the knight. Rinaldo’s compan- ion Ubaldo lands on the island to free first the enchanted knight and then, with him at his side, Jerusalem. Salieri aimed for an “opera of magic, heroism and love that is also touched by tragedy” and created a through-composed work that no longer rigidly adheres to the strict rules of opera seria, but espouses the ideas of reformed opera. This is already evident from the overture which is not an introductory sin-fonia, but portrays Uberto’s arrival on the island. The premiere was a great success for Salieri, Armida was soon given all over Europe and the opera became the first of his works to be printed in its entirety.

ANTONIO VIVALDI


Libretto by Domenico Lalli


Conductor Fabio Biondi

Argippo Vivica Genaux Osira Marie Lys Silvero Giuseppina Bridelli Zanaida Delphine Galou Tissifaro Luigi di Donato

Europa Galante

At the height of his career Antonio Vivaldi was famed throughout Europe, yet when he died in Vienna in 1741 he had been forgotten by the music world. In the 19th century, Vivaldi was unknown as an opera composer; he himself claimed in a letter that he had written 94 operas. By 2006, fifty of them were known. The opera Argippo, composed by Vivaldi for Vienna and Prague, was also thought lost up to that point. All that survived were the German translations of the libretti from both performances. In 2006 the Czech conductor Ondrej Macek discovered arias from Argippo in the archives of the Thurn und Taxis family in Re-gensburg, Bavaria, and their authenticity was confirmed by the scien-tific board of the Antonio Vivaldi Institute in Venice. In 2008 the first performance of the reconstructed version of Argippo was given. The li-bretto tells an exotic love story from faraway India, a land that Venice traded with. Zanaida, the daughter of the Great Mogul of India, feels betrayed by her former suitor, whom she believes to be the Bengal king Argippo. Close to suicide, she is expecting a visit from Argippo and his wife Osira. In reality, however, Zanaida was seduced by the court counsellor Silvero who posed as Argippo and is now also plagued by feelings of guilt as a result.

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ORLANDO PALADINO TAMERLANOJOSEPH HAYDN

Dramma eroicomico per musica in three acts (1782)

Libretto by Nunziato Porta


Conductor René Jacobs

Orlando Thomas Walker Angelica Robin Johannsen Rodomonte Konstantin Krimmel Eurilla Sunhae Im Alcina Sophie Harmsen

Kammerorchester Basel

During his lifetime, Joseph Haydn was the most famous composer in Europe. As kapellmeister to Prince Esterházy he spent a great deal of time, sometimes too much for his taste, at the prince’s country seat of Eszterháza. Despite this he was an artist with international connect- ions. With the exception of his first opera, which is lost, and his last, L’anima del filosofo, a version of Orpheus and Eurydice that was not performed in his lifetime, Haydn wrote all his operas for the Esterházys’ theatre at which operas were continuously staged from 1776 onward. He composed the dramma eroicomico Orlando paladino, an opera with heroic and comic elements, in anticipation of a visit from the Russian crown prince Paul. The libretto is based on Ludovico Ariosto’s epic poem Orlando furioso. The first performance, on 6 December 1782, the prince’s name day, was one of Haydn’s greatest successes. Orlando, a knight and paladin of Charlemagne, has fallen in love with the beauti-ful Angelica, princess of Cathay. However, she rejects him because she has already lost her heart to the handsome Medoro who is gallantly courting her. Madness takes Orlando and he wants to kill Angelica and the whole world. The good sorceress Alcina intervenes to cure him of his madness.



Libretto by Nicola Francesco Haym


Conductor Harry Bicket

Tamerlano Bejun Mehta Andronico Jakub Józef Orliński Bajazet Michael Spyres Asteria Sophie Bevan Irene Avery Amereau Leone Ashley Riches

The English Concert

Following his success with Giulio Cesare in Egitto, George Frideric Han-del turned his attention to Central Asian conqueror Timur, who during the Baroque age was known as Tamerlane. Handel was actually more interested in Tamerlane’s adversary Bajazet whose death inspired the composer to write one of the first death scenes to be shown on an opera stage. Tamerlano has defeated Bajazet and taken him prisoner. What is more, the conqueror wants to force Bajazet’s daughter Asteria to marry him, but she loves his Greek ally Andronico. Bajazet is humiliated and poisons himself. It is the death of his opponent that finally brings Tamerlano to his senses, and he relinquishes Asteria. In Baroque opera, most of the protagonists were of noble descent and it was not permitted to demean them in public. Consequently, it was not usual to show death scenes. For Tamerlano, Handel broke with this conven- tion. He gives the dying Bajazet ample room in his suffering. However, Handel was unable to show the death itself and shortly before he dies, Bajazet leaves the stage on which one of the most melancholy closing ensembles in Baroque opera then begins. Bajazet is also the first lead role in an opera to be written for a tenor voice.

Monday, 19 April 2021, 7 p.m. Thursday, 22 April 2021, 7 p.m.

SPECIAL PROJECTS

Multi-venue concert LOOKING 4 LUDWIG 50

Satirical recital TOD EINES PUDELS 51

Cabaret REIF FÜR DIE INSEL 52

Concert EGMONT & FIDELIO 53

Scenic concert WINTERREISE 54

Scenic concert HIMMELERDE 55

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LOOKING 4 LUDWIGMULTI-VENUE CONCERT

TOD EINES PUDELSSATIRICAL RECITAL

Music by Ludwig van Beethoven

Text by Christoph Wagner-Trenkwitz & Ksenija Zadravec

Emanuel Schikaneder Georg Wacks Leonore Anita Rosati Rocco Ivan Zinoviev (Young Ensemble Theater an der Wien) Franz Clement Maxim Tzekov

Flute Kathrin Waldner Guitar Anna Lesjak Accordion Bojana Popovicki Piano Christina Renghofer

Hartmann Quartet Maxim Tzekov, Emil Geber, Nicolás Bernal-Montaña, Domonkos Hartmann

In the early 19th century, opera and orchestral concerts shared the same stage, namely the theatre stage. These large-scale concerts were called musical academies. Since 2006 it is not just Ludwig van Beethoven’s sole opera Fidelio part of our programme, but the music performed at his musical academies as well. Emanuel Schikaneder, builder and first director of our opera house, opens “his” doors and sheds light on Beethoven and his time at Theater an der Wien. The route takes the guests not only to the red-carpeted aisles, but also behind closed doors, into side rooms and along labyrinthine paths into the belly of the theatre. This multi-venue concert is accompanied by Beethoven’s music from four relevant academies.

Mezzo-soprano Angelika Kirchschlager Satirist Alfred Dorfer

Piano Elizabete Šīrante

Music by Ludwig van Beethoven, Franz Schubert, Robert Schumann, Johannes Brahms, Georges Bizet,

Gustav Mahler, Erich Wolfgang Korngold and others

Which of us is not familiar with the classic lieder recital? Generally the audience knows what to expect: song cycles written as such, songs on a particular theme such as the seasons of the year, (religious) festivals, countries or moods; or tributes to prominent people, composers or famous singers. Few limitations are imposed on the artistic imagina-tion, so this basically simple concert form can take place all over the world in myriad forms and be open to additions. However, there is one thing many song recitals share: often – not always! – they convey a cer-tain seriousness or detachment. But it doesn’t have to be that way! In the song recital Tod eines Pudels (“Death of a Poodle”), classical music and comedy meet on stage in the persons of mezzo-soprano Angelika Kirchschlager and satirist Alfred Dorfer. And as if that is not enough, the duo will be inviting a surprise singing guest to join them at every performance. At first sight, the composers listed in the programme – from Beethoven and Schubert, to Schumann and Brahms and all the way to Mahler and Korngold – promise a very “classical” evening. But this promise is not kept. The evening is not intended as a simple cross- over of genres or a blend of styles, but aims to show what happens behind the facade of this mysterious world of classical music. And who better to spill the beans than Angelika Kirchschlager, who has seen what goes on backstage from New York to Tokyo?

Saturday, 19 September 2020, 2 p.m.Tuesday, 22 September 2020, 6.30 p.m.

Saturday, 26 September 2020, 4 p.m. | 6.30 p.m.Sunday, 27 September 2020, 11 a.m. | 2. p.m.

Friday, 27 November 2020, 6.30 p.m.Tuesday, 15 December 2020, 6.30 p.m.

Saturday, 10 October 2020, 7 p.m.Sunday, 13 December 2020, 7 p.m.

Tuesday, 9 March 2021, 7 p.m.Friday, 9 April 2021, 7 p.m.

Tuesday, 8 June 2021, 7 p.m.

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REIF FÜR DIE INSELCABARET PERFORMED IN GERMAN AT THE „HÖLLE“

EGMONT & FIDELIOCONCERT

Concept & Director Georg Wacks Set & costume designer Stefan Fleischhacker & Elena Schreiber Light designer Franz Tscheck With Elena Schreiber, Stefan Fleischhacker Martin Thoma, Georg Wacks Christoph Wagner-Trenkwitz

Ensemble „Albero Verde“

Violin Daniela Preimesberger, Eszter Augusztinovicz Cello Ruth Ferlic Clarinet Reinhold Brunner Piano Christina Renghofer

Exhibition Marie-Theres Arnbom

A production of the Armin Berg Gesellschaft on behalf of the Theater an der Wien in cooperation with

Letztes Erfreuliches Operntheater (LEO).

In the autumn of 1906, the theatre and cabaret known as the “Hölle” opened with the waltz Mephistos Höllenrufe. Since 2010, countless historical cabaret programmes have again delighted audiences and critics alike. Based on a painting by William Turner and a memory of the young Florence Nightingale, Georg Wacks, doggedly supported by his ensem-ble, creates the most wistful anniversary programme the historic caba-ret has ever seen: Reif für die Insel (“Ready for the Isles”). The twelfth programme is marked by departures to new shores and farewells and switches between fish and chips, Frank and Sinatra and leads the au-dience to the beautiful and bizarre world of historical cabaret.

on the occasion of Ludwig van Beethoven’s 250th birthday on 16.12.2020

BEETHOVEN

EGMONTIncidental music (1810) to Johann Wolfgang von Goethe’s tragedy Egmont

Klärchen Nicole Chevalier Sprecher Florian Boesch

FIDELIO from the opera in two acts

Overture

Rocco’s Aria | „Hat man nicht auch Gold beineben“ Rocco Florian Boesch

Leonore’s Aria | „Komm, Hoffnung, lass’ den letzten Stern“ Leonore Nicole Chevalier

Prisoners’ Chorus | „O welche Lust, in freier Luft“

Conductor Stefan Gottfried

Concentus Musicus WienArnold Schoenberg Chor (Chorus master: Erwin Ortner)

All his life, Beethoven concerned himself with the topos of liberty: what it means for human beings and how important it is to us all. In Count Egmont, the protagonist in Goethe’s drama, Beethoven found his ideal freedom fighter. For a performance of the play at Vienna’s Burgtheater in 1810 he composed ten pieces of incidental music. The most famous piece is the overture. Liberty is also the keyword of Beethoven’s on-ly opera Fidelio. It is the story of the courageous love of Leonore who, disguised as Fidelio, worms her way into the confidence of the gaoler Rocco because she suspects that her falsely imprisoned husband Don Florestan is in Rocco’s cells.

Premiere: 4 November 2020 Performances: 6 | 7 | 8 and 9 November, 1 | 2 | 3 | 4 and 7 December 2020 | 8 p.m. Saturday, 28 November 2020, 7 p.m.

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WINTERREISEFRANZ SCHUBERT

Song cycle based on poems by Wilhelm Müller (1827)

Scenic arrangement Ingo Kerkhof Light designer Franz Tscheck

Baritone Florian Boesch Piano Malcolm Martineau

One year before his death, Schubert completed the song cycle The Win-ter Journey to texts by the poet Wilhelm Müller. His first song cycle Die schöne Müllerin (The Fair Maid of the Mill) is also based on poems by Müller and still has a chronological narrative. The Winter Journey, writ-ten five years later, is a string of associations encountered en route by a traveller. When Schubert began setting Müller’s poems in February 1827 he was already incurably ill with syphilis. Schubert himself, who had announced The Winter Journey as “a cycle of terrifying songs” re-marked that “These songs please me more than all the rest, and in ti-me they will please you as well”. In the extensive repertoire of baritone Florian Boesch the lied occupies a very special position and is his own particular passion. As this season’s artist in residence, Boesch will al-so be performing as a lied singer at the Theater an der Wien and will present his own subtly individual approach to Schubert’s Winter Journey in which he seeks a personal evocation of a work based on real life: As a volunteer in the Prussian army the young Wilhelm Müller was ra- pidly promoted to lieutenant, then just as quickly cashiered when he fell in love with a Jewish tradesman’s wife in Brussels. Robbed of all hope, Müller marched back to Berlin from Brussels alone, on foot and in the depths of winter. Schubert, his death now inevitable, transposed Müller’s prevailing mood into music: the wanderer’s heart is in the grip of everlasting winter, only at night does he recall happier days, and he wavers between torpor and a hopless yearning for a better life.

from Familie Flöz and Musicbanda Franui

Based on works by Franz Schubert, Robert Schumann, Gustav Mahler, Anton Webern u.a.

Musical arrangement & composition Markus Kraler & Andreas Schett Conductor Andreas Schett Director Michael Vogel Masks Hajo Schüler Set designer Felix Nolze Costume designer Birgit Wentsch Light designer Reinhard Hubert Video Andreas Dihm Short films Mats Süthoff

Soprano Nikola Hillebrand Baritone Florian Boesch Dance & Choreographer Paul White

Mask play by and with Anna Kistel, Björn Leese, Hajo Schüler, Mats Süthoff

Musicbanda Franui

A production by Familie Flöz and Musicbanda Franui with Staatsoper Unter den Linden Berlin

Franui Musicbanda is a switchyard between classical music, folk, jazz and contemporary chamber music. Their musical roots lie in the music of their home region. Familie Flöz is a theatrical collective from Berlin, founded by students of mime and known for its non-verbal masked performances. These two approaches meet in the mask and music per-formance Himmelerde (“Heavenearth”) that takes as its starting point themes and motifs of German Romanticism.

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

HIMMELERDEMASKENMUSIKTHEATER

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THE 5TH JUNGES ENSEMBLE DES THEATER AN DER WIENCurtain up on our new young ensemble! From no fewer than 572 appli-cants from 56 countries we have chosen the six most outstanding young talents. Come and experience the sopranos Valentina Petraeva and Mi- riam Kutrowatz, the mezzo-soprano Sofia Vinnik, the tenor Andrew Mor-stein, the baritone Sebastià Peris and the bass Ivan Zinoviev in works from the Baroque age and the 19th and 20th centuries at both the Theater an der Wien and the Kammeroper. Besides three opera productions tailo-red to the JETs at the Kammeroper we are also continuing the series of

semi-staged JET specials that we began last season with great suc-cess. Artistic director of the ensemble is Jochen Breiholz, head

coach is Elizabete Šīrante.

VALENTINA PETRAEVA, sopranoThis season: Irene in Bajazet, Medea in Giasone,

Eudora in Belisario, Ludwig van Beethoven’s 9th Symphony.

MIRIAM KUTROWATZ, sopranoThis season: Idaspe in Bajazet, Alindain Giasone, Berta in Il barbiere di Siviglia.

SOFIA VINNIK, mezzo-sopranoThis season: Asteria in Bajazet, Myrtocle /

Albine in Thaïs, Rosina in Il barbiere di Siviglia, Ludwig van Beethoven’s 9th Symphony.

ANDREW MORSTEIN, tenorThis season: Andronico in Bajazet, Egeo

in Giasone, Il Conte d’Almaviva in Il barbiere di Siviglia, Amalekite in Saul, Ludwig van Beethoven’s 9th Symphony.

SEBASTIÀ PERIS, baritoneThis season: Figaro in Il barbiere di Siviglia.

IVAN ZINOVIEV, bassThis season: Antonio in Le nozze di Figaro, Oreste in Giasone, Eusebio / Ottario in Belisario, Don Basilio in Il barbiere di Siviglia, Ludwig van Beethoven’s 9th Symphony, Looking 4 Ludwig.

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OUR JET

JET SPECIALS

SONGS AND DANCES OF DEATHNowhere is the oft-cited Russian soul more palpably evident than in Rus-sian music literature: Love, if it exists, is always found near death. Start- ing from Modest Mussorgsky’s song cycle Songs and Dances of Death we embark on an exploration of the world of Russian opera. Boris Go- dunov, Herman the gambler, Aleko and Marfa the tsar’s bride are all fortune hunters, driven by a vague greed for fulfilment of their longing.

Scenic arrangement: NNWith: Valentina Petraeva, Miriam Kutrowatz, Sofia Vinnik, Andrew Morstein, Ivan Zinoviev | Piano: Elizabete Šīrante

Friday, 16 October 2020, 7 p.m.

DER FALL STRAUS (THE STRAUS AFFAIR)Five singles meet in a bar on New Year’s Eve. On this night, everyone is willing to take a chance. Especially when the irre-sistible music of Leo Fall and Oscar Straus is playing.

Scenic arrangement: Anna Katharina Bernreitner With: Valentina Petraeva, Miriam Kutrowatz, Sofia Vinnik, Andrew Morstein, Ivan Zinoviev | Wiener Salonmusiker Conductor: Christoph Huber

Wednesday, 30 December 2020, 7 p.m.

Thursday, 31 December 2020, 5 p.m.

DON GIOVANNI IN PROGRESSEveryone thinks they know Mozart’s Don Giovanni. And yet everyone sees it differently. Don Giovanni in progress was originally planned for the 2019/20 season and will now be staged with the new JETs. Who is the victim, who the offender, who wins and who loses? Only one thing is certain: Nothing is as it seems.

Scenic arrangement: Georg ZlabingerWith: Valentina Petraeva, Miriam Kutrowatz, Sofia Vinnik, Andrew Morstein, Sebastià Peris, Ivan Zinoviev | Piano: Elizabete Šīrante

Wednesday, 31 March 2021, 7 p.m.

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

In February and March 2021 the little experts can then hone their abilities as detectives and, with the aid of the opera gang’s four kidnap

specialists, solve an exciting case: Figaro has been kidnapped! Dur- ing this nerve-tingling adventure we must look for clues,

solve puzzles, open secret lockers and do many other things, all accompanied by Mozart’s music.

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

JUGEND MACHT OPER ages 14-21: This year, young people with different backgrounds come

together for the large-scale youth opera project DAFÜR! Together they will work on a major under-

taking: an opera. The variety of art forms in opera means that everyone can find their own approach to it,

through music, drama, dance, costumes, set design or visual arts. The piece will be performed in June 2021 at the Kammeroper and

in youth centres in Vienna’s outlying districts.

Contact & Information: Catherine Leiter / Marie HuberMusiktheatervermittlung / EducationTel.: +43 664 886 281 30 | [email protected]

JUGENDAN DER WIEN

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JUGEND MACHT OPERDAFÜR!Opera by and for young people aged 14 to 21

This season, we want to conquer all Vienna with our youth opera. The topics for the work titled DAFÜR! (“All for it!”) come from the young participants themselves: together they express their support of something that concerns them and moves them. They work on the text, dramatur-gy and music with professionals and are actively involved in all aspects. Choir rehearsals, voice training and workshops on acting, choreography, set design, costumes and music will be held all over the city.

From the autumn of 2020 the young people will be engaged in workshop groups on various topics while at the same time choir rehearsals will be held for everyone. It is here that the youngsters contribute their own mu-sic. Forms of movement will be explored and exchanged in choreography workshops, and the acting group will try out ideas in improvisations. From January the young participants can also join in the work on stage sets and costumes, designing and creating scenery and costumes themselves.

The piece will be performed in mid-June.

Duration: November 2020 to June 2021.

Registration: [email protected]

Administration & Concept Catherine Leiter Idea & Director Sara Ostertag Conductor & Arrangements Christoph Huber Choreographer Stefanie Wieser

Senior class orchestra of the Musikgymnasium Wien

Tickets: [email protected]

KINDER AN DER WIEN PAPAGENA JAGT DIE FLEDERMAUSAn exciting chase through the world of opera for children aged 6 to 10.

Prince Orlofsky invites our young visitors to a birthday party in his opera house. But suddenly a mysterious bat makes its presence felt: it flits about like a ghost and steals the birthday crown. The music is from Mozart’s Ma-gic Flute and from Johann Strauss’ Die Fledermaus.

Concept & Text Anna Katharina Bernreitner & Catherine Leiter Arrangements Leonard Eröd Conductor Viktor Mitrevski Director Anna Katharina Bernreitner Set & costume designer Hannah Rosa Oellinger & Manfred Rainer

With: Anita Rosati, Barbara Angermaier, Benjamin Chamandy, Petro-Pavlo Tkalenko and others

23 - 30 December 2020Tickets: [email protected] | accompanying adults € 20,- / children € 8,-

FIGARO UND DIE DETEKTIVE An exciting journey of discovery through the world of opera for children aged 6 to 10.

A wandering instrumental ensemble accompanies the singers/performers and the children on this interactive journey, while music from The Marriage of Figaro and The Abduction from the Seraglio is heard, albeit with different lyrics. Concept Anna Katharina Bernreitner & Catherine Leiter Text Catherine Leiter Arrangements Leonard Eröd Conductor Raphael Schluesselberg Director Anna Katharina Bernreitner Set & costume designer Hannah Rosa Oellinger & Manfred Rainer

February and March 2021Tickets: [email protected] | accompanying adults € 20,- / children € 8,-

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BEETHOVENAN der Wien

DENKEN

Audiences have always associated Emanuel Schikaneder and The Magic Flute with the Theater an der Wien. Less well remembered is the fact that it was the industrious Schikaneder who also brought Beethoven to the opera house. And it was here that the composer went on to per-form not only his Fidelio, but many symphonies and concertos for the first time. Many people no longer know that Beethoven worked and even lived at the theatre. Why is this? How do these sharp contours ari-se that define places of commemoration? When was it that the Theater an der Wien entered cultural memory as a location with a link to Beet-

hoven? The exhibition BEETHOVEN | AN der Wien | DENKEN tries to answer these questions: How did the Theater an der

Wien become a place of commemoration and what re-minders are there of the composer of Fidelio? It seems

that the idea of Beethoven as a “man of the the-atre” did not sit well with the widespread image

of the “lonely genius”. But here at the theatre Beethoven was one artist among many.

The exhibition looks at the time that Beetho-ven spent working at the Theater an der Wien: Who did he live with, who did he work with? What was everyday life at the theatre like? What sort of music and which forms of thea-tre were presented on the stage? At the same

time the exhibition reflects on how particular narratives emerged during the course of history:

How do the strains of music and stone comme-morative plaques give tangible form to commemo-

rative culture? A network member finder, an audience chat and unconventional ideas for furnishing Beethoven’s

apartment in the theatre invite visitors to see the composer from a completely different perspective and so question their own

image of Beethoven.

Joint project with the mdw – University of Music and Performing Arts Vienna, research project: Erinnerungsort Beethoven: Theater an der Wien (Supervisor: Melanie Unseld). The accompanying exhibition book, BEET- HOVEN | AN | DENKEN, is available now, published by Böhlau Verlag.

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15 YEARS THE NEW

OPERA HOUSE

Exhibition at the Theatermuseum Theater an der Wien from 17 January 2021

Exhibition at the Theatermuseum Theater an der Wien from 14 September 2020

I d o m e n e o • L u c i o S i l l a • L a c l e m e n z a d i T i t o • D i e S c h u l d i g k e i t d e s e r s t e n G e b o t s • D i e Z a u b e r f l ö t e • C o s ì f a n t u t t e • D o n G i o v a n n i • F l a m m e n • R e q u i e m • D i e Z a u b e r f l ö t e • I H a t e M o z a r t • I d o m e n e o , R e d i C r e t a • A S t r e e t c a r N a m e d D e s i r e • G i u l i o C e s a r e i n E g i t t o • L a f i n t a s e m p l i c e • L e n o z z e d i F i g a r o • D e a d M a n Wa l k i n g • D e r S p i e l e r • E u g e n O n e g i n • O r l a n d o p a l a d i n o • We i h n a c h t s o r a t o r i u m I - I I I • D i a l o g u e s d e s C a r m é l i t e s • M é d é e • K a t j a K a b a n o v a • L u i s a Fe r n a n d a • D i e Z a u b e r f l ö t e • A r i o d a n t e • O r f e o e d E u r i d i c e • T h e R a k e ’ s P r o g r e s s • I n t e r m e z z o • P e l l é a s e t M é l i s a n d e • P a r t e n o p e • M e s s i a h • M i t r i d a t e , R e d i P o n t o • I l t u r c o i n I t a l i a • D o n G i o v a n n i • D e a t h i n Ve n i c e • Ta n c r e d i • D e r P r i n z v o n H o m b u r g • I l m o n d o d e l l a l u n a • We i h n a c h t s o r a t o r i u m I - I I I • L’ i n c o r o n a z i o n e d i P o p p e a • D i e B e s e s s e n e n • I p h i g é n i e e n Ta u r i d e • D e r Fr e i s c h ü t z • D i e F l e d e r m a u s • S e m e l e • A r i a d n e a u f N a x o s • D i e s i e b e n To d s ü n d e n • L a f i n t a g i a r d i n i e r a • I l p o s t i n o • C a s t o r e t P o l l u x • T h e R a p e o f L u c r e t i a • R o d e l i n d a , R e g i n a d e ’ L o n g o b a r d i • D i a l o g u e s d e s C a r m é l i t e s • O r p h e u s • T h e Tu r n o f t h e S c r e w • S e r s e • G o g o l • L’ O r f e o • I o l a n t a | Fr a n c e s c a d a R i m i n i • Te l e m a c o • L e s c o n t e s d ’ H o f f m a n n ( I ) • H a m l e t • L e s c o n t e s d ’ H o f f m a n n ( I I ) • L a d o n n a d e l l a g o • I l r i t o r n o d ’ U l i s s e i n p a t r i a • I l t r i t t i c o • L a c a m b i a l e d i m a t r i m o n i o • I p h i g é n i e e n A u l i d e • Ve r k e h r m i t G e s p e n s t e r n • M a t h i s d e r M a l e r • R a d a m i s t o • L a b o h è m e • L e C o m t e O r y • F i d e l i o • B é a t r i c e e t B é n é d i c t • O r l a n d o • A t t i l a • T h e R a k e ’ s P r o g r e s s • S e m i r a m i d e • A H a r l o t ’ s P r o g r e s s • I d o m e n e o , R e d i C r e t a • L a C e n e r e n t o l a • L a z a r u s • I d u e Fo s c a r i • M a r e N o s t r u m • P l a t é e • M o z a r t - D a P o n t e - Tr i l o g i e • L a c l e m e n z a d i T i t o • M e s -s i a h • D i e K a m e l i e n d a m e • L a t r a v i a t a • C h a r o d e y k a • E u g e n O n e g i n • I p h i g é n i e e n A u l i d e e t Ta u r i d e • L e s p ê c h e u r s d e p e r l e s • R i n a l d o • A m e r i c a n L u l u • We i h n a c h t s o r a t o r i u m I - V I • L a s t r a n i e -r a • T h e B l i n d • I l b a r b i e r e d i S i v i g l i a • G e s c h i c h t e n a u s d e m W i e n e r Wa l d • G l i u c c e l l a t o r i • L e n o z z e d i F i g a r o • L a m è r e c o u p a b l e • L’ h e u r e e s p a g n o l e | L e s m a m e l l e s d e T i r é s i a s • H a n s H e i l i n g • L’ i n c o r o n a z i o n e d i P o p p e a • D e r f l i e g e n d e H o l l ä n d e r • A n t i g o n e • P e t e r G r i m e s • D i e D r e i g r o s c h e n o p e r • O t e l l o • C a r m e n • A g r i p p i n a • C a p r i c c i o • H ä n s e l u n d G r e t e l • E l J u e z • H a m l e t • L a t r a v i a t a • Fa l s t a f f • M a c b e t h • D o n G i o v a n n i • D e r K a i s e r v o n A t l a n t i s o d e r D i e To d - Ve r w e i g e r u n g • T h e Fa i r y - Q u e e n • P e e r Gy n t • O r e s t e • E l i s a b e t t a • G e s p e n s t e r • C a r m e n • E l e g i e f ü r j u n g e L i e b e n d e • D i e S c h u l e d e r E i f e r s u c h t • D i e Z a u b e r f l ö t e • A r i a d n e a u f N a x o s • Wo z z e c k • D o n P a s q u a l e • R i n g - Tr i l o g i e : H a g e n , S i e g f r i e d , B r ü n n h i l d e • M a r i a S t u a r d a • P é l l e a s e t M é l i s a n d e • S a u l • D e r B e s u c h d e r a l t e n D a m e • A M i d s u m m e r N i g h t ’ s D r e a m • C o s ì f a n t u t t e • D i e M ö w e • A l c i n a • D i e Z a u b e r i n s e l • G u i l l a u m e Te l l • Te s e o • D o n C a r l o s • E u r y a n t h e • K i n g A r t h u r • L’ e n f a n t | O l y m p i a • D i e J u n g f r a u v o n O r l e a n s • O r l a n d o • C a n d i d e • O b e r o n • R u s a l k a • Fa u s t • L a c l e m e n z a d i T i t o • L a Ve s t a l e • G i u s t i n o • H a l k a • S a l o m e • E g m o n t • G e n i a • F i d e l i o • Z a z à • B a j a z e t • P o r g y a n d B e s s • L e n o z z e d i F i g a r o • G i a s o n e • P l a t é e

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INFORMATION

TICKET SALESTickets go on sale to the general public on 16 June 2020 at 10 a.m. for theperformances until 31 December 2020, at the box office at the Theater an der Wien and the WIEN-TICKET Pavilion and can also be ordered by telephone on +43 (0)1 58885-111. Tickets for performances from 1 January 2021, go on sale to the general public on 1 September 2020, at 10 a.m. In the online shop, tickets go on general sale one day after each of the two dates above. Please note that no orders for individual tickets can be accepted before tickets go on general sale.

BOX OFFICE THEATER AN DER WIEN & KAMMEROPERBox office for both venues: Theater an der Wien, Linke Wienzeile 6, 1060 ViennaOpening hours: Mon - Sat, 10 a.m. - 6 p.m.*Closed on Sundays, except for matinee performances (open from10 a.m. - 1 p.m.) and evening performances (open from 2 p.m. - 6 p.m.)*

Information and phone sales: WIEN-TICKET Service on +43 (0)1 58885-111 (plus € 2 facility fee per booking) * Opening hours subject to change.

EVENING BOX OFFICEFor purchasing and picking up tickets for that evening’s performanceat the Theater an der Wien: from 6 p.m. until curtain-upat the Kammeroper (address: Fleischmarkt 24, 1010 Vienna):from one hour before curtain-up

Please note that ticket sales for performances other than that evening’s and any subscription enquiries (e.g. exchange) are no longer possible at the Theater an der Wien box office after 6 p.m.

WIEN-TICKET PAVILIONTickets (except subscription tickets) are also available from the WIEN-TICKET Pavilion on Herbert von Karajan-Platz by the State Opera from 16 June 2020 and 1 September 2020 respectively. Open daily from 10 a.m. - 7 p.m.(plus € 2 service charge per booking).

BOOKING BY PHONETickets (except subscription tickets and other concessions) can also be ordered by phone every day from 8 a.m. - 8 p.m. from WIEN-TICKET

Service on +43 (0)1 58885-111. Shipping charge*: within Austria: € 5,90; abroad: € 9,90 (plus € 2 service charge per booking).

INTERNET www.theater-wien.at | www.kammeroper.atIndividual tickets can be purchased online from 17 June and 2 September, 2020, respectively. Shipping charge*: within Austria € 5,90;abroad € 9,90. There is no surcharge for print@home tickets, mobile tickets on your smartphone and holding purchased tickets for collection at the Theater an der Wien daytime box office. € 1.50 will be charged for holding purchased tickets for collection at the Theater an der Wien or Kammeroper evening box office.* Shipping charges are subject to change.

The Theater an der Wien and Kammeroper newsletter can be subscribedto free of charge at www.theater-wien.at.

Visit us on Facebook: www.facebook.com/TheateranderWientwitter: twitter.com/TheaterWienand instagram: instagram.com/theateranderwienVideos at: www.youtube.com/theateranderwien

GROUP BOOKINGSFor bookings for groups of 11 or more, please e-mail the Theater an der Wien sales department.Tel. +43 (0)1 588 30-2903 or e-mail: [email protected]

VOUCHERSVouchers for productions of the Theater an der Wien or the Kammeroper can be purchased at any VBW ticket office, in the online shop at www.theater-wien.at or by phone on +43 (0)1 58885-111 (+ € 2 service charge per booking). Vouchers are not valid for non-Theater an der Wien and Kammeroper productions (e.g. Wiener Festwochen) held at those venues.

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WHEELCHAIR SPACES/SPECIAL NEEDSPERSONS WITH REDUCED MOBILITYWheelchair spaces can be reserved at the Theater an der Wien (also foran accompanying person if desired) up to a week before the performancefor which tickets have been bought on +43 (0) 1 58885-111 or at our boxoffices. Price: € 10 (wheelchair space) with a 50 % concession for theaccompanying person. Patrons with a disabled person ID are granted a 25 % reduction up to one week before the performance for which they have bought tickets. These concessions are available only at the theatre box offices on presentation of a disabled person ID (limited ticket availability). Please note that there are no lifts in the Theater an der Wien or the Kammeroper, and there are no wheelchair spaces in the Kammeroper.

STANDING ROOM50% of the available standing room tickets are on sale from one week prior to the performance. The remaining tickets go on sale one hour before curtain-up. Price: € 5. No standing room is available in the Kammeroper.

TICKETS FOR STUDENTS AND SCHOOLCHILDRENTickets for schoolchildren and students up to age 26 are available, at the theatre’s discretion and no earlier than 15 minutes before curtain-up, at the box offices of the Theater an der Wien and the Kammeroper on presentation of appropriate ID.Theater an der Wien: € 20 Kammeroper: € 12

JUNIOR-TICKETChildren or adolescents (under 16) who attend a Theater an der Wienproduction are granted a 35% reduction on ticket prices in the categoriesA - E at Theater an der Wien and in the categories A - D at Kammeroper.Available at all VBW box offices, the Theater an der Wien online shop at www.theater-wien.at and by phone from WIEN-TICKET Service on +43(0)1 58885-111 (plus € 2 service charge per booking).

SAVE ON PARKING WHEN YOU VISIT THE THEATER AN DER WIENPatrons of the Theater an der Wien can park in the Technical University’s WiPark garages on Operngasse and Lehárgasse for only € 6.90 for the first five hours. Valid Mon-Sat, 5 p.m. - 8 a.m., Sundays and holidays. Pre-paid parking cards are available at the Theater an der Wien box office.Addresses: Garage Technische Universität | Operngasse 13 | 1040 Vienna Garage Lehárgasse | Lehárgasse 4 | 1060 Vienna

SAVE ON PARKING WHEN YOU VISIT THE KAMMEROPERPatrons of the Kammeroper can park in the BOE Garage on Franz-Josefs-Kai for € 5.20 per day. Valid Mon-Sun, 6 p.m. - 7 a.m. Pre-paid parking cards are available at the Kammeroper evening box office.Address: BOE Garage Franz-Josefs-Kai | Morzinplatz 1 | 1010 Vienna

GUIDED TOURS OF THE THEATER AN DER WIEN Groups taking part in guided tours are limited to thirty people. The meeting point is the main entrance where the group will be picked up in good time; the visitors then enter the theatre through the foyer. Tours are in German and last approximately one hour.

The tour includes the foyer, the auditorium, various stage areas and the dressing-room area. Visitors will learn about the building’s history, its programme of performances, the way it is organised and the technology used.

It is of course also possible to book private tours (in other languages, for example, or at other times). If you require such a tour, please be sure to book your appointment in advance, either in writing or by phone.

Contact for all tours of the Theater an der Wien:Philipp Wagner-Nguyen, phone +43 (0) 1 588 30-2015 E-mail: [email protected]

Price: € 7/5 (concession)* | Groups of schoolchildren: € 3Children under 6: free* Concessions apply to school pupils, students up to age 26,persons in military/community service

www.theater-wien.at

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PLAYING SCHEDULE

SEPTEMBER 2020

Sunday 13 11 a.m. Introduction Zazà 12Wednesday 16 7 p.m. ZAZÀ / Leoncavallo | Premiere 12Friday 18 7 p.m. Zazà 12Saturday 19 2 p.m. Looking 4 Ludwig 50Saturday 19 18.00 vor abendrot – Preview 10Sunday 20 11 a.m. Introduction Bajazet 14Sunday 20 7 p.m. Carlo il Calvo / Porpora (Concert) 40Monday 21 7 p.m. Zazà 12Tuesday 22 6.30 p.m. Looking 4 Ludwig 50Wednesday 23 7 p.m. Zazà 12Friday 25 7 p.m. Zazà 12Saturday 26 16.00 Looking 4 Ludwig 50Saturday 26 6.30 p.m. Looking 4 Ludwig 50Saturday 26 7 p.m. BAJAZET / Vivaldi | Premiere 14Sunday 27 11 a.m. Looking 4 Ludwig 50Sunday 27 2 p.m. Looking 4 Ludwig 50Sunday 27 7 p.m. Zazà 12Monday 28 7 p.m. Bajazet 14Wednesday 30 7 p.m. Bajazet 14

OCTOBER 2020

Friday 2 7 p.m. Bajazet 14Sunday 4 7 p.m. Bajazet 14Wednesday 7 7 p.m. Bajazet 14Friday 9 7 p.m. Bajazet 16Saturday 10 7 p.m. Tod eines Pudels 51Sunday 11 11 a.m. Introduction Porgy and Bess 16Sunday 11 7 p.m. Bajazet 14Tuesday 13 7 p.m. Bajazet 14Wednesday 14 7 p.m. PORGY AND BESS / Gershwin | Premiere 16Thursday 15 7 p.m. Porgy and Bess 16Friday 16 7 p.m. Porgy and Bess 16Friday 16 7 p.m. JET Special: Songs and Dances of Death 57Saturday 17 7 p.m. Porgy and Bess 16

OCTOBER 2020

Sunday 18 7 p.m. Porgy and Bess 16Tuesday 20 7 p.m. Porgy and Bess 16Wednesday 21 7 p.m. Porgy and Bess 16Thursday 22 7 p.m. Porgy and Bess 16Friday 23 7 p.m. Porgy and Bess 16Saturday 24 7 p.m. Porgy and Bess 16

NOVEMBER 2020

Wednesday 4 8 p.m. REIF FÜR DIE INSEL / Premiere (Hölle) 52Friday 6 8 p.m. Reif für die Insel (Hölle) 52Saturday 7 8 p.m. Reif für die Insel (Hölle) 52Sunday 8 11 a.m. Introduction Le nozze di Figaro 18Sunday 8 8 p.m. Reif für die Insel (Hölle) 52Monday 9 8 p.m. Reif für die Insel (Hölle) 52Thursday 12 7 p.m. LE NOZZE DI FIGARO / Mozart Premiere 18Saturday 14 7 p.m. Le nozze di Figaro 18Sunday 15 7 p.m. Oreste / Handel (Concert) 41Monday 16 7 p.m. Le nozze di Figaro 18Thursday 19 7 p.m. Le nozze di Figaro 18Saturday 21 7 p.m. Le nozze di Figaro 18Sunday 22 7.30 p.m. Nestroy Award Monday 23 7 p.m. Le nozze di Figaro 18Friday 27 6.30 p.m. Looking 4 Ludwig 50Saturday 28 7 p.m. Egmont & Fidelio / Beethoven (Concert) 53Sunday 29 11 a.m. Introduction Giasone 20Sunday 29 7 p.m. GIASONE / Cavalli | Premiere 20

DECEMBER 2020

Tuesday 1 8 p.m. Reif für die Insel (Hölle) 52Wednesday 2 8 p.m. Reif für die Insel (Hölle) 52Thursday 3 8 p.m. Reif für die Insel (Hölle) 52Friday 4 7 p.m. Giasone 20Friday 4 8 p.m. Reif für die Insel (Hölle) 52Sunday 6 7 p.m. Giasone 20

Day Date Time Performance Page Day Date Time Performance Page

Performances highlighted in grey take place at Kammeroper.

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DECEMBER 2020

Monday 7 8 p.m. Reif für die Insel (Hölle) 52Thursday 10 7 p.m. Giasone 20Saturday 12 7 p.m. Giasone 20Sunday 13 11 a.m. Introduction Platée 22Sunday 13 7 p.m. Tod eines Pudels 51Monday 14 7 p.m. PLATÉE / Rameau | Premiere 22Tuesday 15 6.30 p.m. Looking 4 Ludwig 50Wednesday 16 7 p.m. Platée 22Thursday 17 7 p.m. Messiah / Handel (Concert) 42Friday 18 7 p.m. Platée 22Saturday 19 7 p.m. Giasone 20Sunday 20 7 p.m. Platée 22Wednesday 23 16.00 Kinder an der Wien Papagena jagt die Fledermaus 60Sunday 27 11 a.m. Kinder an der Wien Papagena jagt die Fledermaus 60Sunday 27 2 p.m. Kinder an der Wien Papagena jagt die Fledermaus 60Monday 28 11 a.m. Kinder an der Wien Papagena jagt die Fledermaus 60Monday 28 2 p.m. Kinder an der Wien Papagena jagt die Fledermaus 60Tuesday 29 7 p.m. Platée 22Wednesday 30 11 a.m. Kinder an der Wien Papagena jagt die Fledermaus 60Wednesday 30 2 p.m. Kinder an der Wien Papagena jagt die Fledermaus 60Wednesday 30 7 p.m. JET Special: Der Fall Straus 57Thursday 31 5 p.m. JET Special: Der Fall Straus 57Thursday 31 7 p.m. Platée 22

JANUARY 2021

Tuesday 5 7 p.m. Giasone 20Friday 8 7 p.m. Giasone 20Sunday 10 7 p.m. Giasone 20Tuesday 12 7 p.m. Giasone 20

JANUARY 2021

Sunday 17 11 a.m. Introduction Thaïs 24Tuesday 19 7 p.m. THAÏS / Massenet | Premiere 24Thursday 21 7 p.m. Thaïs 24Saturday 23 7 p.m. Thaïs 24Monday 25 7 p.m. Cajo Fabrizio / Hasse (Concert) 43Tuesday 26 7 p.m. Thaïs 24Thursday 28 7 p.m. Thaïs 24Friday 29 7 p.m. Winterreise / Schubert 54Saturday 30 7 p.m. Thaïs 24

FEBRUARY 2021

Sunday 14 11 a.m. Introduction Belisario 26Tuesday 16 7 p.m. BELISARIO / Donizetti | Premiere 26Thursday 18 7 p.m. Belisario 26Friday 19 7 p.m. Armida / Salieri (Concert) 44Saturday 20 11 a.m. Kinder an der Wien Figaro und die Detektive 60Saturday 20 7 p.m. Belisario 40Sunday 21 11 a.m. Kinder an der Wien Figaro und die Detektive 60Sunday 21 2 p.m. Kinder an der Wien Figaro und die Detektive 60Tuesday 23 7 p.m. Belisario 26Thursday 25 7 p.m. Belisario 26Friday 26 7 p.m. Himmelerde / Flöz & Franui (Concert) 55Saturday 27 11 a.m. Kinder an der Wien Figaro und die Detektive 60Saturday 27 2 p.m. Kinder an der Wien Figaro und die Detektive 60Saturday 27 7 p.m. Belisario 26Sunday 28 11 a.m. Introduction Il barbiere di Siviglia 28

MARCH 2021

Friday 5 7 p.m. IL BARBIERE DI SIVIGLIA / Rossini Premiere 28Sunday 7 7 p.m. Il barbiere di Siviglia 28Tuesday 9 7 p.m. Tod eines Pudels 51Wednesday 10 7 p.m. Il barbiere di Siviglia 28Saturday 13 7 p.m. Il barbiere di Siviglia 28Sunday 14 11 a.m. Introduction The Fiery Angel 30Tuesday 16 7 p.m. Il barbiere di Siviglia 28

Day Date Time Performance Page Day Date Time Performance Page


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MARCH 2021

Wednesday 17 7 p.m. THE FIERY ANGEL / Prokofiev | Premiere 30Thursday 18 7 p.m. Il barbiere di Siviglia 28Friday 19 7 p.m. The Fiery Angel 30Saturday 20 11 a.m. Kinder an der Wien Figaro und die Detektive 60Saturday 20 2 p.m. Kinder an der Wien Figaro und die Detektive 60Saturday 20 7 p.m. Il barbiere di Siviglia 28Sunday 21 11 a.m. Kinder an der Wien Figaro und die Detektive 60Sunday 21 2 p.m. Kinder an der Wien Figaro und die Detektive 60Sunday 21 7 p.m. The Fiery Angel 30Monday 22 7 p.m. Argippo / Vivaldi (Concert) 45Tuesday 23 7 p.m. Il barbiere di Siviglia 28Wednesday 24 7 p.m. The Fiery Angel 30Thursday 25 5 p.m. Kinder an der Wien Figaro und die Detektive 60Thursday 25 7 p.m. Il barbiere di Siviglia 28Friday 26 7 p.m. The Fiery Angel 30Saturday 27 11 a.m. Kinder an der Wien Figaro und die Detektive 60Saturday 27 2 p.m. Kinder an der Wien Figaro und die Detektive 60Saturday 27 7 p.m. Il barbiere di Siviglia 28Sunday 28 7 p.m. The Fiery Angel 30Wednesday 31 7 p.m. JET Special: Don Giovanni in progress 57

APRIL 2021

Friday 9 7 p.m. Tod eines Pudels 51Sunday 11 11 a.m. Introduction Saul 32Friday 16 7 p.m. SAUL / Handel | Premiere 32Sunday 18 7 p.m. Saul 32Monday 19 7 p.m. Orlando paladino / Haydn (Concert) 46Tuesday 20 7 p.m. Saul 32Thursday 22 7 p.m. Tamerlano / Handel (Concert) 47Friday 23 7 p.m. Saul 32Sunday 25 7 p.m. Saul 32Tuesday 27 7 p.m. Saul 52

Day Date Time Performance Page


MAY 2021

Wednesday 5 7 p.m. AN DIE FREUDE / Hamburg Ballett Premiere 34Thursday 6 7 p.m. An die Freude / Hamburg Ballett 34Friday 7 7 p.m. An die Freude / Hamburg Ballett 34Sunday 16 11 a.m. Introduction Tristan Experiment 36Wednesday 26 7 p.m. TRISTAN EXPERIMENT / Wagner Premiere 36Saturday 29 7 p.m. Tristan Experiment 36

JUNE 2021

Tuesday 1 7 p.m. Tristan Experiment 36Sunday 6 7 p.m. Tristan Experiment 36Tuesday 8 7 p.m. Tod eines Pudels 51Wednesday 9 7 p.m. Tristan Experiment 36Sunday 13 7 p.m. Tristan Experiment 36Thursday 17 7 p.m. Tristan Experiment 36Sunday 20 7 p.m. Tristan Experiment 36

Day Date Time Performance Page

All works of art in this programme are provided by

HERMINE KARIGL-WAGENHOFERBorn in Sonntagberg in Lower Austria. Lives and works in Vienna.

Studied History at the University of Vienna and at the Academy of Fine Arts with Gustav Hessing and Friedensreich Hundertwasser; Teacher’s de-gree for Art Education and History; Lecturer at the academic secondary school. After completing her studies, she worked as an artist.

Kardinal-König Prize for Image Design; Art Education Prize, Academy of Fine Arts; Füger Prize, Academy of Fine Arts; Adolf Peschek Prize, St. Pölten

A selection of exhibitions and exhibition participations: Blau-Gelbe-Ga-lerie, Vienna; Grafenegg Castle; Art-Room-Würth, Tsukubu Art Museum, Tokyo; Big Gallery, Dortmund; Metropolitan Theatre, Tokyo; City Museum, St. Pölten;

7574

THEATER AN DER WIEN General Manager of Vereinigte Bühnen Wien GmbH Franz Patay

ARTISTIC DIRECTION THEATER AN DER WIEN

Artistic Director TAW & General Manager Kammeroper Roland Geyer

Assistant to Artistic Director Sylvia Hödl

Press Officer Sabine Seisenbacher

Head of Administration / Deputy Artistic Director & Managing Director Kammeroper Renate Futterknecht

Subscriptions & Guided Tours Philipp Wagner-Nguyen

Subscriptions & Website Markus Schemmel

Head of Artistic Administration & Artistic Director Kammeroper Jochen Breiholz

Assistant to Head of Artistic Administration Ugo Varela

Head of Scheduling & Artistic Administration Claudia Stobrawa

Dramaturgy Karin Bohnert, Ksenija Zadravec

Artistic Production Managers Petra Haidvogel, Anja Meyer, Simone Kraft

Production Manager Kammeroper Axel E. Schneider

Head Coach Kammeroper Elizabete Šīrante

Head of Education Catherine Leiter

TECHNICAL DIRECTION THEATER AN DER WIEN

Technical Director Veronika Leitl

Technical Production Manager Michael Baumeister, Natascha Nouak, Christoph Andreas Fath

Head of Technical Planning Gerald Stotz

Chief Stage Technicians Bernd Kirchmayer, Johann Ponleitner, Horst Willmann, Günter Wladika

Chief Engineer Robert Auer

Head Property Man Michael Haas

Sound Engineer Florian Bogner

Chief Lighting Technician Gwen Lohmann

Head of Costume Doris Maria Aigner

Dresser Coordination / Costume Workshop Stagione Andreas Schaffler

Chief Dresser Hannelore Habel

Head of Make-Up Gabriele Kammerer

House Manager Sandra Swoboda

GENERAL MANAGEMENT VEREINIGTE BÜHNEN WIEN

General Manager Franz Patay

Assistants to General Manager Alexandra Plot, Alice Schmid

Head of Communications Astrid Bader

Head of Marketing / Sales Günther Hummer

Head of Development Department Ulrike Spann

Head of Finance & Controlling Florian Gradwohl

Head of Accounts Frank Ellmer

Head of Facility Management Christian Zisser

Head of Human Resources Eva Planötscher-Stroh

Central Purchasing Officer Petra Garai

Head of IT Peter Darrer

WORKS COUNCIL TECHNICAL DEPARTMENT & ADMINISTRATION VBWChairman Ulrich Knarren

SUPERVISORY BOARD OF VEREINIGTE BÜHNEN WIEN G.M.B.HChair of the Supervisory Board Elisabeth Freismuth

Deputy Chair Kurt Gollowitzer

Wolfgang Fischer, Arne Forke, Petra Martino, Christoph Maschek, Thomas Neuwerth, Doris Rechberg-Missbichler, Eva Rosenauer-Albustin, Christian Strasser

www.theater-wien.at | +43 (0) 1 588 30-1010

The book is available in all bookstores in Austria, Germany and Switzerland.Online: edition.lammerhuber.at and on Amazon. Price: € 29,90

New release!

BEETHOVEN IN VIENNA

All texts inside in German and English

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If you are interested in sponsoring the Theater an der Wien and our Junges Ensemble des Theater an der Wien, please contact Ms Ulrike Spann / Head of Development Department or Mrs Sandra Risska-Proszowski / Head of Sponsoring on +43/1/ 588 30 1330.

THE THEATER AN DER WIEN WOULD LIKE TO THANK ALL ITS PARTNERS, FRIENDS AND SPONSORS

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PRICES THEATER AN DER WIEN

* Cloak-room fees are included in the ticket price.

MUSICAL THEATRE Prices in € *Zazà | Porgy & Bess | Le nozze di Figaro | PlatéeThaïs | Belisario | The Fiery Angel | Saul a 148 b 126 c 99 d 89 e 68 f 48 g 25

CONCERT PERFORMANCES & SPECIAL PROJECTS20.9.2020 Carlo il Calvo | 15.11.2020 Oreste | 28.11.2020 Egmont & Fidelio 17.12.2020 Messiah | 25.1.2021 Cajo Fabricio | 19.2.2021 Armida22.3.2021 Argippo | 19.4.2021 Orlando paladino | 22.4.2021 Tamerlano29.1.2021 Winterreise | 26.2.2021 Himmelerde a 75 b 62 c 50 d 40 e 30 f 22 g 13

SPECIAL PROJECTHamburg Ballett – An die Freude a 125 b 106 c 85 d 69 e 52 f 35 g 20

19 | 22 | 26 | 27 September 2020 Looking 4 Ludwig 27 November 2020 | 15 December 2020 20

CABARET AT THE „HÖLLE“ 254 | 6 | 7 | 8 | 9 November 2020 1 | 2 | 3 | 4 | 7 December 2020Reif für die Insel

INTRODUCTIONS 5

vor abendrot – Preview 5

KINDER AN DER WIEN 20 / 8December 2020 Papagena jagt die FledermausFebruary and March 2021 Figaro und die Detektive

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no tickets are on sale for the boxes in the second balcony at any concerts or

concert performances of operas.

PRICES KAMMEROPERMUSICAL THEATRE Prices in € *Bajazet | Giasone | Il barbiere di SivigliaTristan Experiment | Tod eines Pudels a 51 b 40 c 29 d 19

INTRODUCTIONS 5

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

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· 2021. 1. 7. · argippo bajazet messiah belisario saul zazÀ platÉe thaÏs armida carlo oreste...

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