At the heart of the opera is a wealthy Viennese patron who funds and stages art not out of conviction, but as a social whim. For him, a young composer’s opera is merely part of a festive programme that can be altered as much as he wants. Whilst preparations for an opulent musical banquet are underway at the patron’s residence, the artists find themselves caught in a conflict between artistic integrity and courtly caprice. In relocating this parody to the present, director Ersan Mondtag, here making his Salzburg Festival debut, launches into Mars. On this barren planet, the ‘barren island’ of Naxos – where in the second part of the work the encounter between Ariadne and Bacchus takes place – is a silent metaphor for modern ruthlessness. The result is a satire on art and power, on artistic integrity and dependence on money and social favour, that is as ironic as it is astute.
Fidelio
None other than Oscar-winner Christoph Waltz has been engaged for the stage direction of the new production of Fidelio from the Theater an der Wien. There, at one of the oldest opera houses in Vienna, L.v. Beethoven was what one would call today a composer-in-residence. In his third opera production Waltz brilliantly stages the second version of the opera in the breathtaking set designed by the German-American architectural practice Barkow Leibinger. The abstract staircase landscape in the form of a double helix, symbolizing prison, extends space into the back theatre and is infinitely changeable in the cinematic lighting concept of Hollywood regular Henry Braham. Manfred Honeck at the rostrum of the dynamic Wiener Symphoniker leads a superb and versatile cast of “vocally oustanding“ (Der Standard) singers: Nicole Chevalier bewitches vocally and dramatically on her stage debut as Leonore, Eric Cutler gives Florestan a powerful voice. Christof Fischesser, Gábor Bretz, Mélissa Petit complete the strong ensemble. But the production, which was sold out months before, never saw its stage premiere, as the Theater an der Wien sadly had to shut down due to the Covid 19 pandemic a few days before. Thanks to an incredible effort by all participants, the opera house was converted into a film studio at short notice so that Christoph Waltz’s “convincing production” (Die Zeit) of Beethoven‘s flaming musical plea for freedom and humanity could be preserved for posterity. “An ingenious, enigmatic direction” (Münchner Merkur)
Fidelio
None other than Oscar-winner Christoph Waltz has been engaged for the stage direction of the new production of Fidelio from the Theater an der Wien. There, at one of the oldest opera houses in Vienna, L.v. Beethoven was what one would call today a composer-in-residence. And he was this in two respects: here he lived for two years in an apartment in the wing of the building. And it was here that he premiered many of his most famous orchestral works, symphonies and his only opera: Fidelio. In his third opera production Waltz brilliantly stages the second version of the opera in the breathtaking set designed by the German-American architectural practice Barkow Leibinger. The abstract staircase landscape in the form of a double helix, symbolizing prison, extends space into the back theatre and is infinitely changeable in the cinematic lighting concept of Hollywood regular Henry Braham. Manfred Honeck at the rostrum of the dynamic Wiener Symphoniker leads a superb and versatile cast of “vocally oustanding“ (Der Standard) singers: Nicole Chevalier bewitches vocally and dramatically on her stage debut as Leonore, Eric Cutler gives Florestan a powerful voice. Christof Fischesser, Gábor Bretz, Mélissa Petit complete the strong ensemble. But the production, which was sold out months before, never saw its stage premiere, as the Theater an der Wien sadly had to shut down due to the Covid 19 pandemic a few days before. Thanks to an incredible effort by all participants, the opera house was converted into a film studio at short notice so that Christoph Waltz’s “convincing production” (Die Zeit) of Beethoven‘s flaming musical plea for freedom and humanity could be preserved for posterity. “An ingenious, enigmatic direction” (Münchner Merkur)
The Odeonsplatz Concert 2017: Honeck & Grubinger
Munich’s Odeonsplatz Concert is one of the openair highlights of the year. Nestled in the historic city centre, between the magnificent Residenz Palace, the towering Theatinerkirche and the Feldherrnhalle, the Odeonsplatz provides the appropriate setting for an exceptional performer such as Martin Grubinger. The Austrian multi-percussionist is credited for turning classical solo percussion into an event. He demonstrates his versatility with works by Bruno Hartl, John Corigliano and Tan Dun, who wrote The Tears of Nature specifically for him. Performing at a breakneck pace, Grubinger, “a virtuoso beyond believe” (Süddeutsche Zeitung), challenges the Bavarian Radio Symphony Orchestra under Manfred Honeck to a percussion duel at the highest level. Pieces by Antonin Dvorák and Dmitri Shostakovitch complete the programme.
Springtime in Vienna 2024
Say goodbye to winter blues with this musical bouquet of wonderful melodies. Every year, the Wiener Symphoniker ring in the spring season with their Easter Concert, which has been a major highlight of Vienna’s musical calendar for more than 40 years. This edition features conductor Manfred Honeck, the Singverein der Gesellschaft der Musikfreunde in Wien and world-class soprano Diana Damrau, who dazzles the audience with Puccini’s “O mio babbino caro”, Lehár’s “Meine Lippen, sie küssen so heiß” and Poulenc’s “Gloria” among others. PROGRAM: Music by Bruckner, Brahms, Puccini, Lehar, Orff, Poulenc.
Honeck conducts Beethoven & Schmidt
Young Spanish violinist María Dueñas is currently conquering the concert stages of the world and performing with the most renowned orchestras and conductors of our time. Her technical skills, artistic maturity and interpretations full of character come together in her performances. Winner of several violin competitions, she was selected by BBC Radio 3 as one of the New Generation Artists 2021-23. In this concert with the Vienna Symphony Orchestra conducted by Manfred Honeck, she presents Beethoven’s Violin Concerto with her own cadenzas. “Her mixture of tautness and elasticity, verve and sensitivity was as enchanting as the focused, luminous tone of her violin” (Der Standard). The concert is rounded off with Franz Schmidt’s (1874–1939) Fourth Symphony.
Salzburg Festival 2020: Camerata Salzburg & Honeck
“Rarely has the warmth that this miraculous movement evokes in people been so intense as in the matinee of the Camerata Salzburg on Sunday. Ottensamer’s interaction with the orchestra brought about another, for many, last unforgettable moment of this festival summer” Salzburger Nachrichten. PROGRAM: PÄRT: Cantus in memoriam Benjamin; MOZART: Concerto for Clarinet and Orchestra K. 622; STRAUSS: Metamorphosen for 23 solo strings
An evening with Lehár
Franz Lehár, the founder of the Silver Operetta Era and creator of unforgettable melodies, would have turned 150 in 2020. He has been a central artistic companion of the Wiener Symphoniker who initiated a fabulous concert with renowned artists including Finnish soprano Camilla Nylund and tenors Piotr Beczala and Michael Schade. Manfred Honeck conducts. The concert at the beautiful Theater an der Wien features Lehár’s most popular pieces from The Merry Widow, The Land Of Smiles, Zarewitsch, The Count Of Luxembourg and Giuditta including the hits Meine Lippen, Sie Küssen So Heiß and Dein Ist Mein Ganzes Herz.
Così fan Tutte (Mozart 22)
Women are like that, women act that way – no matter how you translate the words “Così fan tutte,” it boils down to this: women are impossible to understand! The philosopher Don Alfonso, however, believes he knows how to read women’s hearts and is ready to test his theory in a little experiment of love. When Ursel and Karl-Ernst Herrmann’s production of “Così” begins, we find Don Alfonso playing with fire. First it’s only a cigarette, but then it’s the flames of love that he’s stoking. And the instrument he’s using is ancient, well-worn and very effective: jealousy. Don Alfonso is convinced that the sweethearts of the two soldiers Ferrando and Guglielmo, Dorabella and Fiordiligi, would be unfaithful to them, given the opportunity. The two soldiers are convinced otherwise and bet with him. With the help of the young ladies’ maid Despina, Alfonso devises an elaborate scheme to make the two young women believe their lovers have gone off to the army. Then he brings back the two young men, now disguised as “Albanians.” Dorabella and Fiordiligi are smitten, and soon fall in love with the handsome strangers, but not with the “right” ones… In their light-footed, witty and poetic staging, the Herrmanns took advantage of the wide stage of the Grosses Festspielhaus to create a luminous and elegantly minimalist landscape dotted with a few sparing but stylish props. The lovers are portrayed with verve and compelling emotional confusion by Ana María Martinez (Fiordiligi) and Sophie Koch (Dorabella) as the two sisters, and Stéphane Degout (Guglielmo) and Shawn Mathey (Ferrando) as the cocky soldiers who learn that lying isn’t the best way to find out the truth. Thomas Allen (Don Alfonso) and the great Helen Donath (Despina) add their incomparable stage presence to the action. Conductor Manfred Honeck entices a wondrous delicacy and tenderness from the Vienna Philharmonic. Coming after “Figaro” (1786) and “Don Giovanni” (1787), “Così fan tutte” (1790) is the third of the magnificent trio of operas on libretti by Lorenzo da Ponte. “Così” has long been problematic on account of its libretto, which in earlier days was decried as immoral and in more recent times as politically incorrect. But the beauty of the music and the psychological truth at the heart of the text have ultimately redeemed this opera buffa, which Nikolaus Harnoncourt calls “the saddest opera in the world.”
The Berlin Concert – Anne-Sophie Mutter & Lang Lang
Celebrating 120 Years of Deutsche Grammophon, The Berlin Concert features performances from DG’s unbeatable roster of artists: Anne-Sophie Mutter, considered one of the greatest violinists of all time and Lang Lang, pioneering pianist and global cultural icon, accompanied by the Staatskapelle Berlin under the direction of Manfred Honeck. Works by W.A. Mozart, L.v. Beethoven and a german premiere of John Williams’ “Markings” are on the program of this highly anticipated concert in Berlin´s famous Philharmonie. PROGRAM L.v. Beethoven: Overture to Fidelio, op. 72; Leonore Overture No. 3, op. 72b, Romance in F for violin and orchestra, op. 50; W.A. Mozart: Piano Concerto in C minor, KV 491; John Williams: Markings for violin, string orchestra and harp