The Wiener Staatsballett is one of the great companies in the world. Yet never before had Rudolf Nureyev’s world-famous choreography of The Nutcracker been performed in Vienna. The present production remedies this omission by presenting Nureyev’s final, 1985 Paris version with two magnificent young soloists and the splendid Vienna corps de ballet. Nureyev’s version enjoys a particular standing in the history of this well-known ballet in that it was the first to incorporate the psychology of E. T. A Hoffman’s fairy tale on which Tchaikovsky’s ballet is based. The critic Clive Barnes set the tone by remarking: “No version of The Nutcracker that we have ever seen has been more potently dramatic; few have displayed so sharp an imprint of personal style. “Elegant, romantic, delightful” (Die Presse) · “Outstanding soloists” (Der Standard)
Swan Lake
It is the one ballet that everyone knows, has heard of or seen, and it is one of the loveliest and most frequently performed works in the ballet literature. No other ballet is capable of conjuring up such intensive images, dreams and yearnings simply at the mention of its name as Tchaikovsky’s Swan Lake. Rudolf Nureyev created a new version of it in 1964 for the Vienna State Opera; it helped the dancer and choreographer, then 26 years old, to achieve international fame and also projected the Vienna State Ballet onto the world stage, where it was to become one of the company’s greatest successes.To mark the 50th anniversary of this ballet, the Vienna StateOpera is now reviving it with new sets and costumes designedby Julia Spinatelli, whose concept is inspired by the fairytalephantasy world of King Ludwig II incorporating simple, paintedbackdrops and few accessories, to present a new Swan Lake.
Capriccio
Richard Strauss’s last stage work is an opera about opera as an art form, depicting the creation of a music drama in a wise and witty way. Which came first – words or music? That is the question that Strauss and his librettist Clemens Krauss address through the story of a Countess torn between a composer and a poet. “Renée Fleming is a world-class Countess, moving and intense … All around her there is luxury casting: Bo Skovhus as the Count, Michael Schade as Flamand, Markus Eiche as Olivier, Kurt Rydl as the theatre director La Roche, the wonderful Angelika Kirchschlager as Clairon – all strike exactly the right note, as do the singers in the smaller roles, turning this Capriccio into an event of the first importance.” (Der Kurier, Vienna)
Pathétique – A ballet by Martin Schläpfer
Set to Tchaikovsky’s Sixth Symphony, Martin Schläpfer’s highly expressive choreography offers glimpses into the composer’s biography, echoes of his great ballets, Russian motives and reflections on our time. “A precisely danced, emotionally charged creation from a single mould, which he concludes touchingly with a Handel aria” (Kronenzeitung). “This is Martin Schläpfer at his best (…) classical ballet that is nevertheless entirely contemporary” (NZZ)
Tannhäuser
Wagner’s grand romantic opera Tannhäuser explores the tension between earthly desire and spiritual purity. Torn between Venus and Elisabeth, Tannhäuser represents the Romantic struggle between indulgence and guilt, with themes of love and redemption that still resonate. Lydia Steier’s production moves through Venus’ world as a variety show, the ordered society of Wartburg Castle, and a contemporary media-driven landscape. Staatsoper debutant Clay Hilley as Tannhäuser is the shining star of this new production: “Even in the most powerful forte, his voice shines so effortlessly that one thinks he still has reserves to draw on. In terms of character, Hilley shows his inner turmoil very clearly, and his stage presence is that of a professional spoken theatre actor” (Bachtrack). Günther Groissböck as Landgrave Hermann and Malin Byström as Elisabeth also deliver “vocal highlights” (Concerti). In the pit, Philippe Jordan allowed “this masterpiece to resound in all ist splendour and beauty” (Der Opernfreund).
Iolanta
“Lyrical, rich, uplifting, moving” (Die Presse) In a production that is truly “a feast for the eyes” (Salzburger Nachrichten), director Evgeny Titov sets the story of the blind princess Iolanta in a visually magnificent but mysterious flower garden. The musical performances complete this baroque painting come to life, led by Sonya Yoncheva with her “gloriously rich” (Opera Now) soprano. The orchestra under Tugan Sokhiev convices with a “sonically intense” interpretation (Kronenzeitung). “Titov’s staging received heroic performances from all concerned, led by Yoncheva who absolutely sang her heart out as Iolanta. Her top was thrilling, matched in duet by tenor Dmytro Popov, and her acting was utterly believable” (Opera Now)
Palestrina
Requiring 38 soloists, chorus and large orchestra, Hans Pfitzner’s masterpiece about historical composer Giovanni Pierluigi da Palestrina, premiered in 1917 by Bruno Walter, is no easy feat to perform. Christian Thielemann, a tireless Palestrina crusader, “leads a stellar cast to triumph” (Die Welt) with this production at the Viennese State Opera, staged by the late Herbert Wernicke: “It goes without saying that Thielemann is a world champion when it comes to German masterpieces, and yet one is amazed at the structure of the grandiose tutti, the subtle phrasing and the spatial effect of the orchestral sound” (Bachtrack). Michael Spyres sings the “saviour of counterpoint” Palestrina with “a radiant tenor voice and sonorous expression” (Theaterkompass) and the other roles are “splendidly cast” (News), including Günther Groissböck as Pope Pius IV and Wolfgang Koch as Cardinal Borromeo. “A piece of music theatre history that demands to be revitalized” (Die Welt)
The Seasons
With The Seasons, the aged Joseph Haydn composed a great secular oratorio about man’s integration into the cycle of nature. This inspired choreographer Martin Schläpfer to create his first full-length dance piece for the Wiener Staatsballett, in which 80 dancers are joined by three singers of the Wiener Staatsoper’s ensemble and the Arnold Schoenberg Chor. Scenes from real life are juxtaposed with gripping musical depictions of nature, grand oratorio scenes with popular singspiel full of wit and crude humour. “The State Opera Orchestra flourishes under the baton of Adam Fischer, who is very familiar with Haydn and his music. […] It is a constantly mood-changing flow of life […] brilliantly realised in dance.” (Die Welt) “What a stunner: the entire ballet ensemble with a large orchestra and choir! It’s an evening for all the senses.” (Die Presse)
L’Elisir d’amore
“A soothing love potion for the ears and eyes that you’ll want to sip again and again.” (onlinemerker.de) In his iconic production of L’elisir d’amore for the Wiener Staatsoper, legendary director Otto Schenk works with a great attention to detail. Together with his congenial set designer Jürgen Rose, they bathe the stage in a warm, southern light and create a Mediterranean flair. Bogdan Volkov in the role of Nemorino “is not only an outstanding singer with a bright, ingratiating tenor voice, finely audible in his parade aria “Una furtiva Lacrima”, but also a pleasure to perform”. Maria Nazarova “is an enchanting and charming Adina and captivates with her crystal-clear soprano, sparkling coloratura and some inlaid high notes.” (onlinemerker.de)
Salome
French director Cyril Teste does not interpret the opera Salome, which was banned by the censors at the time of its creation, as a mere tragedy. Nor does he set it during the Roman occupation of Palestine at the time of Christ, but in the context of an illustrious evening party, underlining one aspect of the play: the traumatisation of a four-teen-year-old child by her family. Live video projections onto the back wall of the stage are showing us faces, expressions and actions that help flesh out the action. Swedish soprano Malin Byström “is the central star that carries the evening scenically and vocally. […] She shows a present torn woman who is ground between powerful men.” (Wiener Zeitung) “The Vienna State Opera Orchestra was on excellent form too, full of rich, warm tone in which to luxuriate, yet ever precise and directed” (Seen and Heard International) by the Wiener Staatsoper’s musical director Philippe Jordan – “a master of sound dramaturgy” (Kurier).“The Vienna State Opera simply has Strauss in its DNA.” Kurier