Directed by Alfred Dorfer and Kateryna Sokolova, the Theater an der Wien presented an abridged, concentrated Corona version of Mozart’s “Le nozze di Figaro”, the first part of the successful collaboration between Mozart and Da Ponte. Alongside Robert Gleadow as the “outstanding Figaro” (Der Standard) and the “fabulous Austrian bass-baritone Florian Boesch” (nmz.de) as Almaviva, the orchestra, Concentus Musicus Wien, plays the leading role: “This orchestra is ideal for Mozart, because the combination of historical performance practice and the highest interpretative quality is in a class of its own.” (bachtrack.com)
Saul
In 2009, Claus Guth staged a highly impressive “Messiah” at the Theater an der Wien; with “Saul”, he created again breathtaking musical theater at its finest. Florian Boesch in the title role dominates the production as the ruler slipping into madness. Boesch is an elemental force that attracts attention on stage like a black hole. As David, British countertenor Jake Arditti gives a perfect presentation of the change from the innocent boy to the man who, after many dramatic events, becomes Saul’s successor. “The pure Handel stroke of luck!” (Neue Musikzeitung). Anna Prohaska (Merab), Giulia Semenzato (Michal) and Rupert Charlesworth (Jonathan) perform convincingly the roles of Saul’s children who succumb to David’s physical and spiritual charms. The Freiburger Barockorchester under Christopher Moulds holds a finely textured balance between powerful ensemble and delicate solo passages of Handel’s score. The Arnold Schoenberg Choir’s nuanced singing – alternately exulting, admonitory or mournful – is as inspiring as the sound of the renowned period-instrument ensemble. “Handel vividly, today, as a mirror of the metamorphoses of power.” (Kurier) / “Florian Boesch as Saul is a vocal and acting elemental force, simply an ideal cast.” (Die Presse)
Lucio Silla
This dramatic opera is associated with one of Mozart’s sojourns in Milan. The Austrian genius was sixteen when he composed this jewel of bel canto dedicated to the general and dictator of Ancient Rome: Lucio Silla made its debut on 26 December 1772, when Mozart was almost seventeen. It was the third opera that he had staged in the Regio Ducal Theatre, Milano. The staging by Marshall Pynkoski, specialized in eighteenth-century operas with particular insights into Baroque dance, drama and gestures, pays „attention to detail, making use of scenes and eighteenth-century impeccably decorated costumes designed by a specialist of the genre in film, Antoine Fontaine“ (delteatro.it). „The female cast is remarkable“ (La Repubblica).
Mozart Week 2021: Opening Concert
To let Mozart’s 265th birthday pass uncelebrated just because a pandemic is raging worldwide? That was out of the question for Rolando Villazón, superstar among tenors and artistic director of the Salzburg Mozart Week! To pay tribute to the great composer, he invited the audience to a large, digital celebration concert and did not miss the opportunity to warble a few arias himself. Keri-Lynn Wilson is on the podium of the Mozarteum Orchestra, Luca Pisaroni and Giulia Semenzato bring Italian fire to the stage and sing selected Mozart arias. In addition, the concerto for flute, harp and orchestra resounds in the Mozarteum’s Great Hall. Mathilde Caldérini, principal flute of the Orchestre Philharmonique de Radio France, and Xavier de Maistre on the harp compete in a contest of euphony.
Salzburg Festival 2023: Falstaff
Falstaff is Giuseppe Verdi’s third opera based on a Shakespeare play and the last opera he composed. Designed as a comedy of errors, it illustrates the abysses of human inadequacies. Christoph Marthaler, “that wondrous theatre magician” (Tiroler Tageszeitung), stages the comedy as a tongue-in-cheek Orson Welles homage, who himself
impersonated and filmed “Falstaff” in 1965, and moves the action from Windsor around 1400 to a chaotic film set of the 1960s: a confusion of identities and genres. “Avantgardiste conductor and Falstaff debutant Ingo Metzmacher gave his Falstaff orchestra the ride of its life. It was mighty and infectious.” (operatoday.com) The Canadian bass-baritone Gerald Finley in the title role is convincing with his “magnificent playing marked by precise laconism” (Frankfurter Allgemeine Zeitung), Russian soprano Elena Stikhinas in the role of Alice “enchants with heavenly heights” (Südwest Presse). “Creative and innovative” Kurier
Saul
After his impressive Messiah of 2009, Claus Guth once again succeeds in a breathtaking realisation of a Handel oratorio with Saul. Florian Boesch in the title role dominates the production as the ruler slipping into madness. He is an elemental force that attracts attention on stage like a black hole. As David, British countertenor Jake Arditti gives a perfect presentation of the change from the innocent boy to the man who, after many dramatic events, becomes Saul’s successor. “The pure Handel stroke of luck!” (Neue Musikzeitung). Anna Prohaska, Giulia Semenzato and Rupert Charlesworth perform convincingly the roles of Saul’s children who succumb to David’s physical and spiritual charms. The Freiburger Barockorchester under Christopher Moulds holds a finely textured balance between powerful ensemble and delicate solo passages of Handel’s score. The Arnold Schönberg Choir’s nuanced singing – alternately exulting, admonitory or mournful – is as inspiring as the sound of the renowned period-instrument ensemble.