“He was out to to create something ‘unheard-of’,” observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the conductor had offer as he commenced his Mozart/Da Ponte cycle in the Theater an der Wien was something we “had never before heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period performance practice, realized a project that had long been one of his dearest wishes: for the first time, he and his “original-sound orchestra” Concentus Musicus and his personal choice of singers were presenting the complete Mozart/Da Ponte cycle and harvesting the fruits of his Mozart research – an “enthusiastically acclaimed cycle!” (news.at). During an intensive phase of rehearsal and preparation, he was in search of a Mozart hermeneutic resting on historical sources and yet anchored in our own time, in order to stage the whole Da Ponte “trilogy” – Le nozze di Figaro, Don Giovanni and Così fan tutte – in a matter of a mere six weeks. “The culmination of Harnoncourt’s involvement with [Mozart’s Da Ponte operas] – „A Mozart drawn from historical sources and yet anchored in our own time.” (Die Presse)
Don Giovanni
“He was out to to create something ‘unheard-of’,” observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the conductor had offer as he commenced his Mozart/Da Ponte cycle in the Theater an der Wien was something we “had never before heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period performance practice, realized a project that had long been one of his dearest wishes: for the first time, he and his “original-sound orchestra” Concentus Musicus and his personal choice of singers were presenting the complete Mozart/Da Ponte cycle and harvesting the fruits of his Mozart research – an “enthusiastically acclaimed cycle!” (news.at). During an intensive phase of rehearsal and preparation, he was in search of a Mozart hermeneutic resting on historical sources and yet anchored in our own time, in order to stage the whole Da Ponte “trilogy” – Le nozze di Figaro, Don Giovanni and Così fan tutte – in a matter of a mere six weeks. “The culmination of Harnoncourt’s involvement with [Mozart’s Da Ponte operas] – „A Mozart drawn from historical sources and yet anchored in our own time.” (Die Presse)
Le nozze di Figaro
“He was out to create something ‘unheard-of’,” observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the conductor had to offer as he commenced his Mozart/Da Ponte cycle in the Theater an der Wien was something we “had never before heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period performance practice, realized a project that had long been one of his dearest wishes: for the first time, he and his “original-sound orchestra” Concentus Musicus and his personal choice of singers were presenting the complete Mozart/Da Ponte cycle and harvesting the fruits of his Mozart research – an “enthusiastically acclaimed cycle!” (news.at). During an intensive phase of rehearsal and preparation, he was in search of a Mozart hermeneutic resting on historical sources and yet anchored in our own time, in order to stage the whole Da Ponte “trilogy” – Le nozze di Figaro, Don Giovanni and Così fan tutte – in a matter of a mere six weeks. Harnoncourt has once again lived up to his name as a “Mozart rebel”: “True to his reputation as a provocateur, Harnoncourt takes at a fast speed what we are accustomed to hear slow, while reining in what we expected to be lively” (Forum Opera).
Der Freischütz
“Bull’s eye,” Carl Maria von Weber triumphantly wrote to his librettist Friedrich Kind after the enthusiastically received world premiere of Der Freischütz in 1821 in Berlin. With its emotional and gripping music, it soon became the epitome of German Romantic opera. As one of the most popular operas in the German-speaking world, Der Freischütz has now been staged on the Seebühne for the first time under the lead of director and stage designer Philipp Stölzl and conductor-in-residence Enrique Mazzola. The two teamed up again in Bregenz following their phenomenal success with Verdi’s Rigoletto. “The staging is overwhelming” (Süddeutsche Zeitung). “A small theatre miracle is taking place in Bregenz” (Der Tagesspiegel).
Teatro alla Scala Opera Box
FIVE OUTSTANDING OPERAS FROM THE LEGENDARY TEATRO ALLA SCALA: AIDA: “A perfect coup de théâtre” (Giornale della musica). A “stellar cast” (La Stampa) I DUE FOSCARI: The Financial Times was deeply moved by Domingo’s performance, calling his interpretation of the role “sublime” DIE ZAUBERFLÖTE: Ádám Fischer “gets the best out of the Academy Orchestra with delicate execution and humane phrasing” (Die Presse) LE NOZZE DI FIGARO: “… when Diana Damrau enters as the Countess, we get a performance of special gravitas. Even the orchestra, under Franz Welser-Möst’s baton, melts to such grace.” (Financial Times) DIE ENTFÜHRUNG AUS DEM SERAIL: A „masterful use of light and silhouettes“ by Giorgio Strehler. (Milano Post) „Extraordinary, a wonder …“ (Corriere Della Sera)
Die Entführung aus dem Serail
The unforgettable “masterful use of light and silhouettes” (Milano Post) with which Giorgio Strehler interpreted the charm of Mozart’s Singspiel was conceived for the Salzburg Festival, where it was staged in 1965 under the baton of then 29 year old Zubin Mehta, and then regularly revived at La Scala from 1972 onwards. At twenty years since the death of the great director, who from 1951 staged some by-now legendary operas at La Scala, Teatro alla Scala proposed anew this celebrated staging and called to the podium the man who conducted it the first time – Zubin Mehta. “Extraordinary, a wonder …” (Corriere Della Sera). The stage set with magnificent palace architecture and a sea view at centre is a veritable feast for the eyes, which is equally true for the elaborately and lovingly designed costumes. The viewer feels like he‘s being transported into the oriental aura. The fact that the current performance is conducted by Maestro Zubin Mehta, now over 80 years old, builds a bridge to Strehler‘s Salzburg production, which dates back more than half a century, and at the same time provides a touching detail of this timelessly monumental performance.
Die Zauberflöte (The Magic Flute)
W.A. Mozart’s timeless masterpiece at the Salzburg Festival is always an event! Especially when Die Zauberflöte (The Magic Flute) receives such a “spectacular and virtuosic staging” (Le Figaro) by director Lydia Steier. Steier introduces the role of the grandfather, a narrator reading the opera like a fairy tale to his three grandchildren, performed by the famous actor Klaus Maria Brandauer (Out of Africa, James Bond). This ‘trick’ in combination with the gigantic moveable sets by stage designer Katharina Schlipf, allows new views on Mozart’s magical opera, with its different worlds. Thanks to conductor Constantinos Carydis, who “seems to breath with the music” (Tagesspiegel), there is a new Mozart to be heard too: Carydis draws “precise phrasing and plenty and of crisp articulation” (Financial Times) from “the musicians of the great Vienna Philharmonic” (New York Times).
Festive Advent Concert at the Frauenkirche Dresden 2023
It is the traditional start to the pre-Christmas season for classical music lovers throughout Germany: On the eve of the First Advent, the Frauenkirche shines in its baroque splendour and offers a magnificent experience with the Sächsische Staatskapelle under the baton of its music director Christian Thielemann and internationally renowned singers. This edition’s guests are soprano Hanna-Elisabeth Müller (“with a smooth, melodious, effortless sounding voice and great diction”, Online Merker) and tenor Mauro Peter (“offering a lyrical swell with depth”, Sächsische Zeitung). The programme includes baroque instrumental music, Romantic choir works and atmospheric arias. Together with “his” orchestra, “Christian Thielemann spread ut a carpet of pulsating sonority, dynamically highly differentiated, flexibly responding to the respective partners.” (Dresdner Neueste Nachrichten)
Festive Advent Concert at the Frauenkirche Dresden 2022
Two world-renowned singing stars are this edition’s guests at the “Festive Advent Concert”, German TV’s most successful concert series: soprano Diana Damrau and tenor Mauro Peter. The young French conductor Marie Jacquot leads the Staatskapelle Dresden for the first time. With the 2024/25 season, Marie Jacquot will take over as Musical Director of the Royal Danish Theatre in Copenhagen. In addition to the Staatskapelle Dresden, two choirs complete the cast of the 2022 “Advent Concert”: the Sächsischer Staatsopernchor Dresden and the Kammerchor der Frauenkirche. The choir’s director, the cantor of the Dresden Frauenkirche, Matthias Grünert, also appears as organist. “The Sächsische Staatskapelle Dresden and the Sächsischer Staatsoperchor once again proved their quality.“ (Online Merker)
The Vienna Christmas Concert from the Stephansdom
The festive concert from St Stephen’s Cathedral in Vienna spreads pre-Christmas mood with four well-known vocal soloists, the Vienna Boys’ Choir and the Vienna Symphony
Orchestra. The program under the musical direction of David Afkham includes sacred and solemn music from all over Europe, from J.S. Bach’s Christmas Oratorio and Charles Gounod’s “Sanctus” to the grand finale with Engelbert Humperdinck’s Evening Blessing from “Hänsel und Gretel”. At the end of the concert, the Christmas carol “Adeste fideles” is sung together.