A feathered thief, a servant wrongly sentenced to death and a corrupt, power-hungry politician: those are the protagonists of Rossini’s semi-serious opera whose overture, with its drum rolls and oboe solo, is one of the best-known pieces in the history of music. La gazza ladra (The Thieving Magpie) is set in a time of great social upheaval. When Ninetta is accused of stealing a silver spoon, a series of unfortunate events begins that initially makes the happy ending expected from an opera semiseria seem highly unlikely. What sort of world is it where a person can be executed for the alleged theft of a spoon? Tobias Kratzer, successful as a director throughout Europe, now debuts in Vienna with Rossini’s opera that received its first performance in 1817 and traces the uncertainty felt by people in a politically and socially destabilised world. “To the left and right, drum rolls sound from the pit, then the ORF Radio Symphony Orchestra gets going, effervescent, grand, dense and dark, but at the same time filigree. [The Arnold Schoenberg Choir, Marina de Liso, Maxim Mironov, Fabio Capitanucci and all the others] “sing and play as if they had inhaled Kratzer’s idea of the highly lively, truthful play.” (Süddeutsche Zeitung)
Bregenz Festival 2022: Siberia
It is a tremendous act of love when Stephana gives up her life as a mistress in an elegant St Petersburg palais to follow her true love Vassili to a Siberian prison camp. In this exile, Stephana turns into a fearless hero. For Umberto Giordano, who also composed Andrea Chénier and Fedora, Siberia is a universally applicable human drama despite its Russian local color: “Love and pain do not have a nationality”. Siberia premiered in 1903 in La Scala in Milan replacing Giacomo Puccini’s postponed Madama Butterfly. Two young artists from Moscow bring the stirring opus to the Festspielhaus: the internationally aspiring director Vasily Barkhatov and Valentin Uryupin, who already conducted Eugene Onegin in Bregenz. “Uryupin leads the agile Wiener Symphoniker through the score of Strauss’ contemporary Giordano with a feeling for delicately toned colours. Ambur Braid sings the demanding part of Stephana with bravura.” (FAZ)
La Wally
Catalani’s masterpiece, first performed in 1892 at La Scala in Milan, is best known for its aria “Ebben? Ne andrò lontana”. With nuanced harmonies and colourful instrumentation, he pays great attention to the orchestra sound. He chose highly unusual material for his opera: the successful novel Die Geier-Wally by Wilhelmine von Hillern tells the story of a young woman who does not fit any of the gender clichés of the time. Unlike many earlier operatic heroines commanded to marry against their will, Wally does not look for a solution in society, but instead runs away to the mountains. Her husband must be her equal, someone unafraid to face both a bear and her father…
Wiener Philharmoniker & Welser-Möst: Mahler 9
An event – and not only for the listeners, but also for the orchestra as Philharmonic board member Daniel Froschauer emphasizes “This is an incredible work – really written for us. Mahler really pushes the limits in this piece!” Gustav Mahler and the Wiener Philharmoniker have indeed a very special relationship. Not only did the great composer, who was conductor and head of the Vienna State Opera, conduct the Wiener Philharmoniker regularly and – from 1898 to 1901 – even the famed Subscription Concert Series. The orchestra also premiered Mahler’s 9th Symphony in June 1912 – one year after the composer’s death. Bruno Walter conducted the world premiere, for this concert it is Austrian conductor Franz Welser-Möst, someone whom knows the orchestra better than most other conductors.
Claudio Monteverdi: Vespro della beata vergine
A piece of music as a ticket: his Vespers of Mary brought Claudio Monteverdi an engagement in Venice, where he made musical history as Kapellmeister of St Mark’s Cathedral. A one-way ticket, as it later turned out, but he remained loyal to this city and contributed to making it a magnet for composers and musicians from all over Europe. After his debut at Whitsun 2016, it was clear: Pablo Heras-Casado absolutely has to come back! Finally, the time has come: the star conductor once again took the podium of the Barocktage Residence Orchestra. Together with the Concentus Musicus Wien, a select cast of singers and the Ensemble Aedes he opened the International Baroque Days Stift Melk 2021 with Monteverdi’s gigantic work!
Thielemann conducts Bruckner No. 1
For the first time in the orchestra’s history, the Wiener Philharmoniker have engaged themselves to a complete Bruckner cycle and have invited worldwide renowned Bruckner expert Christian Thielemann to take the podium. The performance of Anton Bruckner’s Symphony No. 1 is part of this large-scale Bruckner cycle, which extends to the composer’s 200th birthday in 2024. “Unheard-of luxury” Wiener Zeitung
Platée
Jean-Jacques Rousseau hailed “Platée” as “the best musical play ever to be heard in our theatres.” In Robert Carsen’s production, the mythological events take place in the world of Parisian haute couture and Jupiter is portrayed as the fashion god Karl Lagerfeld (1933-2019) – who has now really been transferred up to Olympus. This ingeniously apt transposition of this satirical opera into the modern day has long been a hit! The renowned specialist in baroque music, William Christie, conducts his Les Arts Florissants, the Arnold Schoenberg Chor and a fantastic cast. “A candy-coloured baroque dream” Salzburger Nachrichten // “A must-see – and not only for fashion freaks!” Bühne
Nerone
The focus on rarities has been a trademark of the Bregenz Festival since the opening of the Festspielhaus in the 1980s. It is therefore not surprising that Roman emperor Nero, the colourful character in Arrigo Boito’s lavish opera, makes his appearance in the latest edition of the Festival: The spectacular self-staging of his power contrasts with pangs of remorse he feels after murdering his mother. Begun in 1862, Boito strived to complete the piece for several decades. Only after his death did Arturo Toscanini create a performable version, whose world premiere took place at La Scala in 1924. Olivier Tambosi’s interpretation of this rarely performed opera with love confusions and sectarian characters is radical and opulent. The Wiener Symphoniker perform under the baton of Dirk Kaftan and “the ensemble of singers leaves nothing to be desired and plunges boldly into the sound waves” as the Deutschlandfunk wrote.
Halka
At Theater an der Wien Stanislaw Moniuszko’s Polish national opera Halka is performed by a superb cast including Corinne Winters (“devotedly”), Piotr Beczala (“vocally outstanding”) and Tomasz Konieczny (“his acting is piercing”) (Der Standard). The Polish leading team, above all director Mariusz Trelinski, puts the plot into a supercooled crime aesthetic. The ORF Radio Symphonie-Orchester Wien under the baton of Lukasz Borowicz plays with perceptible delight. “A gripping opera evening” (Wiener Zeitung).
Thielemann conducts Bruckner No. 8
For the very first time in its history, the Wiener Philharmoniker are performing a complete Bruckner cycle with worlwide renowned Bruckner expert Christian Thielemann at the podium. The eighth symphony are part of this large-scale Bruckner Cycle, which extends to the composer‘s 200th birthday in 2024, performed at Vienna’s beautiful Musikverein. The orchestra, which premiered four of the nine Bruckner symphonies, is more familiar with this music than any other ensemble. Bruckner’s powerful and sonically grandiose symphonies never cease to amaze. The reactions to the concert of Bruckner’s Symphony No. 8 were no less enthusiastic:”It couldn’t be better and more ravishing” (Kurier).