“Coppélia” was premiered with great success at the Théâtre Impérial de l’Opéra de Paris on 25 May 1870. Since then, the ballet has lost none of its freshness and popularity. The librettist of “Coppélia”, Charles Nuitter, found the subject of his work in a tale by E.T.A. Hoffmann, “The Sandman”. “Coppélia” is the first of many ballets which take as their theme the humanization of mechanical objects.
Händels Auferstehung (Handel’s Resurrection)
Stefan Zweig (1881-1942), one of the most brilliant European writers, essayists and biographers, describes in his book “Sternstunden der Menschheit” decisive moments in the lives of great men and women of all times. “Handel’s Resurrection” is a story taken from this book. In freely adapted sequences, the film combines a great literary work and a classical musical composition. Based on motifs from Stefan Zweig’s story, the film describes a caesura in Handel’s creative life. It was a period in his life when he was almost on the brink of complete despair but finally regained new and unbounded creative power, which led to the composition of his “Messiah.” This work marks a turning point in the musical life of his time: a new form of musical composition, the oratorio, takes the place of the baroque opera of predominantly Italian influence, while at the same time competing with another operatic novelty, “The Beggar’s Opera,” an early forerunner of “The Three-Penny Opera.” Director Klaus Lindemann, who has developed a new dramatic approach for TV productions of musical works, resorts to the elements of drama to give emphasis to the ups and downs in the life of this great musician. Karl Richter conducts the Munich Bach Orchestra and Munich Bach Choir. Among the soloists is the celebrated Gundula Janowitz.
L’Orfeo
Monteverdi’s first opera “L’Orfeo”, one of the earliest operas in the history of the genre, composed for Duke Vincenzo Gonzaga of Mantua and performed in 1607, unfolds before our eyes through a perfect harmony of theater, dance, opera, music and film. The camera shows us every minute detail of an imaginary court entertainment in Northern Italy at the beginning of the 17th century; and through this attention to detail, we too are drawn into the entertainment. The now legendary Zurich Monteverdi cycle, consisting of three productions of Monteverdi’s only surviving operas (“L’Orfeo”, “The Coronation of Poppea” and “The Return of Ulysses”) mounted in the Zurich Opera House during the late 1970s, is one of the finest achievements of the mutually inspiring partnership of director Jean-Pierre Ponnelle and conductor Nikolaus Harnoncourt. With sets of startling visual appeal by Ponnelle himself, lovingly recreated period costumes by Pet Halmen, these productions are pure delight. The Zurich productions were shown in Hamburg, Vienna, Edinburgh, Berlin, Milan, Wiesbaden and Munich. The orchestra plays exclusively on original instruments or carefully reconstructed copies.
Die Zirkusprinzessin
Emmerich Kálmán (1882-1953) ranks next to Franz Lehár as one of the leading representatives of the “Silver Era” of the operetta, which was stamped above all by the works of the Austro-Hungarian cultural sphere, and which followed the classical period of the Viennese operetta. Kálmán’s “Herbstmanöver”, premiered at the Theater an der Wien in Vienna in 1908, immediately confirmed the young composer’s talent for this genre. The roots of the phenomenal originality of his melodies lie in his love of Hungarian gypsy music and his natural affinity for the Viennese waltz tradition, which characterize such musically original, international successes as the operettas “The Czardas Princess” (1915) and “Countess Maritza” (1924). Kálmán emigrated to America in 1939 but returned to Europe after the War and died in Paris on 30 October 1953. Beginning in the 1920s, he increasingly incorporated elements of modern dance music into his stage works. Particularly worthy of mention among his other successful works are “Die Bajadere” (1921), “The Circus Princess” (1926) and “Das Veilchen vom Montmartre” (1930).
La Clemenza di Tito
Jean-Pierre Ponnelle was in great part responsible for making the musical world aware of the true importance of Mozart’s last opera “La Clemenza di Tito” and for the fact that the opera is now regularly performed all over the world. He created a television version of his Salzburg Festival production of this work, an “opera seria” which Mozart composed in 1791 for the coronation of Emperor Leopold II in Prague. Ponnelle makes use of the wonderful gardens and ruins of Hadrian’s Villa, the Thermae of Caracalla and Rome’s Forum Romanum not because of their authenticity, but because of their unique atmospheric quality. The humanity of Mozart’s characters is fully expressed thanks to the conductor James Levine and the outstanding cast of singer-actors led by the grandiose Tatiana Troyanos as Sextus and Eric Tappy as a commanding Tito.
Josephs Legende
“Composed to a libretto by Harry Graf Kessler and Hugo von Hofmannsthal and premiered by Sergei Diaghilev’s Ballet Russes in the summer of 1914, Strauss’ Josephs Legende was one of the earliest cultural casualties of the First World War. The leads in John Neumeier’s production from 1977 are terrific, especially the sensational Judith Jamison as Potiphar’s Wife. The Wiener Philharmoniker sounds sumptuous and conductor Heinrich Hollreiser keeps the drama from dragging without getting in the way of the dancers.” (James Leonard, ALLMUSIC.com)
Schwanensee (Swan Lake)
Perhaps the most popular ballet in the world, Tchaikovsky’s “Swan Lake” has been given a compelling new interpretation by Rudolf Nureyev. The Russian dancer, a towering figure in 20th-century ballet, placed greater emphasis on the character of Prince Siegfried. First produced in Vienna in 1964, Nureyev’s choreography has been hailed as one of the most fascinating ever. Nureyev and his partner Dame Margot Fonteyn perfectly embodied the noble and more volatile style of classical ballet performance featured here.
Wiener Philharmoniker: Tugan Sokhiev & Martha Argerich
“Glaring drama and bizarre comedy, lyrical poetry and gripping, vivid theatricality: Argerich demonstrated this par excellence in Prokofiev” (Der Standard). Under Tugan Sokhiev, the Wiener Philharmoniker presents two masterpieces of the early 20th century: Classical icon Martha Argerich interprets Sergei Prokofiev’s Third Piano Concerto with “great dexterity and fire” (Die Presse), “Thunderous cheers and bravos!” (Kronenzeitung). Igor Stravinsky’s ballet music “Petrushka” (1911 version) was transformed by Sokhiev “into a furious sound theatre” (Kurier). PROGRAM Prokofiev: Piano Concerto No. 3; Scarlatti: Sonata, K.141; Stravinsky: Petrushka – Suite
Grafenegg: Midsummer Night’s Gala 2025
The Midsummer Night’s Gala heralds the start of the summer festival season every year, captivating the audience and celebrating the summer against the idyllic backdrop of the extensive castle grounds. On the Wolkenturm stage, chief conductor Fabien Gabel joins star pianist and festival director Rudolf Buchbinder for their first collaboration at Grafenegg. Buchbinder, intimately familiar with the venue, performs a movement from Schumann’s Piano Concerto in A minor. South African mezzo-soprano Siphokazi Molteno makes her festival debut, alongside American tenor Michael Spyres, recently named Best International Opera Singer at the Oper! Awards. The programme offers a vibrant mix of opera arias, overtures, and orchestral works, featuring Rossini’s Il barbiere di Siviglia, Puccini’s Turandot, and a spotlight on French and Spanish music.
Vienna Prater Picnic Concert 2025
The Wiener Symphoniker once again welcomed the summer with their yearly open-air concert in the heart of Vienna. For the fourth time, the Kaiserwiese – set against the iconic Giant Ferris Wheel – becomes the backdrop of a shared musical experience connecting generations, styles and stories. With a cross-genre programme combining operetta, musical, jazz and pop, the orchestra traces a lively Viennese tradition that has been bringing people together since the 19th century. Bass-baritone Thomas Quasthoff brought Frank Sinatra’s repertoire to life with his unmistakable voice, joined by soprano Alina Wunderlin, who moved effortlessly between classical music, operetta and jazz. Double bassist and composer Georg Breinschmid and his trio offered a jazz-inflected tribute to Johann Strauss, while singer-songwriter Lemo added a contemporary touch.