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.
Salzburg Festival 2019: Orphée aux enfers
Operetta enthusiast Barrie Kosky has landed a gigantic success with Offenbach’s subversive and hilarious reversion of the Orpheus myth at the Salzburg Festival. Kosky created a magically precise staging in a glittering opulent scenery and a literally devilish choreography. The dialogues are performed by the brilliant German actor Max Hopp as John Styx. Under Enrique Mazzola’s precise conducting the Wiener Philharmoniker provide “a sparkling orchestral sound” (Frankfurter Allgemeine Zeitung): “A frantic and fabulous show” (New York Times).
Silent Night – A song for the world
Silent Night – A Song for the World is a documentary about the creation and success of the world’s most famous Christmas Carol – a song composed in 1818 in Salzburg, which has been translated into 140 languages, which stopped World War I at Christmas, which should become the third best selling single by Bing Crosby. In short: A song for the world! The film tells the story of the creation of the Christmas Carol and features world stars like Rolando Villazón, Kelly Clarkson, Joss Stone and David Foster, who share their personal Christmas experiences in their home towns and perform Silent Night in various languages.
Bregenz Festival 2017: Carmen
Georges Bizet‘s captivating music with its Spanish sounds took the world by storm: Carmen‘s Habanera and Seguidilla, like Escamillo‘s Toreador‘s Song, are known to one and all. The French composer‘s most successful opera is staged on the world’s largest, spectacular floating stage of Lake Constance in Bregenz, with a set designed by British artist Es Devlin. She has designed sets for pop stars like Adele, U2, Take That, the Pet Shop Boys and Kanye West. In collaboration with the stage director Kasper Holten, Director of Opera at the Royal Opera House in London, she has also worked at opera houses in Helsinki and Copenhagen, at the Theater an der Wien and the Royal Opera House Covent Garden. For the Danish stage director, this “opera about destiny and obsession” centres on “two people who are treated as outsiders, whose paths cross and who cling to each other in a passionate but unhealthy relationship”.
Salzburg Festival: Schubert, Fierrabras
“A revelation” wrote the NRC Handelsblad about Schubert’s rarely heard heroic-romantic opera Fierrabras, one of the highlights of Salzburg Festival 2014. The work, based on a libretto by Josef Kupelwieser after the old French epic Fierabras, is lead by director Peter Stein and conductor Ingo Metzmacher.
Salzburg Festival: Mozart, Don Giovanni
According to stage director Sven-Eric Bechtolf “Don Giovanni is a romantic hero of metaphysical proportions.” He sees Don Giovanni as a person who is craving for freedom and a lack of boundaries in a puritan society. The role is performed by Italian bass-baritone Ildebrando D’Arcangelo, one of today’s leading Mozart singers (like Luca Pisaroni who sings Leporello, and Lenneke Ruiten who performs Donna Anna). Leading the Wiener Philharmoniker is the German conductor Christoph Eschenbach, a heir of George Szell and Herbert von Karajan.
Richard Strauss – At The End of the Rainbow
Richard Strauss – who regarded himself as the last great composer ‘at the end of the rainbow’ – for sure is one of the most interesting artists of his time. This documentary by Eric Schulz (also known for the film “Karajan – The Second Life”) on the occasion of the composer’s 150th birthday gives insight into the personality and the works of Richard Strauss with never-released archive material and high-class interview partners such as Brigitte Fassbaender, Klaus König, Raymond Holden, Christian Strauss, Walter Werbeck, Emma Moore.
Salzburg Festival: Verdi, Il Trovatore
“Anna Netrebko – better than Maria Callas” (Süddeutsche Zeitung) – Since her sensational success in “La Traviata” the soprano Anna Netrebko, now even more popular than ever before, returns regularly to the great festival hall at the Salzburg Festival. This time she shines as Leonora in Giuseppe Verdi’s tragic opera “Il Trovatore” at the side of Placido Domingo and the critics go wild: “A triumph” writes the New York Times, while the Neue Zürcher Zeitung speaks of “truly divine sounds”. Alvis Hermanis staged the plot that revolves round two rival brothers who love the same woman and only learn they are related at the moment of her death, using sets that “in their opulent adherence to detail and fantastically illuminated atmosphere (…) offer much more than just a decorative sight for sore eyes“ (Salzburger Nachrichten).
Salzburg Festival: Verdi, Don Carlo
The Salzburg Festival hosts a new production of Verdi’s “Don Carlo”, directed by Peter Stein and embodied by Jonas Kaufmann. The production is based on the original version of the opera, which includes those passages that were cut shortly before the first performance in 1867. Verdi’s masterpiece demands world-class singers at the peak of their powers, such as Jonas Kaufmann, “who combines absolute technical stability with the highest musical intelligence”, and soprano Anja Harteros, who’s “Elisabetta is quite simply sublime: majestically phrased, rich in nuance, clear of diction and moving easily from immaculately floated pianissimo to sterling fortissimo”. (The Telegraph)
Eugene Onegin
Director Andrea Breth has produced an intimate chamber play that mines the depths of veracity, precision and charisma of her singer-actors. The title role is a tour de force for any baritone, who must walk a tightrope between cynical, insufferable snob and sympathetic, broken-hearted lover. This is carried off superbly by Peter Mattei, who ‘has acquired a fabulous vocal profile and is a gifted actor blessed with debonair selfconfidence.’ (Neue Zürcher Zeitung) But the true hero of the opera is Tatyana, a multi-layered, conflicted, driven, doubt-ridden heroine. As portrayed by the dazzling Russian soprano Anna Samuil, this Tatyana ‘is ready to start a revolution.’ (F.A.Z.)