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| Date | Event | Composer/Work |
|---|---|---|
| Friday 19-Mar-10 19:30 |
 Musikverein: Großer Saal, ViennaVienna Philharmonic Orchestra |
Boulez, Notations I, II, III, IV, VII, VIII (Playing I, VII, IV, III, II) Vienna Philharmonic Orchestra Pierre Boulez, Conductor Singverein der Gesellschaft der Musikfreunde in Wien |
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| Musikverein: Großer Saal, Vienna, Austria Friday 19-Mar-10 19:30 Vienna Philharmonic Orchestra Szymanowski, Karol (1882-1937), Symphony no. 3 "The Song of the Night", for tenor choir and orchestra, Op.27 Boulez, Pierre (b. 1925), Notations I, II, III, IV, VII, VIII (Playing I, VII, IV, III, II) Vienna Philharmonic Orchestra Pierre Boulez, Conductor Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Saturday 20-Mar-10 15:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Boulez, Notations I, II, III, IV, VII, VIII (Playing I, VII, IV, III, II) Vienna Philharmonic Orchestra Pierre Boulez, Conductor Singverein der Gesellschaft der Musikfreunde in Wien |
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| Musikverein: Großer Saal, Vienna, Austria Saturday 20-Mar-10 15:30 Vienna Philharmonic Orchestra Szymanowski, Karol (1882-1937), Symphony no. 3 "The Song of the Night", for tenor choir and orchestra, Op.27 Boulez, Pierre (b. 1925), Notations I, II, III, IV, VII, VIII (Playing I, VII, IV, III, II) Vienna Philharmonic Orchestra Pierre Boulez, Conductor Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Wednesday 24-Mar-10 19:30 |
Brucknerhaus, Linz Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Pierre Boulez, Conductor Singverein der Gesellschaft der Musikfreunde in Wien |
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| Brucknerhaus, Linz, Austria Wednesday 24-Mar-10 19:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Pierre Boulez, Conductor Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Friday 26-Mar-10 19:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Boulez, Notations I, II, III, IV, VII, VIII (Playing I, VII, IV, III, II) Vienna Philharmonic Orchestra Pierre Boulez, Conductor Singverein der Gesellschaft der Musikfreunde in Wien |
| More Info... | ||
| Musikverein: Großer Saal, Vienna, Austria Friday 26-Mar-10 19:30 Vienna Philharmonic Orchestra Szymanowski, Karol (1882-1937), Symphony no. 3 "The Song of the Night", for tenor choir and orchestra, Op.27 Boulez, Pierre (b. 1925), Notations I, II, III, IV, VII, VIII (Playing I, VII, IV, III, II) Vienna Philharmonic Orchestra Pierre Boulez, Conductor Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Saturday 27-Mar-10 15:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Pierre Boulez, Conductor Singverein der Gesellschaft der Musikfreunde in Wien |
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| Musikverein: Großer Saal, Vienna, Austria Saturday 27-Mar-10 15:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Pierre Boulez, Conductor Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Sunday 11-Apr-10 11:00 |
Theater an der Wien, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Christian Thielemann, Conductor |
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| Theater an der Wien, Vienna, Austria Sunday 11-Apr-10 11:00 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Christian Thielemann, Conductor | ||
| Monday 12-Apr-10 19:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Christian Thielemann, Conductor |
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| Musikverein: Großer Saal, Vienna, Austria Monday 12-Apr-10 19:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Christian Thielemann, Conductor | ||
| Tuesday 13-Apr-10 19:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Christian Thielemann, Conductor |
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| Musikverein: Großer Saal, Vienna, Austria Tuesday 13-Apr-10 19:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Christian Thielemann, Conductor | ||
| Friday 16-Apr-10 20:00 |
Philharmonie, Luxembourg Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien |
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| Philharmonie, Luxembourg, Luxembourg Friday 16-Apr-10 20:00 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Saturday 17-Apr-10 20:00 |
Philharmonie, Luxembourg Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien |
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| Philharmonie, Luxembourg, Luxembourg Saturday 17-Apr-10 20:00 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Monday 19-Apr-10 19:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Works by Ruzicka Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien |
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| Musikverein: Großer Saal, Vienna, Austria Monday 19-Apr-10 19:30 Vienna Philharmonic Orchestra Works by Ruzicka, Peter (b. 1948) Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Thursday 22-Apr-10 19:30 |
Konzerthaus: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Works by Ruzicka Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien |
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| Konzerthaus: Großer Saal, 1030 Vienna, Austria Thursday 22-Apr-10 19:30 Vienna Philharmonic Orchestra Works by Ruzicka, Peter (b. 1948) Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Saturday 24-Apr-10 15:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien |
| More Info... | ||
| Musikverein: Großer Saal, Vienna, Austria Saturday 24-Apr-10 15:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Sunday 25-Apr-10 11:00 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien |
| More Info... | ||
| Musikverein: Großer Saal, Vienna, Austria Sunday 25-Apr-10 11:00 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Christian Thielemann, Conductor Annette Dasch, Soprano Mihoko Fujimura, Mezzo-soprano Piotr Beczala, Tenor Robert Holl, Bass Singverein der Gesellschaft der Musikfreunde in Wien | ||
| Friday 7-May-10 20:00 |
Kölner Philharmonie, Cologne Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Daniele Gatti, Conductor |
| More Info... | ||
| Kölner Philharmonie, Cologne, Germany Friday 7-May-10 20:00 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Daniele Gatti, Conductor | ||
| Sunday 9-May-10 11:00 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Daniele Gatti, Conductor |
| More Info... | ||
| Musikverein: Großer Saal, Vienna, Austria Sunday 9-May-10 11:00 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Daniele Gatti, Conductor | ||
| Monday 10-May-10 19:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Daniele Gatti, Conductor |
| More Info... | ||
| Musikverein: Großer Saal, Vienna, Austria Monday 10-May-10 19:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Daniele Gatti, Conductor | ||
| Tuesday 11-May-10 19:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Daniele Gatti, Conductor |
| More Info... | ||
| Musikverein: Großer Saal, Vienna, Austria Tuesday 11-May-10 19:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Daniele Gatti, Conductor | ||
| Saturday 15-May-10 15:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Daniele Gatti, Conductor |
| More Info... | ||
| Musikverein: Großer Saal, Vienna, Austria Saturday 15-May-10 15:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Daniele Gatti, Conductor | ||
| Sunday 16-May-10 11:00 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Daniele Gatti, Conductor |
| More Info... | ||
| Musikverein: Großer Saal, Vienna, Austria Sunday 16-May-10 11:00 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Daniele Gatti, Conductor | ||
| Friday 28-May-10 19:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Valery Gergiev, Conductor Nikolaj Znaider, Violin |
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| Musikverein: Großer Saal, Vienna, Austria Friday 28-May-10 19:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Valery Gergiev, Conductor Nikolaj Znaider, Violin | ||
| Saturday 29-May-10 15:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Valery Gergiev, Conductor Nikolaj Znaider, Violin |
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| Musikverein: Großer Saal, Vienna, Austria Saturday 29-May-10 15:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Valery Gergiev, Conductor Nikolaj Znaider, Violin | ||
| Sunday 30-May-10 11:00 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Valery Gergiev, Conductor Nikolaj Znaider, Violin |
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| Musikverein: Großer Saal, Vienna, Austria Sunday 30-May-10 11:00 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Valery Gergiev, Conductor Nikolaj Znaider, Violin | ||
| Monday 31-May-10 19:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Valery Gergiev, Conductor Nikolaj Znaider, Violin |
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| Musikverein: Großer Saal, Vienna, Austria Monday 31-May-10 19:30 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Valery Gergiev, Conductor Nikolaj Znaider, Violin | ||
| Thursday 3-Jun-10 11:00 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Works by Martinů Vienna Philharmonic Orchestra Mariss Jansons, Conductor |
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| Musikverein: Großer Saal, Vienna, Austria Thursday 3-Jun-10 11:00 Vienna Philharmonic Orchestra Works by Martinů, Bohuslav (1890-1959) Vienna Philharmonic Orchestra Mariss Jansons, Conductor | ||
| Friday 4-Jun-10 19:30 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Works by Martinů Vienna Philharmonic Orchestra Mariss Jansons, Conductor |
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| Musikverein: Großer Saal, Vienna, Austria Friday 4-Jun-10 19:30 Vienna Philharmonic Orchestra Works by Martinů, Bohuslav (1890-1959) Vienna Philharmonic Orchestra Mariss Jansons, Conductor | ||
| Sunday 6-Jun-10 11:00 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Works by Martinů Vienna Philharmonic Orchestra Mariss Jansons, Conductor |
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| Musikverein: Großer Saal, Vienna, Austria Sunday 6-Jun-10 11:00 Vienna Philharmonic Orchestra Works by Martinů, Bohuslav (1890-1959) Vienna Philharmonic Orchestra Mariss Jansons, Conductor | ||
| Sunday 20-Jun-10 11:00 |
Musikverein: Großer Saal, Vienna Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Riccardo Muti, Conductor |
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| Musikverein: Großer Saal, Vienna, Austria Sunday 20-Jun-10 11:00 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Riccardo Muti, Conductor | ||
| Monday 21-Jun-10 20:00 |
Cankarjev dom Culture and Congress Centre, Ljubljana Vienna Philharmonic Orchestra |
Vienna Philharmonic Orchestra Riccardo Muti, Conductor |
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| Cankarjev dom Culture and Congress Centre, Ljubljana, Slovenia Monday 21-Jun-10 20:00 Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Riccardo Muti, Conductor | ||
| Monday 26-Jul-10 20:00 |
Großes Festspielhaus, Salzburg Vienna Philharmonic 1 Salzburg Festival |
Vienna Philharmonic Orchestra Daniel Barenboim, Conductor/Piano Dorothea Röschmann, Soprano Elīna Garanča, Mezzo-soprano Klaus Florian Vogt, Tenor René Pape, Bass Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Großes Festspielhaus, 5020 Salzburg, Austria Monday 26-Jul-10 20:00 Vienna Philharmonic 1 Vienna Philharmonic Orchestra Daniel Barenboim, Conductor/Piano Dorothea Röschmann, Soprano Elīna Garanča, Mezzo-soprano Klaus Florian Vogt, Tenor René Pape, Bass Vienna State Opera Chorus | ||
| Tuesday 27-Jul-10 20:00 |
Großes Festspielhaus, Salzburg Vienna Philharmonic 1 Salzburg Festival |
Vienna Philharmonic Orchestra Daniel Barenboim, Conductor/Piano Dorothea Röschmann, Soprano Elīna Garanča, Mezzo-soprano Klaus Florian Vogt, Tenor René Pape, Bass Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Großes Festspielhaus, 5020 Salzburg, Austria Tuesday 27-Jul-10 20:00 Vienna Philharmonic 1 Vienna Philharmonic Orchestra Daniel Barenboim, Conductor/Piano Dorothea Röschmann, Soprano Elīna Garanča, Mezzo-soprano Klaus Florian Vogt, Tenor René Pape, Bass Vienna State Opera Chorus | ||
| Saturday 31-Jul-10 19:30 |
Großes Festspielhaus, Salzburg Orfeo ed Euridice Salzburg Festival |
Riccardo Muti, Conductor Elisabeth Kulman, Mezzo-soprano: Orfeo Genia Kühmeier, Soprano: Euridice Christiane Karg, Soprano: Amore Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Großes Festspielhaus, 5020 Salzburg, Austria Saturday 31-Jul-10 19:30 In the beginning, the beloved dies: grief, lamenting, pain, loneliness and defiance; in the end, the victory of love and music. Orpheus does not accept Eurydice’s death, he demands her return; if need be, he will bring her back from the underworld by force. The interference of the gods in the shape of Eros is not only an act of mercy. Orpheus is taken at his word: he is allowed to descend to the netherworld and retrieve his beloved wife, on the condition that he does not look at her and gives her no explanation. With the help of the power of music, Orpheus overcomes all obstacles, except for Eurydice’s resistance: she wants him to look at her and desire her, consciously. He cannot resist her, and she dies a second time. Orpheus wants to die with her. However, there is another life for the lovers, this time as a gift from the gods. Gluck’s azione teatrale per musica, premiered in 1762 in Vienna, irritates its audiences with its subjectivity and intimacy. The figures are taken from mythology; but everything that happens is motivated by love alone. There is no empire to be saved, no children, no social obligations, but no guilt either. Thus, the happy ending – often considered conventional – is actually a celebration of the absoluteness of individual feeling and its triumph over the absolutism of any power. Riccardo Muti, Conductor Elisabeth Kulman, Mezzo-soprano: Orfeo Genia Kühmeier, Soprano: Euridice Christiane Karg, Soprano: Amore Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Sunday 1-Aug-10 19:00 |
Felsenreitschule, Salzburg Lulu Salzburg Festival |
Marc Albrecht, Conductor Patricia Petibon, Soprano: Lulu Tanja Ariane Baumgartner, Mezzo-soprano: Countess Geschwitz Cora Burggraaf, Mezzo-soprano: Theatrical Dresser/Mezzo-soprano: High-School Boy Pavol Breslik, Tenor: The Painter/Tenor: Negro Michael Volle, Bass: Dr, Schon/Jack The Ripper Thomas Piffka, Tenor: Alwa Franz Grundheber, Baritone: Schigolch, an old man Thomas Johannes Mayer, Baritone: Animal Tamer/Baritone: Athlete Heinz Zednik, Tenor: Prince/Tenor: Manservant Vienna Philharmonic Orchestra |
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| Felsenreitschule, Salzburg, Austria Sunday 1-Aug-10 19:00 Now that I have an overview, I am even more convinced of the profound morality of the piece, Lulu’s rise and fall balance each other; in the middle, there is the great turn-around, until – like Don Juan – the Devil gets her. I say – like Don Juan – on purpose, not in order to compare myself – how could I!!! – with Mozart, but only to point out that the two figures, Lulu and Don Juan, are equal.” (Alban Berg, 1934) Wedekind’s Lulu tragedies deal with the absolute power of Eros in mythical forcefulness. In 1928, Berg decided that they would be the basis of his second opera, which he had completed in short score in 1934; by the time of his death, however, he had only been able to orchestrate the first two acts fully. Lulu is surrounded by the seductive aura of the natural, the untamed. A “nightwalker of love” (Karl Kraus) without memories who moves outside of conventional morals, she seems to exist for her male surroundings only as a projection, as an image, and yet evades any attempt at control: Lulu unnerves men, scoffs at their claims of possession, disrupts their bourgeois order. And thus, they take revenge: Lulu’s social ascent is followed by her humiliation as part of the “retaliation of a male world that dares to avenge its own guilt” (Kraus). Marc Albrecht, Conductor Patricia Petibon, Soprano: Lulu Tanja Ariane Baumgartner, Mezzo-soprano: Countess Geschwitz Cora Burggraaf, Mezzo-soprano: Theatrical Dresser/Mezzo-soprano: High-School Boy Pavol Breslik, Tenor: The Painter/Tenor: Negro Michael Volle, Bass: Dr, Schon/Jack The Ripper Thomas Piffka, Tenor: Alwa Franz Grundheber, Baritone: Schigolch, an old man Thomas Johannes Mayer, Baritone: Animal Tamer/Baritone: Athlete Heinz Zednik, Tenor: Prince/Tenor: Manservant Vienna Philharmonic Orchestra | ||
| Tuesday 3-Aug-10 20:00 |
Großes Festspielhaus, Salzburg Orfeo ed Euridice Salzburg Festival |
Riccardo Muti, Conductor Elisabeth Kulman, Mezzo-soprano: Orfeo Genia Kühmeier, Soprano: Euridice Christiane Karg, Soprano: Amore Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Großes Festspielhaus, 5020 Salzburg, Austria Tuesday 3-Aug-10 20:00 In the beginning, the beloved dies: grief, lamenting, pain, loneliness and defiance; in the end, the victory of love and music. Orpheus does not accept Eurydice’s death, he demands her return; if need be, he will bring her back from the underworld by force. The interference of the gods in the shape of Eros is not only an act of mercy. Orpheus is taken at his word: he is allowed to descend to the netherworld and retrieve his beloved wife, on the condition that he does not look at her and gives her no explanation. With the help of the power of music, Orpheus overcomes all obstacles, except for Eurydice’s resistance: she wants him to look at her and desire her, consciously. He cannot resist her, and she dies a second time. Orpheus wants to die with her. However, there is another life for the lovers, this time as a gift from the gods. Gluck’s azione teatrale per musica, premiered in 1762 in Vienna, irritates its audiences with its subjectivity and intimacy. The figures are taken from mythology; but everything that happens is motivated by love alone. There is no empire to be saved, no children, no social obligations, but no guilt either. Thus, the happy ending – often considered conventional – is actually a celebration of the absoluteness of individual feeling and its triumph over the absolutism of any power. Riccardo Muti, Conductor Elisabeth Kulman, Mezzo-soprano: Orfeo Genia Kühmeier, Soprano: Euridice Christiane Karg, Soprano: Amore Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Wednesday 4-Aug-10 19:00 |
Felsenreitschule, Salzburg Lulu Salzburg Festival |
Marc Albrecht, Conductor Patricia Petibon, Soprano: Lulu Tanja Ariane Baumgartner, Mezzo-soprano: Countess Geschwitz Cora Burggraaf, Mezzo-soprano: Theatrical Dresser/Mezzo-soprano: High-School Boy Pavol Breslik, Tenor: The Painter/Tenor: Negro Michael Volle, Bass: Dr, Schon/Jack The Ripper Thomas Piffka, Tenor: Alwa Franz Grundheber, Baritone: Schigolch, an old man Thomas Johannes Mayer, Baritone: Animal Tamer/Baritone: Athlete Heinz Zednik, Tenor: Prince/Tenor: Manservant Vienna Philharmonic Orchestra |
| More Info...Buy tickets! | ||
| Felsenreitschule, Salzburg, Austria Wednesday 4-Aug-10 19:00 Now that I have an overview, I am even more convinced of the profound morality of the piece, Lulu’s rise and fall balance each other; in the middle, there is the great turn-around, until – like Don Juan – the Devil gets her. I say – like Don Juan – on purpose, not in order to compare myself – how could I!!! – with Mozart, but only to point out that the two figures, Lulu and Don Juan, are equal.” (Alban Berg, 1934) Wedekind’s Lulu tragedies deal with the absolute power of Eros in mythical forcefulness. In 1928, Berg decided that they would be the basis of his second opera, which he had completed in short score in 1934; by the time of his death, however, he had only been able to orchestrate the first two acts fully. Lulu is surrounded by the seductive aura of the natural, the untamed. A “nightwalker of love” (Karl Kraus) without memories who moves outside of conventional morals, she seems to exist for her male surroundings only as a projection, as an image, and yet evades any attempt at control: Lulu unnerves men, scoffs at their claims of possession, disrupts their bourgeois order. And thus, they take revenge: Lulu’s social ascent is followed by her humiliation as part of the “retaliation of a male world that dares to avenge its own guilt” (Kraus). Marc Albrecht, Conductor Patricia Petibon, Soprano: Lulu Tanja Ariane Baumgartner, Mezzo-soprano: Countess Geschwitz Cora Burggraaf, Mezzo-soprano: Theatrical Dresser/Mezzo-soprano: High-School Boy Pavol Breslik, Tenor: The Painter/Tenor: Negro Michael Volle, Bass: Dr, Schon/Jack The Ripper Thomas Piffka, Tenor: Alwa Franz Grundheber, Baritone: Schigolch, an old man Thomas Johannes Mayer, Baritone: Animal Tamer/Baritone: Athlete Heinz Zednik, Tenor: Prince/Tenor: Manservant Vienna Philharmonic Orchestra | ||
| Friday 6-Aug-10 19:00 |
Felsenreitschule, Salzburg Lulu Salzburg Festival |
Marc Albrecht, Conductor Patricia Petibon, Soprano: Lulu Tanja Ariane Baumgartner, Mezzo-soprano: Countess Geschwitz Cora Burggraaf, Mezzo-soprano: Theatrical Dresser/Mezzo-soprano: High-School Boy Pavol Breslik, Tenor: The Painter/Tenor: Negro Michael Volle, Bass: Dr, Schon/Jack The Ripper Thomas Piffka, Tenor: Alwa Franz Grundheber, Baritone: Schigolch, an old man Thomas Johannes Mayer, Baritone: Animal Tamer/Baritone: Athlete Heinz Zednik, Tenor: Prince/Tenor: Manservant Vienna Philharmonic Orchestra |
| More Info...Buy tickets! | ||
| Felsenreitschule, Salzburg, Austria Friday 6-Aug-10 19:00 Now that I have an overview, I am even more convinced of the profound morality of the piece, Lulu’s rise and fall balance each other; in the middle, there is the great turn-around, until – like Don Juan – the Devil gets her. I say – like Don Juan – on purpose, not in order to compare myself – how could I!!! – with Mozart, but only to point out that the two figures, Lulu and Don Juan, are equal.” (Alban Berg, 1934) Wedekind’s Lulu tragedies deal with the absolute power of Eros in mythical forcefulness. In 1928, Berg decided that they would be the basis of his second opera, which he had completed in short score in 1934; by the time of his death, however, he had only been able to orchestrate the first two acts fully. Lulu is surrounded by the seductive aura of the natural, the untamed. A “nightwalker of love” (Karl Kraus) without memories who moves outside of conventional morals, she seems to exist for her male surroundings only as a projection, as an image, and yet evades any attempt at control: Lulu unnerves men, scoffs at their claims of possession, disrupts their bourgeois order. And thus, they take revenge: Lulu’s social ascent is followed by her humiliation as part of the “retaliation of a male world that dares to avenge its own guilt” (Kraus). Marc Albrecht, Conductor Patricia Petibon, Soprano: Lulu Tanja Ariane Baumgartner, Mezzo-soprano: Countess Geschwitz Cora Burggraaf, Mezzo-soprano: Theatrical Dresser/Mezzo-soprano: High-School Boy Pavol Breslik, Tenor: The Painter/Tenor: Negro Michael Volle, Bass: Dr, Schon/Jack The Ripper Thomas Piffka, Tenor: Alwa Franz Grundheber, Baritone: Schigolch, an old man Thomas Johannes Mayer, Baritone: Animal Tamer/Baritone: Athlete Heinz Zednik, Tenor: Prince/Tenor: Manservant Vienna Philharmonic Orchestra | ||
| Saturday 7-Aug-10 20:00 |
Großes Festspielhaus, Salzburg Orfeo ed Euridice Salzburg Festival |
Riccardo Muti, Conductor Elisabeth Kulman, Mezzo-soprano: Orfeo Genia Kühmeier, Soprano: Euridice Christiane Karg, Soprano: Amore Vienna Philharmonic Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Großes Festspielhaus, 5020 Salzburg, Austria Saturday 7-Aug-10 20:00 In the beginning, the beloved dies: grief, lamenting, pain, loneliness and defiance; in the end, the victory of love and music. Orpheus does not accept Eurydice’s death, he demands her return; if need be, he will bring her back from the underworld by force. The interference of the gods in the shape of Eros is not only an act of mercy. Orpheus is taken at his word: he is allowed to descend to the netherworld and retrieve his beloved wife, on the condition that he does not look at her and gives her no explanation. With the help of the power of music, Orpheus overcomes all obstacles, except for Eurydice’s resistance: she wants him to look at her and desire her, consciously. He cannot resist her, and she dies a second time. Orpheus wants to die with her. However, there is another life for the lovers, this time as a gift from the gods. Gluck’s azione teatrale per musica, premiered in 1762 in Vienna, irritates its audiences with its subjectivity and intimacy. The figures are taken from mythology; but everything that happens is motivated by love alone. There is no empire to be saved, no children, no social obligations, but no guilt either. Thus, the happy ending – often considered conventional – is actually a celebration of the absoluteness of individual feeling and its triumph over the absolutism of any power. Riccardo Muti, Conductor Elisabeth Kulman, Mezzo-soprano: Orfeo Genia Kühmeier, Soprano: Euridice Christiane Karg, Soprano: Amore Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Sunday 8-Aug-10 11:00 |
Großes Festspielhaus, Salzburg Vienna Philharmonic 2 Salzburg Festival |
Anne-Sophie Mutter, Violin Vienna Philharmonic Orchestra Riccardo Chailly, Conductor |
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| Großes Festspielhaus, 5020 Salzburg, Austria Sunday 8-Aug-10 11:00 Vienna Philharmonic 2 Anne-Sophie Mutter, Violin Vienna Philharmonic Orchestra Riccardo Chailly, Conductor | ||
| Sunday 8-Aug-10 20:00 |
Großes Festspielhaus, Salzburg Elektra Salzburg Festival |
Daniele Gatti, Conductor Waltraud Meier, Mezzo-soprano: Klytemnestra Irène Théorin, Soprano: Elektra Eva-Maria Westbroek, Soprano: Chrysothemis Robert Gambill, Tenor: Aegisthus René Pape, Baritone: Orestes Oliver Zwarg, Tenor: Orest's Tutor Ben Hulett, Tenor: Young Servant Josef Stangl, Bass: Old Servant Orla Boylan, Soprano: Overseer Maria Radner, Mezzo-soprano: Maid 1 Stephanie Atanasov, Mezzo-soprano: Maid 2 Eva Leitner, Soprano: Maid 4 Arina Holecek, Mezzo-soprano: Confidante Barbara Reiter, Mezzo-soprano: Trainbearer Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Großes Festspielhaus, 5020 Salzburg, Austria Sunday 8-Aug-10 20:00 Electra is obsessed with the idea of avenging her father’s murder. Agamemnon is the center and demon of her idée fixe. Electra lives exclusively in the past; as a figure, she is only existent in combination with this idea. Through this absolute fixation upon the idea, the person becomes a marionette – a cruel act of self-abandonment and loss of identity. The opera takes place in a space occupied primarily by Electra, a command center of her obsession. She has almost walled herself up in the fortress of her thoughts, a shell that is a refuge and a trap at the same time. The piece is about the visualization of inner states, about existential emergencies and forced situations. In the end, what remains is self-deception and self-destruction, culminating in a dance of death. The drama ends with the same basic problems as it began. Only the roles have been changed. There is no way out of the cycle of crime. The curse remains. The Erinyes are just outside the door. Daniele Gatti, Conductor Waltraud Meier, Mezzo-soprano: Klytemnestra Irène Théorin, Soprano: Elektra Eva-Maria Westbroek, Soprano: Chrysothemis Robert Gambill, Tenor: Aegisthus René Pape, Baritone: Orestes Oliver Zwarg, Tenor: Orest's Tutor Ben Hulett, Tenor: Young Servant Josef Stangl, Bass: Old Servant Orla Boylan, Soprano: Overseer Maria Radner, Mezzo-soprano: Maid 1 Stephanie Atanasov, Mezzo-soprano: Maid 2 Eva Leitner, Soprano: Maid 4 Arina Holecek, Mezzo-soprano: Confidante Barbara Reiter, Mezzo-soprano: Trainbearer Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Monday 9-Aug-10 18:00 |
Haus für Mozart, Salzburg Don Giovanni Salzburg Festival |
Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Haus für Mozart, 5020 Salzburg, Austria Monday 9-Aug-10 18:00 In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences’ delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart’s Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span? Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Tuesday 10-Aug-10 21:00 |
Großes Festspielhaus, Salzburg Vienna Philharmonic 2 Salzburg Festival |
Anne-Sophie Mutter, Violin Vienna Philharmonic Orchestra Riccardo Chailly, Conductor |
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| Großes Festspielhaus, 5020 Salzburg, Austria Tuesday 10-Aug-10 21:00 Vienna Philharmonic 2 Anne-Sophie Mutter, Violin Vienna Philharmonic Orchestra Riccardo Chailly, Conductor | ||
| Wednesday 11-Aug-10 19:00 |
Felsenreitschule, Salzburg Lulu Salzburg Festival |
Marc Albrecht, Conductor Patricia Petibon, Soprano: Lulu Tanja Ariane Baumgartner, Mezzo-soprano: Countess Geschwitz Cora Burggraaf, Mezzo-soprano: Theatrical Dresser/Mezzo-soprano: High-School Boy Pavol Breslik, Tenor: The Painter/Tenor: Negro Michael Volle, Bass: Dr, Schon/Jack The Ripper Thomas Piffka, Tenor: Alwa Franz Grundheber, Baritone: Schigolch, an old man Thomas Johannes Mayer, Baritone: Animal Tamer/Baritone: Athlete Heinz Zednik, Tenor: Prince/Tenor: Manservant Vienna Philharmonic Orchestra |
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| Felsenreitschule, Salzburg, Austria Wednesday 11-Aug-10 19:00 Now that I have an overview, I am even more convinced of the profound morality of the piece, Lulu’s rise and fall balance each other; in the middle, there is the great turn-around, until – like Don Juan – the Devil gets her. I say – like Don Juan – on purpose, not in order to compare myself – how could I!!! – with Mozart, but only to point out that the two figures, Lulu and Don Juan, are equal.” (Alban Berg, 1934) Wedekind’s Lulu tragedies deal with the absolute power of Eros in mythical forcefulness. In 1928, Berg decided that they would be the basis of his second opera, which he had completed in short score in 1934; by the time of his death, however, he had only been able to orchestrate the first two acts fully. Lulu is surrounded by the seductive aura of the natural, the untamed. A “nightwalker of love” (Karl Kraus) without memories who moves outside of conventional morals, she seems to exist for her male surroundings only as a projection, as an image, and yet evades any attempt at control: Lulu unnerves men, scoffs at their claims of possession, disrupts their bourgeois order. And thus, they take revenge: Lulu’s social ascent is followed by her humiliation as part of the “retaliation of a male world that dares to avenge its own guilt” (Kraus). Marc Albrecht, Conductor Patricia Petibon, Soprano: Lulu Tanja Ariane Baumgartner, Mezzo-soprano: Countess Geschwitz Cora Burggraaf, Mezzo-soprano: Theatrical Dresser/Mezzo-soprano: High-School Boy Pavol Breslik, Tenor: The Painter/Tenor: Negro Michael Volle, Bass: Dr, Schon/Jack The Ripper Thomas Piffka, Tenor: Alwa Franz Grundheber, Baritone: Schigolch, an old man Thomas Johannes Mayer, Baritone: Animal Tamer/Baritone: Athlete Heinz Zednik, Tenor: Prince/Tenor: Manservant Vienna Philharmonic Orchestra | ||
| Thursday 12-Aug-10 15:00 |
Haus für Mozart, Salzburg Don Giovanni Salzburg Festival |
Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Haus für Mozart, 5020 Salzburg, Austria Thursday 12-Aug-10 15:00 In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences’ delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart’s Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span? Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Thursday 12-Aug-10 20:30 |
Großes Festspielhaus, Salzburg Elektra Salzburg Festival |
Daniele Gatti, Conductor Waltraud Meier, Mezzo-soprano: Klytemnestra Irène Théorin, Soprano: Elektra Eva-Maria Westbroek, Soprano: Chrysothemis Robert Gambill, Tenor: Aegisthus René Pape, Baritone: Orestes Oliver Zwarg, Tenor: Orest's Tutor Ben Hulett, Tenor: Young Servant Josef Stangl, Bass: Old Servant Orla Boylan, Soprano: Overseer Maria Radner, Mezzo-soprano: Maid 1 Stephanie Atanasov, Mezzo-soprano: Maid 2 Eva Leitner, Soprano: Maid 4 Arina Holecek, Mezzo-soprano: Confidante Barbara Reiter, Mezzo-soprano: Trainbearer Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Großes Festspielhaus, 5020 Salzburg, Austria Thursday 12-Aug-10 20:30 Electra is obsessed with the idea of avenging her father’s murder. Agamemnon is the center and demon of her idée fixe. Electra lives exclusively in the past; as a figure, she is only existent in combination with this idea. Through this absolute fixation upon the idea, the person becomes a marionette – a cruel act of self-abandonment and loss of identity. The opera takes place in a space occupied primarily by Electra, a command center of her obsession. She has almost walled herself up in the fortress of her thoughts, a shell that is a refuge and a trap at the same time. The piece is about the visualization of inner states, about existential emergencies and forced situations. In the end, what remains is self-deception and self-destruction, culminating in a dance of death. The drama ends with the same basic problems as it began. Only the roles have been changed. There is no way out of the cycle of crime. The curse remains. The Erinyes are just outside the door. Daniele Gatti, Conductor Waltraud Meier, Mezzo-soprano: Klytemnestra Irène Théorin, Soprano: Elektra Eva-Maria Westbroek, Soprano: Chrysothemis Robert Gambill, Tenor: Aegisthus René Pape, Baritone: Orestes Oliver Zwarg, Tenor: Orest's Tutor Ben Hulett, Tenor: Young Servant Josef Stangl, Bass: Old Servant Orla Boylan, Soprano: Overseer Maria Radner, Mezzo-soprano: Maid 1 Stephanie Atanasov, Mezzo-soprano: Maid 2 Eva Leitner, Soprano: Maid 4 Arina Holecek, Mezzo-soprano: Confidante Barbara Reiter, Mezzo-soprano: Trainbearer Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Friday 13-Aug-10 20:00 |
Großes Festspielhaus, Salzburg Orfeo ed Euridice Salzburg Festival |
Riccardo Muti, Conductor Elisabeth Kulman, Mezzo-soprano: Orfeo Genia Kühmeier, Soprano: Euridice Christiane Karg, Soprano: Amore Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Großes Festspielhaus, 5020 Salzburg, Austria Friday 13-Aug-10 20:00 In the beginning, the beloved dies: grief, lamenting, pain, loneliness and defiance; in the end, the victory of love and music. Orpheus does not accept Eurydice’s death, he demands her return; if need be, he will bring her back from the underworld by force. The interference of the gods in the shape of Eros is not only an act of mercy. Orpheus is taken at his word: he is allowed to descend to the netherworld and retrieve his beloved wife, on the condition that he does not look at her and gives her no explanation. With the help of the power of music, Orpheus overcomes all obstacles, except for Eurydice’s resistance: she wants him to look at her and desire her, consciously. He cannot resist her, and she dies a second time. Orpheus wants to die with her. However, there is another life for the lovers, this time as a gift from the gods. Gluck’s azione teatrale per musica, premiered in 1762 in Vienna, irritates its audiences with its subjectivity and intimacy. The figures are taken from mythology; but everything that happens is motivated by love alone. There is no empire to be saved, no children, no social obligations, but no guilt either. Thus, the happy ending – often considered conventional – is actually a celebration of the absoluteness of individual feeling and its triumph over the absolutism of any power. Riccardo Muti, Conductor Elisabeth Kulman, Mezzo-soprano: Orfeo Genia Kühmeier, Soprano: Euridice Christiane Karg, Soprano: Amore Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Saturday 14-Aug-10 19:00 |
Felsenreitschule, Salzburg Lulu Salzburg Festival |
Marc Albrecht, Conductor Patricia Petibon, Soprano: Lulu Tanja Ariane Baumgartner, Mezzo-soprano: Countess Geschwitz Cora Burggraaf, Mezzo-soprano: Theatrical Dresser/Mezzo-soprano: High-School Boy Pavol Breslik, Tenor: The Painter/Tenor: Negro Michael Volle, Bass: Dr, Schon/Jack The Ripper Thomas Piffka, Tenor: Alwa Franz Grundheber, Baritone: Schigolch, an old man Thomas Johannes Mayer, Baritone: Animal Tamer/Baritone: Athlete Heinz Zednik, Tenor: Prince/Tenor: Manservant Vienna Philharmonic Orchestra |
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| Felsenreitschule, Salzburg, Austria Saturday 14-Aug-10 19:00 Now that I have an overview, I am even more convinced of the profound morality of the piece, Lulu’s rise and fall balance each other; in the middle, there is the great turn-around, until – like Don Juan – the Devil gets her. I say – like Don Juan – on purpose, not in order to compare myself – how could I!!! – with Mozart, but only to point out that the two figures, Lulu and Don Juan, are equal.” (Alban Berg, 1934) Wedekind’s Lulu tragedies deal with the absolute power of Eros in mythical forcefulness. In 1928, Berg decided that they would be the basis of his second opera, which he had completed in short score in 1934; by the time of his death, however, he had only been able to orchestrate the first two acts fully. Lulu is surrounded by the seductive aura of the natural, the untamed. A “nightwalker of love” (Karl Kraus) without memories who moves outside of conventional morals, she seems to exist for her male surroundings only as a projection, as an image, and yet evades any attempt at control: Lulu unnerves men, scoffs at their claims of possession, disrupts their bourgeois order. And thus, they take revenge: Lulu’s social ascent is followed by her humiliation as part of the “retaliation of a male world that dares to avenge its own guilt” (Kraus). Marc Albrecht, Conductor Patricia Petibon, Soprano: Lulu Tanja Ariane Baumgartner, Mezzo-soprano: Countess Geschwitz Cora Burggraaf, Mezzo-soprano: Theatrical Dresser/Mezzo-soprano: High-School Boy Pavol Breslik, Tenor: The Painter/Tenor: Negro Michael Volle, Bass: Dr, Schon/Jack The Ripper Thomas Piffka, Tenor: Alwa Franz Grundheber, Baritone: Schigolch, an old man Thomas Johannes Mayer, Baritone: Animal Tamer/Baritone: Athlete Heinz Zednik, Tenor: Prince/Tenor: Manservant Vienna Philharmonic Orchestra | ||
| Sunday 15-Aug-10 11:00 |
Großes Festspielhaus, Salzburg Vienna Philharmonic 3 Salzburg Festival |
Prokofiev, Ivan the Terrible, Op.116 (Oratorio for Speaker, Contralto, Baritone, Chorus and Orchestra) Gérard Depardieu, Voice: Speaker Olga Borodina, Mezzo-soprano Ildar Abdrazakov, Bass Salzburg Festival Children's Choir Vienna State Opera Chorus Vienna Philharmonic Orchestra Riccardo Muti, Conductor |
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| Großes Festspielhaus, 5020 Salzburg, Austria Sunday 15-Aug-10 11:00 Vienna Philharmonic 3 Prokofiev, Sergey (1891-1953), Ivan the Terrible, Op.116 (Oratorio for Speaker, Contralto, Baritone, Chorus and Orchestra) Gérard Depardieu, Voice: Speaker Olga Borodina, Mezzo-soprano Ildar Abdrazakov, Bass Salzburg Festival Children's Choir Vienna State Opera Chorus Vienna Philharmonic Orchestra Riccardo Muti, Conductor | ||
| Sunday 15-Aug-10 18:00 |
Haus für Mozart, Salzburg Don Giovanni Salzburg Festival |
Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Haus für Mozart, 5020 Salzburg, Austria Sunday 15-Aug-10 18:00 In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences’ delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart’s Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span? Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Monday 16-Aug-10 11:00 |
Großes Festspielhaus, Salzburg Vienna Philharmonic 3 Salzburg Festival |
Prokofiev, Ivan the Terrible, Op.116 (Oratorio for Speaker, Contralto, Baritone, Chorus and Orchestra) Gérard Depardieu, Voice: Speaker Olga Borodina, Mezzo-soprano Ildar Abdrazakov, Bass Salzburg Festival Children's Choir Vienna State Opera Chorus Vienna Philharmonic Orchestra Riccardo Muti, Conductor |
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| Großes Festspielhaus, 5020 Salzburg, Austria Monday 16-Aug-10 11:00 Vienna Philharmonic 3 Prokofiev, Sergey (1891-1953), Ivan the Terrible, Op.116 (Oratorio for Speaker, Contralto, Baritone, Chorus and Orchestra) Gérard Depardieu, Voice: Speaker Olga Borodina, Mezzo-soprano Ildar Abdrazakov, Bass Salzburg Festival Children's Choir Vienna State Opera Chorus Vienna Philharmonic Orchestra Riccardo Muti, Conductor | ||
| Monday 16-Aug-10 20:00 |
Großes Festspielhaus, Salzburg Elektra Salzburg Festival |
Daniele Gatti, Conductor Waltraud Meier, Mezzo-soprano: Klytemnestra Irène Théorin, Soprano: Elektra Eva-Maria Westbroek, Soprano: Chrysothemis Robert Gambill, Tenor: Aegisthus René Pape, Baritone: Orestes Oliver Zwarg, Tenor: Orest's Tutor Ben Hulett, Tenor: Young Servant Josef Stangl, Bass: Old Servant Orla Boylan, Soprano: Overseer Maria Radner, Mezzo-soprano: Maid 1 Stephanie Atanasov, Mezzo-soprano: Maid 2 Eva Leitner, Soprano: Maid 4 Arina Holecek, Mezzo-soprano: Confidante Barbara Reiter, Mezzo-soprano: Trainbearer Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Großes Festspielhaus, 5020 Salzburg, Austria Monday 16-Aug-10 20:00 Electra is obsessed with the idea of avenging her father’s murder. Agamemnon is the center and demon of her idée fixe. Electra lives exclusively in the past; as a figure, she is only existent in combination with this idea. Through this absolute fixation upon the idea, the person becomes a marionette – a cruel act of self-abandonment and loss of identity. The opera takes place in a space occupied primarily by Electra, a command center of her obsession. She has almost walled herself up in the fortress of her thoughts, a shell that is a refuge and a trap at the same time. The piece is about the visualization of inner states, about existential emergencies and forced situations. In the end, what remains is self-deception and self-destruction, culminating in a dance of death. The drama ends with the same basic problems as it began. Only the roles have been changed. There is no way out of the cycle of crime. The curse remains. The Erinyes are just outside the door. Daniele Gatti, Conductor Waltraud Meier, Mezzo-soprano: Klytemnestra Irène Théorin, Soprano: Elektra Eva-Maria Westbroek, Soprano: Chrysothemis Robert Gambill, Tenor: Aegisthus René Pape, Baritone: Orestes Oliver Zwarg, Tenor: Orest's Tutor Ben Hulett, Tenor: Young Servant Josef Stangl, Bass: Old Servant Orla Boylan, Soprano: Overseer Maria Radner, Mezzo-soprano: Maid 1 Stephanie Atanasov, Mezzo-soprano: Maid 2 Eva Leitner, Soprano: Maid 4 Arina Holecek, Mezzo-soprano: Confidante Barbara Reiter, Mezzo-soprano: Trainbearer Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
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