今年の演目
January 2010: Concerts in Taiwan
Vom 1. bis zum 5. Jänner gastiert der Chor in
Taichung, Kaohsiung und Taipei. Bei den drei Konzerten stehen Werke von Johann Strauss und Giuseppe Verdi auf dem Programm.
Die Solisten sind (wie bei der Konzertreise nach Seoul im November 2009) Sopran: T. Ketevan, Mezzo: S. Adrineh, Tenor: P. Svenson und Bariton: G. Kirilov.
May 2010: Presentation of a new anekdotes book
Für Ende Mai ist die Präsentation des zweiten Anekdotenbuches von Chormitglied Wolfgang Equiluz mit dem Titel DER HUNDERTKÖPFIGE KAMMERSÄNGER geplant.
July & August 2010: Salzburg Festival
Wolfgang Rihm: DIONYSOS
Uraufführung
In deutscher Sprache mit deutschen und englischen Übertiteln
Koproduktion mit De Nederlandse Opera, Amsterdam
und der Staatsoper Unter den Linden, Berlin
Ingo Metzmacher, Musikalische Leitung
Pierre Audi, Regie
Johannes Martin Kränzle, Dionysos
Mojca Erdmann, Sopran
Elin Rombo, Sopran
Matthias Klink, Tenor
Virpi Räisänen, Mezzosopran
Deutsches Symphonie-Orchester Berlin
Konzertvereinigung Wiener Staatsopernchor
Haus für Mozart am
27. und 30. Juli sowie 5. und 8. August,
Friedrich Nietzsche’s late cycle of poems Dionysus-Dithyrambs is the inspiration and point of departure for Wolfgang Rihm’s latest music-theater work, which will have its world premiere at the Salzburg Festival. The director Pierre Audi, who has ample experience in working with visual artists, shows how the god of inebriation finds his way into the texts of the philosopher, already marked by madness, how his erotic, traumatized, platonic and pathological relationships with the most important women in his life can be revealed through music, motion and images, how the author himself, racked by illness and yet highly sensitized, becomes a theatrically exuberant event.
For the first time, Audi will collaborate with the visual inspiration of multi-talent Jonathan Meese, who has repeatedly dealt with the subject of Nietzsche before. His opulent and sometimes rigorously structured associations with Nietzsche make him a natural choice for this work. The composer develops a plot without wanting to follow a linear narrative structure – instead, he unfolds a kaleidoscope of images – an almost Dionysian action.
Klaus Bertisch
Christoph Willibald Gluck: ORFEO ED EURIDICI
Azione teatrale per musica in drei Akten
Text von Raniero de' Calzabigi
Wiener Fassung von 1762
Neuinszenierung in italienischer Sprache mit deutschen und englischen Übertiteln
Riccardo Muti, Musikalische Leitung
Dieter Dorn, Regie
Jürgen Rose, Bühnenbild und Kostüme
Thomas Lang, Chöre
Elisabeth Kulman, Orfeo
Genia Kühmeier, Euridice
Christiane Karg, Amore
Wiener Philharmoniker
Konzertvereinigung Wiener Staatsopernchor
Großes Festspielhaus am 31. Juli sowie 3., 7., 13., 19., 21. und 24 August
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.
Hans-Joachim Ruckhäberle
Richard Strauss: ELEKTRA
Tragödie in einem Aufzug
Text von Hugo von Hofmannsthal nach der Tragödie von Sophokles
Neuinszenierung in deutscher Sprache mit deutschen und englischen Übertiteln
Koproduktion mit der English National Opera, London
Daniele Gatti, Musikalische Leitung
Nikolaus Lehnhoff, Regie
Raimund Bauer, Bühnenbild
Andrea Schmidt-Futterer, Kostüme
Thomas Lang, Choreinstudierung
Waltraud Meier, Klytämnestra
Iréne Theorin, Elektra, ihre Tochter
Eva-Maria Westbroek, Chrysothemis, ihre Tochter
Robert Gambill, Aegisth
René Pape, Orest
Oliver Zwarg, Der Pfleger des Orest
Benjamin Hulett, Ein junger Diener
Josef Stangl (Mitglied der Konzertvereinigung), Ein alter Diener
Orla Boylan, Die Aufseherin
Maria Radner, Erste Magd
Stephanie Atanasov, Zweite Magd
Eva Leitner, Vierte Magd
Arina Holecek (Mitglied der Konzertvereinigung), Eine Vertraute
Barbara Reiter (Mitglied der Konzertvereinigung), Eine Schleppträgerin
Wiener Philharmoniker
Konzertvereinigung Wiener Staatsopernchor
Großes Festspielhaus am 8., 12., 16., 20., 23. und 28. August
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.
Nikolaus Lehnhoff
Wolfgang A. Mozart: DON GIOVANNI
Dramma giocoso in zwei Akten KV 527
Text von Lorenzo Da Ponte
Neueinstudierung in italienischer Sprache mit deutschen und englischen Übertiteln
Yannick Nézet-Séguin, Musikalische Leitung
Claus Guth, Regie
Christian Schmidt, Bühnenbild und Kostüme
Thomas Lang, Choreinstudierung
Christopher Maltman, Don Giovanni
Dimitry Ivashchenko, Il Commendatore, Donna Annas Vater
Aleksandra Kurzak, Donna Anna, Don Ottavios Verlobte
Joseph Kaiser, Don Ottavio
Joel Prieto (22.08, 25.08, 29.08), Don Ottavio
Dorothea Röschmann, Donna Elvira, Dame aus Burgos
Erwin Schrott, Leporello, Don Giovannis Diener
Anna Prohaska, Zerlina, Bäuerin, Masettos Braut
Adam Plachetka, Masetto, Bauer
Wiener Philharmoniker
Konzertvereinigung Wiener Staatsopernchor
Haus für Mozart am 9., 12., 15., 19., 22., 25. und 29. August
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?
Ronny Dietrich
Charles Gounod: ROMEO ET JULIETTE
Oper in fünf Akten
Text von Jules Barbier und Michel Carré nach der Tragödie Romeo and Juliet von William Shakespeare
Neueinstudierung in französischer Sprache mit deutschen und englischen Übertiteln
Yannick Nézet-Séguin, Musikalische Leitung
Bartlett Sher, Regie
Michael Yeargan, Bühnenbild
Catherine Zuber, Kostüme
Thomas Lang, Chöre
Anna Netrebko, Juliette
Nino Machaidze (18.08, 24.08, 27.08, 30.08), Juliette
Piotr Beczala, Roméo
Stephen Costello (18.08, 24.08), Roméo
Mikhail Petrenko, Frère Laurent
Dimitry Ivashchenko (27.08, 30.08), Frère Laurent
Darren Jeffery, Le Comte Capulet
Russell Braun, Mercutio, Freund von Roméo
Cora Burggraaf, Stéphano, Page von Roméo
Michael Spyres, Tybalt, Capulets Neffe
Susanne Resmark, Gertrude, Juliettes Amme
David Soar, Le Duc de Vérone
Mathias Hausmann, Le Comte Paris
Robert Murray, Benvolio, Montaigus Neffe
Mozarteumorchester Salzburg
Konzertvereinigung Wiener Staatsopernchor
Felsenreitschule am 10., 13., 16., 18., 20., 23., 24., 27. und 30. August
Shakespeare’s extraordinary play, Romeo and Juliet, was a radical text in the Renaissance. In it, he took new ideas, popular in court among the neo-Platonists, and dramatized them. The neo-Platonists found a path to engage the world through individual love. Shakespeare expanded this to social tragedy, where love heals the public strife of two warring families.
Gounod, writing 250 years later, is interested in something completely different. Influenced by Wagner (particularly Tristan), he explores how individual love offers access to the divine, something blasphemous to Shakespeare’s audience. His opera is an emotional dreamscape of the play, and placing it amidst the templar walls of the Felsenreitschule creates the opportunity to experience the ecstasy of falling in love through Gounod’s music. But he pushes this choice further toward the radical implications of two young people finding meaning not only in love, but in death as a path to the divine.
That experience and its emotional implications for the society in which they live is the dreamlike journey of Gounod’s opera.
Bartlett Sher
Vincenzo Bellini: NORMA
Tragedia lirica in zwei Akten
Text von Felice Romani nach der Tragödie Norma, ou L'Infanticide von Alexandre Soumet
Konzertante Aufführung
Friedrich Haider, Musikalische Leitung
Thomas Lang, Chöre
Edita Gruberova, Norma, Druidin, Tochter von Oroveso
Joyce DiDonato, Adalgisa, Priesterin im Tempel der Irminsul
Marcello Giordani, Pollione, römischer Prokonsul in Gallien
Ferruccio Furlanetto, Oroveso, oberster Druide
Ezgi Kutlu, Clotilde, Vertraute von Norma
Camerata Salzburg
Konzertvereinigung Wiener Staatsopernchor
Großes Festspielhaus am 9. und 14. August
Is not all that we feel there true and great?” the young Richard Wagner asked in a review of Norma (1831), which he did not hesitate to compare to the tragedies of Antiquity. The central figure in Bellini’s opera is a druid priestess: among the Gauls, Norma occupies a position of power, but inwardly, she finds no peace. As the secret lover of Pollione, proconsul of the Roman occupying forces and the father of her two children, she has broken her vows and violated her patriotic duties. However, even more than by her conscience, she is tortured by the fact that Pollione has turned away from her. When Norma learns of Pollione’s liaison with the novice Adalgisa, the conflict escalates.
For their “most perfect tragedy” (Schopenhauer), Bellini and his librettist used a contemporary French drama, but they gave Soumet’s Norma, who resembles the figure of Medea, greater humanity and dignity: thus, she combines pride and vulnerability, passion and tenderness, a thirst for revenge and compassion. Bellini expresses all these facets in his controlled and intensively expressive melodies: invariably inspired by the dramatic and poetic content of the text, song unfolds here with the power of an incantation.
Anton Bruckner: TE DEUM
Daniel Barenboim, Dirigent
Thomas Lang, Chöre
Dorothea Röschmann, Sopran
Elina Garanca, Mezzosopran
Klaus-Florian Vogt, Tenor
René Pape, Bass
Konzertvereinigung Wiener Staatsopernchor
Wiener Philharmoniker
Großes Festspielhaus am 26. und 27. Juli
Sergej Prokofjew: IWAN DER SCHRECKLICHE op. 116
Riccardo Muti, Dirigent
Thomas Lang, Chöre
Gérard Depardieu, Sprecher
Olga Borodina, Mezzosopran
Ildar Abdrazakov, Bass
Salzburger Festspiele Kinderchor
Konzertvereinigung Wiener Staatsopernchor
Wiener Philharmoniker
Großes Festspielhaus am 15., 16. und 17. August
ウィーン国立オペラ座合唱団コンサート協会
