Theater an der Wien- Season programme 18/19

DAS OPERNHAUS

english version73

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www.theater-wien.at

General sponsor

The Theater an der Wien receives subsidies from the Cultural Department of the City of Vienna

EVERY MORNING WHEN WE AWAKE, said Schopenhauer, our consciousness is a tabula rasa which, however, quickly fills itself again.

“First it is the surroundings of the previous evening which now reappear, and remind us of what we thought in these surroundings; to this the events of the previous day link themselves on; and so one thought rapidly recalls the others, till all that occupied us yesterday is there again.”

I am delighted to have been entrusted with responsibility for shaping the artistic profile of the Theater an der Wien for another four years starting in the autumn of 2018, and have developed a concept for the coming seasons, 2018-22, that, while based on the 100 different opera productions staged by the TAW to date, will nonetheless tread new ground. Centuries ago, Pythagoras called the number 4 “the progenitor of the progenitor of the universe”, and not without reason.

IN SEARCH OF UNDERSTANDING

In keeping with Schopenhauer’s idea of the tabula rasa, I would like to continue, with this programme, the path that takes us on from the insights gained in the twelve previous seasons and is intended to lead away from the familiar towards new ideas. To quote Nikolaus Harnoncourt, we must not remain in our comfort zone, but be prepared to take risks: “Beauty and security are not compatible. The more beautiful a thing is, the greater the risk it entails.

We are always striving to reach the highest point, but right next to the highest attainable beauty is the chasm and the danger of plunging down it. That’s where we have to go.” For me, the Theater an der Wien has always been at that point where this longing and this striving become possible.

Since the theatre’s rededication in Mozart year 2006 it has always been important to me to stress that the TAW is “the new opera house” of the city of Vienna. Owing to the tremendous acclaim bestowed on our productions by audiences, media and opera awards alike, we will now drop the attribute “new” to reflect our ambitious future plans. I believe that from now on the name alone stands for innovation and quality.

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To the same end, our second venue, the Kammeroper, will no longer appear in isolation: instead, we intend to show the public more clearly than ever before how the two venues complement each other. As we embark on this new journey into the coming four seasons, the Theater an der Wien will now uniformly be known as “the opera house of the city of Vienna” and will produce a programme at the “big house” on Linke Wienzeile and the “small house” on Fleischmarkt with one overarching concept.

PREFACE

The well-known Viennese painter Herwig Zens was kind enough to place some of his artworks at my disposal for this programme catalogue. His work Im Morgengrauen (“at daybreak”) inspired me to structure the coming four seasons as the four phases of a day.

The four-year programme moves from morning to midday and from evening to night and also reflects the historical development of opera. The 2018 season therefore starts “A priori” with “Im Morgengrau” (“at daybreak”), before I move on to the middle of the day “In medias res” in 2019. In 2020, the early evening is planned to show all the things that are “De facto” possible on stage and in life before the fourth season, “Summa summarum”, brings it all to a close at night.

“Morning is the youth of the day, when everything is bright, fresh and easy of attainment. We feel strong then, and all our faculties are completely at our disposal,” said Schopenhauer elsewhere, and in this year’s programme for 2018/19 we will start with this matutinal strength and include some works from those eras in which opera attained its first zenith. Works, composers and authors of the Baroque and Classical periods are much in evidence in the varied first season in which four major thematic series are explored: The performance year opens with the “ZauberKreis” which, unsurprisingly, has George Frideric Handel at its heart: we present five of his magical operas. This also harks back to the beginnings of the TAW when we created the slogan “The magic of opera lives”. Since Circe, sorcerers and witches, the search for faith and lapsing into superstition have lost none of their appeal. But the sorceress Alcina, with whom we open our season, is not just a dangerous figure but also a lonely one, shut out from human society despite her beguiling powers.

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The credo of the TAW is a priori the fusion of the creative potential of words and music, of acting and singing, of creation and interpretation, of intention and effect as components of equal value. The composer and the author are a priori responsible for creating a work of musical theatre. These two fields of work are highlighted in two other thematic series. In the “SchillerKreis” we aim to show the fundamental influence that literary work has on opera with settings of masterpieces

by Friedrich Schiller. The “WeberKreis” puts forward the opposite argument and tries to evoke the darker side of the Biedermeier period in today’s world by means of his most important compositions.

A fourth series forces itself into the spotlight to demand your attention in a quite different way: the focus is on four dyads, twins in the artistic sense, which illustrate the broad spectrum of the Theater an der Wien.

Setting off briskly at the dawn of the coming season, we juxtapose two oratorios (Messiah, Elias) on the one hand, and link two evenings with rare Tchaikovsky operas on the other, contrasting La femme & Cunegonde. The fourth pairing (Gismondo and Serse) celebrates the kings of Poland and Persia as “vincitori generosi”.

It is thanks to the marvellous artists from all over the world whose services we have been able to secure that we can present a total of fourteen productions to you and guarantee the very highest standards.

Many of these artists, such as Calixto Bieito, Nikolaus Habjan, Oksana Lyniv, Jukka-Pekka Saraste and Giovanni Antonini, are making their debut at the TAW, while many others, such as Christian Gerhaher, Marlis Petersen, Christophe Dumaux, Florian Boesch, Anna Prohaska and René Jacobs, Christof Loy, Tatjana Gürbaca, Torsten Fischer and Lotte de Beer have left their mark on the TAW over the past decade. The pillar of our Baroque splendour is formed of the Arnold Schoenberg Choir and Concentus Musicus Wien with its “new” artistic director Stefan Gottfried as conductor in residence.

Full understanding should be the result of appreciating the unique. My longing for such unique moments is intense. I cordially invite you to share in the enjoyment of these moments with me at the Theater an der Wien.

Best wishes, Roland Geyer, Director

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AGRANA. A FLAIR FOR CULTURE. SUGAR. STARCH. FRUIT. - In these three segments is AGRANA successully active around the world; but cultural life in Austria also has plenty to offer. Our flair for culture is key to our efforts ensuring that this remains the case. AGRANA is the main sponsor of Theater an der Wien.

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THE NATURAL UpGRAdE

MUSICAL THEATRE

Handel: ALCINA 8

Purcell: THE ENCHANTED ISLAND 10

Rossini: GUILLAUME TELL 12

Handel: TESEO 14

Verdi: DON CARLOS 16

Weber: EURYANTHE 18

Purcell: KING ARTHUR 20

Mendelssohn Bartholdy: ELIAS 22

Ravel / Offenbach: L’ENFANT / OLYMPIA 24

Tchaikovsky: THE MAID OF ORLEANS 26

Handel: ORLANDO 28

Bernstein: CANDIDE 30

Weber: OBERON 32 OPERA IN CONCERT 34 SPECIAL PROJECTS 46

Jugend / Kinder an der Wien 52 JET 55

Information 58

Playing schedule 62

Organisation 66

Prices 68

Seating plan 69

Imprint 72

Booking form 73

CONTENT

The mighty sorceress Alcina has transformed a desert island into an Elysium. Time and again she lures in knights and bestows the joys of love upon the chosen ones, until she tires of them and turns them into animals, plants, and even rocks. Oberto is searching for his father Astolfo on the island but cannot find him because Alcina transformed him into a lion. Her current choice of lover is Ruggiero. However, his fiancé, the female knight Bradamante, and her tutor Melisso have set off to search him. She is disguised as a man: “Ricciardo”. That soon has consequences, because Morgana, Alcina’s sister, falls in love with “Ricciardo”, deserting her previous lover Oronte. He tries to get rid of the visitors, but Bradamante succeeds: Ruggiero finally sees the real Alcina and frees himself from her influence. But Alcina genuinely loves him.

When Ruggiero leaves he destroys Alcina’s magical powers. All her previous victims regain their original forms and Alcina becomes a lonely old woman bereft of any magical splendour.

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ALCINA GEORGE FRIDERIC HANDEL Dramma per musica in three acts (1735) Libretto based on Antonio Fanzaglia’s L’isola d’Alcina

Conductor Director Set designer Light designer Dramatic advisor

Alcina

Ruggiero

Morgana

Bradamante

Oronte

Melisso

Oberto

Stefan Gottfried Tatjana Gürbaca Katrin Lea Tag Reinhard Traub Bettina Auer Marlis Petersen David Hansen Mirella Hagen Katarina Bradić Rainer Trost Florian Köfler Christian Ziemski * / Moritz Strutzenberger *

Concentus Musicus Wien Arnold Schoenberg Chor (Chorus master: Erwin Ortner) * Soloists of St. Florianer Sängerknaben (Chorus master: Franz Farnberger)

New production Theater an der Wien

Premiere: 15 September 2018 Performances: 17 | 19 | 22 | 24 | 26 September 2018 | 7 p.m.

Introduction: Sunday, 9 September 2018 | 11 a.m.

THEATER AN DER WIEN

Performed in Italian with German surtitles

Our pasticcio version of The Enchanted Island is based on an adaptation of Shakespeare’s The Tempest written by John Dryden and Thomas Shadwell. To the original plot numerous scenes are added and the cast of characters is expanded: Caliban is given a companion called Trincalo, Prospero’s daughter Miranda receives a sister, and Ferdinand, son of the illegitimate King Alonso, now has a brother called Hippolito. Our story deals with the fate of Prospero, the exiled Duke of Milan, who has been cheated of his throne and cast out to sea. However, Prospero was able to save himself on an island together with his daughters Miranda and Dorinda. Here he made Caliban, who lived on the island, his vassal.

Ariel, the spirit of the air, is also in thrall to him. To his daughters he is a caring, though domineering, father. But one day Prospero sees a chance to take revenge for his loss of power. With Ariel’s help his enemies are shipwrecked. The castaways land on the island. Numerous complications now ensue…

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THE ENCHANTED ISLAND HENRY PURCELL An opera pasticcio by Jean Renshaw and Dieter Senft after The Tempest by William Shakespeare

Conductor Director Set designer Light designer

Markellos Chryssicos Jean Renshaw Christof Cremer Franz Tscheck

Prospero Kristján Jóhannesson * Miranda Jenna Siladie * Dorinda Ilona Revolskaya * Ariel Tatiana Kuryatnikova * Ferdinand Johannes Bamberger * Hippolito Riccardo Angelo Strano Trincalo Dumitru Mădărăsan * ´ Caliban Martin Dvořák Bach Consort Wien * Young Ensemble Theater an der Wien

New production Theater an der Wien at the Kammeroper Coproduction with Oper Köln

Premiere: 29 September 2018 Performances: 1 | 3 | 5 | 7 | 9 | 12 | 15 | 17 | 19 October 2018 | 7 p.m.

Introduction: Sunday, 16 September 2018 | 11 a.m.

AT THE KAMMEROPER

Performed in English with German surtitles

In Bürglen the villagers are looking forward to a celebration, but the country is ruled by a foreign power. The governor Gesler is particularly brutal. Guillaume Tell’s friend Arnold has fallen in love with an adverse princess and wants to join the oppressors. But when Arnold’s brother is killed he changes his mind. Gesler orders now that the populace show the same respect to his hat as they would to him. Tell refuses to obey and is arrested, his son Jemmy too. Gesler intends to make an example of him: Tell, an excellent bowman, is ordered to shoot an apple from his son’s head. He shoots and hits, but Gesler discovers a second arrow... Tell confesses that this one would have been for Gesler had the first one hit Jemmy. Gesler arrests Tell and leaves him out on the stormy Lake Lucerne – the anger of the people becomes open rebellion.

Jemmy sets fire to Tell’s own house as a sign of revolt. In the meantime, his father escapes and returns to the shore where he kills Gesler with another well-aimed arrow.

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GUILLAUME TELL GIOACHINO ROSSINI Opera in four acts (1829) Libretto by Étienne de Jouy and Hippolyte Bis after Friedrich Schiller’s play Wilhelm Tell

Conductor

Director & light designer

Set designer

Video designer

Dramatic advisor

Diego Matheuz Torsten Fischer Herbert Schäfer Vasilis Triantafillopoulos Jan Frankl Herbert Schäfer

Supported by

Christoph Pohl John Osborn Jane Archibald Marie-Claude Chappuis Anita Rosati Jérôme Varnier Ante Jerkunica Edwin Crossley-Mercer Anton Rositskiy Sam Furness Lukas Jakobski

Guillaume Tell Arnold Melcthal Mathilde Hedwige Jemmy Melcthal Gesler Walter Fürst Ruodi Rodolphe Leuthold

Wiener Symphoniker Arnold Schoenberg Chor (Chorus master: Erwin Ortner) New production Theater an der Wien

Premiere: 13 October 2018 Performances: 16 | 18 | 21 | 23 | 27 October 2018 | 7 p.m.

Introduction: Sunday, 30 September 2018 | 11 a.m.

THEATER AN DER WIEN

Performed in French with German surtitles

When Athens is in danger of losing a war, King Egeo summons the aid of powerful Medea. As a reward, he offers her to become his queen. The hero Teseo is also fighting for Athens and is secretly bound by love to Princess Agilea, a ward of Egeo. Equally secretly, Medea also loves Teseo. Once the war is won, Egeo suddenly rejects the lowborn sorceress and wishes to marry Agilea instead. But the princess only favours Teseo. Medea, on the other hand, is offered Egeo’s son in marriage. This son has so far lived far away from court and not even his father knows what he looks like. But Agilea and Teseo refuse to be parted. Medea subjects Agilea with spells to horrific agonies and makes her to forsake Teseo. But Teseo stays true to her. Medea then discovers that Teseo is Egeo’s unknown son. To avenge herself, she persuades Egeo to poison his rival. The assassination fails when Egeo recognises his son from his sword. Now Egeo forsakes Agilea in favour of his regained son, and the lovesick Medea flees.

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TESEO GEORGE FRIDERIC HANDEL Dramma tragico in five acts (1713) Libretto by Nicola Francesco Haym

Conductor

Directors

Set designer

Costume designer

Light designer

René Jacobs Moshe Leiser & Patrice Caurier Christian Fenouillat Agostino Cavalca Christophe Forey

Medea Egeo Teseo, his son Agilea Clizia Arcane Fedra

Gaëlle Arquez Christophe Dumaux Lena Belkina Mari Eriksmoen Robin Johannsen Benno Schachtner Soula Parassidis

Akademie für Alte Musik Berlin Arnold Schoenberg Chor (Chorus master: Erwin Ortner) New production Theater an der Wien

Premiere: 14 November 2018 Performances: 16 | 18 | 21 | 23 | 25 November 2018 | 7 p.m.

Introduction: Sunday, 11 November 2018 | 11 a.m.

THEATER AN DER WIEN

Performed in Italian with German surtitles

Carlos, the Infante of Spain and Élisabeth de Valois, his bride, are in love, but Carlos‘ father, Philippe II, decides to marry the princess himself. Broken-hearted, Carlos confides in his friend, the Marquis de Posa, who asks him to support oppressed Flanders. With his help, Carlos and Élisabeth meet again, but Élisabeth sticks to her marital obligations.

Philippe, impressed by Posa, trusts him. Carlos inadvertently reveals his love to Princess Eboli, who is secretly in love with him. When Carlos asks his father to appoint him governor of Flanders, the king angrily rejects. When the dispute escalates, Posa disarms Carlos. Then Eboli sends a casket with a portrait of Carlos belonging to Élisabeth to the king.

Philippe accuses his wife of adultery and has Carlos locked up. Visiting his friend in prison, the marquis is murdered. When he states that not Carlos, but Posa caused the uprising in Flanders the infante is released.

Carlos now wants to forsake Élisabeth and to fight for Posa’s ideals in Flanders.

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DON CARLOS GIUSEPPE VERDI Grand opera in five acts (1867) Libretto by Joseph Méry and Camille di Locle Orchestral version by Florian C. Reithner

Conductor Matteo Pais

Director & Set designer Sébastien Dutrieux

Set designer Agnes Hasun

Costume designer Constanza Meza-Lopehandia

Light designer Franz Tscheck

Philippe II. Dumitru Mădărăsan * ´ Don Carlos Andrew Owens Élisabeth de Valois Jenna Siladie * Rodrigue, Marquis de Posa Kristján Jóhannesson * La Princesse Eboli Tatiana Kuryatnikova * Le Grand Inquisiteur Ivan Zinoviev Thibault Ilona Revolskaya * Wiener KammerOrchester * Young Ensemble Theater an der Wien

New production Theater an der Wien at the Kammeroper

Premiere: 28 November 2018 Performances: 30 November 2018, 2 | 5 | 7 | 11 | 14 | 18 | 21 | 27 December 2018 | 7 p.m.

Introduction: Sunday, 25 November 2018 | 11 a.m.

AT THE KAMMEROPER

Performed in French with German surtitles

In a fantastical age of chivalry, Count Adolar is engaged to the sensitive Euryanthe, who has already rejected Count Lysiart. Out of jealousy, Lysiart now intends to destroy the couple’s happiness. He provokes Adolar to accept a risky wager on Euryanthe’s constancy, but fails in his attempt to seduce Euryanthe. So he forms an alliance with the equally jealous Eglantine who is unrequitedly in love with Adolar. They invent a perfidous intrigue to pretend Euryanthe is untrue. At first it seems to work: In the presence of the unsuspecting Euryanthe, the wager is ended: Adolar loses his lands, his fortune and his bride. He publicly disowns Euryanthe who is speechless with horror and Adolar banishes her to the wilderness. At the last moment, the king saves her. Euryanthe regains her speech and now reveals the full extent of the conspiracy. Just as Eglantine and Lysiart are about to marry, Eglantine loses her mind and reveals all. The kind-hearted Euryanthe forgives Adolar the idiotic wager and the lovers reunite.

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EURYANTHE CARL MARIA VON WEBER Grand romantic opera in three acts (1823) Libretto by Helmina de Chézy

Conductor Constantin Trinks Director Christof Loy Set designer Johannes Leiacker Costume designer Judith Weihrauch Light designer Reinhard Traub Dramatic advisor Klaus Bertisch

Euryanthe Jacquelyn Wagner Adolar Norman Reinhardt Lysiart Andrew Foster-Williams Eglantine Theresa Kronthaler King Louis VI. Stefan Cerny Herzogin von Burgund Eva Maria Neubauer ORF Radio-Symphonieorchester Wien Arnold Schoenberg Chor (Chorus master: Erwin Ortner) New production Theater an der Wien

Premiere: 12 December 2018 Performances: 15 | 17 | 19 | 28 | 31 December 2018 | 7 p.m.

Introduction: Sunday, 9 December 2018 | 11 a.m.

THEATER AN DER WIEN

Performed in German with German surtitles

King Arthur and Oswald, King of the Saxons, battle for love and power.

With the aid of the magician Merlin Arthur succeeds. At stake are England and the love of the blind Emmeline, whose heart belongs to Arthur.

After the decisive battle the Airy Spirit Philidel changes to Arthur’s side and protects the Britons whom the Earthy Spirit Grimbald is trying to lead astray. Emmeline and her nurse Matilda celebrate the victory with the soldiers. On their way home they are abducted. Arthur promises Oswald to give him the crown if he sets Emmeline free. But Oswald rejects the deal. Merlin encourages Arthur not to lose heart, his beloved Emmeline will even regain her eyesight thanks to Philidel. But she is not allowed to touch him… The power-hungry magican Osmond tricks now Oswald with the aid of a sleeping potion. He tries to force Emmeline into submission and fails: she manages to escape. Arthur challenges Oswald, who has woken up again, to a final duel – which Oswald loses. The couple can be together at last.

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KING ARTHUR HENRY PURCELL Semi-opera in one prologue and five acts (1695) Libretto by John Dryden Performed in English and German with German surtitles

Conductor Stefan Gottfried Director Sven-Eric Bechtolf Set designer & director Julian Crouch Costume designer Kevin Pollard Light designer Olaf Freese Video designer Joshua Higgason Choreographer Gail Skrela Soprano / Philidel Martina Janková Soprano Robin Johannsen Countertenor Rodrigo Sosa Dal Pozzo Tenor 1 Johannes Bamberger * Tenor 2 Mark Milhofer Bass 1 Jonathan Lemalu Bass 2 Dumitru Mădărăsan * ´ Arthur Michael Rotschopf Merlin / Grandfather Jörg Gudzuhn Oswald Max Urlacher Grimbald Tom Radisch Aurelius Steffen Scheumann Emmeline / Mother Meike Droste Mathilda Sigrid Maria Schnückel Osmond Oliver Stokowski Concentus Musicus Wien Arnold Schoenberg Chor (Chorus master: Erwin Ortner) * Young Ensemble Theater an der Wien

Coproduction with Staatsoper Unter den Linden Berlin

Premiere: 17 January 2019

Performances: 19 | 24 | 26 | 28 | 30 January 2019 | 7 p.m.

Introduction: Sunday, 13 January 2019 | 11 a.m.

THEATER AN DER WIEN

King Ahab of Israel has abandoned Jehovah and now worships Baal, the god of his wife Jezebel. Large parts of the population of Israel do the same. The prophet Elijah angrily condemns this lack of faith and announces a drought as punishment, which immediately happens. Angels advise Elijah to leave his people. Elijah returns after some time to King Ahab and demands that Baal prove his divinity by performing a miracle of fire. The people call to their god, but there is no answer. Now Elijah asks his God to effect a fire miracle – and Jehovah heeds him. Israel is converted. At Elijah’s behest, the priests of Baal are murdered. Now Elijah prays for the drought to end and it starts to rain. However, Ahab has not truly converted. His wife stirs up her people against the troublesome prophet Elijah who, she says, is setting himself above the king and should die for that. Elijah flees again. On the mountain of Horeb Jehovah commands him to continue his fight against idolatry before he takes him up to heaven in a chariot of fire.

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ELIAS (ELIJAH)

FELIX MENDELSSOHN BARTHOLDY Oratorio in two parts (1846) Text after the Old Testament

Conductor Jukka-Pekka Saraste

Director Calixto Bieito

Set designer Rebecca Ringst

Costume designer Ingo Krügler

Light designer Michael Bauer

Dramatic advisor Bettina Auer

Elijah Christian Gerhaher Widow Maria Bengtsson Obadiah Maximilian Schmitt Ahab Michael J. Scott Queen Ann-Beth Solvang Angel Kai Rüütel Seraph Carolina Lippo A woman Anna Marshania A man Florian Köfler ORF Radio-Symphonieorchester Wien Arnold Schoenberg Chor (Chorus master: Erwin Ortner) New production Theater an der Wien

Premiere: 16 February 2019 Performances: 18 | 20 | 23 | 25 | 27 February 2019 | 7 p.m.

Introduction: Sunday, 10 February 2019 | 11 a.m.

THEATER AN DER WIEN

Performed in German with German surtitles

The child doesn’t want to do his homework and behaves insolent. When the mother locks him in his room the child takes it out on his things and pets. But suddenly his victims come to life: the chairs, the book and the clock threaten the child. He runs into the garden, but there the cat it maltreated, the dragonfly and the bat are attacking. Now the child sees what he has done, finds back to his senses and cares for a injured squirrel. What will happen to a child with such a fantasy when it grows up?

In the second part of the evening, it has grown to the writer Hoffmann.

During a visit by the eccentric inventor Spalanzani, Hoffmann, supplied with magical glasses, falls in love with a singing and dancing lady robot called Olympia. But suddenly the devilish Coppelius destroys the beauty and Hoffmann comes back to reality with a jolt. Child and writer take a trip into fantasy, with one difference: the child’s bizarre dream world heals it, while for the grown-up the dream of his great love ends in bitter disappointment.

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L’ ENFANT / OLYMPIA L’ ENFANT / OLYMPIA

Conductor Raphael Schluesselberg Director Barbora Horáková-Joly

Set & costume designer Eva-Maria van Acker

Light designer Franz Tscheck

The Child Tatiana Kuryatnikova * Mother / Cup / Dragonfly Juliette Mars Princess / Fire / Nightingale Ilona Revolskaya * Old Man / Frog Johannes Bamberger * Chair / Tree Dumitru Mădărăsan * ´ Tomcat / Clock Daniel Gutmann Bat / Young Shepherdess Jenna Siladie * OLYMPIA Second act from Les contes d’Hoffmann Music by Jacques Offenbach Libretto by Jules Barbier Orchestral version by Florian C. Reithner Performed in French with German surtitles

Hoffmann Quentin Desgeorges Olympia Ilona Revolskaya * Niklausse Tatiana Kuryatnikova * Coppelius Dumitru Mădărăsan * ´ Spalanzani Johannes Bamberger * Wiener KammerOrchester * Young Ensemble Theater an der Wien

New production Theater an der Wien at the Kammeroper

Premiere 26 February 2019

Performances: 1 | 3 | 5 | 8 | 11 | 13 | 15 March 2019 | 7 p.m.

Introduction: Sunday, 24 February 2019 | 11 a.m.

AT THE KAMMEROPER

L’ ENFANT ET LES SORTILÈGES Music by Maurice Ravel Libretto by Sidonie-Gabrielle Colette Orchestral version by Xaver Paul Thoma Performed in French with German surtitles

England is visiting war upon France. The farmer Thibaut wishes to marry off his daughter Joan so that she has a protector. But Joan is convinced that another destiny awaits her. When the English are coming closer, she foretells that an armed virgin will save France, and soon Joan is convinced that she will be this virgin. There is, however, one condition to receive God’s aid: she must renounce all earthly pleasures. She convinces King Charles of her mission. With her troops she wins victory after victory and the people celebrate her. But suddenly she falls in love with an enemy soldier, Lionel. Joan feels now herself guilty before God. On the day of the King‘s coronation, her father reappears. He believes that a woman who battles must be a witch, and publicly accuses her of this. Joan offers no defence; she believes she is guilty. The people’s goodwill turns to hostility towards her. Lionel tries to shield her and is killed. While Joan is being burned as a witch, angelic voices announce her ascent into heaven.

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THE MAID OF ORLEANS PYOTR ILYICH TCHAIKOVSKY Opera in four acts (1881) Libretto by Pyotr Ilyich Tchaikovsky after Friedrich Schiller’s romantic tragedy

Conductor Oksana Lyniv

Director Lotte de Beer

Set designer Clement & Sanôu

Light designer Alessandro Carletti

Choreographer Ran Arthur Braun

Dramatic advisor Peter te Nuyl

Joan Lena Belkina Thibaut Willard White King Charles VII Dmitry Golovnin Agnes Sorel Simona Mihai Archbishop of Reims Martin Winkler Dunois Daniel Schmutzhard Lionel Kristján Jóhannesson * Raymond Raymond Very Bertrand Igor Bakan Lore Florian Köfler Soldier Ivan Zinoviev Wiener Symphoniker Arnold Schoenberg Chor (Chorus master: Erwin Ortner) * Young Ensemble Theater an der Wien

New production Theater an der Wien

Premiere: 16 March 2019 Performances: 18 | 20 | 23 | 25 | 27 March 2019 | 7 p.m.

Introduction: Sunday, 10 March 2019 | 11 a.m.

THEATER AN DER WIEN

Performed in Russian with German surtitles

One of Charlemagne’s best knights, the legendary Orlando, suffers a bad attack from madness of love. Acts of heroism on the battlefield now mean nothing to him; his only aim is to win Angelica, the beautiful Queen of Cathay. Orlando’s tutor, the magician Zoroastro, warns him not to stray from the path of glory – but Orlando does not listen to him.

Unfortunately, Angelica has fallen in love with the unimportant but handsome and tender Medoro. The two of them carve hearts with their names into the barks of trees. When Orlando notices the tokens his jealousy drives him out of his mind. He rampages and destroys a house with Medoro still inside it and tosses Angelica into an abyss. Zoroastro has to use a magic potion to release Orlando from his insane passion. The hero, now cured, despairingly laments the deaths of Medoro and Angelica. But here, too, Zoroastro has come to the rescue: the apparently dead couple returns to life, Orlando renounces his love of Angelica and returns to the path of military valour.

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ORLANDO GEORGE FRIDERIC HANDEL Dramma per musica in three acts (1733) Libretto based on Sigismondo Capece’s Dramma pastorale Orlando ovvero La gelosa pazzia

Conductor Giovanni Antonini Director Claus Guth Set & costume designer Christian Schmidt Light designer Bernd Purkrabek Dramatic advisor Ronny Dietrich Orlando Zoroastro Angelica Dorinda Medoro

Christophe Dumaux Florian Boesch Anna Prohaska Giulia Semenzato Raffaele Pe

Il Giardino Armonico New production Theater an der Wien

Premiere: 14 April 2019 Performances: 16 | 18 | 24 | 26 | 28. April 2019 | 7 p.m.

Introduction: Sunday, 7 April 2019 | 11 a.m.

THEATER AN DER WIEN

Performed in Italian with German surtitles

In the most beautiful castle imaginable live the happiest of all happy people: Candide, the baron’s illegitimate nephew, the baron’s children Maximilian and Cunegonde. Their tutor is Dr. Pangloss, the greatest philosopher in the world. From him the young people learn that they live in the best of all possible worlds. But when Candide is caught in the act with the daughter of the house, whom he adores, he is expelled from the most beautiful castle. Then war ruins the idyll in the castle and scatters its occupants. In the search to find again the best of all possible worlds their paths subsequently cross in unexpected ways: Candide meets Dr. Pangloss and as well Cunegonde who now works as a highclass prostitute. The three of them experience a lot of scary adventures.

Theyrealise that the best of all possible worlds only exists in philosophy, but Dr. Pangloss still sticks on his idea. Candide and Cunegonde, however, prefer to stop dreaming of paradise, and plan to cultivate their own little garden.

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CANDIDE LEONARD BERNSTEIN A comic operetta After the satirical novella Candide ou L’Optimisme (1759) by Voltaire Book by Hugh Wheeler Lyrics by Richard Wilbur

Conductor Benjamin Bayl Director Christoph Zauner Set designer Vibeke Andersen Costume designer Mareile von Stritzky Light designer Franz Tscheck Video designer Chris Ziegler

Candide Johannes Bamberger *

Cunegonde Ilona Revolskaya *

Old Lady Tatiana Kuryatnikova *

Dr. Pangloss/Martin Kristján Jóhannesson * Stanislaus/Jugde/Inquisitor Dumitru Mădărăsan * ´ Governor/Vanderdendur/Ragotski Botond Ódor Wiener KammerOrchester * Young Ensemble Theater an der Wien

New production Theater an der Wien at the Kammeroper

Premiere: 30 April 2019 Performances: 2 | 5 | 7 | 10 | 12 | 14 | 18 | 20 May 2019 | 7 p.m.

Introduction: Sunday, 28 April 2019 | 11 a.m.

AT THE KAMMEROPER

Performed in English with German surtitles

Which is the more faithful sex? Man or woman? Oberon, king of the fairies, and his wife Titania have fallen out so badly over this question that they now live apart until they find a pair of lovers who are true to each other in every situation. Oberon regrets the separation from Titania and tries to find such a faithful couple as quickly as possible. He manipulates the noble knight Huon of Bordeaux and the charming caliph’s daughter Rezia by means of visions with the result that they fall in love even though they have never seen each other. Oberon with his magic powers brings the central European knight and the Oriental princess together. But that is just the start: with the help of Puck, Oberon exposes the couple to innumerable trials to test their fidelity. Despite all adversities, the couple’s true love, maintained until death, proves that women and men are capable of fidelity in equal measure and the fairy couple can patch up their differences. Under their protection, Huon and Rezia begin a new life together.

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OBERON CARL MARIA VON WEBER Romantic fairy opera in three acts (1826) Libretto by James Robinson Planché translated to German by Theodor Hell

Conductor Thomas Guggeis

Director Nikolaus Habjan

Set designer Jakob Brossmann

Costume designer Denise Heschl

Light designer Michael Bauer

Oberon

Rezia

Huon of Bordeaux

Titania

Sherasmin

Fatima

Mermaid

The three Pucks

Mauro Peter Annette Dasch Vincent Wolfsteiner Anna Marshania Daniel Schmutzhard Natalia Kawalek Jenna Siladie * Manuela Linshalm Daniel Frantisek Kamen Sebastian Mock

Wiener KammerOrchester Arnold Schoenberg Chor (Chorus master: Erwin Ortner) * Young Ensemble Theater an der Wien

Coproduction with Bayerische Staatsoper München

Premiere: 13 May 2019 Performances: 15 | 17 | 19 May 2019 | 7 p.m.

Introduction: Sunday, 12 May 2019 | 11 a.m.

THEATER AN DER WIEN

Performed in German with German surtitles

Vinci: GISMONDO 36

Handel: SERSE 37

Salieri: TARARE 38

OPERA IN CONCERT

Handel: MESSIAH 39

Weber: PETER SCHMOLL 40

Tchaikovsky: MAZEPPA 41 Tchaikovsky: UNDINA / IOLANTA 42 Weber: DER FREISCHÃœTZ 43

Vivaldi: ORLANDO FURIOSO 44

Handel: RINALDO 45

GISMONDO, RÈ DI POLONIA LEONARDO VINCI Dramma per musica in three acts (1727) Libretto based on Francesco Briani’s Il vincitor generoso Concert performance in Italian Conductor & concertmaster

Martyna Pastuszka

Gismondo Ottone Giuditta Cunegonda Primislao Ermanno Ernesto

Max Emanuel Cencic Yuriy Mynenko Dilyara Idrisova Sophie Junker Aleksandra Kubas-Kruk Nicholas Tamagna Jake Arditti

{oh!} Orkiestra Historyczna In the first third of the 18th century Leonardo Vinci was one of the most famous opera composers and groundbreaking in giving Baroque opera its form: the sequence of da capo arias and recitatives. With his death, his influence on the history of opera also ended, and his dazzling works, until recently, are nearly forgotten. After Artarserse at the Theater an der Wien (2012) and the Vinci/Handel pasticcio Semiramide at the Kammeroper (2013), we now present another rediscovered work from Vinci’s œuvre: Gismondo, king of Poland, is having trouble with the rebellious prince of Lithuania, Primislao, but would prefer to have peace. His political problems are compounded by private ones: on the one hand, his son Ottone is in love with Cunegonda, Primislao’s daughter, and Giuditta, Gismondo’s daughter, falls for the attractive Primislao himself. Torn between politics and love, the characters search for peace, both in their hearts and for their countries.

Tuesday, 25 September 2018 | 7 p.m.

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SERSE GEORGE FRIDERIC HANDEL Opera in three acts (1738) Libretto after Niccolò Minato and Silvio Stampiglia

Conductor

Maxim Emelyanychev

Serse Romilda Atalanta Amastre Arsamene Elviro Ariodate

Franco Fagioli Inga Kalna Francesca Aspromonte Delphine Galou Vivica Genaux Biagio Pizzuti Andreas Wolf

Il pomo d’oro

THEATER AN DER WIEN

Concert performance in Italian

With his Serse, George Frideric Handel gave musicologists a tough nut to crack: although the work is generally described as an opera seria, the plot is not meant to be taken entirely seriously. Serse contains one of the most famous pieces written by Handel: “Ombra mai fu” – a popular choice at funerals and other occasions for reflection. But the pathos is intended to be comic: it is sung to a tree. The Persian king Xerxes has abandoned his fiancé, Amastre, and in her absence he sings this touching serenade to a plane tree. He falls in love with the voice of the hidden Romilda. She, however, is in love with his brother Arsamene. Her sister Atalanta also loves Arsamene and hatches a scheme to bring Romilda and Serse together. But then the jilted Amastre appears, disguised as a soldier. As a kind of symbol of the emotional entanglements, Serse has a bridge built over the Hellespont, but it is immediately destroyed in a storm. Of course, everything turns out well in the obligatory happy ending.

Monday, 22 October 2018 | 7 p.m.

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TARARE ANTONIO SALIERI Opera in one prologue and five acts (1787) Libretto by Pierre Augustin Caron de Beaumarchais Concert performance in French Conductor

Christophe Rousset

Atar Tarare Astasie Arthénée / le Génie du Feu Altamort / un Paysan Urson / un Esclave / un Prêtre Calpigi La Nature / Spinette

Jean-Sébastien Bou Cyrille Dubois Karine Deshayes Tassis Christoyannis Philippe-Nicolas Martin Jérôme Boutillier Enguerrand De Hys Judith Van Wanroij

Les Talens Lyriques Les Chantres du Centre de Musique Baroque de Versailles Coproduction with Les Talens Lyriques and Centre de Musique Baroque de Versailles Antonio Salieri wrote over 40 operas in addition to his work as a court conductor in Vienna. Three of them are known as French operas and Christophe Rousset, having presented Les Danaïdes in 2013 and Les Horaces in 2016 with his ensemble Les Talens Lyriques, now completes the cycle with this concert of Tarare. The plot centres on the wild and uncontrolled passion of king Atar. Atar desires the beautiful Astasie, wife of the virtuous soldier Tarare. The king has her abducted and forces her to live in his harem under the name of Irza. In his despair, Tarare turns, of all people, to the king… murderous conspiracies, cases of mistaken identity and devious schemes – with the odd comic-buffonesque element thrown in – take their course until the cruel tyrant is finally toppled by the valiant and fearless Tarare.

Samstag, 24 November 2018 | 7 p.m.

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MESSIAH GEORGE FRIDERIC HANDEL Oratorio in three parts (1742) Libretto by Charles Jennens

Conductor

Robert King

Soprano Alto Tenor Bass

Julia Doyle Hilary Summers Joshua Ellicott David Wilson-Johnson

The King’s Consort

THEATER AN DER WIEN

Concert performance in English

George Frideric Handel has composed many works that are regarded as masterpieces, but it is above all Messiah that has ensured his fame has never dimmed through all the various musical developments and fashions of the last 250 years. Handel wrote the oratorio in 1741 in London, and then went to Dublin for ten months where it premiered in mid-April 1742. This first performance was a huge success. In London the reaction to the work was not so enthusiastic, but it soon gained popularity throughout England and the continent. Handel adapted the music according to changing performance environments with the result that numerous variations are now known, but not the exact form of the original version. The libretto of Messiah is based on passages from the Bible put together by Handel’s friend and benefactor Charles Jennens.

The oratorio does not tell the story of Jesus’s life and death, but is more of an abstract, biblical-theological argument that Jesus really was the messiah announced by the prophets. He himself does not appear. The texts’ principal theme is the struggle for the Christian faith and Handel’s music expresses human fears and hopes, feelings of guilt, contrition and the joyous certainty of redemption.

Sunday, 16 December 2018 | 7 p.m.

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PETER SCHMOLL CARL MARIA VON WEBER Comic opera in two acts (1802) Libretto based on Carl Gottlob Cramer’s novel Peter Schmoll und seine Nachbarn New lyrics by Willy Werner Göttig Concert performance in German Conductor

Roberto Paternostro

Peter Schmoll Martin Schmoll Minette Karl Pirkner Hans Bast Nicklas

Paul Armin Edelmann Thorsten Grümbel Ilona Revolskaya * Sebastian Kohlhepp Lars Woldt Johannes Bamberger *

ORF-Radio-Symphonieorchester Wien * Young Ensemble Theater an der Wien

Carl Maria von Weber had just turned fifteen when he wrote the comic opera Peter Schmoll. The hero of the story is a grumpy merchant whom the chaos of the French Revolution has forced to flee to Germany where he lives with his niece Minette in a lonely castle. He never leaves the house and his niece, whom he would like to marry, is absolutely forbidden from doing so. But Minette has no wish to marry her uncle, nor does she want to waste away in the castle. She finds ways to be reunited with her true love Karl, who happens to pass by in the vicinity, and to lure her uncle out of his self-imposed isolation and – despite her refusal to marry him – cheer him up. Weber’s budding talent is evident less in the dramatic structure or the musical form than in his unconventional orchestration and perhaps the playful invention of memorable songlike passages also hints at the maestro he was to become who created Der Freischütz, Oberon and Euryanthe.

Wednesday, 23 January 2019 | 7 p.m.

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MAZEPPA PYOTR ILYICH TCHAIKOVSKY Opera in three acts (1884) Libretto by Pyotr Ilyich Tchaikovsky By using of the libretto of Viktor Petrovich Burenin after the poem Poltava by Aleksandr Pushkin

Conductor

Evgeny Brazhnik

Mazeppa Mariya Andrei Vasyl Kochubey Lyubov Kochubey Orlik Iskra

Aleksei Isayev Olga Tolkmit Igor Morozov Mikhail Guzhov Larisa Kostink Georgii Ekimov Ivan Volkov

Orchestra and chorus Helikon Opera Moskau Guest performance by Helikon Opera Moskau

THEATER AN DER WIEN

Concertante performance in Russian

Pyotr Ilyich Tchaikovsky wrote three operas based on works

by Alexander Pushkin. All three end in tragedy, but none is so full of doom-laden, insane love, political entanglements and bloodthirsty cruelty as Mazeppa. The young Mariya rejects her young suitor Andrei because she is in love with the charismatic Cossack commander Mazeppa, whom she follows. Her father Kochubey intends to take revenge on Mazeppa but he fails: the tsar does not believe him and his adversary Mazeppa has him executed. Mariya’s love begins to waver because she is forced to witness her father’s beheading. Mazeppa then really does incite an armed revolt against the tsar, but the rebellion is crushed. During his escape he shoots Andrei. At the end, Mariya is cradling the dying Andrei in her arms. She has lost her mind…

Thursday, 21 February 2019 | 7 p.m.

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UNDINA / IOLANTA PYOTR ILYICH TCHAIKOVSKY UNDINA Opera fragment (1869) Libretto by Vladimir Sollogub Concert performance in Russian Conductor

Vladimir Fedoseyev

Undina Huldbrand Goldman Bertha

Elena Mikhailenko Ivan Gyngazov Grigory Soloviev Irina Reynard

IOLANTA Lyric Opera in one act (1892) Libretto by Modest Tchaikovsky Concert performance in Russian Iolanta King René Duke Robert of Burgundy Count Gottfried Vaudémont Ibn-Hakia Almeric Bertrand Marta Brigitta Laura

Elena Mikhailenko Aleksei Tikhomirov Aleksei Isayev Ivan Gyngazov Grigory Soloviev Ivan Volkov Georgii Ekimov Larisa Kostiuk Olga Tolkmit Irina Reynard

Orchestra and chorus Helikon Opera Moskau Guest performance by Helikon Opera Moskau Tchaikovsky’s Undina remains a fragment from his second opera. He wrote it in 1869, but no one was interested in it. Finally he destroyed the mainpart of the score. But when he wrote Iolanta he was at the height of his fame – and at the end of his life: this was his final opera. So this fairy tale evening marks two important points in the composer’s life.

Friday, 22 February 2019 | 7 p.m.

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DER FREISCHÜTZ CARL MARIA VON WEBER Romantic opera in three acts (1821) Libretto by Johann Friedrich Kind

Conductor

Laurence Equilbey

Ottokar Kuno Agathe Ännchen Kaspar Max Hermit Kilian

Samuel Hasselhorn Thorsten Grümbel Johanni van Oostrum Chiara Skerath Steven Humes Tuomas Katajala Christian Immler Anas Seguin

Insula orchestra accentus

THEATER AN DER WIEN

Concert performance in German

Carl Maria von Weber was a man of the theatre from his early age on. His father founded a travelling theatre company. He allegedly wrote his first opera having just turned twelve. From his many teachers he learned various operatic styles and conventions. Der Freischütz was his seventh opera, but his first great success. In 1810 he obtained an anthology of old folk tales – it was a book of ghost stories published under the pseudonym Friedrich Laun. Weber was greatly impressed by the tale Der Freischütz, but plans for a libretto did not take shape until 1817 in Dresden. Shortly after the triumphant premiere in Berlin in 1821, he wrote to his librettist Johann Friedrich Kind, “The marksman (Freischütz) has scored a bull’s eye”. The opera became nothing less than the epitome of Romantic opera. With tremendous melodic creativity, a rousing orchestra and motivic references Weber portrays the victory of the good over the powers of darkness.

Friday, 22 March 2019 | 7 p.m.

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ORLANDO FURIOSO ANTONIO VIVALDI Dramma per musica in three acts (1727) Libretto by Grazia Braccioli based on the epic poem by Ludovico Ariosto Concert performance in Italian Conductor

George Petrou

Orlando Alcina Bradamante Ruggiero Angelica Medoro Astolfo

Max Emanuel Cencic Ruxandra Donose Anna Starushkevych David DQ Lee Julia Lezhneva Philipp Mathmann Pavel Kudinov

Armonia Atenea Antonio Vivaldi’s first musical adaptation of the epic poem Orlando furioso by Ludovico Ariosto was an opera called Orlando finto pazzo in 1714. It was the continuation of Orlando furioso by his colleague Giovanni Alberto Ristori, but brought Vivaldi no success. In December 1727, the programme again featured an adaptation by Vivaldi of the same work. It appears that Orlando furioso was a late addition to the programme, since the autograph score bears all the hallmarks of great haste: there was not even time for the customary dedication. However, he expanded the orchestra by adding a flauto traverso and two trumpets. The plot stayed almost the same like Ristori’s because Vivaldi used the same libretto by Grazio Braccioli. On Alcina’s enchanted island, various romantic entanglements are played out. Angelica asks the sorceress Alcina to use her magic powers to bring her together with her beloved Medoro. Alcina is happy to oblige – after all, it serves her own amorous intentions. But when Orlando learns of the wedding of his beloved Angelica and Medoro he loses his mind.

Tuesday, 26 March 2019 | 7 p.m.

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RINALDO GEORGE FRIDERIC HANDEL Dramma per musica in three acts (1711) Libretto by Giacomo Rossi

Conductor

Jean-Christophe Spinosi

Rinaldo Goffredo Almirena Eustazio Argante Armida

Filippo Mineccia Dara Savinova Ekaterina Bakanova Eric Jurenas Riccardo Novaro Emilie Rose Bry

Ensemble Matheus

THEATER AN DER WIEN

Concert performance in Italian

After the English court invited the George Frideric Handel, the 25-year-old composer scored the biggest operatic success of his life with Rinaldo. This rapturously received premiere at the Queen’s Theatre was instrumental in Handel’s decision to make the British capital his home. If the librettist Giacomo Rossi is to be believed, the “entire opera was set to music in only two weeks.” Handel did indeed work fast but also used the popular parody technique: for Rinaldo he borrowed around fifteen musical numbers from earlier compositions. No expense was spared for the scenery and props of the premiere either: the audience loved the live sparrows and Armida’s burning chariot. In the battle for Jerusalem, General Goffredo has promised his best warrior Rinaldo the hand of his daughter Almirena. The sorceress Armida, who is fighting on the other side for Argante, steals Almirena. While trying to rescue his fiancée, he, too, is captured. Armida falls in love with Rinaldo, but is forced to realise that her feelings are not returned. She is torn between love and hate. Rinaldo can be rescued and is victorious in the end.

Saturday, 27 April 2019 | 7 p.m.

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SPECIAL PROJECTS

LA FEMME C’EST MOI 48

KRIEG UND FRIEDEN 49

IM SCHATTEN DER VENUS 50

LA FEMME C’ EST MOI SCENIC RECITAL Idea & concept Arrangements

Elisabeth Kulman Tscho Theissing

Vocals Violin Viola, various instruments Cello Contrabass Clarinets & Saxophones Accordion Piano

Elisabeth Kulman Aliosha Biz Tscho Theissing Franz Bartolomey Alois Posch Gerald Preinfalk Maria Reiter Eduard Kutrowatz

Light designer

Michael Temme

Leave that pigeon-hole! In her multi-genre music show La femme c’est moi Elisabeth Kulman pushes the boundaries of the classical genre. She combines classical repertoire with hits by artists ranging from the Beatles to Michael Jackson. La femme c’est moi was conceived with Tscho Theissing who is also responsible for the arrangements. Musical support comes from an ensemble of outstanding musicians. Elisabeth Kulman knows every human emotion, from elation to the darkest depths. With tremendous sensitivity and a healthy dose of humour she takes the audience on a roller-coaster ride through the world of emotions. She combines seemingly incompatible elements: Franz Schubert and Michael Jackson, Richard Strauss and the Beatles, Fricka, Erda and Brünnhilde as a single person. Elisabeth Kulman studied in Vienna and made her fabulous debut as Pamina at the Volksoper in 2001. Since 2005 she sung the most celebrated roles for mezzo-soprano and alto. As a member of the Vienna State Opera she has amassed a large repertoire. Since 2010 she works as freelance and performs all over the world with leading orchestras and conductors such as Zubin Mehta, Christian Thielemann, Marek Janowski and Franz Welser-Möst. She had a particularly close working relationship with Nikolaus Harnoncourt. Since 2015 Elisabeth Kulman has concentrated on song soirées, concerts and concert performances of opera works.

Tuesday, 20 November 2018 | 7 p.m.

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KRIEG UND FRIEDEN EINE FREUNDSCHAFT AUS LIEBE CHAMBER PLAY WITH MUSIC Bertha von Suttner Alfred Nobel Piano

Angelika Kirchschlager Erwin Steinhauer Edda Andrea Graf

Adaption Translation

Alexander Doent Elvira M. Gross

Music by Daniel F. E. Auber, Franz von Suppé et al.

AT THE KAMMEROPER

Baroness Bertha von Suttner (1843-1914) was well known as a pacifist and bestselling author. Alfred Nobel (1833-96), a Swedish chemist, discoverer and loner, was not only the benefactor of the famous prize but also an extremely wealthy arms manufacturer. Despite their different temperaments the two of them felt great affection for one another. A flirt in Paris ended in 1875, but the subsequent letters still subtly hint at a continuing intimacy. The lifelong correspondence forms the textual basis of this production: the tone of the letters switches between complicity and love. Angelika Kirchschlager, an internationally successful opera and concert singer, plays the speaking and singing role of Bertha: several French pieces and arias will be performed. Erwin Steinhauer, the great show-all-rounder portrays the shy, peaceloving Nobel. Both come alive in their epistolary dialogue as two figures with worldwide influence, as so does the value of friendship in times of fundamental uncertainty. The letters are now been translated for the first time from French by Elvira M. Gross. Alexander Doent created the staged version.

Thursday, 18 October 2018 | 7.30 p.m.

Thursday, 31 January 2019 | 7.30 p.m.

Samstag, 2 March 2019 | 7.30 p.m.

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IM SCHATTEN DER VENUS CABARET PERFORMED IN GERMAN An extraterrestrial jubilee program Concept & director Set designer

Light designer

Georg Wacks Stefan Fleischhacker Elena Schreiber Franz Tscheck

With Elena Schreiber

Stefan Fleischhacker

Martin Thoma

Georg Wacks Christoph Wagner-Trenkwitz Ensemble „Albero Verde“: Violin

Cello Clarinet Piano

Barbara Klebel-Vock Rainer Ullreich Ruth Ferlic Reinhold Brunner Christina Renghofer

Exhibition Marie-Theres Arnbom A production of the Armin Berg Gesellschaft on behalf of the Theater an der Wien in cooperation with Letztes Erfreuliches Operntheater (LEO).

While official Austria sinks in a frenzy of celebrations marking the foundation of the Republic and the annexation by Nazi Germany, Wacks and his extraordinary ensemble create the spaciest cabaret ever seen. It boldly goes way beyond the boundaries of known worlds and guides through space and time into the centre of the universe.

Premiere: 6 November 2018 Performances: 7 | 8 | 10 | 11 | 27 | 29 November 2018 1 | 3 | 4 December 2018 | 8 p.m.

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Art is a steadily improving perceptive capacity, a constantly deepening, identifying understanding of everything living in and around us.

Yehudi Menuhin From the outset, the cultural education programme of the Theater an der Wien has set itself the goal of making the art form of opera accessible to young people so that they can discover musical theatre and all its facets for themselves. Everyone should have the chance to explore opera and form their own opinion. In the 2018/19 season, Jugend an der Wien for the first time offers fascinating and interactive projects not just for young people but for a much wider age range from 6 to 99.

Ages 6 -10: In February 2019 a new and exciting journey through the opera house on the River Wien begins: Hunting for the bat, Papagena and Prince Orlofsky find their way from the below-stage through the narrow winding passages up to the main stage.

Ages 14 -18: For school pupils and teachers from all over Austria: workshops and visits to dress rehearsals by appointment with musicians of the Vienna Symphony Orchestra and the ORF Vienna Radio Symphony Orchestra.

JUGEND AN DER WIEN

Ages 14-24: Under the motto “Traum & Wirklichkeit� Jugend an der Wien will be presenting a new work for musical theatre on the main stage in June 2019. From September to June, youngsters with a talent for singing, dancing and acting will be supported and trained, and the new work will be tailored to the performers. In the orchestra pit, pupils of the Vienna Musikgymnasium will play.

Ages 9-99: in the week before Easter, a project is planned for all opera fans aged 9-99 who have ever wanted to get up on stage and see what they can contribute actively to an opera house.

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KINDER AN DER WIEN PAPAGENA JAGT DIE FLEDERMAUS (PAPAGENA HUNTS THE BAT) A musical tour of the Theater an der Wien For children aged 6 -10 Papagena, the best bird-catcher ever, has a new mission: just as the guests are arriving for Prince Orlofsky’s big birthday party at the Theater an der Wien, all the preparations start to go wrong. Things vanish, people suddenly pop up in different places, doors are locked, instruments are out of tune and mysterious passages suddenly lead where they shouldn’t. It is all the fault of the mysterious bat who flits through the building. Papagena sets off to hunt it down; with the help of some of the party guests she intends to solve the mystery of the creature and catch it. But Prince Orlofsky is not content just to sit and watch, and sets off with some other guests, determined to find the bat himself. Could it be that he is in cahoots with the bat?

Join the adventure and help put a stop to the bat’s antics to save the party.

When you buy your ticket, you can decide whose search party you want to join, Papagena’s or Prince Orlofsky’s. Every route is different and uleads through hidden passages, secret rooms, choir room and below-stage: everywhere we encounter more secrets…

Fortunately, we are always accompanied by the music of Wolfgang Amadeus Mozart and Johann Strauss as well as singers, a choir and a wind and string ensemble.

Concept & book Anna Katharina Bernreitner & Catherine Leiter

Arrangements &

musical concept Leonard Eröd Conductor Viktor Mitrewski Director Anna Katharina Bernreitner

Set designer Hannah Rosa Oellinger & Manfred Rainer 26.1.2019, 11 a.m., 2 p.m. | 27.1.2019, 11 a.m., 2 p.m., 5 p.m.

23.2.2019, 11 a.m., 2 p.m. | 24.2.2019, 11 a.m., 2 p.m., 5 p.m.

Tickets: info@theater-wien.at | accompanying adult ¤ 15 / children ¤ 5

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JUGEND MACHT OPER OPERA FOR YOUNG PEOPLE under the motto “Traum & Wirklichkeit” (“Dream & Reality”) Giving young people the chance to test their singing and acting talents, to broaden their artistic horizons, maybe even to come into contact with something new through music and to discover completely new and unexpected abilities: those are the central elements of the opera for young people at the Theater an der Wien. During the entire season, a new work for musical theatre is developed, rehearsed and brought to the main stage by young people with the support of a first-class leading team. The 2018/19 season marks the tenth such project. With music ranging from Johann Sebastian Bach to Wolfgang Amadeus Mozart, and from Richard Wagner or Giacomo Puccini to the contemporary.

Anyone aged 14 to 24 can take part. Weekly choir practice, stagecraft weekends, voice coaching, acting lessons and dance lessons are essential components of the project. Especially talented participants will also have the chance at the beginning of the season to audition for a place in the group of soloists who, besides being part of the overall ensemble, take on extra acting and singing tasks.

Conductor Raphael Schluesselberg Director Daniel Pfluger Set designer Axel E. Schneider Concept & Administration Catherine Leiter Voice coaching Generose Gruber-Sehr Oberstufenorchester des Musikgymnasiums Wien Premiere: 25 June 2019, 6 p.m.

Performance: 26 June 2019, 11 a.m. | 27 June 2019, 6 p.m.

Fee for performers: ¤ 10 Application for performers: jugendanderwien@theater-wien.at Tickets: info@theater-wien.at | ¤ 15 / ¤ 5 reduced fee for school classes

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OSTERFLASH 9 - 99 LEAVE EVERYDAY LIFE – ENTER THE THEATRE! For the first time, from April 15 to April 18 opera fans can explore the practical aspects of artistic work for a week at Theater an der Wien.

Take the stage for four days: rehearsals, singing, acting, and dancing – it’s all about joy, fun and passion. Advance knowledge is permitted, though no prerequisite.

Each day begins with joint rehearsals on stage. In the afternoon you can choose between four workshops: dancing, acting, singing, and backstage.

Workshops: Singing | Acting | Dancing | Backstage

Chorus master Phonation Stage direction / Drama Dance

Roger Diaz Cajamarca Generose Gruber-Sehr Anna Katharina Bernreiter Katharina Strohmayer

Fees for participants: ¤ 99,– | under 18 years: ¤ 39,– Fee for members of the Circle of Friends of Theater an der Wien: ¤ 39,– Contact, Information, and application for participation: Mag.a Catherine Leiter, MA +43/664 886 281 30 osterflash@theater-wien.at

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YOUNG ENSEMBLE OF THEATER AN DER WIEN In the 2018/19 season we present the fourth generation of the „Junges Ensemble des Theater an der Wien“ (called JET). The six young singers were selected from 437 applicants from 51 countries in a process lasting several months. In the next two seasons they will take on a variety of roles at the Kammeroper and the Theater an der Wien and work with internationally acclaimed conductors, directors and singers. In addition, each of our young professional singers will showcase their talents in an individual portrait concert. The two-year programme is rounded off by master classes and workshops led by established artists.

Artistic Director is Jochen Breiholz. Head coach is Alevtina Sagitullina. The new JET consists of: ILONA REVOLSKAYA, soprano Born in Russia. Studies at the Moscow Conservatory and the Royal Academy of Music in London. Previous engagements at the State Opera in Ekaterinburg and London Handel Festival etc.

JENNA SILADIE, soprano Born in the USA. Studies at Yale University, Connecticut. Previous engagements at Santa Fe Opera, Boston Lyric Opera, etc.

OUR JET

TATIANA KURYATNIKOVA, mezzo-soprano Born in Russia. Studies at the Gnessin Academy of Music in Moscow and the Music and Arts University of the City of Vienna JOHANNES BAMBERGER, tenor Born in Austria. Studies at the University of Music and Performing Arts Vienna. Previous engagements at Landestheater Linz KRISTJÁN JÓHANNESSON, baritone Born in Iceland. Studies in Reykjavik and at the Music and Arts University of the City of Vienna. Previous engagements at the Neue Oper Wien and the Opera of Iceland DUMITRU MĂDĂRĂSAN, bass ´ Born in Romania. Studies at the Gheorghe Dima Music Academy in Cluj Napoca.

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INFORMATION TICKET SALES Tickets go on sale to the general public on 15 June 2018 at 10 a.m. for the performances until 31 December 2018, at the box office at the Theater an der Wien and the Wien-Ticket pavilion and can also be ordered by telephone on +43 (0)1 58885-111. Tickets for performances from 1 January 2019, go on sale to the general public on 1 September 2018, at 10 a.m. Online ticket sale commences one day later. Cloak-room fees are included in the ticket price. Please note that no orders for individual tickets can be accepted before tickets go on general sale.

BOX OFFICE THEATER AN DER WIEN & KAMMEROPER Box office for both venues: Theater an der Wien, Linke Wienzeile 6, 1060 Vienna Opening hours: Mon - Sat, 10 a.m. - 6 p.m. * Closed on Sundays, except for matinee performances (open from 10 a.m. - 1 p.m.) and evening performances (open from 2 p.m. - 6 p.m.)* Information and phone sales: Wien-Ticket on +43 (0)1 58885-111 (plus ¤ 2 facility fee per booking) * Opening hours subject to change.

EVENING BOX OFFICE Ticketsale and pickup for the respective performance at Theater an der Wien: from 6 p.m. until curtain-up at der Kammeroper (address: Fleischmarkt 24, 1010 Vienna): from one hour before curtain-up For your convenience, please buy or pick up all tickets that are not for the next performance, and complete any subscription enquires (e.g. exchange) at the Theater an der Wien box office no later than 6 p.m.

Please note that the box office at Theater an der Wien will be closed from 1 July to 19 August 2018.

WIEN-TICKET PAVILION Tickets (except subscription tickets) are also available from the Wien-Ticket pavilion on Herbert von Karajan-Platz by the State Opera from 15 June and 1 September 2018 respectively. Open daily from 10 a.m. - 7 p.m. (plus ¤ 2 facility fee per booking)

57

BOOKING BY PHONE Tickets (except subscription tickets and other concessions) can also be ordered by phone every day from 8 a.m. - 8 p.m. from Wien-Ticket on +43 (0)1 58885-111. Shipping charge*: within Austria: ¤ 5.90; abroad: ¤ 9.90. (plus ¤ 2 facility fee per booking) INTERNET www.theater-wien.at | www.kammeroper.at Tickets can be purchased online by credit card from 16 June and 2 September 2018 respectively. Shipping charge *: within Austria ¤ 5.90; abroad ¤ 9.90. Print@home as well as arranging for advance tickets to be kept for collection at both box offices is free of charge. Arranging for purchased tickets to be left for collection from the evening ticket offices of the Theater an der Wien and the Kammeroper costs ¤ 1.50.

The Theater an der Wien and Kammeroper newsletter can be subscribed to free of charge at www.theater-wien.at.

Visit us on Facebook: www.facebook.com/TheateranderWien twitter: twitter.com/TheaterWien and instagram: instagram.com/theateranderwien Videos at: www.youtube.com/user/theateranderwien * Shipping charges are subject to change.

GROUP BOOKINGS For bookings for groups of 11 or more people, please contact the Theater an der Wien sales department. phone +43(0)1 588 30 -1440 or by e-mail: sales@vbw.at VOUCHERS Vouchers for productions of the Theater an der Wien or the Kammeroper can be purchased at all Vereinigte Bühnen Wien box offices, online at www.theater-wien.at or ordered by phone from Wien Ticket on +43 (0) 1 58885-111 (plus ¤ 2 facility fee per booking). Vouchers are not valid for non-Theater an der Wien and Kammeroper productions (e.g. Wiener Festwochen) held at those venues.

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WHEELCHAIR SPACES/SPECIAL NEEDS PERSONS WITH REDUCED MOBILITY Wheelchair spaces can be reserved at the Theater an der Wien (also for an accompanying person if desired) up to a week before the performance for which tickets have been bought on +43 (0) 1 58885-111 or at our box offices. Price: ¤ 10 (wheelchair space) with a 50 % concession for the accompanying person. Patrons with a disabled person ID are granted a 25 % reduction up to one week before the performance for which they have bought tickets. These concessions are available only at the theatre box offices on presentation of a disabled person ID (limited ticket availability). Please note that there are no lifts in the Theater an der Wien or the Kammeroper, and there are no wheelchair spaces in the Kammeroper.

STANDING ROOM 50% of the available standing room tickets are on sale from one week prior to the performance. The remaining tickets go on sale one hour before curtain-up. Price: ¤ 5. No standing room is available in the Kammeroper.

TICKETS FOR STUDENTS AND SCHOOLCHILDREN Tickets for schoolchildren and students up to age 26 are available, at the theatre’s discretion and no earlier than 15 minutes before curtain-up, at the box offices of the Theater an der Wien and the Kammeroper on presentation of appropriate ID. Theater an der Wien: ¤ 15 Kammeroper: ¤ 10 JUNIOR-TICKET Children or adolescents (under 16) who attend a Theater an der Wien production are granted a 35% reduction on ticket prices in the categories A - E at Theater an der Wien and in the categories A - D at Kammeroper.

Available at all VBW box offices, the Theater an der Wien online shop at www.theater-wien.at and by phone from Wien-Ticket on +43(0)1 58885-111 (plus ¤ 2 facility fee per booking).

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SAVE ON PARKING WHEN YOU VISIT THE THEATER AN DER WIEN Patrons of the Theater an der Wien can park in the Technical University’s WiPark garages for only ¤ 6.90 for the first five hours. Valid Mon-Sat, 5 p.m. - 8 a.m., Sundays and holidays. Pre-paid parking cards are available at the Theater an der Wien box office.

Addresses: Garage Technische Universität | Operngasse 13 | 1040 Vienna Garage Lehárgasse | Lehárgasse 4 | 1060 Vienna SAVE ON PARKING WHEN YOU VISIT THE KAMMEROPER Patrons of the Kammeroper can park in the BOE Garage on Franz-Josefs-Kai for ¤ 5.20 per day. Valid Mon-Sun, 6 p.m. - 7 a.m.

Pre-paid parking cards are available at the Kammeroper evening box office.

Address: BOE Garage Franz-Josefs-Kai | Morzinplatz 1 | 1010 Vienna GUIDED TOURS OF THE THEATER AN DER WIEN Groups taking part in guided tours are limited to thirty people. The meeting point is the main entrance where the group will be picked up in good time; the visitors then enter the theatre through the foyer. Tours are in German and last approximately one hour.

The tour includes the foyer, the auditorium, the stage, the cellar and the dressing-room area. Visitors will learn about the building’s history, its programme of performances, the way it is organised and the technology used.

It is of course also possible to book private tours (in other languages, for example, or at other times). If you require such a tour, please be sure to book your appointment in advance, either in writing or by phone.

Contact for all tours of the Theater an der Wien: Philipp Wagner-Nguyen, phone +43 (0) 1 588 30-2015 E-mail: fuehrungen@theater-wien.at Price: ¤ 7/5 (concession)* | Groups of schoolchildren: ¤ 3 Children under 6: free * Concessions apply to school pupils, students up to age 26, persons in military/community service

www.theater-wien.at 60

PLAYING SCHEDULE Day

Date

Time Performance

Page

SEPTEMBER 2018 Sunday Saturday Sunday Monday Wednesday Saturday Monday Tuesday Wednesday Saturday Sunday

9 15 16 17 19 22 24 25 26 29 30

11 a.m. Introduction Alcina 8 7 p.m. ALCINA | Premiere 8 11 a.m. Introduction Die Zauberinsel 10 7 p.m. Alcina 8 7 p.m. Alcina 8 7 p.m. Alcina 8 7 p.m. Alcina 8 7 p.m. Gismondo / Vinci (Concert) 36 7 p.m. Alcina 8 7 p.m. THE ENCHANTED ISLAND | Premiere 10 11 a.m. Introduction Guillaume Tell 12

OCTOBER 2018 Monday 1 7 p.m. The Enchanted Island Wednesday 3 7 p.m. The Enchanted Island Friday 5 7 p.m. The Enchanted Island Sunday 7 7 p.m. The Enchanted Island Tuesday 9 7 p.m. The Enchanted Island Friday 12 7 p.m. The Enchanted Island Saturday 13 7 p.m. GUILLAUME TELL | Premiere Sunday 14 7.30 p.m. Portrait Concert: Dumitru Mădărăsan ´ Monday 15 7 p.m. The Enchanted Island Tuesday 16 7 p.m. Guillaume Tell Wednesday 17 7 p.m. The Enchanted Island Thursday 18 7 p.m. Guillaume Tell Thursday 18 7.30 p.m. Krieg und Frieden Friday 19 7 p.m. The Enchanted Island Sunday 21 7 p.m. Guillaume Tell Monday 22 7 p.m. Serse / Handel (Concert) Tuesday 23 7 p.m. Guillaume Tell Saturday 27 7 p.m. Guillaume Tell

Performances highlighted in grey take place at Kammeroper.

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10 10 10 10 10 10 12 55 10 12 10 12 49 10 12 37 12 12

Day

Date

Time Performance

Page

NOVEMBER 2018 Tuesday 6 8 p.m. IM SCHATTEN DER VENUS

Premiere (Hölle) 50 Wednesday 7 8 p.m. Im Schatten der Venus (Hölle) 50 Thursday 8 8 p.m. Im Schatten der Venus (Hölle) 50 Saturday 10 8 p.m. Im Schatten der Venus (Hölle) 50 Sunday 11 11 a.m. Introduction Teseo 14

8 p.m. Im Schatten der Venus (Hölle) 50 Wednesday 14 7 p.m. TESEO | Premiere 14 Friday 16 7 p.m. Teseo 14 Sunday 18 7 p.m. Teseo 14 Tuesday 20 7 p.m. La femme c’est moi / Kulman (Concert) 48 Wednesday 21 7 p.m. Teseo 14 Friday 23 7 p.m. Teseo 14 Saturday 24 7 p.m. Tarare / Salieri (Concert) 38 Sunday 25 11 a.m. Introduction Don Carlos 16

7 p.m. Teseo 14 Tuesday 27 8 p.m. Im Schatten der Venus (Hölle) 50 Wednesday 28 7 p.m. DON CARLOS | Premiere 16 Thursday 29 8 p.m. Im Schatten der Venus (Hölle) 50 Friday 30 7 p.m. Don Carlos 16 DECEMBER 2018

Saturday 1 8 p.m. Im Schatten der Venus (Hölle) 50 Sunday 2 7 p.m. Don Carlos 16 Monday 3 8 p.m. Im Schatten der Venus (Hölle) 50 Tuesday 4 8 p.m. Im Schatten der Venus (Hölle) 50 Wednesday 5 7 p.m. Don Carlos 16 Thursday 6 7.30 p.m. Morgen kommt der Weihnachtsmann –

with Daniel Behle & friends Friday 7 7 p.m. Don Carlos 16 Sunday 9 11 a.m. Introduction Euryanthe 18 Tuesday 11 7 p.m. Don Carlos 16 Wednesday 12 7 p.m. EURYANTHE | Premiere 18 Friday 14 7 p.m. Don Carlos 16 Saturday 15 7 p.m. Euryanthe 18 Sunday 16 7 p.m. Messiah / Handel (Concert) 39 Monday 17 7 p.m. Euryanthe 18 62

Day

Date

Time Performance

Page

DECEMBER 2018 Tuesday Wednesday Thursday Friday Thursday Friday Monday

18 7 p.m. Don Carlos 16 19 7 p.m. Euryanthe 18 20 7.30 p.m. Portrait Concert: Ilona Revolskaya 54 21 7 p.m. Don Carlos 16 27 7 p.m. Don Carlos 16 28 7 p.m. Euryanthe 18 31 7 p.m. Euryanthe 18

JANUARY 2019 Thursday 10 7.30 p.m. Portrait Concert: Tatiana Kuryatnikova 55 Sunday 13 11 a.m. Introduction King Arthur 20 Thursday 17 7 p.m. KING ARTHUR | Premiere 20 Saturday 19 7 p.m. King Arthur 20 Wednesday 23 7 p.m. Peter Schmoll / Weber (Concert) 40 Thursday 24 7 p.m. King Arthur 20 Saturday 26 11 a.m. Kinder an der Wien

Papagena jagt die Fledermaus 52 Saturday 26 2.p.m. Kinder an der Wien

Papagena jagt die Fledermaus 52 Saturday 26 7 p.m. King Arthur 20 Sunday 27 11 a.m. Kinder an der Wien

Papagena jagt die Fledermaus 52 Sunday 27 2 p.m. Kinder an der Wien

Papagena jagt die Fledermaus 52 Sunday 27 5 p.m. Kinder an der Wien

Papagena jagt die Fledermaus 52 Monday 28 7 p.m. King Arthur 20 Wednesday 30 7 p.m. King Arthur 20 Thursday 31 7.30 p.m. Krieg und Frieden 49 FEBRUARY 2019 Sunday Saturday Monday Wednesday Thursday

10 16 18 20 21

11 a.m.

7 p.m.

7 p.m.

7 p.m.

7 p.m.

Introduction Elias 22 ELIAS | Premiere 22 Elias 22 Elias 22 Mazeppa / Tchaikovsky (Concert) 41

Performances highlighted in grey take place at Kammeroper.

63

Day

Date

Time Performance

Page

FEBRUARY 2019 Friday 22 7 p.m. Undina / Iolanta / Tchaikovsky (Concert) 42 Saturday 23 11 a.m. Kinder an der Wien

Papagena jagt die Fledermaus 52 Saturday 23 2. p.m. Kinder an der Wien

Papagena jagt die Fledermaus 52 Saturday 23 7 p.m. Elias 22 Sunday 24 11 a.m. Introduction L’enfant / Olympia 24 Sunday 24 11 a.m. Kinder an der Wien

Papagena jagt die Fledermaus 52 Sunday 24 2 p.m. Kinder an der Wien

Papagena jagt die Fledermaus 52 Sunday 24 5 p.m. Kinder an der Wien

Papagena jagt die Fledermaus 52 Monday 25 7 p.m. Elias 22 Tuesday 26 7 p.m. L’ENFANT / OLYMPIA | Premiere 24 Wednesday 27 7 p.m. Elias 22 MARCH 2019 Friday 1 7 p.m. L’enfant / Olympia 24 Saturday 2 7.30 p.m. Krieg und Frieden 49 Sunday 3 7 p.m. L’enfant / Olympia 24 Tuesday 5 7 p.m. L’enfant / Olympia 24 Thursday 7 7.30 p.m. Portrait Concert: Jenna Siladie 54 Friday 8 7 p.m. L’enfant / Olympia 24 Sunday 10 11 a.m. Introduction

Die Jungfrau von Orleans 26 Monday 11 7 p.m. L’enfant / Olympia 24 Wednesday 13 7 p.m. L’enfant / Olympia 24 Friday 15 7 p.m. L’enfant / Olympia 24 Saturday 16 7 p.m. THE MAID OF ORLEANS Premiere 26 Monday 18 7 p.m. The Maid of Orleans 26 Wednesday 20 7 p.m. The Maid of Orleans 26 Friday 22 7 p.m. Der Freischütz / Weber (Concert) 43 Saturday 23 7 p.m. The Maid of Orleans 26 Monday 25 7 p.m. The Maid of Orleans 26 Tuesday 26 7 p.m. Orlando furioso / Vivaldi (Concert) 44 64

Day

Date

Time Performance

Page

MARCH 2019 Wednesday 27

7 p.m. The Maid of Orleans 26

APRIL 2019 Monday Sunday Sunday Tuesday Thursday Wednesday Friday Saturday Sunday Sunday Tuesday

1 7 14 16 18 24 26 27 28 28 30

7 p.m.

11 a.m.

7 p.m.

7 p.m.

7 p.m.

7 p.m.

7 p.m.

7 p.m.

11 a.m.

7 p.m.

7 p.m.

7UP (Stefan Gottfried & JET) Introduction Orlando 28 ORLANDO | Premiere 28 Orlando 28 Orlando 28 Orlando 28 Orlando 28 Rinaldo / Handel (Concert) 45 Introduction Candide 30 Orlando 28 CANDIDE | Premiere 30

MAY 2019 Thursday Sunday Tuesday Friday Sunday Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sunday Monday

2 7 p.m. Candide 30 5 7 p.m. Candide 30 7 7 p.m. Candide 30 10 7 p.m. Candide 30 12 11 a.m. Introduction Oberon 32 12 7 p.m. Candide 30 13 7 p.m. OBERON | Premiere 32 14 7 p.m. Candide 30 15 7 p.m. Oberon 32 16 7.30 p.m. Portrait Concert: Kristjรกn Jรณhannesson 55 17 7 p.m. Oberon 32 18 7 p.m. Candide 30 19 7 p.m. Oberon 32 20 7 p.m. Candide 30

JUNE 2019 Tuesday 4 7.30 p.m. Portrait Concert: Johannes Bamberger 55 Tuesday 25 6 p.m. Jugend an der Wien Traum & Wirklichkeit 53 Wednesday 26 11 a.m. Jugend an der Wien Traum & Wirklichkeit 53 Thursday 27 6 p.m. Jugend an der Wien Traum & Wirklichkeit 53 Performances highlighted in grey take place at Kammeroper.

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THE THEATER AN DER WIEN WOULD LIKE TO THANK ALL ITS PARTNERS, FRIENDS AND SPONSORS

MAIN SPONSOR

Foto © Peter M. Mayr

Agrana GOLDEN CIRCLE

SILVER CIRCLE

Casinos Austria Kulturformat ÖBB Peugeot

BDO

SPONSORING KAMMEROPER

COOPERATION PARTNERS

BUWOG supports „Junges Ensemble des Theater an der Wien“ (JET) Production Sponsor Kammeroper: Raiffeisen Bank International

Doetsch Grether AG Kattus Le Méridien

SPONSORING JUGEND & KINDER AN DER WIEN

Pat & Marcus Meier Martin Schlaff

If you are interested in sponsoring the Theater an der Wien and our young ensemble, please contact Ms Ulrike Spann / Head of Development Department on 01 588 30-1300.

66 vbw.at

THEATER AN DER WIEN General Manager of Vereinigte Bühnen Wien GmbH

Franz Patay

ARTISTIC DIRECTION THEATER AN DER WIEN Artistic Director TAW & General Manager Kammeroper

Roland Geyer

Assistant to Artistic Director Press Officer

Sylvia Hödl Sabine Seisenbacher

Head of Administration / Deputy Artistic Director & Managing Director Kammeroper Renate Futterknecht Subscriptions & Guided Tours Subscriptions & Website Head of Artistic Administration & Artistic Director Kammeroper Assistant to Head of Artistic Administration Head of Scheduling & Artistic Administration

Philipp Wagner-Nguyen Markus Schemmel Jochen Breiholz Ugo Varela Claudia Stobrawa

Dramaturgy

Karin Bohnert, Ksenija Zadravec

Artistic Production Managers

Production Manager Kammeroper Head Coach Kammeroper

Petra Haidvogel, Anja Meyer, Simone Kraft Axel E. Schneider Alevtina Sagitullina

Head of Youth Programme

Catherine Leiter

TECHNICAL DIRECTION THEATER AN DER WIEN

67

Technical Director Technical Production Manager

Head of Technical Planning

Veronika Leitl Michael Baumeister, Natascha Nouak, Christoph Fath Gerald Stotz

Chief Stage Technicians

Chief Engineer

Bernd Kirchmayer, Johann Ponleitner, Horst Willmann, Günter Wladika Wolfgang Tenzer

Head Property Man

Michael Haas

Sound Engineer

Klaus Gruber-Sehr

Chief Lighting Technician

Gwen Lohmann

Head of Costume Dresser Coordination / Costume Workshop Stagione Chief Dresser

Doris Maria Aigner

Head of Make-Up

Gabriele Kammerer

House Manager

Sandra Swoboda

Andreas Schaffler Hannelore Habel

GENERAL MANAGEMENT VEREINIGTE BÜHNEN WIEN General Manager

Franz Patay

Assistants to General Manager

Alexandra Plot, Alice Schmid

Head of Communications / Marketing / Sales

Astrid Bader

Head of Development Department Ulrike Spann Head of Finance & Controlling

Florian Gradwohl

Head of Accounts

Frank Ellmer

Head of Facility Management

Christian Zisser

Head of Human Resources

Eva Planötscher-Stroh

Central Purchasing Officer

Petra Garai

Head of IT

Peter Darrer

WORKS COUNCIL TECHNICAL DEPARTMENT & ADMINISTRATION VBW Chairman Ulrich Knarren SUPERVISORY BOARD OF VEREINIGTE BÜHNEN WIEN G.M.B.H Chairman of the Supervisory Board Gerhard Weis Eva Rosenauer-Albustin, Dieter Boyer, Wolfgang Fischer, Petra Martino, Helene Miksits, Thomas Neuwerth, Christian Strasser

www.theater-wien.at | +43 (0) 1 588 30-1010

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PRICES THEATER AN DER WIEN MUSICAL THEATRE Prices in ¤ * Alcina | Guillaume Tell | Teseo | Euryanthe | King Arthur Elias | The Maid of Orleans | Orlando | Oberon

a 148 b 126 c

99 d

89 e

68 f

48 g

25

CONCERT PERFORMANCES & SPECIAL PROJECTS 25.09.18 Gismondo | 22.10.18 Serse | 20.11.18 La femme c’est moi 24.11.18 Tarare | 16.12.18 Messiah | 23.01.19 Peter Schmoll 21.02.19 Mazeppa | 22.02.19 Undina / Iolanta | 22.03.19 Der Freischütz 26.03.19 Orlando furioso | 27.04.19 Rinaldo

a 75 b

62 c

50 d

40 e

30 f

22 g

13

CABARET AT THE „HÖLLE“ 6 | 7 | 8 | 10 | 11 | 27 | 29 November 2018 1 | 3 | 4 December 2018 Im Schatten der Venus

25

INTRODUCTION

5

JUGEND AN DER WIEN 15 / 5 25 | 26 | 27 June 2019 Traum & Wirklichkeit KINDER AN DER WIEN 15 / 5 26 | 27 January 2019 23 | 24 February 2019 Papagena jagt die Fledermaus

* Cloak-room fees are included in the ticket price

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CERCLE

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RECHTS

PARKETT

Seating Plan Theater an der Wien

BÜHNE

3

LINKS

7

no tickets are on sale for the boxes in the second balcony at any concerts or concert performances of operas.

PRICES KAMMEROPER MUSICAL THEATRE Prices in ¤ * The Enchanted Island | Don Carlos | L’enfant / Olympia Candide | Krieg und Frieden | X-mas songs with Daniel Behle & friends

a 51 b

40 c

29 d

19

PORTRAIT CONCERTS 14 October 2018 Dumitru Mădărăsan (bass) ´ 20 December 2018 Ilona Revolskaya (soprano) 10 January 2019 Tatiana Kuryatnikova (mezzo-soprano) 7 March 2019 Jenna Siladie (soprano) 16 May 2019 Kristján Jóhannesson (baritone) 4 June 2019 Johannes Bamberger (tenor)

10

1 April 2019

7UP (Stefan Gottfried & JET)

10

INTRODUCTIONS

5

BÜHNE LINKS

PARKETT

RECHTS

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14 13 12 11 10 9 8 7 6 5 4 3 2 1 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 LINKS

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RECHTS

PARKETT 7 6 5 4 3 2 1 17 6 5 4 3 2 1

9 8 9 8 9 8 9 8 9 8

19 20 21 22 23

18

7 6 5 4 3 2 1 19 7 6 5 4 3 2 1

20

7 6 5 4 3 2 1 21 7 6 5 4 3 2 1

22

7 6 5 4 3 2 1 23

TECHNIK

* Cloak-room fees are included in the ticket price

PHOTOGRAPHIC MATERIAL Concept / Cover image © beyond / michael huber, thomas riegler Illustrations © Herwig Zens, images: Herbert Stadler / Karl Dworschak / Peter Kainz Cover: front: Habakuk nach Donatello, oil, acrylic, charcoal, 70 x 50, 2011 front: Die Muse der Opernmusik, pen drawing for the seasonal programme of the TAW 18/19, February 2018 back: illustration for Wia da stülle Ozean by Hans Dieter Mairinger, 2017 p. 5 Die Ateliergeister, acrylic, charcoal, 140 x 140, 2011 p. 8 Salome, acrylic, charcoal, 90 x 70, 2011 p. 10 Skizze aus Venedig, mixed technique, 30 x 39, 5, o.A. p. 12 Portrait, oil, acrylic, 100 x 80, 1997 p. 14 Medea, acrylic, charcoal, 140 x 145, 2011 p. 16 Skizze zum Distler Totentanz, acrylic, charcoal, 130 x 90, 2008 p. 18 Aphrodite, acrylic, charcoal, crayon, 80 x 60, 2012 p. 20 Marsyas, acrylic, charcoal, 140 x 140, 2011 p. 22 Der blinde Seher, acrylic, charcoal, 135 x 135, 2011 p. 24 Die Muse Erato, acrylic, charcoal, 100 x 70, 2014 p. 26 Der Tod und das Mädchen, acrylic on canvas, 120 x 120, 2010 p. 28 Satyr, Mänade verfolgend, acrylic, charcoal, 100 x 80, 2015 p. 30 Venus und Adonis, acrylic, charcoal, 150 x 120, 2011 p. 32 illustration for Wia da stülle Ozean by Hans Dieter Mairinger, 2017 p. 35 illustration for Im Morgengrauen by Alois Vogel, lithograph, 2003 p. 47 Justitia, oil, acrylic, charcoal, 100 x 70, 2009

PUBLISHING DETAILS Theater an der Wien – Director Prof. DI Roland Geyer Publisher & Proprietor: Vereinigte Bühnen Wien Ges.m.b.H. – CEO Prof. Dr. Franz Patay Theater an der Wien, Linke Wienzeile 6, 1060 Wien phone (+43/1) 588 30-1010 | Fax Ext. 99 2000 | oper@theater-wien.at | www.theater-wien.at Responsible for content: Director Prof. DI Roland Geyer Editorial office: Karin Bohnert, Andrea Bräuer, Jochen Breiholz, Renate Futterknecht, Martin Gassner, Sylvia Hödl, Catherine Leiter, Johannes Penninger, Markus Schemmel, Sabine Seisenbacher, Claudia Stobrawa, Ugo Varela, Georg Wacks, Philipp Wagner-Nguyen, Ksenija Zadravec Graphic design / Art Direction: Martina Heyduk, Nadine Dellitsch Printing: Walla Druck Subject to change | October 2018 | DVR 0518751

Vereinigte Bühnen Wien Ges.m.b.H.

A Wien Holding Company

www.theater-wien.at

MEDIA PARTNER 18/19

PARTNERS JUGEND AN DER WIEN: Stadtschulrat für Wien KulturKontakt Austria Landsmann & Landsmann 72

im morgengrau

Theater an der Wien Linke Wienzeile 6, 1060 Wien www.theater-wien.at

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