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News … Home News W.A. Mozart: La Clemenza Di Tito Wolfgang Amadé Mozart: La clemenza di Tito 29.01.2021 Opera production © Judith Buss Skip page navigation Overview About production Livestream Dates & Cast Gallery Other productions Return to slider start Tito, who served under Emperor Nero, left a trail of blood behind him as a general in Britain and Judea, and did not shy away from strategic murder, has arrived on the Roman imperial throne. However, he is not allowed to marry his beloved, the Jewish princess Berenice - this is forbidden by tradition, law and, not least, the Romans' conceit of a foreign woman. Tito's ambition to marry a politically relevant Roman woman turns into an insoluble problem: hatred, lies and betrayal are his enemies. He narrowly escapes an attack, the Capitol is in flames, an assassin is caught and must be sentenced. But Tito is tired of killing … Musical Director Gernot Sahler Direction Alexander von Pfeil Stage   Thorben Schumüller Costume Design Lisa Behensky Dramaturgy Malte Krasting Music Choir & Chamber Orchestra of the Mozarteum University About production Summer 1791: The Bastille in Paris has been stormed, the royal couple has been taken prisoner; in Vienna, people are considering taking military action against the French Revolution in order to assist the imperial sister Marie Antoinette. The certainties of the Ancien Régime are shaken when Wolfgang Amadé Mozart is commissioned to compose the music for "La clemenza di Tito," a libretto by Pietro Metastasio, who was trained on Jean Racine, that has been set to music many times. Simultaneously with the "Magic Flute," Mozart works in feverish haste on the composition of the opera seria, which is premiered in Prague on September 6 as part of the coronation festivities. Mozart reports: "all pieces have been applauded", however, one also hears the empress's verdict: "Una porcheria tedesca" - a German mess. In his imperial homage opera, Mozart apparently also uncovered truths that not only hold up a flattering mirror to absolute rule. The music speaks of a deep longing and hope to achieve the impossible: to reconcile public power and private happiness. Dates & Cast Performance dates (without audience) 29. January 2021, 7:00 p.m. January 30, 2021, 5:00 p.m. February 1, 2021, 7:00 p.m. Max Schlereth Hall   Cast TITO VESPASIANO:  Daehwan Kim  (Jan. 29, 30 & Feb. 1), Brendan-Keefe Au (study assignment) VITELLIA: Lyriel Benameur (Jan. 30), Martina Russomanno (Jan. 29 & Feb. 1).) SERVILIA:  Bryndis Gudjonsdottir  (Jan. 30),  Veronika Loy  (Jan. 29 & Feb. 1).) SESTO:  Vera Maria Bitter  (Jan. 29 & Feb. 1), Zsofia Mozer (Jan. 30) ANNIO: Ines Costantino (Jan. 29.1. u. 1.2.),  Tamara Nüßl  (30.1.) PUBLIO:  Taesung Kim  (29.1. u. 1.2.),  Xiaofei Liu  (30.1.) Lentulo: Johannes Hubmer Chorus: Rodrigo Alegre, Adelheid Baumgartner, Alicia Grünwald, Michaela Honauer, Johannes Hubmer, Clara Mumelter, Dominik Schumertl, Serafina Starke, Nils Tavella, Jovana Timotijevic Children's Statistry: Aurelia Johanna Wimmer-Kang, Konstantin Maria Wimmer-Kang Gallery Skip slider © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss Jump to slider start Other productions Vincenzo Bellini: I Capuleti e i Montecchi 15.12.2024 Vincenzo Bellini: I Capuleti e i Montecchi  The performance of Vincenzo Bellini's opera I Capuleti e i Montecchi delivered a powerful reinterpretation of the masterpiece. Directed by Alexander von Pfeil, the production centred on the relentless feud between two rival clans and the profound despair of its victims. This staging transcended specific eras, placing the story in a universal, timeless setting that brought Bellini's dark vision of love and war to the stage with harrowing clarity. Opera production Giuseppe Verdi: Falstaff 20.5.2024 Giuseppe Verdi: Falstaff  Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly. Opera production Elegy for young lovers 31.1.2024 Elegy for young lovers  "What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?" Opera production Wolfgang Amadé Mozart: Così fan tutte 21.5.2023 Wolfgang Amadé Mozart: Così fan tutte  The young officers Ferrando and Guilelmo* do not want to let their fatherly friend Don Alfonso get away with it - after all, he doubts the fidelity of their fiancée! But instead of the demanded duel, they accept his proposal of a wager and thus become handmaidens in the work of destroying their love relationships. Opera production More news

News … Home News The Magic Flute Wolfgang Amadé Mozart: The Magic Flute 23.06.2021 Opera production © Christian Schneider Skip page navigation Overview About production Interview Livestream Dates & Cast Gallery Other productions Return to slider start What is real, what is fiction? In "The Magic Flute", glimpses are taken behind the scenes: "The backstage atmosphere makes it possible to be there live when the magic is created, but at the same time it also brings the arduous path there before our eyes" - the two directors Alexandra Szemerédy and Magdolna Parditka raise their production of "The Magic Flute" to a meta-level and allow two narratives to merge. Musical Director Kai Röhrig Production Magdolna Parditka and Alexandra Szemerédy Stage Design Michael Hofer-Lenz Costumes Magdolna Parditka and Jiale Zhu Dramaturgy Christian Arseni Music Orchestra of the Mozarteum University About production Young people face great challenges: Between powerful parental figures who influence them, they have to find their own way. Mozart's "The Magic Flute," one of the world's best-known and most frequently performed operas, addresses questions that many students also face at the beginning of their artistic careers: Who am I? Where do I want to go? Who do I want to be? The production of the University Mozarteum Salzburg with students of the Department of Opera and Music Theater opens a look behind the scenes by taking the audience on a rehearsal. Here, a director and a conductor work with young singers on the "Magic Flute." But aren't the pain and happiness, fears and hopes of Mozart's characters also those of their performers? The ordeal that the main characters of "The Magic Flute" take becomes a test in real life. Through the Magic Flute to oneself Alexandra Szemerédy & Magdolna Parditka talk about their production ( Interview: Christian Arseni) "Where am I?" In your production, the answer to the first spoken words that Schikaneder puts into Tamino's mouth in "The Magic Flute" is not: in the realm of the Queen of the Night, but: at a "Magic Flute" rehearsal. How did the decision come about to invent this new frame story and to largely dispense with the original dialogues? Alexandra Szemerédy: Where am I? Who am I? Where do I want to go? Who do I want to be? - These are questions of becoming self-aware, an awakening of one's own self. It is about determining one's own position in the coordinate system, about a kind of self-measurement. In order to be able to start an "inner journey", this self-questioning is indispensable: It marks the path that leads from the state of external determination to self-determination. In our interpretation, it is not only Tamino who is forced to ask himself these questions - the same is true for Pamina and, by extension, for everyone. Magdolna Parditka: Yes, we are rehearsing the "Magic Flute," and at the same time we are all, as participants, being put to the test. Our starting point was to focus the production not only on the work itself, but in particular on the work on the work, to bring the musical theater reality that we ourselves experience onto the stage. We show exactly what normally remains hidden behind the scenes, turn the seams inside out, so to speak, and thus allow the audience to gain an insight into the process of creating a production. The backstage atmosphere makes it possible to be there live when the "magic" happens, but at the same time it also demonstrates the arduous path to get there. AS: For our parallel narrative, we created new texts that correspond on different levels with Schikaneder's original. The situations we created are in constant interaction with the "Magic Flute" material: dialogues that seem as if they were created out of the moment are juxtaposed with deliberate quotations from the original. These two narrative levels are interdependent and intermingle, the boundaries between play and reality gradually disappear. The young main characters of "The Magic Flute" go through a process from which they emerge as more mature, mature people. Do the fictional performers who embody these roles in your production have comparable experiences? MP: Yes, here, too, it's a matter of interaction: we experience the performers working on a "Magic Flute" performance and observe how the work itself influences them and changes them. The question is: Am I shaping the role or am I being shaped by the role? AS: Our goal is to bring about a kind of fusion. The fictional performers are drawn more and more into the "Magic Flute" story, and at the same time the "Magic Flute" characters are confronted with situations that are motivated by the reality of the performers. These border crossings eventually lead to a new reality in which the plot of the opera and the parallel world of the performers mysteriously intermingle. The two powerful parental figures of "The Magic Flute," the Queen of the Night and Sarastro, appear as opposites, at least from each other's perspective. How important are these polarities, the night-light symbolism for you? What role does the older generation play, especially the added character of the director? MP: The opposites of perspectives appear in our production in the form of the forces of music and scene working against or with each other. In a certain sense, the performers become the playthings of these two powers. And indeed, musical theater is that art form which exists precisely out of the interaction of these polarities. Pamina's and Tamino's task is to use what they have learned for themselves, but then to free themselves from the "powerful parental figures" and find their own way - although it is not said that they will walk this path together forever. AS: The fictional director, Frau Stern, is another manifestation of the Queen of the Night, much like the conductor, Herr Sonnig, is a projection of Sarastro. Through these two figures, the duality of two principles inherent in the play becomes even more tangible. The figure of the director at the same time reflects our own examination of the work: she is the eye from the outside, she acts as a catalyst for the questioning of the self and the work. The men's association of the "initiates" shows misogynistic tendencies, and the fact that Pamina takes part in the final examinations, even becoming Tamino's guide, was certainly not intended by Sarastro. What significance does the character of Pamina have for you? AS: From a psychological point of view, Pamina is the most exciting character: she is caught in the crossfire of conflicting expectations, and at some point the pressure becomes unbearable for her and results in self-injurious behavior. The actress portraying Pamina gets caught in a dark in-between realm between reality and fiction, from which she has to find her way out: an extreme "test" that perhaps demands more inner strength from her than from anyone else. MP: It was very important to us to show all the performers and their roles as characterized by ambivalence - to make it clear that they all move between the abstract poles of "night" and "sun," and not to bend their character traits clichédly in a single direction. Especially in "The Magic Flute," it is necessary to rethink traditional gender role models as well, so that the focus is not on "man" and "woman" but on being human. Dates & Cast Performance dates 23. June 2021, 7 p.m. June 24 , 2021, 7 p.m. June 25, 2021, 7 p.m. June 26, 2021, 4 p.m . Max Schlereth Hall Cast Pamina: Karolina Bengtsson (06/23/25), Sophie Negoita (06/24/26) Queen of the Night: Regina Koncz (06/23/25), Seung-Hyun Kim (06/24/26.) First Lady: Donata Meyer-Kranixfeld Second Lady: Emelie Christensen Third Lady: Neelam Brader Papagena: Maria Augustina Calderón First Boy: Sophie Schneider Second boy: Thorhildur Steinnen Kristinsdottir Third boy: Alicia Feodora Grünwald Tamino: Dagur Þorgrímsson (23.06./25.06.), Niklas Mayer (24.06./26.06.) Monostatos: Konstantin Igl Papageno: Jakob Hoffmann (23.06./25.06.), Máté Herczeg (24.06./26.06.) Sarastro: Qi Wang Sprecher: Kuan-Ming Chen 1. Guardsman: Rodrigo Alegre Vargas 2nd Guardsman: Kuan-Ming Chen Mrs. Stern, Director: Ulrike Arp Mr. Sonnig, Conductor: Kai Röhrig President: Andreas Macco Iris: Ulrike Arp Voice: Volker Wahl Gallery Skip slider © Christian Schneider Are you linking? © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider Jump to slider start Other productions Vincenzo Bellini: I Capuleti e i Montecchi 15.12.2024 Vincenzo Bellini: I Capuleti e i Montecchi  The performance of Vincenzo Bellini's opera I Capuleti e i Montecchi delivered a powerful reinterpretation of the masterpiece. Directed by Alexander von Pfeil, the production centred on the relentless feud between two rival clans and the profound despair of its victims. This staging transcended specific eras, placing the story in a universal, timeless setting that brought Bellini's dark vision of love and war to the stage with harrowing clarity. Opera production Giuseppe Verdi: Falstaff 20.5.2024 Giuseppe Verdi: Falstaff  Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly. Opera production Elegy for young lovers 31.1.2024 Elegy for young lovers  "What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?" Opera production Wolfgang Amadé Mozart: Così fan tutte 21.5.2023 Wolfgang Amadé Mozart: Così fan tutte  The young officers Ferrando and Guilelmo* do not want to let their fatherly friend Don Alfonso get away with it - after all, he doubts the fidelity of their fiancée! But instead of the demanded duel, they accept his proposal of a wager and thus become handmaidens in the work of destroying their love relationships. Opera production More news

News … Home News Jaques Offenbach: Orpheus in the Underworld Jaques Offenbach: Orpheus in the Underworld 19.12.2021 Opera production © Christian Schneider Skip page navigation Overview About production Gallery Dates & Cast Return to slider start "The idea of once making Olympus equal to our own Earth has always fascinated me. But just bringing the gods down to earth and having them sing waltzes is not enough. They must be torn out of their divinity." With this remark by Jacques Offenbach to his librettist Ludovic Halévy in March 1858, the idea was born that would make the ingenious mocker one of the most performed and at the same time most controversial composers of the Second Empire. Musical direction kai Röhrig Scenic direction rosamund Gilmore Stage jiale Zhu Costume jisu Park Dramaturgy ronny Dietrich About production The prelude to the so-called "Offenbachiades," in which he ingeniously interwove mythological themes and contemporary criticism, is his "Orphée en enfers. Here he not only shakes up the world of the gods, but also puts the popular myth of Orpheus and Eurydice to the test. Offenbach's Orpheus is no longer the divine singer mourning the death of his Eurydice, but a vain conservatory director who annoys Eurydice to no end with his violin playing. When she is kidnapped by her secret crush - Pluto - she joyfully follows him into the underworld. Orpheus is also joyfully moved when he finds her farewell letter. However - there is still the "public opinion", which teaches him that he must demand his wife back from the gods. Despite all criticism of the prevailing political conditions, in Offenbach's "Orphée" the present finally wins out over the past. The minuet, already turned into a parody in the prelude together with a hopelessly winding fugue, is swept away as a representative of the 18th century by the cancan of the 19th century. In the new production of the Mozarteum, the two-act original version from 1858 is performed, which also features the original instrumentation. Gallery Skip slider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider Jump to slider start Dates & Cast Performance dates 15. December 2021, 7 p.m. December 16 , 2021, 7 p.m. December 17, 2021, 7 p.m. December 18, 2021, 4 p.m . Max Schlereth Hall Cast ORPHEUS, music teacher: Niklas Meyer (Dec. 15/Dec. 17), Dagur Thorgrimsson (Dec. 16/Dec. 18) EURYDIKE, his wife: Regina Koncz (Dec. 15.12./17.12.), Maria Agustina Calderon (16.12./18.12.) JUPITER, Lord of Olympus: Jakob Hoffmann (15.12./17.12.), Máté Herczeg (16.12./18.12.) JUNO, his wife: Dares Hutawattana VENUS, Goddess of Love:  Yekaterina Badeso (15.12./17.12.), Donata Meyer-Kranixfeld (12/16/12/18) DIANA, Goddess of Hunting: Donata Meyer-Kranixfeld (12/15/12/17), Yekaterina Badeso (12/16/12/18.) MINERVA, Goddess of Wisdom: Heekyung Park (12/15/17), Emilie Christensen (12/16/18).) BACCHUS, God of Wine: Dominik Schumertl MARS, God of War: Máté Herczeg (Dec. 15/Dec. 17), Jakob Hoffmann (Dec. 16/Dec. 18) MERCUR, Messenger of the Gods: Dagur Thorgrimsson (Dec. 15.12./17.12.), Niklas Meyer (16.12./18.12.) CUPIDO, God of Love: Emilie Christensen (15.12./17.12.), Heekyung Park (16.12./18.12.) THE PUBLIC OPINION: Constantin Zimmermann PLUTO / ARISTÄUS: Johannes Hubmer HANS STYX, his servant: Jakob Mitterrutzner Other productions Vincenzo Bellini: I Capuleti e i Montecchi 15.12.2024 Vincenzo Bellini: I Capuleti e i Montecchi  The performance of Vincenzo Bellini's opera I Capuleti e i Montecchi delivered a powerful reinterpretation of the masterpiece. Directed by Alexander von Pfeil, the production centred on the relentless feud between two rival clans and the profound despair of its victims. This staging transcended specific eras, placing the story in a universal, timeless setting that brought Bellini's dark vision of love and war to the stage with harrowing clarity. Opera production Giuseppe Verdi: Falstaff 20.5.2024 Giuseppe Verdi: Falstaff  Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly. Opera production Elegy for young lovers 31.1.2024 Elegy for young lovers  "What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?" Opera production Wolfgang Amadé Mozart: Così fan tutte 21.5.2023 Wolfgang Amadé Mozart: Così fan tutte  The young officers Ferrando and Guilelmo* do not want to let their fatherly friend Don Alfonso get away with it - after all, he doubts the fidelity of their fiancée! But instead of the demanded duel, they accept his proposal of a wager and thus become handmaidens in the work of destroying their love relationships. Opera production

News … Home News Charles Gounod: Faust Charles Gounod: Faust 28.01.2022 Opera production © Judith Buss Skip page navigation Overview About production Dates & Cast Press Gallery Return to slider start Disconnected, tired of the search for knowledge, eaten up by disgust with life - and plagued by suicidal thoughts - Doctor Faust calls for Satan. Méphistophélès appears and makes a pact with Faust: Faust's hunger for youth and intoxicating love encounters is to be satisfied - but in the afterlife he must be at the service of the satanic power. Faust's scruples are removed by the appearance of an innocent beauty ... Musical direction gernot Sahler Scenic direction alexander von Pfeil Stage sophie Thammer Costumes felicitas Stecher Chorus direction niuniu-Miao Liu Dramaturgy malte Krasting Acting coaching natalie Forester About production It is quite impossible ... Goethe was rather skeptical of Eckermann's idea of adapting his Faust poem into an opera: "It is quite impossible. The repulsive, repugnant, terrible things that it would have to contain in places are repugnant to the times. The music would have to be in the character of "Don Juan". Mozart would have had to compose "Faust". Meyerbeer would perhaps be capable of it. Goethe also speculated that his somber work, set in a "manifold, yet banal setting," would be "much clearer and more intentional" in the French language. However, it was not the established master of the French grand opéra - Giacomo Meyerbeer - but the 40-year-old, still rather unknown (church) composer Charles Gounod who was given the task of decisively opening up Goethe's opus magnum to musical theater. The model for the opera, which premiered in 1859 at the Théatre-Lyrique in Paris, was Michel Carré's boulevard play "Faust et Marguerite," a radical compression on the tragedy of Gretchen, the central motif of the young Goethe: this early version of Faust by the Sturm und Drang poet was written under the immediate impression of the execution of the Frankfurt child murderer Susanna Margaretha Brandt (in January 1772). Dates & Cast Performance dates 2022 28. January 2022, 7:00 p.m. January 29, 2022, 4:30 p .m. January 31, 2022, 7:00 p.m. (Livestream) February 01, 2022, 7:00 p.m . Max Schlereth Saal Occupation from 28 & 31 January 2022 Faust: Daehwan Kim Méphistophélès: Max Tavella Valentin: Taesung Kim Wagner: Xiaofei Liu Marguerite: Margarita Polonskaya Siébel: Lyriel Benameur Marthe: Tamara Nüßl  Chorus: Vsevolod Chernyshev, Gordana Dekic, Judith Gallmetzer, Livia Hübel, Thorhildur Kristinsdottir, Olaia Lamata, Charlotte Langner, Elias Mädler, Imola Máté, Lucas Pellbäck, Gabriel Günther Rupp, Iván Sánchez-Águila, Jovana Timotijevic, Mengqian Xu Occupation from 29 January & 1 February 2022 Faust: Chanyoung Kim Méphistophélès: Alexander Voronov Valentin: Xiaofei Liu Wagner: Taesung Kim Marguerite: Veronika Loy Siébel: Tamara Nüßl Marthe: Olaia Lamata Chorus: Vsevolod Chernyshev, Gordana Dekic, Judith Gallmetzer, Livia Hübel, Thorhildur Kristinsdottir, Olaia Lamata, Charlotte Langner, Elias Mädler, Imola Máté, Lucas Pellbäck, Gabriel Günther Rupp, Iván Sánchez-Águila, Jovana Timotijevic, Mengqian Xu Gernot Sahler shapes the orchestra to sound rhetorical play and enormous force, also the choir has immediate presence ... a successful opera production, as one does not experience it too often in Salzburg. — Florian Oberhummer, Salzburger Nachrichten (January 30, 2022) Gallery Skip slider © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss Jump to slider start Other productions Vincenzo Bellini: I Capuleti e i Montecchi 15.12.2024 Vincenzo Bellini: I Capuleti e i Montecchi  The performance of Vincenzo Bellini's opera I Capuleti e i Montecchi delivered a powerful reinterpretation of the masterpiece. Directed by Alexander von Pfeil, the production centred on the relentless feud between two rival clans and the profound despair of its victims. This staging transcended specific eras, placing the story in a universal, timeless setting that brought Bellini's dark vision of love and war to the stage with harrowing clarity. Opera production Giuseppe Verdi: Falstaff 20.5.2024 Giuseppe Verdi: Falstaff  Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly. Opera production Elegy for young lovers 31.1.2024 Elegy for young lovers  "What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?" Opera production Wolfgang Amadé Mozart: Così fan tutte 21.5.2023 Wolfgang Amadé Mozart: Così fan tutte  The young officers Ferrando and Guilelmo* do not want to let their fatherly friend Don Alfonso get away with it - after all, he doubts the fidelity of their fiancée! But instead of the demanded duel, they accept his proposal of a wager and thus become handmaidens in the work of destroying their love relationships. Opera production

News … Home News Ermanno Wolf-Ferrari: Il Campiello Ermanno Wolf-Ferarri: Il campiello 15.05.2022 Opera production © Christian Schneider Skip page navigation Overview About production Dates & Cast Gallery Return to slider start Take a little Mozart, a little Rossini, a little Puccini, a little Verdi, Venetian folklore, a pinch of modernity and entrust these ingredients to the composer Ermanno Wolf-Ferrari, born in 1876 in Venice, who inimitably transforms even the most banal everyday life into truly great opera. For example in "Il Campiello", a musical comedy based on a turbulent comedy by his compatriot Carlo Goldoni. Musical direction kai Röhrig Scenic direction rosamund Gilmore Stage theresa Staindl Costume selina Schweiger Dramaturgy eike Mann About production Premiered at La Scala in Milan in 1936 and first performed in Munich the same year, the rarely performed Buffo opera is being rediscovered at the Mozarteum University. With "Il Campiello," Italian composer Wolf-Ferrari returns to the house where he was a composition professor in the 1930s before fleeing to Switzerland to escape the Nazis. On a Venetian piazzetta (Campiello), fun-loving ladies, imperious men, a youthful gigolo, a Neapolitan nobleman, the indispensable doctor and two real Italian mamas (sung by two tenors) meet. There is wild partying, jealous bickering and fighting, and of course lots of love. Dates & Cast Cast Astolfi: Máté Herczeg, Jakob Hoffmann Gasparina: Yekaterina Badeso, Regina Koncz Fabrizio: Alexander Voronov Dona Cate: Filipp Modestov Lucieta: Dares Hutawattana, Donata Meyer-Kranixfeld Dona Pasqua: Konstantin Igl Gnese: Maria Agustina Caldero, Anastasia Churakova Orsola: Alicia Grünwald Zorzeto: Niklas Meyer, Dagur Thorgrimsson Anzoleto: Qi Wang Performance dates 10.05.2022, 19:00 11.05.2022, 19:00 13.05.2022, 19:00 (Livestream) 14.05.2022, 16:00 Gallery Skip slider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider Jump to slider start Other productions Vincenzo Bellini: I Capuleti e i Montecchi 15.12.2024 Vincenzo Bellini: I Capuleti e i Montecchi  The performance of Vincenzo Bellini's opera I Capuleti e i Montecchi delivered a powerful reinterpretation of the masterpiece. Directed by Alexander von Pfeil, the production centred on the relentless feud between two rival clans and the profound despair of its victims. This staging transcended specific eras, placing the story in a universal, timeless setting that brought Bellini's dark vision of love and war to the stage with harrowing clarity. Opera production Giuseppe Verdi: Falstaff 20.5.2024 Giuseppe Verdi: Falstaff  Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly. Opera production Elegy for young lovers 31.1.2024 Elegy for young lovers  "What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?" Opera production Wolfgang Amadé Mozart: Così fan tutte 21.5.2023 Wolfgang Amadé Mozart: Così fan tutte  The young officers Ferrando and Guilelmo* do not want to let their fatherly friend Don Alfonso get away with it - after all, he doubts the fidelity of their fiancée! But instead of the demanded duel, they accept his proposal of a wager and thus become handmaidens in the work of destroying their love relationships. Opera production

News … Home News Claudio Monteverdi: L'Incoronazione di Poppea Claudio Monteverdi: L'incoronazione di Poppea 02.07.2022 Opera production © Judith Buss Skip page navigation Overview About production Dates & Cast Press Gallery Return to slider start In Claudio Monteverdi's opera musicale, Emperor Nero in 62 AD has just gotten rid of his influential mother Agrippina by murder and is also tired of his wife Octavia. Only eleven days after the divorce he married Poppea, whom he loves passionately. Monteverdi's ambivalent, abysmal opera centers on Poppea's coronation as empress, and concludes with one of the most beautiful and touching duets in opera history. Musical direction gernot Sahler Scenic direction alexander von Pfeil Stage & Costumes wanda Stiegler & Selina Nowak Dramaturgy malte Krasting Music chamber Orchestra of the Mozarteum University About production The "foundation of truth" mattered a great deal to Claudio Monteverdi when he composed for the operatic stage; more than that, it was the only category to which he adhered as a music dramatist. In the 35 years between his first opera, L'Orfeo, and his last, L'incoronazione di Poppea, he often commented, also in writing, on this fundamental problem of opera composition. His comments on opera designs were always aimed at the truthfulness of the characters and at the meaningful use of music as a credible expression of emotions. It seems that the first important opera composer in the history of music found the desired conditions for the creation of truthful opera characters late in his life. In his last opera, Monteverdi came up with a drastic innovation. The plot is based on a historical subject, i.e. dramatic characters could not be more truthful and closer to reality than those figures around the Roman emperor Nero, who had actually existed in history. The opera L'incoronazione di Poppea therefore has the distinction of being the first opera with a realistic plot. Dates & Cast Performance dates 27. June 2022, 7 p.m. June 28 , 2022, 7 p.m. June 30, 2022, 7 p.m. July 1, 2022, 7 p.m . Max Schlereth Hall Cast Fortuna / Pallade / Coro d'amori: Yeaseul Park Virtù / Damigella: Charlotte Langner Amore / Valletto: Serafina Starke (27.6., 28.6., 30.6. & 1.7.) Leila Alexander (study assignment) Poppea: Veronika Loy (27.6. & 30.6.), Margarita Polonskaia (28.6. & 1.7.) Nerone: Lyriel Benameur (27.6. & 30.6.), Daehwan Kim (28.6. & 1.7.) Ottavia: Tamara Obermayr (27.6. & 6/30), Tamara Nüßl (6/28 & 7/1) Ottone: Constantin Zimmermann (6/27 & 6/30), Taesung Kim (6/28. & 1.7.) Seneca: Kuan-Ming Chen (27.6., 28.6., 30.6. & 1.7.) Dominik Schumertl (study assignment) Drusilla: Hee-Kyung Park Nutrice: Ilya Dovnar (27.6. & 30.6.), Kirill Novokhatko (28.6. & 1.7.) Arnalta / Venere / Lucano / Soldier 1: Johannes Hubmer Liberto / Soldier 2: Chanyoung Kim Mercurio / Littore: Xiaofei Liu Famigliari: Ilya Dovnar, Franz Gfüllner, Livia Hübel, Franz Schilling Choral Ensemble: Goar Asatrian, Ilya Dovnar, Franz Gfüllner, Livia Hübel, Laura Obermair, Anja Rechberger, Franz Schilling Chamber Orchestra Violin 1: Florian Moser, Songao Wu Violin 2: Ana Sešek, Yiming Liu Viola: Daniel Medina Violoncello: Francesco Pinosa Harpsichord / Organ: Arianna Radaelli, Margit Jassó (organ), Juliane Sophie Ritzmann Viola da Gamba: Réka Nagy Violone: Nicholas Kleinman Lute / Baroque guitar: Hans Brüderl Theorbo: Jakob Wagner Baroque trombone: Hannes Schrötter Recorder: Clara Starzetz, Ivett Lajkó, Isabella Engl, Julia Ziegler Cornett: Matthijs Lunenburg, Noemi Müller Veronika Loy moves her colorful soprano seemingly effortlessly through the part of Poppea ... To lift a Poppea of this quality is remarkable. — Florian Oberhummer, Salzburger Nachrichten (June 28, 2022) Gallery Skip slider © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss © Judith Buss Jump to slider start

After A Midsummer Night's Dream and Owen Wingrave, the Department of Opera & Music Theater at the Mozarteum University will once again devote itself to Benjamin Britten's abysmal music-theatrical oeuvre. This winter semester, two of his masterpieces will be performed: Albert Herring in December 2022 will be followed by The Turn of the Screw in January 2023.

News … Home News Innocence lost: The Turn of the Screw by Benjamin Britten Benjamin Britten: The Turn of the Screw 27.01.2023 Opera production © Wolf Silveri Skip page navigation Overview About production Dates & Cast Gallery Other productions Return to slider start "Welcome to Bly" - the invitation sounds tempting! A young governess is to take care of the upbringing and well-being of the parentless children Flora and Miles on the picture-perfect country estate of Bly. But are the little creatures really as carefree and clueless as they seem at first glance?  Musical direction Kai Röhrig Scenic direction Florentine Klepper Stage and costume design Selina Schweiger Dramaturgy Heiko Voss   About production An opera in a prologue and two acts by Benjamin Britten based on the novella of the same name by Henry James. The motif of lost innocence occupied the composer Benjamin Britten his entire life. He constantly tried to erect protective walls, dwellings and retreats for innocence in his artistic creations. But the longed-for security came all too seldom. In his opera THE TURN OF THE SCREW, he turns the omens around by deliberately exposing his characters to the unhoused - and this despite the fact that he places the epitome of the domestic idyll on the stage with Bly, the peaceful estate with its strong walls, thick towers and spacious park. But that's just the paint job. Behind the scenes lurks an overpowering danger. And so a nameless horror gradually unfolds before the eyes of the nameless governess. With great musical seductiveness, Britten set Henry James' ambiguous ghost story about the demise of security, the reign of the forbidden, and fascination with the abyss. Dates & Cast Performance dates 27. January 2023, 19.00 28. January 2023, 16.00 30. January 2023, 19.00 31. January 2023, 19.00 Max Schlereth Hall   Cast The Governess: Anna-Maria Husca / Donata Meyer-Kranixfeld Mrs Grose: Julia Maria Eckes / Jessica Mashburn Miss Jessel: Yekaterina Badeso / Anastasia Churakova Flora: Anastasia Fedorenko Miles: Michaela Honauer Prologue / Peter Quint: Niklas Mayer Gallery Skip slider © Wolf Silveri © Wolf Silveri © Wolf Silveri © Wolf Silveri © Wolf Silveri © Wolf Silveri © Wolf Silveri Jump to slider start Other productions Vincenzo Bellini: I Capuleti e i Montecchi 15.12.2024 Vincenzo Bellini: I Capuleti e i Montecchi  The performance of Vincenzo Bellini's opera I Capuleti e i Montecchi delivered a powerful reinterpretation of the masterpiece. Directed by Alexander von Pfeil, the production centred on the relentless feud between two rival clans and the profound despair of its victims. This staging transcended specific eras, placing the story in a universal, timeless setting that brought Bellini's dark vision of love and war to the stage with harrowing clarity. Opera production Giuseppe Verdi: Falstaff 20.5.2024 Giuseppe Verdi: Falstaff  Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly. Opera production Elegy for young lovers 31.1.2024 Elegy for young lovers  "What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?" Opera production Wolfgang Amadé Mozart: Così fan tutte 21.5.2023 Wolfgang Amadé Mozart: Così fan tutte  The young officers Ferrando and Guilelmo* do not want to let their fatherly friend Don Alfonso get away with it - after all, he doubts the fidelity of their fiancée! But instead of the demanded duel, they accept his proposal of a wager and thus become handmaidens in the work of destroying their love relationships. Opera production More news

The young officers Ferrando and Guilelmo* do not want to let their fatherly friend Don Alfonso get away with it - after all, he doubts the fidelity of their fiancée! But instead of the demanded duel, they accept his proposal of a wager and thus become handmaidens in the work of destroying their love relationships.

"What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?"

Alexander von Pfeil, director of the upcoming opera production "Elegy for Young Lovers" by Hans Werner Henze and professor of music drama, has thought about the piece and his production in advance and reflects on the opera's major themes in a interview.

Florentine Klepper and Kai Röhrig discuss their upcoming production of the two one-act operas Der Kaiser von Atlantis and L'Hirondelle inattendue, which will premiere on 6 December in the Max Schlereth Saal.

Univ.-Prof. of Opera Studies

Hans Werner Henze's "Elegy for Young Lovers" will be the second production in the 2023/24 winter semester of the Department of Opera & Music Theatre to take to the stage of the Max Schlereth Saal from 26 January. A conversation with maestro Gernot Sahler about so-called "new music", the major challenges for budding artists and insights into pedagogical practice during rehearsals.

Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly.

Andreas Scholl is one of the best and most renowned countertenors in the world. A conversation about his endowed professorship at the University Mozarteum Salzburg, his musical roots and the very special moments of his career.