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

General sponsors of theTheater an der Wien

A Wien Holding Company

Intendant Roland Geyer

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he butterfly is a wonderful symbol of transformation and freedom.And this is a requirement that art repeatedly demands, too. The mysterious metamorphosis of the ugly caterpillar into the magnificent butterfly has sti-mulated man’s imagination from time immemorial. Everyone who watches a butterfly is struck by its beauty, elegance and lightness.

The ancient ability to think in images and symbols is inside each one of us – and in the world of opera, too. The opera is a treasure-house of the irrational. It unfolds “our imagination’s most beautiful alternative world.”Mozart himself confessed, “I need only to hear talk about opera, I need only to be in the theatre and hear voices – it suffices to transport me utterly.”The Theater an der Wien, the new opera house, is aiding a development in our city that no one can now fail to notice: more and more people with an interest in culture, and younger people too, are going to the opera! They are looking for a space where dreams and longings can unfold freely with great emotion and even pathos – and the opera provides a meeting place for them: everything appears bathed in “bright” light, and in this light one is drawn in by enchanting sounds. It is here that the magic of opera emer-ges in its most beautiful colours – and performs an absolutely fundamental function: “What cannot be spoken about must be sung about.”

Our new programme for 2008/09 also offers fascinating music theatre: whether it’s works by Mozart, Gluck and Handel or Stravinsky, Strauss and Debussy, every new opera premiere at the Theater an der Wien – and there is one every month – enables you, dear visitor, to experience the diversity of opera. I wish you many magical moments in our wonderful opera house and hope that you too will often be “utterly transported”.

Roland Geyer Intendant

„Whoever hears Butterflies laughing, knoWs the scent of clouds“ (Novalis)

TWhere does music call the tune?

First-class arrangement and quality at an international level withcommitment to tradition and the modern. Values for which theTheater an der Wien and the Generali stand for in equal measure.That is why we are looking pleased to be able to supportVienna's only “stagione” opera house. For ultimate cultural pleasureunder the wings of the lion.

Under the wings of the lion

insNoten130x205_4c_E_TheaterRZ 04.06.2008 13:53 Uhr Seite 1

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ContentsMusic theatreG. F. Handel: ARIODAnTE 6

Ch. W. Gluck: ORFEO ED EuRIDICE 10

I. Strawinski: THE RAkE’S PROGRESS 14

R. Strauss: InTERMEzzO 18

C. Debussy: PElléAS ET MélISAnDE 22

J. neumeier: TOD In VEnEDIG 26

G. F. Handel: PARTEnOPE �0

G. F. Handel: MESSIAH �4

W. A. Mozart: MITRIDATE, RE DI POnTO �8

J. ulrich: FIDElIO, EIn BAllETT 42

G. Rossini: Il TuRCO In ITAlIA 46

W. A. Mozart: DOn GIOVAnnI �0

Opera in cOncert �4cOncerts �8Kabinetttheater 66

Guided Tours 71

Prices 72

Seating Plan 7�

Information 7�

Imprint 78

Booking form 79

16 september 2008 18 / 20 / 22 / 24 / 26 September 2008

Misera me! non posso aver quiete mie pene anche nel sonno. Woe is me! My anguish finds no relief,not even in sleep. (Ginevra)

Ariodantegeorge frideric handel

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AriodanteDramma per musica in three acts HWV �� (17��)

MuSIC By GEORGE FRIDERIC HAnDElBASED On THE lIBRETTO GINEVRA, PRINCIPESSA DI SCOZIA By AnTOnIO SAlVI

Performed in Italian with German surtitles

Conductor Christophe RoussetDirector & Set designer lukas HemlebCostume designer Marc AudibetLight designer Dominique BruguièreChoreographer Thomas Stache

Ariodante Angelika kirchschlagerGinevra Danielle de nieseIl Re luca PisaroniLurcanio Topi lehtipuuDalinda Maria Grazia SchiavoPolinesso Vivica GenauxOdoardo Martin Mairinger

Dancers: Joseph Fowler, Sylvain Reboux, Sylvain Espagnol, Ivo Bauchiero, Magali lesueur, Mélodie Joinville, Audrey Aubert

les Talens lyriquesArnold Schoenberg Chor (Chorus master: Erwin Ortner)

Coproduction with Théâtre des Champs-Elysées Paris

Premiere: Tuesday, 16 September 2008, 7 p.m.Performances: 18, 20, 22, 24 & 26 September 2008Introduction: Sunday, 14 September 2008, 11 a.m.

andel’s thirty-third opera, Ariodante, was written in the midst of the fi-nancial and artistic chaos that reigned during the “london opera war”. In the face of intense competition from the king’s Theatre Handel wrote one of his best operas for Covent Garden. The subject is based on ludo- vico Ariosto’s epos Orlando furioso. The intrigue surrounding the knight Ariodante had inspired numerous composers and writers before Handel, including Shakespeare, who used the tale, albeit in humorous vein, for his comedy Much Ado About Nothing.

Ginevra and Ariodante are lovers, but Polinesso wants to attain power by mar-rying Ginevra. He schemes against the lovers and forces Ginevra’s confidante Dalinda to dress in Ginevra’s clothes and await him at night. Believing that Ginevra has been betraying him, Ariodante is driven close to suicide. Indeed, he is believed already dead when he foils an attempt to murder Dalinda that was instigated by Polinesso. Dalinda tells Ariodante about Polinesso’s plotting. In the meantime, Lurcanio challenges Polinesso to a duel to avenge the supposed death of his brother, Ariodante. Polinesso is mortally wounded, and as he lies dying confesses his disgraceful deed. Ariodante appears incognito to proclaim Ginevra’s innocence. Nothing now stands in the way of the wedding of Ginevra and Ariodante.

Handel spent two and a half months working on Ariodante, an unusually long time for him. Both the music and the sensitive portrayal of the vari-ous characters are among the most expressive he ever wrote. Furthermore, Handel exploited the artistic potential of the Royal Theatre Covent Gar-den that opened in 17�2 to the full, incorporating choruses and dances as central elements of the plot as well as arias da capo, ariosi and four duets.

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H

MuSIC THEATRE | 9

Orfeo ed Euridicechristoph Willibald gluck

14 october 200816 / 19 / 21 / 2� October 2008

vieni: segui i miei passi, unico, amato oggetto del fedele amor mio. Come, follow my steps, my only one, the object of my desires, my love and devotion. (Orfeo)

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Azione teatrale per musica in three acts (1762)

MuSIC By CHRISTOPH WIllIBAlD GluCklIBRETTO By RAnIERI DE’CAlzABIGI


Conductor René JacobsDirector Stephen lawlessSet designer Benoît DugardynCostume designer Sue WillmingtonChoreographer lynne HockneyLight designer Patricia Collins

Orfeo Bejun MehtaEuridice Miah PerssonAmore Sunhae Im

Freiburger BarockorchesterArnold Schoenberg Chor (Chorus master: Erwin Ortner)

new production Theater an der Wien

Premiere: Tuesday, 14 October 2008, 7.�0 p.m.Performances: 16, 19, 21 & 2� October 2008Introduction: Sunday, 12 October 2008, 11 a.m.

he fascinating legend of Orpheus that tells of the power of music and song has inspired many composers down the ages, among them Christoph Willibald Gluck. Gluck first met the librettist Ranieri de’Calza- bigi at the emperor’s court in Vienna, and together they decided to crea- te a new ideal of music theatre with their work Orfeo ed Euridice. They wan-ted music that was simple and natural, devoid of unnecessary flamboy-ance. In their efforts to capture the spirit and place special emphasis on the “genuinely human” Gluck and Calzabigi restricted plot and characte-risation to the strictly necessary.

Orfeo laments the death of Euridice and demands that the gods return her. The gods grant him permission to descend into the underworld bring Euri-dice back. However, he is strictly forbidden to look at her before he has retur-ned to the Earth: if he does, she will be lost to him forever. With his singing and lyre playing Orfeo succeeds in appeasing the furies, who then allow him to pass into the realm of shades. There he meets Euridice, takes her hand and starts to lead her back to the world of the living with his gaze averted. But the path is long and Euridice bemoans Orfeo’ incomprehensible cold-ness. Eventually he can resist no longer and takes her in his arms. She im-mediately drops lifeless to the ground. In the end, Amore brings her back to life again, because her dying twice has in fact only been a test of devotion.

Gluck’s music is characterised by great melodic beauty and tremendous drama. He comments: “I have regarded music not simply as a way of amusing the ears but also as one of the most effective means of touching the heart and arousing emotion. I have consequently chosen to work on a dramatic plot and tried to find great and eloquent expression.” Far remo-ved from the stereotypes of the opera seria, Orfeo ed Euridice combines scenes consisting of lyrical songs, choruses, dance and stirring orches- tral interjections that all merge seamlessly.

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TOrfeo ed Euridice

MuSIC THEATRE | 1�

The Rake’s Progressigor strawinski

13 november 20081� / 17 /21 / 2� / 28 november 2008

in a foolish dream, in a gloomy labyrinth i hunted shadows, disdaining thy true love... (Tom Rakewell)

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Opera in three acts (19�1)

MuSIC By IGOR STRAWInSkIlIBRETTO By WySTAn HuGH AuDEn AnD CHESTER kAllMAn

Performed in English with German surtitles

Conductor nikolaus HarnoncourtDirector Martin kusejSet designer Annette MurschetzCostume designer Su SigmundLight designer Friedrich RomDramatic advisor Helga utz

Tom Rakewell Toby SpenceNick Shadow Alastair MilesAnne Trulove Adriana kucerováTrulove Manfred HemmBaba the Turk Anne Sofie von OtterMother Goose Carole WilsonSellem Gerhard Siegel

Vienna Symphony OrchestraArnold Schoenberg Chor (Chorus master: Erwin Ortner)

new production Theater an der Wien Coproduction with Opernhaus zürich

Premiere: Thursday, 1� november 2008, 7 p.m.Performances: 1�, 17, 21, 2� & 28 november 2008Introduction: Sunday, 9 november 2008, 11 a.m.

wo hearts beat in one breast: one of them wants a well-ordered life, the other tends towards vice and immorality. A Rake’s Progress, a series of eight satirical and socially critical copperplate engravings by the En-glish artist William Hogarth inspired Igor Strawinski to compose his only full-length opera after he had seen them at an exhibition in the Chicago Art Institute. Together with the librettists Auden and kallman, Strawinski created a comedy laced with wicked, black humour that relates in epi-sodes the disreputable career of a ne’er-do-well who has come into wealth through an inheritance.

Tom Rakewell sets out to put the fear of God into others: by means of an in-heritance, not much work and a great deal of fun and games he achieves re- nown of dubious merit in a brothel. He is advised and encouraged in his dissi-pation by Nick Shadow, a shady character who lures him away from his betrothed Anne Trulove and couples him instead with a fairground freak, the bearded and fiery Baba the Turk. After further escapades that drive Tom to bankruptcy, Nick turns out to be the devil himself, out hunting for souls. With Ann’s aid Tom succeeds in saving his soul, but not his sanity: he dies in a lunatic asylum.

“let us return to the old masters, then we’ll make progress!” said Stra-winski, and in the music he composed, tongue in cheek, for The Rake’s Progress he took Handel and Mozart, Rossini and Bellini as his guides. In keeping with the anachronism he intended he wrote a neo-classical, rhyth-mically complex number opera with self-contained arias, duets and cho-ruses.

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The Rake’s ProgressT

MuSIC THEATRE | 17

Intermezzorichard strauss

11 december 2008 1� / 16 / 18 / 20 December 2008

so ohne weiteres will ich sofort geschieden sein. ich behalte das kind. ich behalte das haus, da er im unrecht. I want a divorce, now, right away. The child stays with me, and so does the house, because he is the guilty party. (Christine)

A bourgeois comedy with symphonic interludes in two acts (1924)

MuSIk AnD lIBRETTO By RICHARD STRAuSS

Performed in German

Conductor kirill PetrenkoDirector Christof loySet designer Henrik AhrCostume designer Judith WeihrauchLight designer Stefan BolligerCo-operating choreographer,Assistant Director Thomas WilhelmDramatic advisor Annika Haller

Robert Storch Bo SkovhusChristine Soile IsokoskiBaron Lummer Oliver RingelhahnAnna Gabriela BoneKapellmeister Stroh Andreas ConradKommerzienrat Steffen RösslerJustizrat klemens SanderKammersänger Siegfried VogelNotar lauri VasarNotarin ulla PilzResi Anne-kathrin FrankFranz Martin Mairinger

Vienna Radio Symphony Orchestra


Premiere: Thursday, 11 December 2008, 7 p.m.Performances: 1�, 16, 18 & 20 December 2008Introduction: Sunday, 7 December 2008, 11 a.m.

n anecdote concerning a misdirected letter that allegedly caused his wife Pauline a fit of jealousy, and may even have made her consider divorce, was the inspiration for Richard Strauss’ eighth opera Intermezzo, for which he also wrote the libretto at the behest of Hermann Bahr. Strauss said of this subliminal public portrayal of his own life: “As harmless and trivial as the events in this work are, the feelings they cause remain the most distressing emotional conflicts that can afflict the human heart.”

The conductor Storch has to go to Vienna to work. At his home at Grundl-see, an unexpected letter arrives from the capital that deeply distresses his wife Christine: “My darling,” it runs, “please send me two tickets for the opera again, and afterwards we’ll meet in the bar as always. Love, Mitzi Meier.” In a fit of anger she immediately hurries to her solicitor to file for divorce. She sends a telegram to her husband with the unequivocal message, “We are divorced forever”. When Storch reads this, he leaves his game of cards filled with consternation and wanders around the Prater in a daze. But the fateful letter has been sent to the wrong address, and was intended for the conductor Stroh. Mitzi Meier has mixed the names up. All is well again with the Storch family.

With its mixture of conversational tone, arioso sections, spoken dialogues and symphonic interludes Intermezzo is not a completely serious portrayal of scenes of married life; instead, Strauss presents the emotional up-heavals in a rapid succession of scenes interwoven with a large number of ironic, if not to say satirical, references to the Marschallin from the Ro- senkavalier and to Ariadne auf Naxos.

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IntermezzoA

MuSIC THEATRE | 21

13 January 20091� / 17 / 20 / 22 / 2� January 2009

Pelléas et Mélisandeclaude debussy

on pourrait nous voir des fenêtres de la tour. viens ici; ici nous n’avons rien à craindre.We might be seen from the windows of the tower. Come over here, here we have nothing to fear. (Pelléas)

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Drame lyrique in five acts (1902)

MuSIC By ClAuDE DEBuSSyTEXT By MAuRICE MAETERlInCk

Performed in French with German surtitles

Conductor Bertrand de BillyDirector & costume designer laurent PellySet designer Chantal ThomasLight designer Joël AdamDramatic advisor Agathe Mélinand

Mélisande natalie DessayPelléas Stéphane DegoutGolaud laurent naouriArkel Phillip EnsGeneviève Marie-nicole lemieuxYniold n.n.

Vienna Radio Symphony OrchestraArnold Schoenberg Chor (Chorus master: Erwin Ortner)

Premiere: Tuesday, 1� January 2009, 7 p.m.Performances: 1�, 17, 20, 22 & 2� January 2009Introduction: Sunday, 11 January 2009, a.m.

he “dreamlike atmosphere” of Maurice Maeterlinck’s symbolist drama Pelléas et Mélisande inspired Claude Debussy to write his only opera, since it “contains far more humanity than any of the so-called realistic dra-mas.” Debussy was the first composer to set an existing work of literature to music instead of a text written specifically as a libretto. In Pelléas et Mélisande he created a quiet, musical drama whose power lies in the inex-pressible rather than grand gestures or even pathos.

Pelléas and Golaud, two half-brothers and grandsons of King Arkel, live with their mother Geneviève and their grandfather in an old castle. One day Go- laud loses his way in the woods and encounters Mélisande, who declines to disclose anything about her past. Golaud falls in love with the mysterious stranger and persuades her to marry him. They return together to the castle, where Mélisande is beset by despondency and isolation. Under the watchful gaze of Golaud, feelings of affection develop between her and Pelléas that grow ever deeper. Golaud surprises them as they are confessing their love, and kills Pelléas in a fit of jealousy. After Mélisande gives birth to a child, the bleakness of her situation sends her into a decline and she dies.

Maeterlinck’s text is full of ramified connotations and encourages con-stant reinterpretation. Debussy’s music echoes this and plays with musi-cal images and symbols. One result of this is that the chased music can be compared to impressionist painting, in which the overall image is composed of a large number of individual coloured dots. The music is not passionate but more like a kind of enormous recitative that, signifi-cantly, ceases altogether at the moment of the terse yet ardent confes- sion of love: “Je t’aime” – “Je t’aime aussi”.

Pelléas et MélisandeT


30 & 31 January 2009

Death in VeniceJohn neumeier.

es war die vertraute fahrt über die lagune, an san Marco vorbei, den großen kanal hinauf. aschenbach saß auf der rundbank am Buge, den arm aufs geländer gestützt, mit der hand die augen beschattend. die öffentlichen gärten blieben zurück, die Piazzetta eröffnete sich noch einmal in fürstlicher anmut und ward verlassen, es kam die große flucht der Paläste, und als die Wasserstraße sich wendete, erschien des rialto prächtig gespannter Marmorbogen. der abschiednehmende schaute und seine Brust war zerrissen. die atmosphäre der stadt, diesen leis fauligen geruch von Meer und sumpf, den zu fliehen es ihn so sehr gedrängt hatte, – er atmete ihn jetzt in tiefen, zärtlichen Zügen. (Thomas Mann)

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A DAnSE MACABRE By JOHn nEuMEIERBASED In THE nOVEllA By THOMAS MAnn MuSIC By JOHAnn SEBASTIAn BACH AnD RICHARD WAGnER

Guest performance of Hamburg Ballet

Choreographer & Director John neumeierSet designer Peter SchmidtCostume designer John neumeier & Peter SchmidtPianist Elizabeth Cooper

Premiere: Friday, �0 January 2009, 8 p.m.Performance: �1 January 2009, 8 p.m.

Workshop: John neumeier and dancers of the Hamburg Ballet present extracts from new performances and Death in Venice Saturday, �1 January 2009, �.�0 p.m.

eath in Venice is a title that evokes specific expectations in everyone. It triggers a chain of associations, sometimes shorter, sometimes longer: there is the city of Venice, already a myth in its own right, the beach with the ceaseless swell of the waves, but above all, of course, the well-to-do, established and aging artist who gives up his entire way of life in the face of the beauty and youth of Tadzio.” John neumeier knows the challenge that the choreographing of Thomas Mann’s novella presents.

Thomas Mann wrote his novella Death in Venice in 1911/12 after he had spent a summer there. Its publication caused a huge scandal since it made mention of a topic that was absolutely taboo: a man’s love for a male youth. The relationship between the writer von Aschenbach and the young Tadzio sha-kes the protagonist to the core, even though it is only platonic or at most voyeuristic in nature. Von Aschenbach does not exchange even a single word with Tadzio. He is so overcome by his fascination and the strength of his fee-lings that he passively submits to the cholera that will kill him.

John neumeier uses music by Johann Sebastian Bach and Richard Wag- ner to present his own perspective on this work of world literature. “What fascinates me about Thomas Mann’s text is what I interpret as a des-cription of absolute love. Tadzio is the trigger that causes the man von Aschenbach to be confronted with his other side. His dignity meant everything to him, he even owed his title to his work. In my ballet von Aschenbach is a master choreographer. He initially fights his emotions and finds a purely artistic justification for his fascination, but ultimately he has to yield to them. And this complete surrender means his Death in Venice.”

Death in Venice„D

MuSIC THEATRE | 29

Partenope

22 february 2009 2� / 27 February & 1 / 4 / 6 March 2009

sì scherza sì sempre amor con doppia face, or dà guerra ed or la pace, pena e gioja ad un sol cor. love ever plays a double game with us: the same heart is filled now with war, now with peace, now with pain, now with joy. (Partenope)

george frideric handel

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Dramma per musica in three acts HWV 27 (17�0)

MuSIC By GEORGE FRIDERIC HAnDElBASED On A lIBRETTO By SIlVIO STAMPIGlIA


Conductor Christophe RoussetDirector Pierre AudiSet and costume designer Patrick kinmonthLight designer Matthew RichardsonDramatic advisor Willem Bruls

Partenope Christine SchäferEmilio kurt StreitArsace David DanielsRosmira Patricia BardonOrmonte Florian BoeschArmindo Matthias Rexroth

les Talens lyriques


Premiere: Sunday, 22 February 2009, 7 p.m.Performances: 2�, 27 February & 1, 4, 6 March 2009Introduction: Sunday, 1� February 2009, 11 a.m.

his half serious, half light-hearted comedy about the fragility of love is a bittersweet lesson for lovers. The story, laced with both serious and comic elements, had already aroused Handel’s dramatic instinct and his musical imagination the first time he came across the libretto in 1708. But there were some people who held Silvio Stampiglia’s “immoral” text-book to Partenope to be extremely controversial. Handel’s idea of performing the work on the stage of the Royal Academy of Music even led to an indignant outburst from the impresario Owen Swiney.

Partenope, founder and regent of Naples, is being courted by three persistent lovers: Arsace, Armindo and Emilio. Although she is well-disposed towards Armindo she chooses Arsace. But Emilio, the military-minded leader of the neighbouring country, aims to force Partenope to bestow her love on him, before he ends up having to suffer a humiliating defeat in battle. As if these complica-tions were not enough, Arsace’s jilted lover Rosmira also appears, disguised as a man, and attempts to win back her fickle betrothed with vengeful behaviour.

Partenope is without doubt one of the best of Handel’s thirty-five london operas. He completed the composition on February 12, 17�0, and a mere twelve days later the first performance of Partenope was staged. The music is extremely varied and characterised by arias of great dramatic im- pact and numerous ensembles. laced with humour, sadness, pity, pain, frustration and reconciliation, Partenope provides a crucial lesson in the vagaries of love.

To accompany this production the symposium “From naples to Ham- burg – Partenope’s European Travels” will be held at the Theater an der Wien on February 2�rd and 24th (see p. 68).

PartenopeT

MuSIC THEATRE | ��

27 March 200929 March & 1 / � / 6 April 2009

he was despised and rejected of men, a man of sorrows and acquainted with grief.

Messiahgeorge frideric handel

�6 |

Oratorium in three parts HWV �6 (1742)

MuSIC By GEORGE FRIDERIC HAnDElTEXT BASED On THE BIBlE By CHARlES JEnnEnS

Performed in English with German surtitles

Conductor Jean-Christophe SpinosiDirector Claus GuthSet and costume designer Christian SchmidtLight designer Olaf WinterDramatic advisor konrad kuhnChoreographer Ramses Segal

Soprano Susan GrittonSoprano Cornelia Horak Altus Bejun MehtaTenor Richard CroftBass Florian BoeschDancer Paul lorenger

Ensemble MatheusArnold Schoenberg Chor (Chorus master: Erwin Ortner)

new production Theater an der WienCoproduction with Opéra de nancy

Premiere: Friday, 27 March 2009, 7 p.m.Performances: 29 March & 1, �, 6 April 2009Introduction: Sunday, 22 March 2009, 11 a.m.

n 1741 Charles Jennens, on his own initiative, sent Handel a collection of Bible passages arranged in the manner of a theological pamphlet. Fol-lowing his failure as an opera impresario in london and serious health problems, Handel had turned his attentions to oratorium, and Jennens had already been of great service to him in this genre as a librettist. The libretto for The Messiah inspired the composer to new heights: he wrote the work in just twenty-four days and took it with him to a concert season in Dublin. It was there that it was successfully premiered on April 1�, 1742. In london The Messiah was initially the subject of objections on religious grounds: it was felt that because of its subject matter the work should only be performed in churches, the idea of “actors” performing it on stage in a theatre being deemed wholly inappropriate. It was not until 17�0 that The Messiah started its run of worldwide success.

Strictly speaking, The Messiah has no plot; unlike Passion plays or Bach’s Christmas Oratorio it does not tell any particular story. The eponymous hero – the Messiah – does not appear. There is little specific information about his life, passion, death and resurrection. The libretto aims to show that Jesus is the “Messiah” (the “anointed one”, in Greek “Christos”) announced by the (Old Testament) prophets. Through Handel’s music this becomes a sweeping depic-tion of the human condition that conveys a large number of atmospheric pic-tures of universal and immediate concern. The theme is our need for salvation.

The musical structure differs only slightly from Handel’s operas, with the exception of the central role played by the chorus (which is typical of oratorium). The work can be seen as a group of the faithful talking to them-selves in a struggle to find solace in faith. Their dismay at their own en- tanglement in sin is offset with their assuring themselves that they have been promised salvation by the saviour. The point of reference of this hope is the fear of death. When performed in concert halls the work can easily be reduced to a devotional and edifying solemnity, bereft of real content. But played out on stage, the scenes portray specific situations dealing with the circumstance that the world is yet to be saved. The Mes-siah succeeds as a theatrical production.

MessiahI

MuSIC THEATRE | �7

24 april 2009 27 / 29 April & 2 May 2009

Mitridate, Re di PontoWolfgang amadeus Mozart

ei cade estinto, ma di sua mano, è vincitor, non vinto. He falls, dying, but by his own hand, the victor, not the vanquished. (Mitridate)

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Opera seria in three acts (1770)

MuSIC By WOlFGAnG AMADEuS MOzARTlIBRETTO By VITTORIO AMEDEO CIGnA-SAnTIBASED On THE TRAGEDy By JEAn BAPTISTE RACInE


Conductor Harry BicketDirector Robert CarsenSet designer Radu BoruzescuCostume designer Miruna BoruzescuLight designer Robert Carsen/Peter van Preat

Mitridate Bruce FordAspasia Patricia PetibonSifare Myrtò PapatanasiuFarnace Bejun MehtaIsmene Christiane kargMarzio Colin leeArbate Jeffrey Francis

Vienna Symphony Orchestra

Musikalische neueinstudierung des Theater an der WienCoproduction with Théâtre de la Monnaie Bruxelles

Premiere: Friday, 24 April 2009, 7 p.m.Performances: 27, 29 April & 2 May 2009Introduction: Sunday, 19 April 2009, 11 a.m.

uring his first trip to Italy the 14-year-old Mozart was commissioned to write an opera seria. The subject chosen was the story of the megaloma- niac and paranoid king Mithridate VI. who had once forced the Romans to fight three wars. Mozart had five months to write the work. Ten days before the premiere a rumour was going round that such a young boy, and a German one into the bargain, could never write an Italian opera, since he did not have the “chiaro ed oscuro necessary for theatre”. However, fol-lowing the first rehearsals the sceptics were silenced and the premiere in the Teatro Regio Ducale in Milan was a sensational success.

News reaches the town of Ninfea that Mitridate has been killed fighting the Romans. His two sons Sifare and Farnace, political rivals, now compete to win the favour of Aspasia, their father’s betrothed. But Mitridate unexpectedly re-turns: it was he who had spread the rumour of his own death to test the loyalty of his sons. After intrigues, alleged betrayal, thoughts of vengeance and another battle against the Romans Mitridate recognises his sons’ political loyalty and forgives them. However, he is now a broken man and, in his despair, falls on his own sword. With his dying breath he unites the two lovers Sifare and Aspasia.

Mozart, utterly captivated by everything relating to dramatic virtuosity, set the jealousy, betrayal, desire, fear of old age and love of power to music with great gusto, depth and perceptiveness. For the “garrulous tongues” of the singing stars he composed a series of technically demanding and passionate arias.

Mitridate, Re di PontoD

MuSIC THEATRE | 41

Fidelio, a BalletJochen ulrich

9 & 10 June 2009

gott ! Welch dunkel hier ! o grauenvolle stille ! Öd ist es um mich her; nichts, nichts lebet außer mir.God! What darkness here! Oh gruesome silence!Around me all is desolate nothing, nothing is alive save myself. (Florestan)

44 |

n the 19th century it was customary to modify the huge and complex scores of popular operas for “private” use. These arrangements, in which a piano took the place of entire orchestras, played a central role in ma-king works such as Fidelio widely known. It was also in this way that the hymn to matrimonial fidelity with music from Beethoven’s opera became a regular feature of private concerts during the Biedermeier era.

Jochen Ulrich takes this situation as the starting point for his ballet. It is from this environment that Leonore, disguised as a man, sets out to rescue her hus-band from a Jacobin prison. En route the idyllic drawing room existence is transformed into the despair of an 18th century state prison in Spain. At this point the choreography develops inner images of a burgeoning yearning for liberty and happiness that gain steadily in intensity the more they are cast back into the wretchedness of the dungeon.

The piano arrangement has the effect of tempering the outbursts of emotion, which remain composed, occurring all the more in the dancers’ bodies. The pathos of woman as the angelic saviour evoked by Beethoven through the power of the opera is given an almost intimate transparen-cy by zemlinsky’s transcription that provides the dance with the space it needs to unfold.

Fidelio, a BalletI


BAllET By JOCHEn ulRICHMuSIC By luDWIG VAn BEETHOVEn In THE TRAnSCRIPTIOn By AlEXAnDER VOn zEMlInSky FOR FOuR HAnDED PIAnO

Guest performance of the Ballet of landestheater linz

Choreographer Jochen ulrichSet designer Alexandra PitzCostume designer Bjanka ursulovConductor & pianist Dennis Russell DaviesPianist Maki namekawa

Premiere: Tuesday, 9 June 2009, 7.�0 p.m.Performance: 10 June 2009, 7.�0 p.m.

2 July 20094 / 9 / 1� / 1� July 2009

Il Turco in Italiagioachino rossini

e l’intreccio terminato; lieto fine ha il dramma mio. e contento qual son io forse il pubblico sarà. The tale is over. Cheerfully ends my drama. And may the audience be as happy as I. (Poeta)

48 |

Dramma buffo per musica in two acts(1814)

MuSIC By GIOACHInO ROSSInIlIBRETTO By FElICE ROMAnI


Conductor Fabio luisiNeueinstudierung Benedikt von PeterBased on a production directed by Christof loySet and costume designer Herbert MurauerChoreographer Jacqueline Davenpoort

Selim Ildebrando d’ArcangeloDonna Fiorilla nino MachaidzeDon Geronio Renato GirolamiDon Narciso Maxim MironovPoeta Pietro Spagnoli Zaida Tara VendittiAlbazar Erik Årman

Vienna Symphony OrchestraArnold Schoenberg Chor (Chorus master: Erwin Ortner)

neueinstudierung of Theater an der WienCooperation with Bayerische Staatsoper München

Premiere: Thursday, 2 July 2009, 7 p.m.Performances: 4, 9, 1� & 1� July 2009Introduction: Sunday, 28 June 2009, 11 a.m.

great sense of humour: that was what the 22-year-old Gioachino Ros-sini and his librettist Felice Romani exhibited when, in 1814, they wrote the amusing and satirical opera Il Turco in Italia for la scala in Milan, to some extent as a response to and variation on the “Turkish opera” L’Ita-liana in Algeri. The man behind the work is the uninspired poet Prosdo- cimo who is waiting for inspiration when he suddenly finds himself caught up in the midst of a tangle of relationships that proves that the funniest stories are those that happen in real life.

Fiorilla has had enough of her husband Don Geronio. But she is long since ti- red of her lover Don Narciso as well. So the rich Turk Selim, who is in Italy looking for amorous adventures, seems to be the answer to her prayers. Selim is happy to indulge Fiorilla’s affections but is unwilling to give up his previous love Zaida, who suddenly appears to win back her husband. Following scenes of jealousy, attempts at wife-swapping and abduction, a masked ball, confu- sion and reconciliation everything resolves itself in a happy ending: Selim re-turns home with Zaida, Fiorilla goes repentantly back to Don Geronio and Don Narciso devotes himself to his pursuit of amorous conquests again.

Rossini’s vivacious music makes use of the comedy provided by the situa-tions and the language in the libretto and its melodic inventiveness allows both singers and orchestra to express themselves with flair and verve. It is not the strict logic of the plot that is central to the music; instead Ros-sini emphasises jumps in the plot by exaggerating extremes of emotion to the point of caricature with his music, making them clearly audible.

Sponsored by

Il Turco in ItaliaA

MuSIC THEATRE | 49

1 august 2009 4 / 6 / 8 / 11 / 14 August 2009

Don GiovanniWolfgang amadeus Mozart .

Zitto, mi pare sentir odor di femmina... But hush, I seem to smell the scent of women… (Don Giovanni)

�2 |

Dramma giocoso in two acts kV �27 (1787)

MuSIC By WOlFGAnG AMADEuS MOzARTlIBRETTO By lOREnzO DA POnTE


Conductor Rinaldo AlessandriniDirector keith WarnerSet and costume designer Es DevlinLight designer Wolfgang Göbbel

Don Giovanni Erwin SchrottLeporello Hanno Müller-BrachmannDonna Anna Aleksandra kurzakDon Ottavio Bernard RichterKomtur Attila JunDonna Elvira Véronique GensMasetto Markus ButterZerlina nina Bernsteiner

Vienna Radio Symphony OrchestraArnold Schoenberg Chor (Chorus master: Erwin Ortner)

Wiederaufnahme – Musikalische neueinstudierung

Premiere: Saturday, 1 August 2009, 7 p.m.Performances: 4, 6, 8, 11 & 14 August 2009Introduction: Sunday, 26 July 2009, 11 a.m.

Hoffmann called Mozart’s Don Giovanni as “The opera of all operas”. The story of the man who was seducer and rapist, blasphe- mer and aristocratic cavalier, narcissus and murderer all rolled into one inspired Mozart and his librettist Da Ponte to write a composition in which the tragic and light-hearted elements merge into a unified whole.

While attempting to seduce Donna Anna, Don Giovanni becomes involved in a duel with her father, the Commendatore, during which he kills him. With this deed, his first murder, Don Giovanni breaks his own taboos and changes from hunter to hunted. From this point on, all his endeavours are doomed to failure. Not even the love of Donna Elvira can move him to repentance and persuade him to give up his life of dissipation. When he even makes fun of the dead and invites the statue of the murdered Commendatore to supper his fate his sealed.

Although Don Giovanni was received with enthusiastic applause at its pre-miere in Prague on October 29th, 1787 it was given a rather lukewarm reception in Vienna. Emperor Joseph II. remarked to Mozart that the music was no meat to the taste of his Viennese, to which Mozart gave the quick-witted reply: “Just give them time to chew it!” – The new production of Don Giovanni staged at the Theater an der Wien in 2006 was unanimously praised by audience and critics alike: “This is the most ex-citing Don Giovanni that Vienna has to offer,” said the daily newspaper the Kronen Zeitung. The magazine nEWS wrote: “[Don Giovanni] will go down in the annals of the Theater an der Wien as a coup: a world tragedy suffused with British humour of the blackest kind”, while Die Presse cal-led it “Vienna’s best contribution to the Mozart year so far”. In August 2009 keith Warner’s successful production will be reprised.

E.T.A.

MuSIC THEATRE | ��

Don Giovanni

Opera in Concert

16 november 200814 december 2008

18 January 200912 July 2009

ezio

luci mie traditrici

tolomeo e alessandro

l’isola disabitata

�6 |

tolomeo e alessandroSunday, 18 January 2009, 7 p.m.

Opera in three acts (1711)

Music by Domenico scarlatti (168�-17�7)Libretto by carlo sigismondo capece

Concert performance in Italian

Il COMPlESSO BAROCCO AlAn CuRTIS conductor

Tolomeo Ann HallenbergSeleuce klara EkElisa Roberta InvernizziAraspe Theodora BakaAlessandro Raffaella MilanesiDorisbe Sonia Prina

l’isola disabitata (The Deserted Island)

Sunday, 12 July 2009, 7.�0 p.m.

Azione teatrale in due parti (1779)

Music by Joseph haydn (17�2-1809)Libretto by pietro Metastasio based on Robinson Crusoe by Daniel Defoe


l’ORFEO BAROCkORCHESTER MICHI GAIGG conductor

Costanza nuria RialSilvia Barbara krausGernando Bernhard Berchtold Enrico Reinhard Mayr

ezioSunday, 16 november 2008, 7 p.m.

Dramma per musica in acts (17�0)

Music by christoph Willibald Gluck (1714-1787)Libretto by pietro Metastasio


Il COMPlESSO BAROCCO AlAn CuRTIS conductor

Valentiniano Max Emanuel CencicFulvia Ann HallenbergEzio Sonia PrinaOnoria Mayuko karasawaMassimo Robert BreaultVaro Julien Prégardien

luci mie traditrici (O, My Betraying Eyes)

Sunday, 14 December 2008, 7.�0 p.m.

Opera in two acts (1998)

Music by salvatore sciarrino (*1947)Lyrics by the composer after Il tradimento per l’onore by Giacinto cicognini (1664)


klAnGFORuM WIEn BEAT FuRRER conductor

Il Malaspina n.n.La Malaspina Anna RadziejewskaL’Ospite Andrew WattsIl Servo Simon Jaunin

OPERA In COnCERT | �7

Concertsopening night 2008/09Wednesday, � September 2008, 7.�0 p.m.

VIEnnA PHIlHARMOnIC ORCHESTRARICCARDO MuTI conductor

Giuseppe Verdi (181�-1901)

Ouverture from Giovanna d’ArcoBallet music from I Vespri Siciliani

nino rota (1911-1979)

Concert for trombone and orchestra (Soloist: Ian Bousfield)Music from the movie Il gattopardo

60 |

Beethoven-cycle concert iSunday, 21 September 2008, 11 a.m.

STEFAn VlADAR piano

Ludwig van beethoven (1770-1827)

Piano sonata B flat major op. 22

Piano sonata A flat major op. 26

Piano sonata e minor op. 90

Piano sonata A flat major op. 110

handel, king of the operaThursday, 2� September 2008, 7.�0 p.m.

lES TAlEnS lyRIquESCHRISTOPHE ROuSSET conductor

VESSElInA kASAROVA mezzo-soprano

Georg Frideric handel (168�-17�9)

Arias and symphonic music from the operas Arianna in Creta, Ottone, Alcina and Il Pastor Fido

farinelli & friendsWednesday, 1� October 2008, 7.�0 p.m.

I VIRTuOSI DEllE MuSESTEFAnO MOlARDI conductor

MAX EMAnuEl CEnCIC counter tenor

Arias and symphonic music by Riccardo Broschi, nicola Porpora, George Frideric Handel et al.

Bachs „high Mass“Saturday, 18 October 2008, 7.�0 p.m.

AMSTERDAM BAROquE ORCHESTRA & CHOIRTOn kOOPMAn conductor

lyDIA TEuSCHER sopranoMARIE-ClAuDE CHAPPuIS altoJöRG DüRMüllER tenorklAuS MERTEnS bass

Johann sebastian bach (168�-17�0)

Mass b minor BWV 2�2

Bach & handelWednesday, 22 October 2008, 7.�0 p.m.

THE EnGlISH COnCERT HARRy BICkET conductor

DAVID DAnIElS counter tenor

Johann sebastian bach (168�-17�0)

Orchestra suite nr. 1 C major BWV 1066 Vergnügte Ruh, beliebte Seelenlust BWV 170Qui sedes (from the b minor Mass BWV 2�2)Sinfonia of the cantata Am Abend aber desselbigen Sabbats BWV 42Schlummert ein, ihr matten Augen, from Ich habe genug BWV 82Erbarme dich, from Matthäus-Passion BWV 244

George Frideric handel (168�-17�9)

Concerto grosso A major op. 6 nr. 11 HWV �29Szenes and Arias from Radamisto, Tamerlano & Orlando

COnCERTS | 61

62 |

„freiheit, die ich meine“ – 1809Saturday, 24 January 2009, 7.�0 p.m.

MODERnTIMES_1800 CHAMBER ORCHESTRAIlIA kOROl & JulIA MORETTI Artistic direction

TOBIAS MORETTI recitation

antonio salieri (17�0-182�)der Tyroler Landsturm (der tapferen tyroler und vorarlberger nation gewidmet von Hr. A.S.) op. 100 Ouverture

carl cannabich (1771-1806)Violin concerto op. 9

François-Joseph Gossec (17�4-1829)Celebration music for the ceremony of the French Revolution

paul Wranitzky (17�6-1808)Symphonie pour la paix avec la République Française

Ludwig van beethoven (1770-1827)Symphony nr. � Eroica

lyrics by Büchner, Goethe, Heine, Schiller, Hölderlin, Hugo, Herwegh, Freiligrath, Voltaire

Banchetto musicaleSaturday, 28 February 2009, 7.�0 p.m.

BAlTHASAR nEuMAnn CHOR & EnSEMBlE

Ein musikalisches kostüm„fest“ mit Commedie musicali, Madrigali, Ballet and symphonic pieces by Adriano Banchieri, Giovanni Croce, Carlo Gesualdo, luca Marenzio, Claudio Monteverdi, Orazio Vecchi et al.

Bregovic „for all religions“Saturday, 22. november 2008, 7.�0 p.m.

GORAn BREGOVIC

WEDDInG AnD FunERAl BRASS BAnD, STRInG quARTET, MAlE CHAMBER CHOIR AnD ARAB, ISRAElI & GyPSy SInGERS

„My heart has become tolerant“

Beethoven-academy 1808Monday, 22 December 2008, 6.�0 p.m.

VIEnnA RADIO SyMPHOny ORCHESTRABERTRAnD DE BIlly conductorARnOlD SCHOEnBERG CHOR

BORIS BEREzOVSky pianoAnnETTE DASCH soprano

200. anniversary


Symphony nr. 6 F major op. 68 Sinfonia pastoraleAh perfido!, Scene and Aria for soprano and orchestra op. 6�Gloria from the Mass C major op. 86klavierkonzert nr. 4 G major op. �8Symphonie nr. � c minor op. 67Sanctus from the Mass C major op. 86Phantasy for piano, choir and orchestra c minor op. 80

COnCERTS | 6�

discover rameauTuesday, � March 2009, 7.�0 p.m.

lES TAlEnS lyRIquESCHRISTOPHE ROuSSET conductor

SAlOME HAllER sopranoAnDERS J. DAHlIn tenor

Jean-philippe rameau (168�-1764)

Extracts from the operas Hippolyte et Aricie, Castor et Pollux, Les Indes Galantes, Les Fêtes d’Hébé, Platée, Zoroastre et al.

Joseph haydn anniversary concertTuesday, �1 March 2009, 7.�0 p.m.

EnSEMBlE MATHEuSJEAn-CHRISTOPHE SPInOSI conductor

SuSAn GRAHAM mezzo-soprano

Joseph haydn (�1. �. 17�2-�1. �. 1809)

Symphony C major nr. 82 The Bear

Symphony g minor nr. 8� The Chicken

Arias by Joseph Haydn and Wolfgang Amadeus Mozart

osterklang 2009Saturday, 4. to Monday, 1� April 2009

The festival programme will be announced in December 2008.

Beethoven-cycle concert iiSunday, 26 April 2009, 11 a.m.

AlEXEI VOlODIn piano


Piano sonata E flat major op. 27/1

Piano sonata B flat major op. 106 Hammerklaviersonate

Piano sonata E major op. 109

Beethoven-cycle concert iiiSunday, 7 June 2009, 11 p.m.

ROnAlD BRAuTIGAM piano


Piano sonata E major op. 14/1

Piano sonata G major op. 14/2

Piano sonata A major op. 101

Piano sonata c minor op. 111

Annotion:This matinée completes the cycle of all piano sonatas by Ludwig van Beethoven at Theater an der Wien started in 2007.

COnCERTS | 6�64 |

Das kabinetttheater erzählt große Oper mit seinen Mitteln – den vielen Möglichkeiten des Figurentheaters – dort, wo die großen Geschichten so ernst genommen werden, dass man auch über sie lachen kann. The venue is Hell – Die Hölle, now a bar in the theatre’s basement that until the end of the 19�0s served as the stage for cabaret.In two productions the marionette theatre responds to the Theater an der Wien’s programme and to the Joseph Haydn anniversary 2009.

„a reformed rake“ Music from 20th century operaspremiere: saturday, 4 October 2008, 8 p.m.Performances: 6, 8, 9 & 1� October

„haydn reloaded“Music by Joseph HaydnAdditional Music and arrangements: Bernhard langlibretto: Michael Sturmingerpremiere: saturday, 14 March 2009, 8 p.m.Performances: 1�, 19, 20 & 22 March

Figures, Sets: Julia Reichert, Christopher Widauer, Thomas kasebacherPuppet players: Jennifer Podehl, Eva Ebelt, Thomas kasebacher, Christopher Widauer and the kabinetttheater ensembleDirection: Thomas Reichert

Venue: „hölle“ at the theater an der Wien

Kabinetttheater

| 6766 |

Guided ToursThe Theater an der Wien is one the most beautiful theatres in Vienna and has one of the richest traditions. now it offers you the unique opportunity to sample the theatrical atmosphere in a building that has enchanted audi-ences for over two centuries with its outstanding acoustics and its authen-tic and intimate setting.

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 with English available on request and last approximately one hour.

The tour includes the foyer, the auditorium, the stage, the cellar and the dressing-room area. Visitors will be told 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 beforehand, either in writing or by phone.

For the dates and times of guided tours, see the website of the Theater an der Wien (www.theater-wien.at), the theatre’s magazine and the bimonthly folder.

Information: Mag. Philipp Wagner, Tel. +4� (0) 1 �88�0-664 E-mail: [email protected]

68 |

Seating PlanPrices For all concerts and operas in concert, the boxes in 2nd balcony don’t get sold.

Music theatre & Ballet Prices in ¤

THE RAkE’S PROGRESS | PElléAS ET MélISAnDE

a 140 b 120 c 9� d 8� e 64 f 4� g 2�

ARIODAnTE | ORFEO ED EuRIDICE | InTERMEzzO | PARTEnOPE MESSIAH | MITRIDATE, RE DI POnTO | Il TuRCO In ITAlIADOn GIOVAnnI

a 1�0 b 10� c 79 d 6� e 49 f �4 g 18 DEATH In VEnICE (HAMBuRG BAllETT)

a 11� b 96 c 7� d �9 e 46 f 28 g 12 FIDElIO, A BAllET (BAllET OF lAnDESTHEATER lInz)

a 78 b 6� c �� d 42 e �2 f 2� g 11

concert & opera in concert� September 08: Opening night | 22 December 08: Beethoven-Academy �1 December 08: new year’s Eve

a 86 b 74 c 60 d 49 e �8 f 2� g 11

2� September 08: Handel, king of the Opera | 18 October 08: Bachs „High Mass“ 22 October 08: Bach & Handel | 16 november: 08 Ezio | 22 november 08: Bregovic „for all religions“ 18 January 09: Tolomeo e Alessandro | 24 January 09: Freiheit, die ich meine 28 February 09: Banchetto musicale | �1 March 09: Joseph Haydn Anniversary Concert

a 62 b �2 c 40 d �2 e 26 f 18 g 11

21 September 08, 26 April 09, 7 June 09: Beethoven-Cycle | 1� October 08: Farinelli & Friends 14 December 08: luci mie traditrici | � March 09: Discover Rameau | 12 July 09: l’isola disabitata

a 40 b �4 c 28 d 2� e 18 f 14 g 11

kabinetttheater 4 / 6 / 8 / 9 / 1� October 08 A REFORMED RAkE 14 / 1� / 19 / 20 / 22 March 09 HAyDn RElOADED 18

introductionsSunday before each Premiere, 11 a.m. �

InformationProcessing chargestelephone¤ �,– incl. postage with payment via credit card or bank transfer

internet¤ �,– incl. postage with payment via credit card.

group bookingsFor group-bookings (8 PAX and more) please contact the sales department of Theater an der Wien at +4� (0) 1 �88 �0-6�1 or [email protected]

gift vouchersGift vouchers to the value of ¤ 10, 20, �0 und 100 can be obtained by pho-ning +4� (0) 1 �88 8� and are also available at the Theater an der Wien box office. For performances of the Wiener Festwochen at the Theater an der Wien those vouchers are not valid.

Wheelchair spaceshandicapped personsWheelchair spaces (incl. one person foir escort) can be booked up to one week before the respective performance by phoning +4� (0) 1 �88 8�. Price: ¤ 10,-We point out that the Theater an der Wien does not have an elevator. Therefore handicapped persons are advised to choose tickets at the ground floor.

standing placesStanding places are available at the evening box office at the earliest 1 hour before the performance starts. Price: ¤ 7,-

BookingsTickets for 2008/09 are available at the ticket agencies (box office at the Theater an der Wien, Vienna Ticket Pavillon) and can also be ordered by telephone and via internet.

Box officeTheater an der Wien, linke Wienzeile 6, 1060 Vienna, AustriaOpening hours: Monday to Sunday, 10 a.m. to 7 p.m.

vienna ticket PavillonTickets (except discouted tickets) are also available at the Vienna Ticket Pavillon at the karajan-Platz next to the Vienna State Opera.(Monday to Sunday, 10 a.m. to 7 p.m.)

telephone Monday to Sunday, 9 a.m. to 8 p.m.

internetwww.theater-wien.at (orders only payable by credit card)

Written bookingsBookings can be done in written form by filling out the booking form,which is enclosed in this programme.

student ticketsStudent tickets are available at the evening box office at the earliest half an hour before the performance starts. A valid photo ID will be demanded. Price opera: ¤ 1�,- / Price concert: ¤ 10,-

guided tours (see p. 69 for details)

Guided Tours through the Theater an der Wien are offered in German (or English on request). The tour includes gate “Papageno”, foyer, auditorium (with the curtain “Magic flute” anno 1860) and stage. Prices: regular: ¤ 7,- / reduced: ¤ �,-/ Schools: ¤ �,- Children under 6 free.Registration: Tel. +4� (0) 1 �88 �0-664, E-Mail: [email protected]

low priced parking opportunities for visitors near the theater an der Wien

At the WiPark Garage of the Technical university of Vienna, visitors of the Theater an der Wien have the possibility of low-priced parking only 2 minutes from the theatre (first � hours ¤ 6,�0,- instead of ¤ 1�,-). This benefit is valid from � p.m. to 8 a.m., as well as on Sundays and public holidays. The required commutation ticket is available at the evening box office at the Theater an der Wien. Adress of the WiPark Garage: Operngasse 1� | 1040 Vienna

Ö1 clubö1 Club reductions are exclusively obtainable at the Theater ander Wien box office and can not be ordered in written form, viatelephone or internet.

Wiener festwochenTickets for the performances of the Wiener Festwochen in May/June 2009 are only available at the Wiener Festwochen: www.festwochen.at, festivalservice hotline (+4�/1) �89 22 22.

InFORMATIOn | 7�72 | 71 |

74 |

vereinigte Bühnen Wien ges.M.B.h.Managing Director Mag. Thomas Drozda

theater an der WienIntendant DI Roland Geyer Assistant to Intendant Sylvia Hödl | Artistic Department Sebastian Schwarz (head), Claudia Stobrawa, Axel Schneider | Production Management Petra Haidvogel, Anja Meyer | Dramaturgy nora Schmid (head), Petra Aichinger | General Secretariat Renate Futterknecht | Assistant to General Secretariat Edith Gutmaier | Business Administration Christian Rameis | Ticketing & Subscriptions Harald Illeditsch, Philipp Wagner | Press Officer Sabine Seisenbacher (head), Catherine leiter | Marketing Tina Osterauer Marketing & Sales Julia ufer | Art Direction Anna Graf | Technical director kurt Schöny | Costume department Doris Maria Aigner (head) | Technical Production Gerald Stotz | Technical office Marlies Forenbacher, Veronika leitl, ulrike Ranft | Lighting Franz Vochoska (head) | Sound Robert Macalik (head) | Mask Wilhelm Honauer (head) | Dresser Andreas Schaffler (head)| Facility management Friedrich Bohland, Franz Slama

PhotograPhic MaterialCover image © spot.ag / michael huber . thomas riegler (art direction: thomas riegler) Photo Theater an der Wien © Vereinigte Bühnen Wien | S. � Intendant Roland Geyer © Priska ketterer Photos p. 6 / 10 / 14 / 18 / �4 / 46 © Joyce Rohrmoser | Photos p. 22 / 26 / �0 / �8 / 42 / �0 / �4 /�8 /66 © Damien Daufresne | Back inside cover: stage, auditorium and atlases © Armin Bardel

PuBlishing detailsTheater an der Wien – Intendant DI Roland GeyerPublisher & Proprietor: Vereinigte Bühnen Wien Ges.m.b.H. – Managing director Mag. Thomas DrozdaTheater an der Wien, linke Wienzeile 6, 1060 WienTel. (+4�/1) �88 �0-660 | [email protected] | www.theater-wien.atResponsible for content: Intendant Roland GeyerEditorial office: Petra Aichinger, Anna Graf, Sylvia Hödl, Harald Illeditsch, konrad kuhn (Messiah), Catherine leiter, Tina Osterauer, nora Schmid, Sebastian F. Schwarz, Sabine Seisenbacher, Claudia Stobrawa, Julia ufer, Philipp WagnerDesign Concept 2007: ultramarin | Harald Ströbel & Elke zellinger | www-ultramarin-design.atArt Direction Theater an der Wien: Anna Graf Printing: Walla Druck Subject to change | June 2008 | DVR 0 187 1

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