03
Fr 19:00
Tosca
The attractiveness of Margarethe Wallmann's »Tosca« production has remained unbroken since 1958. The production is given an additional symbolic charm by the impressive number of well-known artist personalities who, in precisely this direction, in precisely these decorations and in precisely these costumes, appeared in memorable performances in front of the Viennese audience...
The fat knight Sir John Falstaff, who resides in the Gasthaus zum Garter, has no more money to foot his bill. Convinced of his attraction to women, he would like to combine the pleasant with the useful. He writes two love letters with the same content to Alice Ford and Meg Page, two wealthy citizens' wives, and asks them to go on a date. But they just have fun with the fat drunkard and together they hatch a plan to make a fool of Falstaff...
Violetta Valéry, a dream object for sale by Parisian society, celebrates exuberantly - only apparently recovered after a long illness. Alfredo, a young man from the provinces, praises true love in a drinking song. Violetta, on the other hand, is committed to carefree enjoyment of life. In the middle of the omitted festival, she suffers a fit of weakness. When she withdraws from the crowd, Alfredo confesses his love to Alfredo, which Violetta refuses to agree to: she can only promise him friendship, not love. But she quickly finds herself in a conflict of feelings: Should she give up her previous life and allow feelings?
The attractiveness of Margarethe Wallmann's »Tosca« production has remained unbroken since 1958. The production is given an additional symbolic charm by the impressive number of well-known artist personalities who, in precisely this direction, in precisely these decorations and in precisely these costumes, appeared in memorable performances in front of the Viennese audience...
Violetta Valéry, a dream object for sale by Parisian society, celebrates exuberantly - only apparently recovered after a long illness. Alfredo, a young man from the provinces, praises true love in a drinking song. Violetta, on the other hand, is committed to carefree enjoyment of life. In the middle of the omitted festival, she suffers a fit of weakness. When she withdraws from the crowd, Alfredo confesses his love to Alfredo, which Violetta refuses to agree to: she can only promise him friendship, not love. But she quickly finds herself in a conflict of feelings: Should she give up her previous life and allow feelings?
The fat knight Sir John Falstaff, who resides in the Gasthaus zum Garter, has no more money to foot his bill. Convinced of his attraction to women, he would like to combine the pleasant with the useful. He writes two love letters with the same content to Alice Ford and Meg Page, two wealthy citizens' wives, and asks them to go on a date. But they just have fun with the fat drunkard and together they hatch a plan to make a fool of Falstaff...
The attractiveness of Margarethe Wallmann's »Tosca« production has remained unbroken since 1958. The production is given an additional symbolic charm by the impressive number of well-known artist personalities who, in precisely this direction, in precisely these decorations and in precisely these costumes, appeared in memorable performances in front of the Viennese audience...
Violetta Valéry, a dream object for sale by Parisian society, celebrates exuberantly - only apparently recovered after a long illness. Alfredo, a young man from the provinces, praises true love in a drinking song. Violetta, on the other hand, is committed to carefree enjoyment of life. In the middle of the omitted festival, she suffers a fit of weakness. When she withdraws from the crowd, Alfredo confesses his love to Alfredo, which Violetta refuses to agree to: she can only promise him friendship, not love. But she quickly finds herself in a conflict of feelings: Should she give up her previous life and allow feelings?
The attractiveness of Margarethe Wallmann's »Tosca« production has remained unbroken since 1958. The production is given an additional symbolic charm by the impressive number of well-known artist personalities who, in precisely this direction, in precisely these decorations and in precisely these costumes, appeared in memorable performances in front of the Viennese audience...
The fat knight Sir John Falstaff, who resides in the Gasthaus zum Garter, has no more money to foot his bill. Convinced of his attraction to women, he would like to combine the pleasant with the useful. He writes two love letters with the same content to Alice Ford and Meg Page, two wealthy citizens' wives, and asks them to go on a date. But they just have fun with the fat drunkard and together they hatch a plan to make a fool of Falstaff...
Violetta Valéry, a dream object for sale by Parisian society, celebrates exuberantly - only apparently recovered after a long illness. Alfredo, a young man from the provinces, praises true love in a drinking song. Violetta, on the other hand, is committed to carefree enjoyment of life. In the middle of the omitted festival, she suffers a fit of weakness. When she withdraws from the crowd, Alfredo confesses his love to Alfredo, which Violetta refuses to agree to: she can only promise him friendship, not love. But she quickly finds herself in a conflict of feelings: Should she give up her previous life and allow feelings?
The fat knight Sir John Falstaff, who resides in the Gasthaus zum Garter, has no more money to foot his bill. Convinced of his attraction to women, he would like to combine the pleasant with the useful. He writes two love letters with the same content to Alice Ford and Meg Page, two wealthy citizens' wives, and asks them to go on a date. But they just have fun with the fat drunkard and together they hatch a plan to make a fool of Falstaff...
Balanchine - Ratmansky - Schläpfer: three masters of contemporary ballet meet with dances to music by Russian and Soviet composers. They are connected by their roots. The choreographers through the Danse d’école as the basis for a contemporary art of ballet; the composers Stravinsky, Mussorgsky and Shostakovich through the musical culture of their homeland, from which their paths led in so different directions.
Violetta Valéry, a dream object for sale by Parisian society, celebrates exuberantly - only apparently recovered after a long illness. Alfredo, a young man from the provinces, praises true love in a drinking song. Violetta, on the other hand, is committed to carefree enjoyment of life. In the middle of the omitted festival, she suffers a fit of weakness. When she withdraws from the crowd, Alfredo confesses his love to Alfredo, which Violetta refuses to agree to: she can only promise him friendship, not love. But she quickly finds herself in a conflict of feelings: Should she give up her previous life and allow feelings?
'He' is a seaman, a ship's officer in the Japanese merchant navy, 'she' is a rich, beautiful, young (probably warrior) widow. The two fall in love with each other naturally and in a middle class way. For this reason he even wants to sign off in a banal way and marry her - but whoever is against it, intensely and with hatred and contempt and for various child-pubescent reasons, that is Noboru, Madame Fusako's teenage son. "This is how Hans Werner Henze (1926–2012) outlines the starting point of his opera Das betratere Meer, which premiered in 1990.
Balanchine - Ratmansky - Schläpfer: three masters of contemporary ballet meet with dances to music by Russian and Soviet composers. They are connected by their roots. The choreographers through the Danse d’école as the basis for a contemporary art of ballet; the composers Stravinsky, Mussorgsky and Shostakovich through the musical culture of their homeland, from which their paths led in so different directions.
Balanchine - Ratmansky - Schläpfer: three masters of contemporary ballet meet with dances to music by Russian and Soviet composers. They are connected by their roots. The choreographers through the Danse d’école as the basis for a contemporary art of ballet; the composers Stravinsky, Mussorgsky and Shostakovich through the musical culture of their homeland, from which their paths led in so different directions.
As great as Verdi's enthusiasm for Shakespeare's work was, in the end only three of his operas were based on models by the English playwright - besides Macbeth, these were his two last works for music theater, i.e. Otello and Falstaff, both of which he based on the libretti of his former artistic counterpart Arrigo Boito composed. Working together on Otello lasted around seven years before the opera was successfully premiered on February 5, 1887 at La Scala in Milan. Otello was re-enacted worldwide in a very short time, including in Vienna, where the opera was premiered in Austria on March 15, 1888 at the Court Opera, today's State Opera.
'He' is a seaman, a ship's officer in the Japanese merchant navy, 'she' is a rich, beautiful, young (probably warrior) widow. The two fall in love with each other naturally and in a middle class way. For this reason he even wants to sign off in a banal way and marry her - but whoever is against it, intensely and with hatred and contempt and for various child-pubescent reasons, that is Noboru, Madame Fusako's teenage son. "This is how Hans Werner Henze (1926–2012) outlines the starting point of his opera Das betratere Meer, which premiered in 1990.
Balanchine - Ratmansky - Schläpfer: three masters of contemporary ballet meet with dances to music by Russian and Soviet composers. They are connected by their roots. The choreographers through the Danse d’école as the basis for a contemporary art of ballet; the composers Stravinsky, Mussorgsky and Shostakovich through the musical culture of their homeland, from which their paths led in so different directions.
Balanchine - Ratmansky - Schläpfer: three masters of contemporary ballet meet with dances to music by Russian and Soviet composers. They are connected by their roots. The choreographers through the Danse d’école as the basis for a contemporary art of ballet; the composers Stravinsky, Mussorgsky and Shostakovich through the musical culture of their homeland, from which their paths led in so different directions.
As great as Verdi's enthusiasm for Shakespeare's work was, in the end only three of his operas were based on models by the English playwright - besides Macbeth, these were his two last works for music theater, i.e. Otello and Falstaff, both of which he based on the libretti of his former artistic counterpart Arrigo Boito composed. Working together on Otello lasted around seven years before the opera was successfully premiered on February 5, 1887 at La Scala in Milan. Otello was re-enacted worldwide in a very short time, including in Vienna, where the opera was premiered in Austria on March 15, 1888 at the Court Opera, today's State Opera.
'He' is a seaman, a ship's officer in the Japanese merchant navy, 'she' is a rich, beautiful, young (probably warrior) widow. The two fall in love with each other naturally and in a middle class way. For this reason he even wants to sign off in a banal way and marry her - but whoever is against it, intensely and with hatred and contempt and for various child-pubescent reasons, that is Noboru, Madame Fusako's teenage son. "This is how Hans Werner Henze (1926–2012) outlines the starting point of his opera Das betratere Meer, which premiered in 1990.
The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for beard and hair care, but also for tearing teeth and bloodletting. In addition, Figaro's offer also includes services for lovers and those willing to marry, such as secret transport of letters or serenades by order.
As great as Verdi's enthusiasm for Shakespeare's work was, in the end only three of his operas were based on models by the English playwright - besides Macbeth, these were his two last works for music theater, i.e. Otello and Falstaff, both of which he based on the libretti of his former artistic counterpart Arrigo Boito composed. Working together on Otello lasted around seven years before the opera was successfully premiered on February 5, 1887 at La Scala in Milan. Otello was re-enacted worldwide in a very short time, including in Vienna, where the opera was premiered in Austria on March 15, 1888 at the Court Opera, today's State Opera.
Wolfgang Amadeus Mozart's and Lorenzo Da Ponte's collaboration is one of the great fortunes in cultural history. They chose Beaumarchais ’comedy The Marriage of Figaro, the centerpiece of a trilogy of drama that had become a scandal in France, as a template for their first opera together. Therefore, although they concealed the revolutionary explosive power of the material, they dove all the more deeply into the mental life of the characters and gave the gender relations a meaning that went far beyond the original