The Wiener Staatsoper presents a Wagner classic staged by duo Jossi Wieler and Sergio Morabito, who showcase Lohengrin as a crime thriller with a twist. At the podium is Christian Thielemann, who more than proves his reputation as the Wagner-expert par excellence. On stage, David Butt Philip as the titular Lohengrin is a "heldentenor with radiance and stamina" (Kleine Zeitung), while Malin Bystrom portrays an Elsa who might not be as innocent as the libretto suggests and convinces with "dramatic furore" (Der Standard). Anja Kampe sings her Ortrud "beautifully, yet so expressively, with such diction" (Kurier) and Martin Gantner's Telramund is "flawless in it's precision" (News). / "When it comes to Wagner, Christian Thielemann really is in a class of his own" (Der Standard) / "The choirs were a force to be reckoned with, and the orchestra proved it's outstanding quality in harmony with the great Wagnerian Thielemann" (Salzburger Nachrichten)

Andris Nelsons and the Wiener Philharmoniker explore the brilliance of Bela Bartok's Piano Concerto No. 2 and the emotional depths of Gustav Mahler's Fifth Symphony. Passionate but restrained, Andris Nelsons conducts both masterpieces with superb clarity and precision: Mahler's famous Adagietto unfolds with "unreal shimmer and dark glow" (BR Klassik). Yefim Bronfman is the soloist in one of the most difficult piano concertos ever written and impresses with "impeccable technique, expressive power, and a touch of swing" (Der Standard). The concert is part of the Wiener Philharmoniker's Mahler cycle with Andris Nelsons.

Andris Nelsons and the Wiener Philharmoniker explore the brilliance of Bela Bartok's Piano Concerto No. 2 and the emotional depths of Gustav Mahler's Fifth Symphony. Passionate but restrained, Andris Nelsons conducts both masterpieces with superb clarity and precision: Mahler's famous Adagietto unfolds with "unreal shimmer and dark glow" (BR Klassik). Yefim Bronfman is the soloist in one of the most difficult piano concertos ever written and impresses with "impeccable technique, expressive power, and a touch of swing" (Der Standard). The concert is part of the Wiener Philharmoniker's Mahler cycle with Andris Nelsons.

Weinberg's final opera, based on Dostoevsky's novel, condenses the plot without losing it's psychological depth. Prince Myshkin, mentally ill yet believing in goodness, meets merchant Rogozhin on a train, sparking a tale of dependence, madness, and murder. The opera, rediscovered in the last decade, presents the composer Weinberg as Shostakovich's equal. The Idiot, composed in 1986-1989, now staged in Salzburg, directed by Krzysztof Warlikowski and conducted by Mirga Grazinyte-Tyla, brings the world of literature to the opera stage. The excellent cast of singers contributes to make the production a great success. Bogdan Volkov "expressive lyrical tenor touches intimately in the piano and yet remains able to cope with all orchestral storms" (BR Klassik).

In this concert, the Wiener Philharmoniker, conducted by Andris Nelsons, present a "heavenly" pairing: Alban Berg's "Violin Concerto, To the Memory of an Angel", alongside Mahler's Fourth Symphony, whose final movement sets "Das himmlische Leben" (Heavenly Life) to music. With this performance, young German-American violinist August Hadelich gave his debut at the Salzburg Festival and thrilled the press: "The fabulous Augustin Hadelich filled the difficult solo part with emotion and fragility, his performance was sensitive and yet glowing." (Die Presse). With Mahler's Fourth, Andris Nelsons creates "a Mahler miracle of quiet tones" (Volksblatt), joined by German soprano Christiane Karg as the soloist of the finale. The concert is part of the Wiener Philharmoniker's Mahler cycle with Nelsons. Program: Gustav Mahler: Symphony No. 4 Alban Berg: Violin Concerto "To the Memory of an Angel"

Offenbach goes Hollywood: Mariame Clement's production of Les Contes d'Hoffmann transforms ist titular character into a storyteller of a different kind. The different acts, which are based on short stories by E.T.A. Hoffmann, take the audience on a journey through the world of cinema, from a 70s sci-fi flick over a costume drama to a feverish experimental sequence. The three love interests Olympia, Antonia and Giulietta are portrayed by American soprano Kathryn Lewek, who "impresses with brilliantly assertive coloratura, melting cantilenas and pulsating drama" (Drehpunktkultur). At the centre of this tragic tale of unrequited love is Hoffmann himself, stepping into the role of a script writer and film director in this production. The incredibly charismatic Benjamin Bernheim "splendidly cele brates the invasive tragedy of his character. Sound, expression and presence could not be better combined" (Der Standard). Kate Lindsey, who portrays the muse disguised as Hoffmann's friend Niklausse is a joy to watch and listen to as she "absorbs Clement's energy of ideas and gilds her vocal tour de force with scenic exuberance" (Der Standard). An opera evening that spans the emotional spectrum from hilarious comedy to deeply felt heartbreak.

Based on a short novel by Dostoyevsky, Prokofiev's The Gambler unfolds in the fictional casino town of Roulettenburg, where a variety of characters converge and clash. These characters include a General indebted to a covetous Marquis, the General's resentful stepdaughter Polina, and Alexey, who harbors feelings for her. Director Peter Sellars, known for his insightful interpretations of overlooked masterpieces, challenges us to mirror the bravery of Dostoyevsky and Prokofiev - the courage to confront our inner darkness. The musical direction of Russian conductor Timur Zangiev shines together with the vocal performances of the exceptional cast: "Asmik Grigorian portraying a passionate Polina, and Sean Panikkar delivering a powerful performance as Alexei" (Financial Times) "Peter Sellars... has done what this exceptional director always tries to do: present an old, distant story as an analysis of the here and now" (Suddeutsche Zeitung) "A triumph of vision and passion" (European News Agency) "Grand sound cinema" (Bachtrack)

In this concert, the Wiener Philharmoniker, conducted by Andris Nelsons, present a "heavenly" pairing: Alban Berg's "Violin Concerto, To the Memory of an Angel", alongside Mahler's Fourth Symphony, whose final movement sets "Das himmlische Leben" (Heavenly Life) to music. With this performance, young German-American violinist August Hadelich gave his debut at the Salzburg Festival and thrilled the press: "The fabulous Augustin Hadelich filled the difficult solo part with emotion and fragility, his performance was sensitive and yet glowing." (Die Presse). With Mahler's Fourth, Andris Nelsons creates "a Mahler miracle of quiet tones" (Volksblatt), joined by German soprano Christiane Karg as the soloist of the finale. The concert is part of the Wiener Philharmoniker's Mahler cycle with Nelsons. Program: Gustav Mahler: Symphony No. 4 Alban Berg: Violin Concerto "To the Memory of an Angel"

Based on a short novel by Dostoyevsky, Prokofiev's The Gambler unfolds in the fictional casino town of Roulettenburg, where a variety of characters converge and clash. These characters include a General indebted to a covetous Marquis, the General's resentful stepdaughter Polina, and Alexey, who harbors feelings for her. Director Peter Sellars, known for his insightful interpretations of overlooked masterpieces, challenges us to mirror the bravery of Dostoyevsky and Prokofiev - the courage to confront our inner darkness. The musical direction of Russian conductor Timur Zangiev shines together with the vocal performances of the exceptional cast: "Asmik Grigorian portraying a passionate Polina, and Sean Panikkar delivering a powerful performance as Alexei" (Financial Times) "Peter Sellars... has done what this exceptional director always tries to do: present an old, distant story as an analysis of the here and now" (Suddeutsche Zeitung) "A triumph of vision and passion" (European News Agency) "Grand sound cinema" (Bachtrack)

Weinberg's final opera, based on Dostoevsky's novel, condenses the plot without losing it's psychological depth. Prince Myshkin, mentally ill yet believing in goodness, meets merchant Rogozhin on a train, sparking a tale of dependence, madness, and murder. The opera, rediscovered in the last decade, presents the composer Weinberg as Shostakovich's equal. The Idiot, composed in 1986-1989, now staged in Salzburg, directed by Krzysztof Warlikowski and conducted by Mirga Grazinyte-Tyla, brings the world of literature to the opera stage. The excellent cast of singers contributes to make the production a great success. Bogdan Volkov "expressive lyrical tenor touches intimately in the piano and yet remains able to cope with all orchestral storms" (BR Klassik).

The Gondoliers, the twelfth of fourteen operas from Gilbert & Sullivan, has been an audience favourite since it's 1889 premiere. The tunes are infectious, the romantic and family conflicts heartfelt, and the satire of rank and station constantly entertaining and relevant. This Scottish Opera co-production with the D'Oyly Carte Opera Company and State Opera South Australia is created by some of the world's foremost G&S enthusiasts and experts.

The Gondoliers, the twelfth of fourteen operas from Gilbert & Sullivan, has been an audience favourite since it's 1889 premiere. The tunes are infectious, the romantic and family conflicts heartfelt, and the satire of rank and station constantly entertaining and relevant. This Scottish Opera co-production with the D'Oyly Carte Opera Company and State Opera South Australia is created by some of the world's foremost G&S enthusiasts and experts.

"•The particularity of this edition of Donizetti’s masterpiece is in its reconstruction of the 1845 Saint Petersburg version. Along with some key transpositions, this 2010 performance presents the alternative finale adopted at the same time. • Bass-baritone Lorenzo Regazzo is an acclaimed “bel canto” and “coloratura” singer and renowned Mozart and Rossini interpreter. Giovanni Battista Rigon is considered “one of the best Rossini conductors...spirited...never tiring” (Il Corriere della Sera)."

For his ballet Tchaikovsky Overtures, Alexei Ratmansky chose overtures by Pyotr Tchaikovsky which the composer had created in various stages of his life for concert performance. Content-wise, these musical works draw on the dramas of William Shakespeare: Hamlet, The Tempest and Romeo and Juliet. Although Alexei Ratmansky clearly has not created a narrative ballet, the narrative motifs from these three of Shakespeare's plays appear on the surface of the choreographic structure time and again, thus, Shakespeare's 'voice' serves as the foundation for both the dance action on stage and the music resonating from the orchestra pit. Traditionally, overtures are heard at the beginning of an opera or a ballet and carry over into a plot. In Alexei Ratmansky's Tchaikovsky Overtures, however, overture follows on overture, whereby a new beginning is truly followed by another one. Interwoven into this is a fundamental pledge of the theatre to have a new world appear with every opening of the curtains and to set a beginning that opens in the future. With the devices and resources of classical and neo-classical ballet, Alexei Ratmansky continuously refers in his choreography to the history of dance art. We should not forget here that ballet literally had to fight to survive in different epochs. The hope that factual reality would dissolve into something dance-like also constantly resonates here. Opalescent in character, the "Fantasy Overtures", the generic name of the orchestral pieces chosen from Tchaikovsky's oeuvre to be performed in the ballet program, become ideal templates for a ballet, which must also be understood as fantasizing. They represent a fantasy about the role of classical ballet today, the memories it carries, and how it might shape it's future.

For his ballet Tchaikovsky Overtures, Alexei Ratmansky chose overtures by Pyotr Tchaikovsky which the composer had created in various stages of his life for concert performance. Content-wise, these musical works draw on the dramas of William Shakespeare: Hamlet, The Tempest and Romeo and Juliet. Although Alexei Ratmansky clearly has not created a narrative ballet, the narrative motifs from these three of Shakespeare's plays appear on the surface of the choreographic structure time and again, thus, Shakespeare's 'voice' serves as the foundation for both the dance action on stage and the music resonating from the orchestra pit. Traditionally, overtures are heard at the beginning of an opera or a ballet and carry over into a plot. In Alexei Ratmansky's Tchaikovsky Overtures, however, overture follows on overture, whereby a new beginning is truly followed by another one. Interwoven into this is a fundamental pledge of the theatre to have a new world appear with every opening of the curtains and to set a beginning that opens in the future. With the devices and resources of classical and neo-classical ballet, Alexei Ratmansky continuously refers in his choreography to the history of dance art. We should not forget here that ballet literally had to fight to survive in different epochs. The hope that factual reality would dissolve into something dance-like also constantly resonates here. Opalescent in character, the "Fantasy Overtures", the generic name of the orchestral pieces chosen from Tchaikovsky's oeuvre to be performed in the ballet program, become ideal templates for a ballet, which must also be understood as fantasizing. They represent a fantasy about the role of classical ballet today, the memories it carries, and how it might shape it's future.

In 2024, Riccardo Chailly and the Lucerne Festival Orchestra continued their acclaimed Rachmaninoff cycle with a concert spanning the composer's lifetime: from the youthful freshness of the composer's earliest works like the rarely performed "Youth Symphony" and his Piano Concerto No. 1, to the musical mastery and maturity of his last major work, the "Symphonic Dances". Young piano prodigy Alexander Malofeev, in whose repertoire Rachmaninoff's music occupies a special place, gave his much-lauded Lucerne Festival debut as the soloist of the evening with an electrifying performance.

In 2024, Riccardo Chailly and the Lucerne Festival Orchestra continued their acclaimed Rachmaninoff cycle with a concert spanning the composer's lifetime: from the youthful freshness of the composer's earliest works like the rarely performed "Youth Symphony" and his Piano Concerto No. 1, to the musical mastery and maturity of his last major work, the "Symphonic Dances". Young piano prodigy Alexander Malofeev, in whose repertoire Rachmaninoff's music occupies a special place, gave his much-lauded Lucerne Festival debut as the soloist of the evening with an electrifying performance.

The three operas-comiques in this set epitomise the glamour, vivacity and zest of the quintessentially French genre and are among their composers' most admired works. Adolphe Adam's "Le Postillon de Lonjumeau" exudes rococo Parisian charm, Reynaldo Hahn's elegant and refined "Ciboulette" is one of the last masterpieces of French operetta, and Jacques Offenbach's "La Perichole" is an opera-bouffe of scintillating colour and vivacious dances. These acclaimed productions from the famous stage of the Opera Comique in Paris feature world-class performers, superb directors, and, in the Adam, costumes by the iconic French fashion designer, Christian Lacroix. “[A] delightful collection…Florie Valiquette shows a lively stage presence as Madelaine...All in all this is an enjoyable outing.” --MusicWeb International

The three operas-comiques in this set epitomise the glamour, vivacity and zest of the quintessentially French genre and are among their composers' most admired works. Adolphe Adam's "Le Postillon de Lonjumeau" exudes rococo Parisian charm, Reynaldo Hahn's elegant and refined "Ciboulette" is one of the last masterpieces of French operetta, and Jacques Offenbach's "La Perichole" is an opera-bouffe of scintillating colour and vivacious dances. These acclaimed productions from the famous stage of the Opera Comique in Paris feature world-class performers, superb directors, and, in the Adam, costumes by the iconic French fashion designer, Christian Lacroix. “[A] delightful collection…Florie Valiquette shows a lively stage presence as Madelaine...All in all this is an enjoyable outing.” --MusicWeb International

Roberto Devereux is the fourth and finest of Donizetti's works dedicated to the Tudor period of English history, and is considered by many to be the ultimate masterpiece amongst his Italian operas. The tragic narrative is a tale of intrigue and vengeance in the court of the elderly and weary Queen Elisabeth I, with Donizetti's powerful score expressing all of the intense drama and sorrowful emotion demanded by the opera's finely etched characters. This star-studded Donizetti Opera Festival production received wide critical acclaim.