Artikel von Snapdragon

When the Theater an der Wien’s in-house magazine featured an article about costumes created by none other than Christian Lacroix for this new production of Radamisto, I was intrigued by the pictures, but also a bit nonplussed by the idea that his gowns had been hand-painted in order to illustrate the different levels of Radamisto’s nightmare.

The message of Voltaire’s novel Candide, ou l’Optimisme is that rationality and reason, rather than custom, faith or authoritative orders should determine all human activity, and although this quintessence of the Age of Enlightenment sounds self-evident nowadays, a visit to the newspaper kiosk shows us otherwise: a lot of luridly-titled guidebooks and magazines try to talk us into believing that a

In a city where the Vienna State Opera ball is considered the climax of the carnival season and where the local news would lend itself to great libretti (were operetta still in fashion), it is not too surprising that music and theatre performances occasionally mirror the headlines.

Along with Die Fledermaus and Der Zigeunerbaron, Wiener Blut is generally considered to be Johann Strauss’s most popular operetta, although it is really a pasticcio for which Adolf Müller recycled parts of 31 popular dance pieces, artistically weaving various motifs into a new score.

A new production of Ariadne auf Naxos is a major draw in itself, but a queue for standing room whose end is on the other side of the opera house is news even in Vienna, especially when the performance is not the première, but the fourth in a run of five and also the one that Franz Welser-Möst left to Jeffrey Tate, who has conducted the piece to positive reviews before.

Humperdinck called his greatest hit a “Kinderstubenweihfestspiel” (a festival play for the consecration of the nursery) and the course of time has proven this joke appropriate: while Parsifal around Easter is the high point of the year for Wagnerians, Hänsel und Gretel at Christmastime is for everybody (including all those who claim they can’t stand Wagner and ignore the influence he had on Humpe

A cast of five countertenors and one tenor performing an opera by Handel contemporary Leonardo Vinci may look like a long evening to those who don’t appreciate the high male voice, but Baroque lovers hoping for a triplet and trill fest as well as some vocal drag got all they wanted in this concert version of Artaserse.

Alceste is the short and sombre story of a wife who gives her life to save that of her husband, King Admète of Thessaly, a deed which ultimately convinces the gods to reprieve both of them. Gluck, hoping to avoid the over-decorated vocal style then in vogue, set this plot to unadorned vocal lines to give depth to the underlying emotions.

It was a touching moment when an overwhelmed Joyce DiDonato re-entered the stage after her fourth encore and covered her face with her hands for a few moments, not sure what to do in response to the unceasing applause.

After twelve long years, Oscar Straus’ Ein Walzertraum has made it back to the Volksoper, the place where it belongs for its indestructible Viennese spirit and never-ending popularity, and where Robert Meyer, the house’s boss and director on this occasion, customarily ensures that the traditional operetta is sheltered from modernist conceptual stagings.

A father having marriage plans for his daughter of which the latter does not approve may not be the most original plot, but it has inspired operas throughout the centuries, with well-known examples being The Bartered Bride and Arabella.