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Kurt Weill's musical, with its focus on psychoanalysis, makes its Austrian premiere in the city of Sigmund Freud. 

Movement was so effectively utilised in this production, with elements of ballet, modern and Scottish folk melded in true Agnes de Mille fashion.

The Theater an der Wien has a storied history with Fidelio, having hosted the première of the work’s first and second versions in 1805 and 1806 respectively.

When Jean-Christophe Spinosi stepped onto the podium to conduct Le Comte Ory that night, he didn’t wait for his applause to cease, but instantly cued a hearty forte from the Ensemble Matheus, and consequently a few incredulous looks from the audience.

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.