Jonas Kaufmann, tenor
Valentina Nafornița, soprano, and Markus Werba, baritone, performing Zauberflöte.
Anna Shepelyeva in Der Nussknacker
Anna Netrebko, soprano, and Lois Lammerhuber have fun with the camera at the end of a photo shooting for the Wiener Staatsoper. Thank you, Anna!
Clemens Unterreiner, baritone
Angelika Kirchschlager, mezzo-soprano
Edita Gruberová, soprano
Wolfgang Bankl, bass / baritone
Anja Harteros, soprano
Mihail Dogotari, baritone, and Valentina Nafornița, soprano – the couple enjoys a private moment before going on stage
Elīna Garanča, mezzo-soprano
Hans Peter Kammerer, baritone
Ileana Tonca, soprano
Ildikó Raimondi, soprano
Margarita Gritskova, mezzo-soprano
Elisabeth Kulman, mezzo-soprano
Herwig Pecoraro, tenor
Joyce Didonato, mezzo-soprano
Ernst Julius Hähnel’s sculpture ‘Romantic Poetry on winged horses’ on the rooftop of the opera
Hans Gasser, Loreley Fountain, ‘Grief’, ‘Love’ and ‘Vengeance’ – found in the very front of the opera.
The main vestibule with the high relief ‘The Opera’
The northern facade of the opera seen from the Albertina museum
The Wiener Staatsoper is considered to be the most important opera house worldwide and, above all, the opera with the largest repertoire. The season lasts from September to June and offers more than 300 performances of more than 60 different operas and ballets.
Celebrating the première of Don Pasquale, press officer André Comploi, press officer and Michele Pertusi, bass, Being intervied by Christian Reichhold from the Austrian Broadcasting Corporation ORF.
Alisa Kolosova, mezzo-soprano, Olga Pudova, soprano, Christina Carvin, soprano, and Olga Bezsmertna, soprano, in Mozart’s Zauberflöte
The auditorium with the stalls, parterre and the orchestra pit, 1st gallery, 2nd gallery and balcony. It offers 1713 seats and 567 standing spaces.
Attention: A knot in a rope at center stage is the sign that stops all work.
Technical setup for Don Pasquale
At seven in the morning, any of the previous night‘s decorations, which were not dismantled right after the performance, are taken down. Immediately afterwards, the stage is prepared for the morning rehearsals, which generally start at 10 or 11 o’clock. These rehearsals normally last three hours, then there are auditions on stage, the rehearsal stage-set is removed and the stage-set for the evening performance is set up and prepared straight away
Christoph Willibald Gluck’s Armide – Wiener Staatsoper Choir Academy
“Yes, we are happy, we like the look of us”: Felicitas Thyringer, Ulrike Erfurt, Erika Hatházi, Oleg Zalutskiy, Wilma Maller, Isabel Seebacher, Younghee Ko, Hyum-Sook More, Karen Schubert – singers of the choir of the Wiener Staatsoper.
Extras – shown here is the children’s choir – in Carmen
Thomas Lang, Zsuzsanna Szabo, Maria Bierbaumer, Ingrid Vadehra, Renate Gutsch, Ulrike Erfurt, Eszter Stachl-Gurban, Eliza Zurmann – singers of the choir of the Wiener Staatsoper ready to go on stage to performTurandot.
Musical director Thomas Lausmann: In a new production the following needs to be planned and taken care of: choosing the music scores, defining the singers’ profiles, allocating the vocal coaches, organizing the singers and the choir, planning of the roles and, above all, the rehearsing with the singers, which sometimes takes more than a year.
First stage orchestra rehearsal supported by Janko Zannos
Thomas Lechner, percussionist, Wiener Philharmoniker
Monika Bohinec and Stephanie Houtzeel moments before they are called to the stage of Aufstieg und Fall der Stadt Mahagonny.
Giacomo Puccini’s Turandot
Richard Wagner’s Lohengrin
Alessio Arduini, baritone, and Michele Pertusi, bass, perform in Don Pasquale by Gaetano Donizetti
Carmen: Juliette Mars, mezzo-soprano, Roberto Alagna, tenor, and Jongmin Park, bass, leave the stage in triumph
Lise Lindstrom, soprano, as Turandot
Portrait of Lois Lammerhuber
© Francis Giacobetti/Edition Lammerhuber
After the fall of the empire in 1918, the young republic soon remembered the imperial festivities at the opera house. The first opera ball of the Republic of Austria was held in 1921, and in 1935 the first ‘Vienna Opera Ball’ – which it was actually called – took place.
Susanne Ruhstorfer paints costumes of Don Carlo.
At rear stage meet Aida, Die Zauberflöte, Hänsel und Gretel and Arabella … The Wiener Staatsoper cultivates the largest repertory in the world: Every year, the programme includes some 60 operas and ballets. It is the only opera house which is able to oﬀer such exemplary quality and diverse variety of works and styles: from baroque opera to contemporary music theatre, from Wagner to Verdi, from Mozart to Strauss, from classical productions to progressive perspectives.
Handing over the model: Peter Kozak, Michaela Stark, Irina Brook, Dominique Meyer, Noëlle Ginefri-Corbel, Sylvie Martin-Hyszka. The new production takes shape in the form of mock-ups, plans and the model sheets about one year before the première. An exciting moment.
Gabriele Jelinek and Ingrid Machreich are busy with Elektra at the dressmaking workshop for women.
Whilst the decoration for Carmen is waiting at the back stage for the evening performance, stagehands are preparing the rehearsal of the first act of La fanciulla del West.
Sue Blane, costume designer, in splendid isolation and concentration.
Head shapes at the workshop.
Orchestra stage managers prepare a concert matinee with José Carreras.
Enjoying a quiet moment on the set of La fanciulla del West.
The stage workers are on standby during the whole rehearsal in order to implement the requests of the stage director immediately.
Sylvie Martin-Hyszka and Vera Richter present to their team the costume designs for Don Pasquale.
Lighting Carmen: Arranging the lights for the first act is the last preparatory step just before the curtains are drawn.
The production of Wagner’s Nibelungenring for children is runnig in full: “Weia! Waga! Waft your waves, waves of the Rhine”.
At the repertory wardrobe shop
Creating a première at the opera: The lighting technicians need almost two whole days for the lighting tests during which the opera is closed for performances.
The parquet floor fits the auditorium and the stage of the vienna state opera together to form one single unit – the ballroom of the Opera Ball, a dance floor of 800 square meters. The metamorphoses of an opera house into a ballrom follows a precise sequence. Every single procedure performed by 600 workers is fixed nearly exactly on time, with only slight deviations of five to ten minutes.
Wagner’s Nibelungenring for children: Daniela Haas’ costume team must be perfectly at home in the anatomy of mythical creatures. Hoops and bars form the base frame, the skeleton of the dragon costume. It has to be light in weight in order not to hinder the actors, yet solid enough to resist the strains of many performances.
92 individuals – striving for the perfect sound – Richard Wagner Lohengrin.
“This is a wonderful choir, an incredibly good choir. Such stylistic versatility! Truly exceptional!” – says conductor Christian Thielemann about the choir of the Wiener Staatsoper.
Conductor Zubin Mehta rehearses Giuseppe Verdi’s Falstaff in the choir practice room
Thomas Lang, choir director and Gustavo Dudamel, conductor
Rehearsing Der Nussknacker: Emilie Drexler, Rui Tamai and Yuki Sento
Marie Antoinette: In the dressing room with Ioanna Avraam and Prisca Zeisel
After rehearsing Balanchine & Robbins – Natalie Kusch completely exhausted.
Maria Yakovleva at the ballet practice rooms
Eno Peci, Roman Lazik and Maxime Quiroga at the ballet practice rooms
Nibelungenring for children: Christian Herden dances as Loge
Dagmar Kronberger leaves with her daughter Lea the stage for home after rehearsing Dornröschen.
Alice Firenze, Eno Peci and Marie-Claire D‘lyse
Andrea Némethová warming up.
Marie-Claire D‘lyse, Natalie Kusch, Ioanna Avraam, Kiyoka Hashimoto, Alena Klochkova and Alice Firenze at the ballet practice rooms
Anna Mendakiewicz, Andrea Némethová and Alena Klochkova enjoying a break in La Sylphide
Andrea Némethová warming up
Senta Fischer rehearses Giacomo Puccini’s Turando.
Rehearsal in the choir practice room
The Wiener Staatsballett, which now has more than 100 members, is an ensemble that has one of the richest traditions in all ballet history. When one studies the annals of ballet in Vienna one will ﬁnd periods when the ensemble held a leading international position among ballet companies, and even times when it played a pioneering role for this art form. Eleonore Gonzaga, wife of Emperor Ferdinand II, ﬁrst arranged a ballet in 1622, almost 400 years ago. This new art form then enjoyed its ﬁrst heyday, although at the time it was performed exclusively by the aristocracy. It was not until the early 18th century that a purely professional troupe was formed. The dancers and choreographers who later worked in Vienna include individuals whose names are now as legendary as Rudolf Nureyev
Ketevan Papava in Marie Antoinette
Corps de Ballet in La Sylphide
Corps de ballett: Der Nussknacker
Ketevan Papava in Dornröschen
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Last updated on 9.04.2020