Result: Salzburg sells 97%

Final results from this year’s festival:

The 2018 programme of the Salzburg Festival included 206 performances at 18 performance venues.

With a 97% ratio of occupied seats and 260,875 tickets issued, ticket revenues of 30.3 million Euros exceeded last year’s. These results, say the festival, should not distract from the major financial problems it is facing due to the overall renovation of the Großes
Festspielhaus.

 

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  • Petros Linardos says:

    Are we going to be regularly treated to this photograph?

  • Tweettweettweet says:

    That is a high average ticket price of more than 100 euro :O

  • Martin says:

    I guess these so called eurotrash and Regietheater productions really don’t work, otherwise it would be 108%

    • Don Ciccio says:

      Your sarcasm apart, here are a few things to consider:

      First of all, while there certainly are plenty of interesting things for the music lover, Salzburg is also a place to be seen during the Festival.

      Second, there are lots of offerings outside opera. Ever heard of orchestral concerts, church concerts and chamber music?

      Third, what’s an opera lover got to do if he or she wants to hear the music live?

      • Ms.Melody says:

        Your third comment is the unfortunate reason why Eurotrash and Regie are here to stay.As opera lovers we are indeed a captive audience if we want to hear live opera performances. And so we pay high prices to be insulted by t unseemly spectacles
        on the world stages.

      • Nik says:

        Of course, Salzburg has not been immune to the sillier excesses of Regietheater, but many of the stage productions in recent years have been excellent and true to the libretto.
        How many of them have you seen?
        Granted, there is a faction of the audience that won’t be satisfied until every production is some hyper-literalist pastiche of 19th century performance practice, but I daresay they are not in the majority. Most of us can appreciate an intelligent, aesthetically interesting reading of a work as long as it doesn’t go against the text or replace the sublime with the ridiculous.

        • Ms.Melody says:

          Obviously, I may lack your sophistication or broadmindedness, but I don’t understand the sin of performing a classical piece of music in the period with sets and costumes of the period. The sorry, hideous mess of this season’s “Pique dame” is a prime example of what can and does go wrong when director thinks he knows better than the composer or the writer.
          The “Coronation of Poppea” is another , but enough has been said about it on this site already. There are some works that lend themselves to updating, e.g Carmen, Cavalleria Rusticana, Pagliacci to name a few, but others where historic moment is clearly indicated, like Tosca ( the battle of Marengo) or Pique dame (reign of Catherine the Great) , the Donizetti queens, etc. should be left alone, and performed as they were meant to be by the composer and the librettist, without the additions and “improvements “by some clueless upstart who has a job only because those great works had been created in the first place.

  • Stupid says:

    Is this about the legendary NY Post headline „Headless body in topless bar“?

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