Salzburg box-office is down

Salzburg box-office is down


norman lebrecht

April 23, 2019

The results of the Easter Festival, just in, show a drop in ticket sales from 93 percent to 90.5.

Meistersinger sold out, but other events proved less attractive, notably the Eschenbach performance of Dvorak’s Stabat Mater.

In all, 18,800 tickets were sold.



  • Suzanne says:

    The prices were exorbitant, as ever. 230 Euros for Eschenbach conducting Dvorak’s Stabat Mater…

    • Olassus says:

      Indeed, Suzanne. For years now the “marketing” has been led by an imbecile, and the outgoing “managing director,” an artist, has been operating out of his depth. That the Salzburg Easter Festival did not collapse several iterations ago is entirely due to the stature and efforts of Christian Thielemann and the playing of the Dresden orchestra. Now, apparently, Salzburg’s politicians are waking up to the sales weaknesses (and the papering), and their solution, apparently, is to oust everyone — after first tapping the inept NB to entice the limited KP and replace the Saxons with the faded Prussians. It won’t work, anymore than the old pricing strategies work. Karajan is dead, the 1960s and 1970s are long over, and those of us who once supported the festival as donors are sick of the arrogance.

  • Pianofortissimo says:

    Thielemann’s Meistersinger sold out…

  • erich says:

    And those figures are not really accurate. There is a considerable difference between actual paying bums on seats and those – quite a few this year – given away free and semi-free, which are included in the 90%. Maybe Bachler will be able to get some new life into the Festival, assuming he and Thielemann can find a Modus Vivendi.

  • fflambeau says:

    The difference is statistically meaningless.

    • Esther Cavett says:

      ==The difference is statistically meaningless.

      Exactly. What was the figure 2 years, 3 years, 4 years…15 years ago ?

      Means nothing in isolation. Just the overpriced Dvorak Requiem could knock, say, 0.5% off.

      Please, let’s see trends not one-off figures.

  • Pedro says:

    Meistersinger was musically very good, except for the Eva. The production was idiot. Jansons concert was not up to the standards of the festival.

    • Petros Linardos says:

      “Meistersinger was musically very good, except for the Eva. The production was idiot.”
      Why am I not in the least surprised?

  • ThrownOutOfTheKremlinForSinging says:

    Too many sopranos imagine that Eva is like Brunhilde or even like the lesser sopranos in the big operas– I’m thinking of Gutrune and also the Rheinmaidens. She’s not. She’s just a desired object, and her primary sound/affect should be pert and a little saucy. Her vocal size should be just a little larger than an ordinary soubrette.