Vienna’s 3rd opera house whips London and NY’s 2nd

Look what’s coming up next season at the Theater an der Wien:

Manfred Honeck conducts Fidelio

Piotr Beczala sings the Polish national opera Halka

Marlis Petersen sings Salome, with young Leo Husain conducting

Constantin Trinks conducts Prokofiev’sFiery Angel

The lustrous Asmik Grigorian sings Norma

Handel’s Giustino gets a rare outing….. and more.

At the city’s third opera house, something neither New York nor London can afford.

 

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  • The Viennese wouldn’t count this theatre as their ‘third’ theatre. Many would count them as their number one

  • I would actually call them Vienna’s second opera house. Volksopera is an inferior company, in spite of its good orchestra. Horrible singing and productions in that house.

  • I just wish I could get there for it all this time around.

    Have to get in early for seats otherwise one of those little wooden ones with the small, hard round seat IN THE AISLE!!!

  • Wouldn’t really call it Vienna’s 3rd Opera House. Technically it might be, but for some time already it’s clearly No. 2. And to be honest it also bear Vienna’s Opera House No1. which next season is more than boring.

  • Fiery Angel, hopefully without the involvement of Barry Kosky…. Fidelio… and Giustino. Excellent programming, calculated to bring an educated public through the doors! Lucky that air tickets to Vienna are currently cheap! Lots to see and admire here! 🙂

  • Do London’s and NY’s 2nd still actually deserve to be considered as Opera Houses? Indeed, are either now little more than the hollowed out husks of something neither London or NY feel important enough to support but european cities still seem to feel worth the effort?

    • What drivel. ENO is putting on imaginative, ambitious work; making major efforts to diversify audiences and is putting on new work each season, as well as exploring repertoire areas (eg operetta) untouched by other major UK companies while showcasing significant new talent on stage and on the podium. Productions like Akhnaten, Porgy and Bess, Iolanthe and the current Merry Widow have been word-of-mouth successes driven by audience response rather than lavish expenditure on big-nane stars. Don’t be misled by the relentless anti-ENO campaign being pursued by a handful of superannuated critics with a very specific political agenda.

  • NL writes: “At the city’s third opera house, something neither New York nor London can afford.”

    Er…both cities can afford it, but choose not to pay for it.

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