Calixto Bieito’s next outrage will be Mahler

Calixto Bieito’s next outrage will be Mahler


norman lebrecht

April 29, 2022

The Vienna State Opera announces its new season tody.

Top of the bill is a staging of two Mahler song cycles, Das Klagende Lied and Kindertotenlieder.
It is one of just six new productions.

Here’s the full rundown:

→ Gustav Mahler
29. September 2022

Musikalische Leitung Lorenzo Viotti
Inszenierung Calixto Bieito

Mit Florian Boesch, Tanja Ariane Baumgartner, Vera-Lotte Boecker, Daniel Jenz

→ Richard Wagner
4. Dezember 2022

Musikalische Leitung Philippe Jordan
Inszenierung Keith Warner

Mit Michael Volle, David Butt Philip, Hanna-Elisabeth Müller, Wolfgang Koch, Georg Zeppenfeld, Michael Laurenz, Christina Bock, Martin Häßler

→ Richard Strauss
2. Februar 2023

Musikalische Leitung Philippe Jordan
Inszenierung Cyril Teste

Mit Malin Byström, Iain Paterson, Gerhard A. Siegel, Michaela Schuster, Hiroshi Amako, Patricia Nolz

→ Wolfgang Amadeus Mozart
11. März 2023

Musikalische Leitung Philippe Jordan
Inszenierung Barrie Kosky

Mit Andrè Schuen, Hanna-Elisabeth Müller, Ying Fang, Peter Kellner, Patricia Nolz, Stephanie Houtzeel, Josh Lovell, Andrea Giovannini, Stefan Cerny, Wolfgang Bankl, Miriam Kutrowatz

→ Claudio Monteverdi
2. April 2023

Musikalische Leitung Pablo Heras-Casado
Inszenierung Jossi Wieler & Sergio Morabito

Mit Georg Nigl, Kate Lindsey, Josh Lovell, Hiroshi Amako, Andrea Mastroni, Jörg Schneider, Helene Schneiderman / Concentus Musicus Wien

→ Francis Poulenc
21. Mai 2023

Musikalische Leitung Bertrand de Billy
Inszenierung Magdalena Fuchsberger

Mit Sabine Devieilhe, Michaela Schuster, Nicole Car, Eve-Maud Hubeaux, Maria Nazarova, Bernard Richter, Michael Kraus


  • Don Ciccio says:

    More scrutiny of the 2022-23 lineup. Here are some of the notable omissions:

    Angela Gheorghiu, Lise Davidsen, Renée Fleming, Rene Pape, Nadine Sierra, Joyce DiDonato, Sir John Tomlinson, Peter Mattei…

    Each a leader in his/her Fach.

    (and yes, this “measuring” is absurd. Precisely my point.)

  • Günther Kraus says:

    The entire season…yawn.

    Most interesting to me is that it seems that Frau Netrebko, who lives right around the corner from the Vienna State Opera, seems to not be included in any productions. I think we all know that the issue is not that she was too busy somewhere else

    I guess Vienna is following the example of the Met and not that of Monte Carlo.

    *** It seems that there is a revival of Aida that does yet have a singer listed to sing the Ethiopian princess. This is complete conjecture, but me thinks this was probably a production that was to have featured Frau Netrebko and she was pushed at the last minute. Paging Sondra Radvanovsky.

  • Barry Guerrero says:


  • IP says:

    Not my Vienna Opera.

  • Elizabeth Owen says:

    Well, like Peter Sellers, who would have noticed him if he wasn’t outrageous he’d just be another bog standard director.

  • Bloom says:

    Calixto Bieito is a serious director . His artistic vision may be debatable, but what he does with the singers is very professional and stimulates them into becoming actors.

  • Karl says:

    Yes thank god. Now Mr. Bieto can live out his imagination “undisturbed”. Actually like Tristan. Only – thanks to Roscic – he is no longer bothered by the stupid content and mediocre music of such a ridiculous play as Tristan and Isolde. Yes, genius is genius.

  • MPMcGrath says:

    As so often in recent years. Vienna is worth the trip for Theater an der Wien. The Haus am Ring? Forget it. Send instead the tourists in their jeans and t- shirts to appreciate all the red and gold tat from the 50s.

  • guest says:

    Poor CB isn’t outrageous. He’d like to belong to the new age “artists”, that is, the crowd who tries very hard to be eccentric without being revelatory and/or relevant, but he doesn’t qualify even for them. He is just self-indulgent and soooo very 1970s. He tries so hard to embarrass the public, poor soul, but succeeds just in embarrassing himself. The outrageous ones are the opera intendants who foist CB’s unimaginative output on paying audiences.

    • Herr Forkenspoon says:

      No one is forced to go. The more people that stay away, the more things will change.

      • guest says:

        Correct, no one is forced to attend. I should have written taxpayers instead of paying audiences. I agree people should stay away but I don’t see this happening – when performances don’t sell the powers that be suddenly remember “young audiences” and put up special offers for them at give away prices, the significant price difference also supported from the state coffers. The system is corrupt, and some people’s mentality is corrupt too – it’s worth to them to enter an opera house at bargain prices no more expensive than a movie ticket just for the sake of a few selfies to post on social media. These people aren’t opera lovers by any stretch of imagination but there are enough of them to be manipulated into proof of whatever is needed for whatever justification is needed.

  • Tiredofitall says:

    Boy, I just read Roscic’s comments about hiring Netrebko. Ein “unglaubliches Bubble-Thema”, hält, an dem das Publikum “vollkommen desinteressiert ist”…really, Herr Direktor????? Such statements have a way of eventually biting you in the ass. Gut.

  • Pedro says:

    Thankfully it is not a production I am interested in.

  • Bloom says:

    This seems to be the meeting place of anti-Calixto Bieito fan club. Such a moronic gathering.

    • Fritz Grantler says:

      Who wants to see the crap this bald , ugly, Spaniard produces – after all the years in Germany he can barely speak the language..Verpiss dich 1

  • Sotto Voce says:

    I attended Tristan at Vienna last night. I’m not a Bieito fan but just to report that the house was pretty full. I spotted maybe 10 empty stalls seats? Schager was outstanding and his final scene with Iain Paterson heartbreaking. In my opinion, there were parts of Bieito’s production which worked very well – the destructiveness and madness of erotic yearning were powerfully invoked in Act 2. Very pleased I attended and was not put off by the reports. I didn’t hear any booing, applause was generous. Each to their own ….