10th of July 2019
St. Margarethen Quarry
ca. 3.5 hours (incl. intermission)
|Wednesday, 07-10-2019, 08:30 PM||Tickets|
|Thursday, 07-11-2019, 08:30 PM||Tickets|
|Friday, 07-12-2019, 08:30 PM||Tickets|
|Saturday, 07-13-2019, 08:30 PM||Tickets|
|Friday, 07-19-2019, 08:30 PM||Tickets|
|Saturday, 07-20-2019, 08:30 PM||Tickets|
|Thursday, 07-25-2019, 08:30 PM||Tickets|
|Friday, 07-26-2019, 08:30 PM||Tickets|
|Saturday, 07-27-2019, 08:30 PM||Tickets|
|Friday, 08-02-2019, 08:30 PM||Tickets|
|Saturday, 08-03-2019, 08:30 PM||Tickets|
|Thursday, 08-08-2019, 08:30 PM||Tickets|
|Friday, 08-09-2019, 08:30 PM||Tickets|
|Saturday, 08-10-2019, 08:30 PM||Tickets|
|Thursday, 08-15-2019, 08:30 PM||Tickets|
|Friday, 08-16-2019, 08:30 PM||Tickets|
|Saturday, 08-17-2019, 08:30 PM||Tickets|
|K6 (extra legroom)||135,00||145,00|
|K7 (extra legroom)||122,00||131,00|
|K8 (extra legroom)||61,00||70,00|
Eisenstadt Ticket Office
T: +43 2682 65 0 65
F: +43 2682 65 0 65 888
Opening times: Monday to Friday 9am-5pm
Cornelius Obonya was born on March 29th, 1969 in Veinna, Austria. His parents are Elisabeth Orth-Obonya and Hanns Obonya (died 1978), his grandparents on my mother´s side were Paula Wessely and Attila Hörbiger, on his father´s side Marianne and Alois Obonya.
At the age of 17, he joined the Max-Reinhardt-Seminar to study acting, left it after one year and worked with Gerhard Bronner. Bronner was one of the important people in his professional and private life , like Emmy Werner, former managing director of the Volkstheater Wien and Andrea Breth with whom he worked for many years at the Schaubühne Berlin and at the Burgtheater Wien.
For his first role at the Volkstheater in Neil Simons „„Brighton Beach Memoirs“, he received the Nachwuchspreis des Karl-Skraup-Preises and one year later, the O.-E.-Hasse-Preis. With Andrea Breth he worked at the Berliner Schaubühne am Lehniner Platz (1992–1999), at the Burgtheater from 2000 on, he played in Edward Bond´s „The Sea“ (Hollarcut), Lessing´s „Emilia Galotti“ (Pirro), Schillers „Don Carlos“ (Domingo), Cechow´s „The Cherrygarden“ (Trofimow), Tennessee Williams’ „Cat on a hot tin roof“ (Gooper) und Lessing´s „Minna von Barnhelm“ (Paul Werner). In Andrea Breths ´direction of Schnitzler´s „Das weite Land“ ´in 2002 as Paul Kreindl he gave his debut at the Salzburg festival. And there he starred as "Monsieur Jourdain" in "Ariadne auf Naxos" by Richard Strauss in 2012.
At the Burgtheater Cornelius Obonya also played in the direction of Peter Zadek, Sven-Eric Bechtolf, Karin Beier, Carolin Pienkos, Anselm Weber, Stefan Bachmann and Falk Richter.
Further more Cornelius Obonya played at the Theater in der Josefstadt where he starrer in 2009/10 the „Lehrer“ in a dramatisation of Horváths „Yuth without a God“ by Christopher Hampton and in the Ronacher, where he starred as „Max Bialystock“ 2008/09 in the famous Mel-Brooks-Musical „The Producers“. With this production he had performances at the Berliner Admiralspalast. A huge success came in 2010/11 with a solo-programe, „Cordoba – das Rückspiel“ by Florian Scheuba und Rupert Henning (who also directed) at the Rabenhof Theater in Vienna. For theis he received the "Salzburger Stier 2010" and a nomination for the "Spezialpreis des Nestroy-Preises 2010“. He became „Schauspieler des Jahres" of Ö1 of the Austrian Broadcasting Corporation. After this, in 2011/12, he played again at the Burgtheater, "Caligula" by Albert Camus, directed by Jan Lauwers and "Menschenfeind" in "Der Alpenkönig und der Menschenfeind" by Ferdinand Raimund directed by Michael Schachermaier.
The saison of 2012 und 2013 started his co-orperation with Stadttheater Walfischgasse, where he starrer as " Andrew Wake" in „Revenge/Sleuth" by Anthony Shaffer , at his side was Rupert Henning. The play was directed by Carolin Pienkos. She also directed the premiere of "C(r)sah", written by Rupert Henning, "Leroy Brooks" was his part here. In the summer-saisons 2013 - 2016 Cornelius Obonya was „Jedermann“ at the Salzburg festival.
The latest performances on screen saw Cornelius Obonya, as "Konrad" in "The Trapp Family - a life of music" . He also played in countless TV-Productiuons, as there were criminal-series „Tatort" and „CopStories“, Lars becker´s "Nachtschicht" and he played in productions like "Polt" und "Die Hebamme".
(c) Cornelia Gobauer
Nachdem er sich als Kapellmeister der Oper Frankfurt ein umfangreiches und breit gefächertes Repertoire erarbeiten konnte, konzentriert er sich in Zukunft vermehrt auf seine Gastengagements. 2016 folgen Debüts mit dem Münchner Rundfunk Orchester, dem Beethoven Orchester Bonn und der Südwest Philharmonie sowie weitere Konzerte mit der Deutschen Radio Philharmonie und den Bochumer Symphonikern.
Seinem Stammhaus, der Oper Frankfurt, bleibt er in enger Zusammenarbeit verbunden und wird regelmäßig als Gastdirigent zurückkehren. Hier dirigierte er Werke aus allen Epochen, wie etwa Mozarts Le nozze di Figaro, Don Giovanni, Così fan tutte, Idomeneo oder Die Zauberflöte über Verdis La Traviata und Don Carlos, des Weiteren La Bohème, Die Fledermaus und Hänsel und Gretel bis hin zu Kompositionen der Moderne, so Aribert Reimanns Die Gespenstersonate oder Aulis Sallinens Kullervo.
In der aktuellen Spielzeit 2015/2016 wird er an der Oper Frankfurt die Wiederaufnahme von Le nozze di Figaro und eine Neuproduktion von Valentino Fioravanti’s Le Cantatrici villane dirigieren. Zusätzlich übernimmt er die musikalische Leitung von Carmen (Regie: Christof Nel) an der Bayerischen Theaterakademie August Everding. Im Juni 2015 übernahm er die musikalische Leitung der deutschsprachigen Erstaufführung für Die Schneekönigin von Sergej Banewitsch, die unter der Patronanz von Anna Netrebko auf die Bühne gebracht wurde und einen durchschlagenden Erfolg feierte. Im Sommer 2016 wird er die Wiederaufnahme dirigieren. Parallel zu seiner Opernkarriere folgte er Einladungen zu diversen Orchestern. Seit 2014 gab er sein Debüt am Pult der Deutschen Radio Philharmonie Saarbrücken Kaiserslautern, bei den Bochumer Symphonikern, am Staatstheater am Gärtnerplatz, beim Slowakischen Radio Symphonie Orchester und am Stadttheater Klagenfurt. Des Weiteren dirigierte er die Slowakische Philharmonie und war als First Assistant Conductor an der Los Angeles Opera beschäftigt.
Karsten Januschke studierte in Wien Klavier und Musikwissenschaft, bevor er am Konservatorium Wien ein Dirigierstudium bei Prof. Georg Mark aufnahm, das er mit Auszeichnung abschloss. Bereits während seines Studiums arbeitete er an der Wiener Staatsoper als Solorepetitor und Dirigent von Kinderopern sowie am Theater an der Wien und später bei den Bayreuther Festspielen, wo er Dirigenten wie Christian Thielemann und Kirill Petrenko assistierte.
Foto: © Jürgen Freidel
Geboren 1955 in Heiligkreuz, Bayern, studierte er Bühnenbild am Mozarteum in Salzburg und an der Hochschule für Angewandte Kunst Wien. Seine Diplomprüfung bestand er mit Auszeichung, er erhielt den Förderpreis der Stadt Wien.
Nach Jahren als Assistent von Erich Wonder am Schauspielhaus Köln, sowie als Ausstattungsleiter am Schauspielhaus in Frankfurt und am Staats-theater Stuttgart etablierte sich Raimund Bauer seit 1988 als freischaffender Bühnenbildner.
Seitdem entwarf er zahlreiche Bühnenbilder u.a. für die Schauspielhäuser in Hamburg, Düsseldorf, Zürich, Basel, das Deutsche Theater in Berlin, das Burgtheater Wien und viele weitere.
In den letzten Jahren widmete er sich vorwiegend dem Musiktheater und schuf Bühnenbilder für Operninszenierungen u.a. in London (Parsifal, 1999), Amsterdam (Turandot, 2002; Tannhäuser, 2007; La Fanciulla del West, 2009), Barcelona (Parsifal, Król Roger), Zürich (Tristan und Isolde, Volpone, 2010), Chicago (Der fliegende Holländer), San Francisco (Parsifal, Der fliegende Holländer), Tokyo, Tel Aviv (Fidelio, 2005), Baden-Baden (Parsifal, 2005; Tosca, 2007; Tannhäuser, 2008), Genf (Salome, 2009), für die Dresdner Semperoper (Rigoletto, 2008; Dead Man Walking, 2006), die Salzburger Festspiele (Die Gezeichneten, 2005; Elektra, 2010), die Bregenzer Festspiele (Król Roger, 2009).
Zu den Regisseuren, mit denen Raimund Bauer zusammengearbeitet hat, zählen Nikolaus Lehnhoff, Adolf Dresen, Nicolas Brieger, Werner Düggelin und Anselm Weber. Bei der RuhrTriennale 2007 koordinierte Raimund Bauer die Rauminstallation Teatrum Mundi. Sein Bühnenbild für Król Roger bei den Bregenzer Festspielen 2009 wurde mit dem „Opus“ Bühnenpreis ausgezeichnet.
Foto: © Alexandra Klever
Martina Fender is currently singing at Theater Regensburg in Germany.
The young Tyrolean was in the summer of 2017 on the worlds largest open-air operetta stage, at the Mörbisch Lake Festival, as Postgirl Christl in the Bird Seller. This production is now available as a live cd .
In October 2017, she debuted in the Grand Hall of the St. Petersburg Philharmonic Hall with Yuri Bashmet conducting his chamber orchestra "Moscow Soloists".
Since the season 2015/16 Martina Fender is a soloist member of the ensemble Theater Regensburg. Her roles include Despina Cosi fan tutte, OTTILIE At the White Horse Inn, PAPAGENA The Magic Flute, Nella Gianni Schicchi, FRASQUITA Carmen, CLORINDA La Cenerentola, Ulla The Producers and Oscar Un ballo in maschera. In the season 2017/18 she is there again as Oscar, further as HANNCHEN Vetter aus Dingsda and Zerlina Don Giovanni
Already during her studies, Martina Fender has been a regular between 2012 and 2015 in the Linz State Theatre And debuted 2015 in the Grand Hall of the Brucknerhaus Linz as Mademoiselle Silberklang The Schaupieldirektor. In Linz, the artist also sang in the Great Hall of the new Music Theatre and collaborated with David Pountney and GMD Dennis Russell Davies.
Martina Fender is actively engaged in church music, contemporary music and Lied. She performed as a soloist in Bachs Matthew Passion and Haydns The Creation . She was on concert tours in Kyoto, Japan, among others.
Martina Fender completed with distingtion in 2015 her master studies at the University of Music and Performing Arts Vienna teached by KS Edith Lienbacher. Important for her career had been the song lessons with KS Robert Holl and master classes with Michael Walton, Richard Mayrhofer, Sylvia Geszty and Thomas Hampson. During her bachelors degree she sang, among others, Gretel Hansel and Gretel at the City Theatre Bad Hall. In university productions she was among others as Lucy Menotti inThe telephone .
In recognition of her outstanding artistic achievements, she was awared by the University of Music and Performing Arts in Vienna with the Appreciation Prize MDW 2015.
Martina Fender is also Prize Winner of numerous contests:
Gradeus AD Parnassum 2009,
International singing competition of the chamber opera Schloss Rheinsberg 2012,
Song Competition of the Petyrek-Lang-Stiftung Wien 2012,
Paula-Salomon-Lindberg-competition Das Lied Berlin 2013,
III. International Schubert-Lied competition Steyr 2014,
21st International Johannes Brahms Competition in Pörtschach/Wörthersee 2014.
Martina Fender is also a fellow of the Yehudi Menuhin Foundation live Music now Vienna.
The lyric tenor Attilio Glaser had a sensational success as Duca di Mantova in Verdi’s Rigoletto at the Deutsche Oper Berlin and in the title role in Mozart’s La clemenza di Tito at the Stadttheater Klagenfurt this season. He also returns as Walther von der Vogelweide in Wagner’s Tannhäuser to the Dutch National Opera, where he made his house debut in 2017 as Narraboth in Salome of Richard Strauss. In October 2019 he will give his debut as Rodolfo in Puccini’s La Bohème at the Deutsche Oper Berlin followed by his debut as Da-Ud in Strauss’ Die ägyptische Helena at the Teatro alla Scala.
In November 2017 Attilio Glaser made his debut in the title role in Massenet’s Werther at the Stadttheater Klagenfurt. Since then he sang this role at the Oper Frankfurt and at the Zurich Opera House. At the Deutsche Oper Berlin he sang roles like Ismaele (Nabucco), Cassio (Otello), Tamino (Die Zauberflöte), Alfredo (La Traviata), Narraboth (Salome) Don Ottavio (Don Giovanni) and Walther von der Vogelweide (Tannhäuser). Further, Attilio Glaser sang Alfredo (La Traviata) at La Fenice in Venice and Fenton in Nicolai’s The Merry Wives of Windsor at the Opéra de Lausanne.
Attilio Glaser devotes himself intensively to concert singing: His repertoire ranges from Mozart to Schubert, with Bachs Mass in B Minor and Christmas Oratorio, Beethovens Missa Solemnis and Symphony N ° 9, Dvořák’s Requiem and Stabat Mater, Gounod’s Cäcilienmesse, Händel’s Judas Maccabaeus, Messiah and Saul, Haydn’s Creation, Mendelssohn’s Elijah, Hymn of Praise and Paul, Mozart’s Mass in C Minor and Requiem, Saint-Saëns’ Oratorio de Noël, Schumann’s Paradise and the Peri and Verdi’s Messa da Requiem.
Attilio Glaser was a soloist at the Beijing Music Festival, the Bergamo Musica Festival, the Beethoven 30 ° Aniversario del Palau de la Música Festival in Valencia, the Holland Festival, the Max Reger Music Festival, the Rheingau Music Festival and the Salzburg Easter Festival.
He was accompanied by orchestras such as the Academy of Early Music Berlin, China Philharmonic Orchestra, Koninklijk Concertgebouworkest, Munich Chamber Orchestra, Orchestra Filarmonica del Gran Teatro La Fenice, Orchester de Chambre de Lausanne, Orkiestra Filharmonii Poznańskiej, Orquesta de Valencia, Radio Filharmonisch Orkest, Radio Symphony Orchestra Berlin, the Sächsische Staatskapelle Dresden and worked with conductors such as Alain Altinoglu, Andrea Battistoni, Łukasz Borowicz, Myung Whun Chung, Daniele Gatti, Alexander Liebreich, Diego Matheuz, Ivan Repušić, Ainārs Rubiķis, Donald Runnicles, Markus Stenz, Sir Jeffrey Tate, Christian Thielemann and Lorenzo Viotti, just to name a few.
Credit: Simon Pauly
Ana Maria Labin
Romanian born soprano Ana Maria Labin grew up in Switzerland. Still as a student she won the First Prize at the inaugural Swiss competition Concours Ernst Haefliger and had her debut as Valencienne in Pier Luigi Pizzi’s “Die lustige Witwe” under the baton of Asher Fish at La Scala di Milano.
Ana Maria Labin established herself as an acclaimed Mozart singer as Contessa in „Nozze di Figaro“, Donna Anna in „Don Giovanni“ and in 2017 Fiordiligi in „Cosi fan tutte“ in Ivan Alexandre’s Da Ponte Trilogy under Marc Minkowski in Drottningholm and Versailles, also performing Donna Anna at Glyndebourne OT and Contessa at the Estate Theatre Prague and Opera North. Other Mozart roles include Konstanze in „Entführung aus dem Serail“ at Glyndebourne on Tour, Arminda in “La Finta giardiniera” at the Festival Aix-en-Provence, Luxemburg and Toulon, Celia in Mozart’s “Lucio Silla”, staged by Günter Krämer at the Mannheimer Mozartsommer under the baton of Dennis Russel Davies/Adam Fischer and Erste Dame in “Die Zauberflöte” at the Bayerische Staatsoper München, Opera Amsterdam, Opéra de Montpellier and Théâtre du Châtelet Paris under Lawrence Foster.
Her further roles include Klara in Haydn’s “Die Welt auf dem Mond” under Julia Jones, La Baronessa Irene in Haydn’s „La vera costanza“ under Andreas Spering at the Brühler Schlosskonzerte, Héro in Berlioz’ “Béatrice et Bénédict” and Giulietta in Bellini’s “I Capuleti ed i Montecchi” with the Chelsea Opera Group, Euridice in Gluck’s “Orfeo ed Euridice” in Zürich and Najad in “Ariadne auf Naxos” at the Glyndebourne Festival under Vladimir Jurowski. She made her debut at the Opéra de Paris Garnier singing Valencienne in “Die lustige Witwe” and has recently moved on to singing Hanna Glawari in the same Operetta.
From the Baroque repertoire, Ana Maria Labin has performed such roles as Armida in Robert Carsen’s production of Händel’s “Rinaldo” at Glyndebourne on Tour under Laurence Cummings, Manto in Agostino Steffani’s “Niobe, Regina di Tebe” under Thomas Hengelbrock at the Schwetzingen Festival, the soprano part in Purcell’s “King Arthur” by Corinne and Gilles Bénizio (alias Shirley & Dino) under Hervé Niquet with Le Concert Spirituel at the Festival of Radio France in France and Japan, the title role of “La Giuditta” by Scarlatti alongside Michael Chance in Holland, Belinda in Purcell’s “Dido and Aeneas” at the Festival Retz and Galatea in Händel’s “Acis and Galatea” under Raymond Leppard with the English Chamber Orchestra.
Ana Maria Labin’s concert engagements have taken her to the Vienna Konzerthaus performing Haydn’s “Il ritorno di Tobia”, “The Creation” and “The Seasons” in the Congress Innsbruck, the Philharmonie Luxembourg and the Haydn Festival in Eisenstadt with the Austro-Hungarian Haydn Philharmonie under Adam Fischer. Other engagements have included a tour to Italy and Turkey with the English Concert under Harry Bickett singing Vivaldi’s motet “In furore iustissimae iras” and arias from Handel’s Giulio Cesare and Rinaldo, Pergolesi’s „La Maddalena al sepolcro“ and „Stabat Mater“ at the Festival La Chaise-Dieu under Giulio Prandi and the Ghislieri Consort and Ino in Telemann’s „Ino Kantate“ under Michael Schneider and La Stagione at the Kasseler Musiktage, a piece that she has recently recorded for Sony „deutsche harmonia mundi“.
She has been invited to sing Haydn’s Scena di Berenice and Beethovens concert aria Ah, perfido with Boston Baroque; Strauss’ „Vier letzte Lieder“ at the Tonhalle St. Gallen and Mozart’s „Vesperae Solennes de Confessore“ under Claus Peter Flor with the Orchestra Santa Cecilia in Rome. She performed Mozart airs and duets with the Mahler Chamber Orchestra under the baton of Antonello Manacorda at the newly built opera house in Bahrain and has sang in the renowned New Year’s Eve concert at the Semperoper Dresden under Christian Thielemann. The concert has been broadcast live on TV and was released on CD/DVD with Deutsche Grammophon.
The young soprano has also premiered contemporary pieces such as “La chevelure de Bérénice” of Dominique Lemaître with the Orchestra Sinfonica Nazionale della RAI under Daniel Kawka; a song cycle by Richard Dubugnon under Alain Altinoglu at the Festival Présences Radio France and sang compositions by Beat Furrer under David Zinman and Luciano Berio’s “Sequenza III” at the Tonhalle Zürich.
Future engagements include the revival of Ivan Alexandre’s staging of „Don Giovanni“ as Donna Anna in Versailles and a new production of „Cosi fan tutte“ as Fiordiligi under Marc Minkowski in Drottningholm and the Enescu Festival in Bucarest with Les Musiciens du Louvre; Lied recitals in Vienna and Basel and concerts at the Magdeburger Telemann Festival with Michael Schneider.
The Ukrainian soprano Kateryna Kasper is a member of the Opera Frankfurt since 2014. Her roles here include Sophie (Der Rosenkavalier), Susanna (Le nozze di Figaro), Gretel (Hänsel und Gretel), Antonida (Glinka’s A Life for the Tsar), Pamina (Die Zauberflöte), Der Kleine (world premier „der Goldene Drache“ by P. Eötvös), and Nannetta (Verdi, Falstaff).
She has appeared at opera Festivals in Edinburgh, Bregenz, Savonlinna and Bergen, as well as at the Los Angeles Opera.
Kateryna also pursues an active performance schedule in song, oratorio and concert with performances at the Heidelberger Frühling, the Handel Festival Karlsruhe, the Telemann Festival Magdeburg, the Alte Oper Frankfurt, the Turku Philharmony, the Tchaikovsky Concert Hall Moscow, the Royal Festival Hall London and the Paris Philharmony.
Her debut album „Ah! if I but knew the way back...“ with romantic songs about childhood and fairy tales will appear on the label TYXart in September 2018.
In 2014, Kateryna won the prestigious Mirjam-Helin International Singing Competition in Helsinki. This was preceded by prices at the IVC ’s-Hertogenbosch (2010), and The Queen Sonja International Music Competition in Oslo (2011).
Kateryna Kasper studied in Donetsk with Raisa Kolesnik, followed by studies in Nuremberg and Frankfurt with Edith Wiens and Hedwig Fassbender, with a scholarship of the German Academic Exchange Service (DAAD).
Luke Stoker is an Australian Bass currently working in Germany with Oper Dortmund. He completed his tertiary education in Brisbane, Australia having attained a Bachelor of Music (University of Queensland) and a Master of Music Studies (Queensland Conservatorium of Music, Griffith University). In 2011, Luke joined Opera Queensland as a member of the Young and Developing Artist Program. In 2012, Luke moved to Sydney to commence work with Opera Australia. Here he worked as a member of the extra-chorus whilst also performing A Soldier in Il Trovatore and understudying Ferrando (Il Trovatore), and Ormonte (Partenope). In July 2013, Luke made his West Australian Opera debut as Masetto in their production of Don Giovanni.
Luke has been a frequent soloist for oratorio and concert performances including the Rossini Stabat Mater, Mendelssohns Die erste Walpurgisnacht, Bach’s Magnificat and several of his cantatas, Haydn’s Nelson Mass, Fauré and Mozart Requiems, Mozarts Coronation Mass, and Handel’s Theodora.
As the recipient of the 2013 German Opera Scholarship, offered by the Opera Foundation Australia, Luke was awarded a position in the Oper Köln Opera Studio in 2013. During his three years with the company, Luke performed Zaretsky (Eugene Onegin), Il Bonzo (Madama Butterfly), Nunte (Leucippo), 2nd Priest/Armed Man (Die Zauberflöte), Zuniga (Carmen), Montano (Otello), Brander (La Damnation de Faust), Schaunard (La Bohème), Masetto (Don Giovanni), Sacrestan (Tosca), Erzbischof von Reims and Florent dIlliers (Jeanne dArc) and Titurel (Parsifal) among others.
In 2016, Luke moved to Dortmund, Germany to take up a new position as principal Bass at Oper Dortmund, where he performed Mephistopheles (Faust - Gounod), Sarastro and Speaker (Die Zauberflöte). During the second half of the season, Luke will be performing the roles of Lodovico and Montano (Otello), Frank (Die Fledermaus) and Besuffliput (Gullivers Reise).
In January 2017, Luke made his Paris Opera debut as the Zweiter Geharnischter Mann in Robert Carsens production of Die Zauberflöte. In 2018, Luke will return to Paris in the role of Zweiter Gralsritter in a new production of Parsifal, directed by Richard Jones and conducted by Philippe Jordan.
Queen of the night
The 2018-19 season will see Greek soprano Danae Kontora debut at Israeli Opera in the role of Oscar in Verdi’s Un ballo in maschera under the baton of Daniel Oren and at Oper im Steinbruch in St. Margarethen as the Queen of the Night in Mozart’s Die Zauberflöte, a role she also sings in return engagements at Oper Frankfurt and Oper Leipzig.
As member of the ensemble of Oper Leipzig, Ms. Kontora’s 2017-18 season included Marion Delorme in Gounod’s Cinq-Mars, the Young Shepherd in a new production of Tannhäuser and the Queen of the Night in Die Zauberflöte. She also returned to the Semperoper Dresden and the Komische Oper Berlin as Queen of the Night, and made her debut at Leipzig’s Gewandhaus in concert with Andris Nelsons and the Gewandhausorchester as part of the orchestra’s 275th Anniversary Celebrations. She also sang in a gala concert at Lviv National Opera in Ukraine under the baton of Oksana Lyniv, debuted with Greek National Opera as Frasquita in Bizet’s Carmen at the Athens Epidaurus Festival in summer 2018 and as Waldvogel in Wagner’s Siegfried at the Edinburgh Festival with The Hallé under Sir Mark Elder.
In 2016-17 season Ms. Kontora made her house debuts as the Queen of the Night at the Aalto Musiktheater Essen, the Semperoper Dresden, Komische Oper Berlin, and returned to Oper Frankfurt in the same role. She also appeared as the Queen of the Night, Blonde in Die Entführung aus dem Serail, and Waldvogel in Siegfried at Oper Leipzig. Other highlights included the Mozart Requiem at the Mozartfest in Würzburg with the Bamberger Symphoniker under the baton of Juraj Valcuha and her Chinese debut as Queen of the Night at the Tianqiao Performing Arts Center in Beijing in the famous Barrie Kosky production.
As a member of the Opera Studio at Oper Frankfurt, Ms. Kontora’s 2015-16 season included role debuts as Barbarina in Le nozze di Figaro, Taumännchen in Hänsel und Gretel, Voce dal cielo in Don Carlo and Tigrane in a new production of Händel’s Radamisto. She made further debuts with Oper Leipzig as die Queen of the Night and in concert at the Alte Oper Frankfurt under the baton of Sebastian Weigle in Mendelssohn’s Elias. She also joined the Münchner Rundfunkorchester for concerts conducted by Mario Venzago and Friedrich Haider.
Highlights of the 2014-15 season included the title role in Martin y Soler’s L’arbore di Diana with the Münchner Rundfunkorchester under the baton of Paolo Carignani in the Prinzregententheater in Munich as well as the role of Soprano Colorature in Claude Viziers’ Kopernikus at the prestigious Munich Biennale Festival of Contemporary Music. She was also honored with the Bayerische Kunstförderpreis.
Danae Kontora holds a Diploma and Master’s Degree from the Hochschule für Musik und Theater München and the Bayerische Theaterakademie August Everding.
Queen of the night
Maria began her piano studies in 1994 at the Tkibuli Art Academy in Georgia with Makvala Kasrashvili.
From 2008 until 2012 she studied singing at the Conservatory in Tiflis (Georgia) with Prof. Gocha Bedzuashvili).
Since 2013 she is part of a training programme for vocal training and opera singing at the University for Music and Performing Arts in Graz ( Prof. Claudia Rüggeberg). Since 2013 she also attends the American Institute for Musical Studies (AIMS in Graz). Here,she is being trained by Maestro Maris Skuja. She followed master classes with Christa Ludwig, Michele Crider, Angelika Kirchschlager and Rudolf Jansen in Graz.
In 2010 the artist wan the Premio Roma which implied a 3 months developping course at the Santa Cecilia Conservatory in Rome (with Prof. Carlo Desideri).
The soprano, who impresses by her excellent coloraturas, is a winner of numerous prizes including the First Prize of the International Singing Contest „Accademia Belcanto“ (2013) in Austria and the 3rd Prize and the Audience Award at the 30th International Singing Contest „Maria Caniglia“ in Rome. In 2011 she was awarded the First Prize of the 5th Singing Contest for Musicians and Singers in Georgia. In the same year she reached the final round of the 30th International Singing Contest „Hans Gabor Belvedere“in Austria. In 2010 she wan the 3rd Prize at the International Monsersat Caballe Singing Contest in Spain and became the »Successful Young Georgian Singer« Award. She wan the 3rd Prize at the International Singing Contest in Byulbyul in Azerbaijan and was a finalist at the »International Contest Rolando Nicolosi for Lyrical Singers and piano accompanists« in Italy.
Already between 2009 and 2012 the young soprano had first engagements in her native country Georgia. She gave Liederabende at the Kutaisi State Opera, in Tiflis and in Kiev. She sang her first QUEEN OF THE NIGHT at the Tiflis State Conservatory and in 2011 she made her debut as GILDA in Rigoletto at the Kutasi State Opera.
In 2013 the young soprano could be seen for the first time at the House of Music and Theatre in Graz (Austria) as MS. FLUTH in Nikolais Die lustigen Weiber von Windsor In 2015 she sang GILDA in Rigoletto in open air performances in Mautern and in Graz.
In 2014 she debuted as the QUEEN OF THE NIGHT at the Mannheim National Theatre and in 2015 she sang this very role at teh Basle Theatre. In summer 2016 she will also be the QUEEN OF THE NIGHT at the International festival Gut Immling.
Speaker/2. Priest/2. Armoured man
Uwe Schenker-Primus wurde 1974 in Rosenheim geboren. Erste musikalische Erfahrungen sammelte er im Windsbacher Knabenchor unter KMD K.-F. Beringer. Später war er Mitbegründer des Ensembles Concentus Cantandi, das sich vorwiegend mit alter Musik beschäftigt.
Sein Gesangsstudium bei Prof. Monika Bürgener schloss er 2006 an der Hochschule für Musik mit Opern- und Konzertdiplom ab. Schon während seines Studiums konnte man ihn in Hochschulproduktionen sowie als Gast in diversen Rollen (u.a. Figaro, Masetto, Rodomonte, Vater aus Cendrillon) an verschiedenen Häusern (Mainfrankentheater Würzburg, Kammeroper München, Ekhof Theater Gotha, Pasinger Fabrik, Stadttheater Fürth) auf der Opernbühne erleben.
Preise aus verschiedenen Wettbewerben erhielt er 2001 als Stipendiat des Wagnerverbandes, 2002 als Stipendiat der Deutschen Bühnengesellschaft, 2003 als Finalist im Mozartwettbewerb Wiesbaden, 2004 beim Armin-Knab Liedwettbewerb Würzburg, sowie 2006 beim internationalen Mozartwettbewerb Würzburg.
Konzerte im Oratorienbereich von Monteverdi (Marienvesper) über Bach (Matthäus- und Johannespassion als Bass oder Jesus, Weihnachtsoratorium und Kantaten), Mendelssohn (Elias) und Orff (Carmina Burana) bis hin zu zeitgenössischer Musik (so z.B. Pendereckis Lukaspassion oder Adams´ Wound Dresser) und Uraufführungen sowie Konzerte im Oper- und Operettenbereich führen ihn mit Dirigenten wie Jörg Straube, Markus Poschner, Christian Kabitz, Peter Falk, Daniel Klajner u.a. zusammen. Als Gast trat er beim Rheingaufestival Wiesbaden, Mozartfest Würzburg, Open-Air Turm Baur Ingolstadt, Nymphenburger Sommer München, Kissinger Sommer oder Stimmenfestival Lörrach in Erscheinung.
Im Liedbereich gilt die Konzentration im Moment den "Baritonliedern" der Komponisten Pfitzner und Korngold, die seit 2011 auch mit dem Pianisten Klaus Simon in einer Gesamteinspielung des Liedwerkes der beiden Komponisten bei Naxos erscheinen werden.
Von 2005-2009 war er festes Ensemblemitglied am Mainfrankentheater Würzburg. Er war dort unter anderem als Valentin, Guglielmo, Peter Besenbinder, Wolfram und Papageno zu erleben. Seit der Spielzeit 2009/2010 ist er festes Ensemblemitglied am Deutschen Nationaltheater Weimar und als Graf im Wildschütz, Le nozze di Figaro, Don Giovanni, Eugen Onegin und des Weiteren als Danilo, Valentin, Germont, Peter Besenbinder, Sharpless, Marcello, Faninal, Le Bailli, Heerufer und Verdis Falstaff auf der Bühne zu erleben.
Gastverträge führten den Künstler bislang an die Deutsche Oper Berlin (Le Bailli), an die Komische Oper Berlin (Falke), an die Musikalische Komödie Leipzig (Zar und Zimmermann), an das Staatstheater Darmstadt (Danilo) und mehrfach an das Stadttheater Bremerhaven (Un giorno di Regno, Kaspar, Bartolo) sowie Mainfranken-theater Würzburg (Danilo, Kurwenal, Falke). Im Sommer 2014 gastierte Uwe Schenker-Primus bei den Eutiner Festspielen als Tevje in Anatevka und im Sommer 2015 beim Festival Esterházy als Räuberhauptfrau in Die Schneekönigin im Schloss Esterházy.
Speaker/2. Priest/2. Armoured man
1. Priest/1. Armoured man
1. Priest/1. Armoured man
Recognized for her vocalism and artistic commitment in both classical and contemporary operatic repertoire, American soprano Elizabeth Reiter has garnered critical acclaim for her “rich and silvery” voice (The Boston Globe) and “impressive musical polish” (Opera News), characterizing her as “terrific, a very vital lyric soprano with stellar pitch and attack wedded to fiercely communicative instincts.” (Opera Magazine)
Ms. Reiter is currently a member of the prestigious Oper Frankfurt ensemble, where her performances have included the title role in The Cunning Little Vixen, Anne Trulove in The Rake’s Progress, Armida in Rinaldo, Susanna in Le Nozze di Figaro, Valencienne in Die Lustige Witwe, Katja in Weinbergs Die Passagierin, Lauretta in Gianni Schicchi,
Nannetta in Falstaff, Pamina and Erste Dame in Die Zauberflöte, the title role in
Debussy’s La Damoiselle Élue, soprano soloist in a staged production of Händel’s Messiah, both Frasquita and Mercédès in Barrie Koskys Carmen, and Woglinde, Helmwige, and Ortlinde in Wagners Der Ring des Nibelungen (the latter available on DVD in collaboration with OehmsClassics), among others. Elsewhere in Germany, Ms. Reiter has performed Susanna with Oper Stuttgart and Najade in Ariadne auf Naxos with the
Deutsche Oper am Rhein in Düsseldorf.
Highlights for Ms. Reiters 2018-19 Frankfurt season include her role debuts as Gretel in Hänsel and Gretel, Renee/Alice in Olga Neuwirth’s Lost Highway, and Brigitta in Iolanta, as well as return appearances as Valencienne in Die Lustige Witwe, Armida in Rinaldo and Ortlinde in Die Walküre. On the concert stage, Ms. Reiter will sing Barber’s Knoxville: Summer of 1915 with the BBC Scottish Symphony Orchestra under the baton of John Wilson as well as a concert of Joseph Marx and Erich Korngold Lieder with the Jenaer Philharmonie. She will spend the summer of 2019 singing Erste Dame in Die Zauberflöte with Oper im Steinbruch.
In the United States, Ms. Reiter received international attention for her portrayal of Aphrodite in the American premiere of HW Henze’s Phaedra with Opera Philadelphia, where she has also appeared as The Cunning Little Vixen, Blonde in Die Entführung aus dem Serail, and Amor in Orphée et Eurydice. Other notable US appearances include Zerlina in Don Giovanni under the baton of James Levine (Tanglewood Music Center), Pamina in The Magic Flute and Flora in The Turn of the Screw (Chicago Opera Theater),
Adele in Die Fledermaus (Opera Memphis), La libellule in L’Enfant et les Sortiléges with Lorin Maazel (Castleton Festival), Adele in the American premiere of Michael Berkeley’s Jane Eyre (Opera Theatre of Saint Louis, Sir Colin Graham directing), and the title role in La Sonnambula, Corinna in Il viaggio a Reims, and Zerlina (Curtis Opera Theatre).
A frequent interpreter of new music, Ms. Reiter made her professional debut at the age of 16 as Young Maria Celeste in the world premiere of Philip Glass and Mary Zimmerman’s Galileo Galilei (Chicago’s Goodman Theatre, Brooklyn Academy of Music, and London’s Barbican Center). She later returned to the Goodman Theatre as Polyxena in Zimmerman’s staging of Seneca’s Trojan Women, singing an aria specially composed by Philip Glass.
Apart from the opera stage, Elizabeth has collaborated with composer Libby Larsen on her Songs from Letters at the Ravinia Music Festival and with composer André Previn on his Sallie Chisum remembers Billy the Kid both at the Tanglewood Music Center and in a
televised performance in Tokyo with the composer at the piano.
As a concert performer, Ms. Reiter has appeared on the stage of the Frankfurt Alte Oper as soprano soloist in Mozart’s Requiem and with Frankfurt’s Ensemble Modern singing Sofia Gubaidulina’s Hommage à T.S. Eliot. Elizabeth has also been heard as soprano soloist in Weill’s Royal Palace at the Bard Music Festival with the American Symphony Orchestra, Vaughan Williams’ Dona Nobis Pacem with the Chautauqua Music Festival Orchestra and Mahler’s Symphony No. 4 with the Manhattan School of Music Philharmonia.
Ms. Reiter received her graduate degree from the Curtis Institute of Music and her undergraduate degree from the Manhattan School of Music, with additional studies at the Steans Institute at Ravinia Music Festival, Tanglewood Music Center, Aspen Music Festival, Chautauqua Institution, and as a Gerdine Young Artist with Opera Theatre of Saint Louis. Originally from Chicago, Elizabeth received her earliest operatic training as a member of the children’s chorus with the Lyric Opera of Chicago.
The Hungarian soprano Réka Kristóf studied singing with Prof. Krisztina Laki and Prof. Thomas Mohr in Bremen. She then completed a masters degree with focus on music theater / opera singing at the theater academy August Everding in Munich with Prof. Fenna Kügel-Seifried, which she successfully completed in July 2018.
Since the beginning of the season 2018/2019 Réka Kristóf has been part of the ensemble of the theater in Trier, where she plays the role of Donna Elvira in Mozarts Don Giovanni on stage.
Already during her studies, the young singer played several roles at various opera houses. She eventually made her debut in the season 2017/2018 at the Bavarian State Opera as a modiste in Rosenkavalier by R. Strauss and as Charlotte in E. Křeneks The Dictator.
In addition, Réka Kristóf is particularly fond of early music. Not only well-known works belong to her repertoire but also rarely performed compositions. In autumn 2017, under the direction of Joachim Tschiedel, she sang the title role of Farnace in Franz Xaver Sterkles opera of the same name at the Stadttheater Aschaffenburg together with the original sound ensemble Accademia di Monaco. The production was recorded by Bayerischer Rundfunk.
In early 2019, her debut CD "In Furore" with spiritual motets by Antonio Vivaldi and Georg Friedrich Händel was released by the same ensemble.
In addition to the opera stage, the audience can experience Réka Kristóf in various concerts. A highlight of her career so far, along with many other concerts, was a solo recital at New Yorks Carnegie Hall in May 2018.
As a singer, Réka Kristóf collaborates with the leading conductors and orchestras in Hungary. In January 2017, she sang the "Four Last Songs" of Richard Strauss with the Pannon Philharmonic under the direction of András Ligeti in Pécs.
In 2018, Réka Kristóf won the 1st prize of the International Anton Rubinstein Competition, she was a finalist at the national competition vocals and a semifinalist of the singing contest “Die Meistersinger von Nürnberg”. A year before, she won the Talent Competition "Virtuózok" of the Hungarian Radio, whose participants present themselves in the field of classical music. In 2017, she became a scholarship holder of the Richard-Wagner-Verband and of the Deutsche Bühnenverein.
The Croatian Mezzosoprano studied voice under Uta Schwabe and Julia Conwel at the Vienna Conservatory and completed her studies with honors in 2011. While at the conservatory she also studied song and oratorio repertoire with Carolyn Hague and
Kammersängerin Birgid Steinberger. During that time she also participated in master classes by artists such as Matthias Goerne, Angelika Kirchschlager, Bernarda Fink, and Rudolf Piernay. Her honors include First Prize at the 2006 Fidelio Competition in Vienna.
Ms. Tarandek made her debut at the Volksoper Wien as a Lehrbub in Die Meistersinger von Nürnberg while she was studying at the conservatory. In addition to that she has sung Dorabella in Così fan tutte with the Simon Bolivar Orchestra at Teatro Teresa
Carreño in Caracas, as well as Nancy in Brittens Albert Herring at Theater Akzent in Vienna. In June 2009 she sang the principal role, which had been composed for her, in the world premiere of Ehrenfellners Mae Mona in the Musikwerkstadt Wien under the
musical direction of Huw Rhyu James. In September of that year she made her debut at Theater an der Wien in Christof Loys production of Henzes Der Prinz von Homburg with Marc Albrecht conducting.
Oper Frankfurt engaged Ms. Tarandek as a Studio Artist for the 2009-2010 season where her first roles included Alisa in Lucia di Lammermoor, Carmela in La vida breve, and Zweite Magd in Claus Guths production of Daphne, which was honored with the
German Theater Prize DER FAUST 2010. She also made her debut at Frankfurts Alte Oper in Puccinis La Rondine in 2010.
Ms. Tarandek garnered more attention in 2010-2011 with larger roles, such as Cherubino, Zweite Dame (Die Zauberflöte), and as La Malaspina, the female leading role in Sciarrinos Luci mie traditrici. Shortly thereafter, Ms. Tarandek would attain
great success singing La Malaspina as part of a co-production with Cantiere Internazionale dArte in Montepulciano in the first Italian-language production of Luci mie traditrici, which would ultimately be produced as a CD on the Stradivarius label
and a DVD through EuroArts.
In the Summer of 2011 she celebrated a great success as Cherubino in La nozze di Figaro at Oper Klosterneuburg. Other engagements have included performances with the hr-Sinfonieorchester (the Hessen Radio Symphony Orchestra) at the traditional
New Years Concert in the Wiesbadener Kurhaus and a Song Recital in Abu Dhabi. She performed Mozart Arias in 2011 with the SWD Kammerorchester (the Chamber Orchestra of Southwest Germany).
She made her debut at Dresdens Semperoper in 2012 in Dido and Aeneas and went that same year on a nation-wide tour of Verdis Requiem with the Landesjugendorchester NRW (the State Youth Orchestra of North Rhine-Westphalia).
Ms. Tarandek has been an ensemble member at Oper Frankfurt since the 2012-2013 season and her work there has included roles such as Waltraute in Die Walküre, Aloès
in LÉtoile, Tebaldo in Don Carlo, Cherubino in La nozze di Figaro, Flora in La Traviata, Die Wirtstochter in Königskinder, and Ninetta in Les Vêpres Siciliennes. She also sang the role of Anna Kennedy in a concert production of Maria Stuarda in
Frankfurts Alte Oper. She followed the 2012 season with her debut as Mercédès in Carmen at the Opernfestspielen St. Margarethen. (St. Margaret Opera Festival.)
The 2013-2014 season in Frankfurt has included a new production of Reimanns Gespenstersonate, reprising her roles of Ninetta and Zweite Magd, and Antonia in the revival of Tiefland. She also sang with the Salzburger Mozarteum Orchester under the
direction of conductor Leopold Hager in Mozarts Mass in C-minor and Beethovens Symphony No. 9 at the Festival De Musica Religiosa de Cuenca in Spain.
Oper Frankfurt’s 2014/15 season saw the emerging mezzo soprano very successfully debuting the title role in Rossini’s La Cenerentola as well the role of Kate in Britten’s Owen Wingrave. She has given concerts in China with the Vienna Philharmonic.
During the 2015-2016 season, Nina Tarandek could be seen at Oper Frankfurt as Ilona in the World Premiere of Anna Toll, and as the Dachsund in the new production of The Cunning Little Vixen. She has received great praise for her work in Frankfurt in such
roles as Cherubino (Le nozze di Figaro) and Tebaldo (Don Carlo), and had a celebrated debut as Sesto (Giulio Cesare) in performance with Andreas Scholl.
Ms Tarandeks 2016-2017 season in Frankfurt included acclaimed performances of Zerlina (Don Giovanni) and Giovanna (Rigoletto), as well as the role of Anna Maria Himmelhuber in Ernst Kreneks Drei Opern. She also sang Sesto (Giulio Cesare) as a guest at Theater
During the 2017-2018 season Ms Tarandek can be heard in the title role of Rossinis La Cenerentola, as well as Dorabella in Così fan tutte. She will also be performing abroad in the Opera Gala Tribute to Jarmila Novotna with the Prague Radio Symphony Orchestra in Pragues Rudolfinum, in The Cunning Little Vixen with the BR-SO in Gasteig (München) under Franz Welser-Möst, in Pergolesis Stabat Mater during the Weissensee Klassik Festival, in recital during the Chamber Music Festival in Čakovec (Croatia), in Staatstheater Darmstadt as Cherubino (Le nozze di Figaro) under Rubén Dubrovsky.
Marie Luise Dreßen
Keith Bernard Stonum
Benedikt Nawrath is born in Heidelberg, he studied at the "Hochschule für Musik" in Würzburg, already during his studies he made his debut as Tamino in Erfurt.
His first engagement had been in Mannheim, where he was a member of the ensemble singing there about 50 different roles including Pedrillo, Tamino, Monostatos, Valzacchi, Beppe, Pong, Hexe in "Hänsel und Gretel" and Truffaldino in "Love of the Three Oranges".
Until 2017/18 he was a member of the ensemble at Staatstheater Wiesbaden and was heard e.g. as Pirzel in "Die Soldaten", as Hexe, Pedrillo, Andres/ Cochenille/Frantz/Pittichinaccio, Spoletta, Bob Boles and Monostatos.
Guest contracts brought him to Halle with "Die arabische Nacht", to Erfurt with "Die Schatzinsel" and as Pong, to Mainz with "Hamed und Sherifa", to Würzburg as Don Ottavio, to Heidelberg as Belmonte and to Deutsche Oper am Rhein Düsseldorf as Pong and Schmidt in "Werther".
2018/2019 he will sing "Christmas Oratorio" in Würzburg, Valzacchi, Monostatos and Mime in "Rheingold" in Chemnitz, "Elias" in Mannheim and Ludwigshafen, Hexe in Essen, Monostatos at Festival St. Margarethen and Pirzel in "Soldaten" in Wiesbaden.
Benedikt Nawrath is singing concerts in Würzburg, Dresden, Heidelberg, Stuttgart, Bamberg, Wiesbaden, Berlin and in Austria, Italy, France, Russia, Czech Republic and in Beijing.
The convent St. Florian located in the heart of Austria (between the music metropolis’ Vienna and Salzburg) is not only one of Austria’s most magnificent baroque structures, but is also one of the most significant cultural centres. Founded in 1071 the St. Florian Boys’ Choir is one of the Boys’ Choirs with the most tradition in the world. The famous composer Anton Bruckner, who was buried under "his" organ in the convent cathedral, also emanated from the Boys Choir, as did numerous other great musicians.
Production of sacred music is still one of the most important functions of the boys choir.
Apart from this, they are also musical ambassadors for Austria everywhere in the world. Throughout the past decade, the choir has travelled all over the world, participating in significant musical festivals (amongst others, the Salzburg Festival, Vienna Festival, Festival d’Aix en Provence) repeatedly cooperating with the famous orchestras (Vienna Philharmonic Orchestra, Cleveland Orchestra, Bruckner Orcherster …) and conductors. Franz Welser-Möst, director of the Cleveland Orchestra and former director of music of the Vienna State Opera, is the honorary president of the society "Friends of the St. Florian Boys Choir".
Soloists of the St. Florian Boys Choir regularly sing the parts composed for boys (e. g. the "Three Boys" in Mozart’s "Magic flute" in great opera houses (Vienna, Salzburg, Linz, Berlin, Verona, Barcelona, Aix en Provence, amongst others) and on CD (Rene Jacobs). With an aim towards expanding the repertoire of the Boy s’ Choir, the Men’s Choir of the St. Florian Boys’ Choir was founded in 1989. Its ranks are made up for the most part of former Choir Boys who have continued to receive voice training and/or become professional singers, some of whom also perform in other renowned ensembles.
Soloists who are members of the Men’s Choir also form small ensembles, which perform mostly in concerts by the Boys’ Choir and sometimes also as groups in their own right. The wide range of discography of the St. Florian Boys Choir does not only comprise
traditional Austrian music, folk music and Christmas carols, but also recordings of old music in cooperation with renowned prestigious ensembles on historical instruments. The director of music ever since 1983, has been Franz Farnberger, who, after completing his studies in Vienna, conducted the Vienna Boys Choir for eight years and was also teaching at the Anton Bruckner University.
Vienna Philharmonic Choir
Orchestra of the
Philharmonic Society Budapest
In 1853, thanks to the conductor of the National Theater Ferenc Erkel and the leading members of the orchestra (Károly Doppler, Ferenc Doppler, Dávid Ridley-Kohne, Károly Huber), the philharmonic movement was founded, the result of which was the countrys first ever symphonic orchestra to perform regularly. The first concert took place on November 20 in 1853 and was the prelude to a - until then unique - subscription to a series of concerts in Europe. In one of the centers of European musical life, in Vienna, the Philharmonic did not organize a similar concert series until seven years later.
The history of the Budapest Philharmonic Society is unique in its kind: Its rich past includes numerous significant events in the history of music, as well as a long line of contributing composers and musicians of great importance to each era. No wonder that this ensemble is therefore considered one of the most important European orchestras. The orchestra laid the foundation for symphonic concert life in Hungary. On numerous occasions, all of Europe watched the Budapest concerts and many critics reported the love of music of the Hungarian public.
Since its foundation, performing the great works of the past and the present has been one of the fundamental goals: That’s the reason why personalities such as
Ferenc Erkel, Ferenc Liszt, Károly Goldmark, Johannes Brahms, Antonín Dvořák, Gustav Mahler, Pietro Mascagni, Richard Strauss, Maurice Ravel, Ernő Dohnányi, Ottorino Respighi, Béla Bartók, Igor Strawinsky, Zoltán Kodály, Leó Weiner, Pál Kadosa, Emil Petrovics, Sándor Szokolay as well as György Kurtág influenced the history of the orchestra.
In 2019, the orchestra will perform at the St. Margarethen Quarry for the first time.
For years, our visitors have been thrilled by the unforgettable stage sets and the special effects at opera nights in the St. Margarethen Quarry. Come and peer over the set builders’ shoulders and get an idea of the technology they use and what goes on behind the scenes. Besides you can get more information about the history and emergence of "The Magic Flute".
Dates every performance (except premiere)
Time: 7.15 pm | 7.45 pm
Duration approx.: 30 min
Price: € 6 per person
Meeting point: in front of the Shop at St. Margaretehen Quarry (Foyerpark)
Language: German, available in English or Hungarian on request
Bookings: By telephone at the ticket office pan.event (+ 43 2682 65 0 65) or online.
Note: Tickets for a backstage tour are only valid in conjunction with a ticket for the opera performance on the same day.
*Group bookings and group price for 20+ people (tour guide can join for free), max. 30 people.
The Opera Lounge’s panorama terrace provides a stylish venue to entertain friends or business partners at prestigious events, or to hold private receptions and celebrations. Suitable both for small groups of two or more and large gatherings of up to 200 people.
Our head chef creates delicious meals to suit everyone’s tastes. In the 2019 season, our chief creates a true culinary treat for every taste! These will be served as a tasting menu accompanied by fine wines from the Esterházy Winery.
You have a choice between two different packages in the Opera Lounge: Deluxe Package "Pamina" and Gourmet Package "Sarastro" - let us spoil you!
10% group discount available when purchasing at least 20 tickets by 15th of february 2019.
Click here for more information
To Google routeplanner
Adress for your GPS navigation device: 7062 St Margarethen, Römersteinbruch 1
Coordinates: N 47.802029 | E 16.636369
Eventbus shuttle bus from Vienna
Bus terminal VIB (Vienna international bus terminal)
U3, underground station Erdberg, Erdbergstraße 200, A-1030 Vienna
10th of July to 17th of August 2019
Departs at 6 pm
Return after the end of the performance
Price for the return bus trip: € 27 per person incl. VAT (does not include postage costs or opera tickets)
Blaguss shuttle bus from Eisenstadt
Intersport bus stop, Ruster Straße 146, 7000 Eisenstadt
10th of July to 17th of August 2017
Departs at 6.45 pm
Return after the end of the performance
Price for a return bus trip: € 14 per person incl. VAT (does not include postage costs or opera tickets)
Bookings (from Vienna & Eisenstadt)
Last minute bookings can only be made through Blaguss (subject to availability)
Reservation and information:
T +43 (0) 14 8888
We would like to thank the partners of the opera "The Magic Flute" for their generous support.