Lar Lubovitch

Simon Bennison

Carolyn Wong

Ronald Bates

Santo Loquasto

Pam Tanowitz

Jessica Lang

Reid Barthelme

Harriet Jung

Jerome Robbins

Jillian Lewis

Volksoper Wien

Just as William Shakespeares’ Romeo and Juliet are born into rival families, Maria and Tony are linked to rival gangs. Tony is a Jet, a gang of white American youths led by his best friend Riff. Maria’s brother Bernardo is the leader of the Sharks, a gang of Puerto Rican immigrants. Maria and Tony fall in love, the gangs fight, Tony happens to kill Maria’s brother. Maria, who still loves Tony, agrees to elope with him. But Tony receives a fake message saying that Maria is dead ...

West Side Story

The story of The Magic Flute begins like an adventure: a prince rescues a princess from a dark ruler, accompanied by a birdcatcher and magical devices. But the boundaries between good and evil, light and dark become blurred and the characters are far more complex.

The story of The Magic Flute has been interpreted and reinterpreted in many ways. But one of the reasons it continues to captivate audiences to this day is that it features complex characters, who are portrayed as diverse and dazzling as real people. A mother, for example, who wants to save her daughter – or perhaps uses her as an instrument of revenge. A young woman who discovers a strength within herself she didn’t know she had. A coward who might actually be braver than he believes. A villain who, on second glance, no longer appears (only) evil.

The Magic Flute

It is probably the most popular, but certainly the most Viennese of all operettas: Johann Strauss' immortal Fledermaus. Parties that get out of hand, erotic mix-ups, conspiracies, intrigues and a large portion of schadenfreude: the climax of the classical Viennese operetta era offers ambiguous entertainment in waltz rhythm. And if the social façade crumbles too much, you can still blame everything on the effect of champagne. 

The Volksoper is considered the most Viennese opera house in the city. So it is not surprising that Johann Strauss' masterpiece is practically family silver here. No work has ever been performed more often at the Volksoper. At the beginning of Lotte de Beer's directorship, the performance was carefully refreshed, and a female "Frosch" has since provided a fresh look at a well-known piece.

The Bat

Follies, one of Stephen Sondheim’s most personal and touching musicals, will have its first production at the Vienna Volksoper in a production by Martin G. Berger. The Chekhovian work with quotes from the music of the 1920’s to 40’s tells the story of two couples struggling with their life decisions and takes a nostalgic look at a glamorous and supposedly carefree past.

Follies

The young successor to the throne Aljoscha is unhappy and tormented by loneliness. He avoids contact with women, yet he longs for another person. Eventually, he meets a young man – who, in Lehár’s version, is a girl in disguise. However, for Dutch director and artist Steef de Jong, the situation is more complex … He relocates the story, originally set in Russia, to a more universal fairytale world, focusing entirely on the slowly blossoming love story. He uses beautiful drawings and animations, filmed live and projected, creating a work of art that blends operetta and animated film, capturing the melancholy of Lehár’s music while also adding humor and lightness.

Der Zarewitsch

Following Così fan tutte, the final production of the first graduating class of the Volksoper’s opera studio, the second generation of this young ensemble now takes the stage with another repertoire classic at MuTh in the Augarten. In a newly created chamber version, director Maurice Lenhard highlights the close connections between Mozart’s opera and current global political dynamics, shaping it into a contemporary political thriller. Within this world, the two couples — Vitellia and Sesto, as well as Servilia and Annio — become entangled in a ruthless system of intrigue, corruption, and murder … for power and powerlessness lie dangerously close together.

Titus

Jerome Robbins is considered one of the most important ballet makers of the 20th century and his unmistakeable style has had a decisive influence on American dance. Interplay, his second choreographic work, premiered in 1945 in New York, provides a rousing opening to the four-part programme American Signatures that combines dance icons with current choreographic voices.

Performed to Morton Gould’s jazzy score, Interplay presents precisely what its title suggests: as if in a playground, the dancers meet, full of fun, but also competing with each other in Robbins’ choreography, that employs jazz elements to enrich the classical ballet vocabulary and with which the theatre maker and dance artist created one of the works that had a formative influence on his aesthetic.

American Signatures

The famous chansonnière Sylva is not allowed to marry her noble lover Edwin. His parents arrange for him to be drafted into the army and arrange an engagement to a countess. At the engagement party, the chansonnière suddenly turns up. When it becomes clear that Edwin’s mother also used to be a varieté artist, nothing stands in the way of a marriage between the lovers.

The Csárdásfürstin

The poet Hoffmann thinking of his beloved Stella, struggles with a writer’s block. His Muse, in disguise, is determined to steer Hoffmann away from his unhappy love and back to art. Hoffmann begins recounting the stories of three women he once loved: Olympia, Antonia, and Giulietta. In her staging, director Lotte de Beer creates a dialogue between Hoffmann and the Muse, a confrontation between art and the artist. Jacques Offenbach’s name remains synonymous with operetta, but at the end of his life, he worked on his most ambitious masterpiece: the fantastic opera Les contes d’Hoffmann.

Hoffmanns tales

Concert of the Children 's Choir and the Youth Choir of the Volksoper Vienna

Emperor Overall is the tyrannical ruler of Atlantis. When he finally declares a war between everyone and everyone else, Death decides to go on strike. In an act of populist demagogy, the Emperor claims the credit for delivering immortality. But with no one dying, the country descends into chaos. The Emperor is forced to accept that his power has been broken.   

Confronted directly with persecution and extermination by the Nazis, Viktor Ullmann composed Der Kaiser von Atlantis (The Emperor of Atlantis) in Theresienstadt concentration camp in 1943/44: a harrowing allegory critiquing inhuman warmongering and totalitarian power structures. In October 1944 – along with his co-librettist Peter Kien – he was deported on the so-called “Künstlertransport” to Auschwitz, where Ullmann was gassed to death and Kien died of an infection. Shifting between a contemporary opera, a mystery play and a dance of death, Der Kaiser von Atlantis presents a unique theatrical sound world. 