EPSG:4326

19th Wind Music Concert of the Vienna Philharmonic

Felsenreitschule

Berlin Philharmonic · Petrenko

Great Festival House

Ólafsson solo concert

House for Mozart

Vienna Philharmonic · Welser-Möst

YSP Closing Concert — Mozarteum Orchestra · Cimento

Jean-Philippe Rameau was already 50 years old when he wrote his first opera, Hippolyte et Aricie, in 1733. Although Jean-Baptiste Lully—whose name at the time stood for French opera par excellence—had already died in 1687, the premiere sparked a bitter dispute between the conservative "Lullists" and the admirers of Rameau's daring, modern style. While some found his harmony too dissonant and his break with tradition scandalous, others were enthusiastic about the innovations that emerged from Rameau's long-standing preoccupation with questions of music theory and aesthetics. Les Indes galantes of 1735 was followed two years later by the tragédie en musique Castor et Pollux—Ramaeau's third completed opera. The premiere at the Paris Académie Royale de Musique was eagerly awaited, if only because of its subject matter; the mythical story of the two Dioscuri was a novelty on the musical theater stage at the time. Rameau himself probably suggested the material to the writer Pierre-Joseph Bernard, who wrote his first libretto, Castor et Pollux: The brothers, the mortal Castor and the immortal Pollux, are both in love with Télaïre, who herself prefers Castor. However, before the opera's action even begins, Castor is murdered. Pollux receives permission from his father Jupiter to free his brother from the underworld in order to reunite him with Télaïre, but he would have to pay for this with his own immortality. For Pollux, an inner struggle now begins between his brotherly loyalty to Castor and his desire for Télaïre. In Castor et Pollux, Rameau combined all the compositional elements for which he was equally famous and infamous, impressively conveying the respective dramatic situation musically in the sometimes highly virtuosic vocal lines as well as in the rich harmony and the differentiated timbres.

Castor and Pollux

Chamber Concert J. Hagen · Fujita · Hagen Quartet

Mozarteum Foundation

Soloist concert Kopatchinskaja · Ahonen

In his libretto for Umberto Giordano's Andrea Chénier, Luigi Illica gave the character of Carlo Gérard—once a lackey, now a revolutionary hero—a phrase taken from the Girondist Vergniaud, who was executed in 1793: "The revolution devours its own children." This prominent quote reflects the core of the opera's plot, which premiered at La Scala in Milan in 1896: In a powerful historical narrative, it demonstrates how the French Revolution, in the course of its radicalization, also turned against people who had shared its ideals. Among them is the poet André Chénier (1762-1794), who is introduced in the opera as a guest at a nobleman's feast in 1789. In this decadent atmosphere, musically evoked by Rococo allusions, Chénier dares to denounce the social injustices of the Ancien Régime, provoking outrage but impressing the hostess's daughter, Maddalena, and the rebellious servant Carlo Gérard. After a leap in time of five years, we meet these three characters again under completely different circumstances. In her famous aria "La mamma morta," Maddalena describes how her family and possessions were taken from her, and how only her faith in love, to which Chénier once opened her eyes, kept her alive. However, Chénier cannot offer her the protection she seeks from him; as a critic of Robespierre's Reign of Terror, he, too, is acutely threatened. Even Gérard appears to be a victim of the political situation: after shying away at the last moment from exploiting his current position of power to subjugate the passionately desired Maddalena, he remorsefully tries to save the imprisoned Chénier from the guillotine - in vain.

Andrea Chénier

Recital A Diva is Born — Grigorian · Joo

Vienna Philharmonic · Nézet-Séguin

Klangforum Wien Orchestra · Cambreling

Gustav Mahler Youth Orchestra · Honeck

Mozart Matinee · Manze

Royal Concertgebouw Orchestra · Mäkelä

Utopia · Currentzis

After Mozart left Salzburg for the first time in 1777, radical changes occurred in his life: He had a groundbreaking encounter with Haydn, who became his friend, and Mozart became acquainted with Munich and the Mannheim Orchestra. Added to this were his unhappy love affair with Aloysia Weber, a disappointing stay in Paris, and the tragic death of his mother. Mozart returned to his birthplace and, with a heavy heart, once again entered the service of Prince-Archbishop Colloredo. But he had changed profoundly as a person. The great vocal works he now composed are permeated by the spirit of the Enlightenment and by the philosophical and aesthetic currents that were then stirring Europe. Zaide marked the beginning of this new aesthetic, which refused any concession to gallant taste and instead explored the truth of the human soul. The fact that Mozart gradually freed himself from all tutelage — he left Colloredo, Salzburg, his father — and subsequently produced dramatic and sacred masterpieces such as Idomeneo (1780-1781), The Abduction from the Seraglio (1781-1782), and the Great Mass in C minor (1782-1783) is directly and unmistakably connected.

Zaide or The Path of Light

Chamber Concert Leonkoro Quartet

When asked about his title, the author gives an answer that leads into the future. "I love snow. Snow covers the earth and everything becomes beautiful. There are the upheavals, all the contradictions of everyday life, and then it snows and the world is beautiful," says Vladimir Sorokin in conversation about his novel, which, like Pushkin and Tolstoy, bears the title Метель ( Snowstorm ) and, at first glance, appears to be a condensation, an intertext, of the Russian blizzard tradition. "If you're out and about and get caught in a blizzard, that's it. It's a beautiful phenomenon, but also a terrible, fateful event. My story actually has three protagonists: the doctor, his coachman, and the blizzard. In the end, the third wins."

The blizzard

Perner-Insel

Soloist Concert Avdeeva

Song recital Schuen · Heide

Vienna Philharmonic · Muti

West-Eastern Divan Orchestra · Barenboim

Public master class with participants of the Young Singers Project

YSP Masterclass · d'Oustrac

University of Salzburg Great Hall of the University

Mozart Matinee · Sorita

The Beautiful Miller's Daughter — Nigl · Gergelyfi

In 1991, the Soviet Union collapsed. In 1990, pogroms took place in Baku, now the capital of Azerbaijan, on the edge of the Soviet empire, leading to the exodus and diaspora of large numbers of Armenians. In a sense, this marked the beginning of the collapse of the vast Soviet empire.

Marina Davydova · Land of No Return

SZENE Salzburg

Soloist Concert Volodos

Liederabend Boesch · Musicbanda Franui

The Salzburg Festival and its contribution to the development of Austria's identity in public perception from 1945 to 1995.

Aura – Myth – Attribution

Chamber Concert Cuarteto Casals

Oedipus confronts the secrets of the oracle, Macbeth confronts the prophecies of the witches: a sudden utterance from another world—and a few words change an entire life. The moira is revealed. While Oedipus seeks to flee the tragic fate promised to him, a twofold process is triggered in Macbeth. First, he reacts to the announcement that he will soon become king by attempting to ascend to the promised heights and acts accordingly: He kills. Having attained dominion and power, he then defies the second part of the prophecy: He kills again. Afterward, he becomes the plaything of his madness, his fear, his moral fall: He kills again and again.

Macbeth

Lucinda Childs is one of the most important choreographers of our time. She was a member of the legendary Judson Dance Theater movement, which revolutionized dance in New York in the 1960s, and her work has significantly shaped dance history since the 1970s. With Four New Works, she presents her most recent works, based on compositions by Philip Glass, Hildur Guðnadóttir, and Johann Sebastian Bach, together with the Lucinda Childs Dance Company, video artist Anri Sala, and pianist Anton Batagov. Based on works by Philip Glass, Hildur Guðnadóttir, and Johann Sebastian Bach, she also performs a solo from 1965 featuring the dance icon herself.

Four New Works

Vienna Philharmonic · Nelsons

Chamber Concert Roslavets · Kremer · Rysanov · Dirvanauskaitė · Kissin

William Shakespeare's dark drama  Macbeth  provided the literary inspiration for Giuseppe Verdi's opera. After a victorious battle, the two generals Macbeth and Banco encounter prophetic witches. Macbeth will be King of Scotland. They promise Banco that he will be the father of kings. The enigmatic prophecies ignite Macbeth's lust for power, turning him into a murderer and his wife, Lady Macbeth, into an instigator and accomplice. As King and Queen of Scotland, both live in constant fear of losing power and the discovery of their bloody deeds. Eerie encounters, hellish witches' brews, and dangerous plots offer the children of the opera camp a wide range of opportunities for acting and music in their own stage adaptation.

Final performance of the Opera Camp — Macbeth

Mozarteum University Salzburg

Irina can't bear it any longer; it bursts out of her: "My God! Where has it all gone? I've forgotten everything." Then, as if suddenly: "We'll never move to Moscow." Neither the past with its memories nor the future with its hopes offer any support. Time erodes and shrinks to the present—and here emptiness, dissatisfaction, pain, loneliness reign. A condition that haunts almost all the characters in Peter Eötvös' opera Three Sisters (1998)—they are those from Anton Chekhov's drama of the same name. The reactions are varied: repression or relativization, resignation or escape, and, of course, new dreams, hopes, or even plans. Yet a seemingly unbridgeable gap remains between today and the longed-for tomorrow. Why don't these people make it to Moscow, a symbol of a different, better, more meaningful life? What obstacles—internal, external—hold them back? It's a question we continually find ourselves confronting anew, one that brings us so close to Chekhov's and, by extension, Eötvös's characters. It becomes all the more acute in the face of a suddenly spreading fire—a catastrophe that challenges us to take concrete action, that confronts us with destruction and suffering, with death, and the awareness that our own life could end sooner than we imagined.

Three Sisters

Mozart matinee · González-Monjas

This time the delian :: quartet undertakes a journey through the universe of the brilliant poet William Shakespeare, starting with music: Two great string quartets of almost pictorial emotion - the Eighth String Quartet by Dmitri Shostakovich and Mendelssohn's Sixth String Quartet - form the impressive stage for Shakespeare's verbal art and meet protagonists from seven important Shakespeare plays: Macbeth , King Lear , Richard III , Hamlet , The Tempest , Twelfth Night and As You Like It . Angela Winkler - who has been associated with Shakespeare's work since Peter Zadek's legendary 1999 production of Hamlet - lends them her incomparable voice. Likewise, some of Shakespeare's enchanting sonnets develop a particularly poetic power in the interplay of word and music.

Shakespeare. Encounters

Salzburg State Theater

Sokolov solo concert

Le quattro stagioni — Camerata Salzburg · Jansen · Ahss

Mass in C minor — Les Musiciens du Prince — Monaco · Capuano

St. Peter's Abbey

Soloist concert Dueñas · Malofeev

Evgeny Kissin fell ill at short notice and had to cancel his solo recital on August 4. The Salzburg Festival is extremely grateful to Igor Levit for taking over the recital with a revised program in the first part.

Soloist Concert Levit

Mitridate, re di Ponto

Georg Nigl and his artist friends invite 80 guests each to a very special serenade.

Night Music 3 Nigl · Diehl · Gergelyfi

Following the third concert, the winner of the Herbert von Karajan Young Conductors Award will be announced to the audience.

YCA Award Concert Weekend 3

Recital Une Soirée française — Devieilhe · Pordoy

YSP Masterclass · Prégardien

Night Music 2 Nigl · Diehl · Gergelyfi

YCA Award Concert Weekend 2

Gaetano Donizetti's bel canto opera  Maria Stuarda  is based on Friedrich Schiller's tragedy  Maria Stuart  . Mary, Queen of Scots, has been held captive by Elisabetta, Queen of England, for 18 years. Roberto (Earl of Leicester) loves Maria and campaigns for her release, unaware that in doing so he is stirring up the jealousy of Elisabetta, who in turn harbors feelings for him. Revenge, intrigue, betrayed trust, and the struggle for humanity and dignity draw the two rivals into a bitter struggle for power that ends with Maria's execution. The young people at the opera camp sing, act, make music, and experiment with Donizetti's themes, characters, scenes, and highly emotional music, developing their own perspective on the work.

Final performance of the Opera Camp — Maria Stuarda

Mary Stuart, Queen of Scots  —her name will likely forever be linked with another name: Elizabeth I of England. Mary and Elizabeth: two queens, two rivals, two women in the mid-16th century. As "sister and cousin," they never met in person, contrary to literary fiction.

Maria Stuarda

Mozart's Nachtmusik will be performed on Wolfgang A. Mozart's original clavichord. The Salzburg Festival thanks the Mozarteum Foundation for the use of this unique instrument, which is normally on display in Mozart's birthplace.

Night Music 1 Nigl · Diehl · Gergelyfi

Extraterrestrial life, homemade computers, and exciting books  —that's what interests Lisa. She's different from everyone else, always feels alone, and believes it's her own fault. She escapes from her incompetent parents or the mean teenagers at the playground into her own world, which suddenly starts to spiral out of control...

My Quite Strange Friend Walter

Schauspielhaus Salzburg

YCA Award Concert Weekend 1

Le Concert des Nations · Savall

A young woman who desires her own father and is transformed into a tree. A young man who loves himself so much that he fails to notice the advances of a nymph who ultimately exists only as a voice. A goddess who transforms her rival into a spider because of her flawless weaving skills. A man whose statue of a woman perfect for him comes to life. A legendary singer whose return his beloved awaits in the underworld.

Hotel Metamorphosis

Trifonov Soloist Concert

Marianna Kijanowska is a Ukrainian poet, essayist, translator, and literary scholar whose works have been translated into English, German, Italian, Swedish, Polish, Serbian, Czech, Slovak, Belarusian, and Hebrew. In her poetry collection , Babyn Yar: Voices , which has won numerous literary awards, Kijanowska recounts the greatest massacre of the Holocaust: the murder of more than 33,000 Jews—almost the entire Jewish population of Kyiv—in two days (September 29 and 30, 1941) by the SS and special police units of the Third Reich.

Marianna Kijanowska Babyn Jar. Voices

From the realm of Russian fairy tales comes the story of a deserting soldier, the devil, a violin, and a king's daughter. When the devil is involved, the fairy tale rarely has a happy ending—and this is no different here. The original scenic concept, which was inspired both aesthetically and practically by fairgrounds and traveling theater, is reminiscent of ballads and ballad singers. The premiere of Histoire du soldat in 1918 in Lausanne not only marked an important moment in 20th-century Swiss theater history, but also made it a key work of musical modernism. Stravinsky, however, had already been considered a seminal figure after the turn of the century since the scandalous success of the ballet Le Sacre du printemps in Paris in May 1913.

The Story of the Soldier

Salzburger Marionettentheater

Soloist Concert Ship

A play never begins with an idea. Instead, it is the result of a perfect blend of life, theater, and things we want to achieve—or fail to achieve. During rehearsals for Don DeLillo's Players, Mao II, and The Names, I wondered what it would be like to stage a classic like The Seagull and, after the scene in which Treplev's play is performed, have the production culminate in destruction and the annihilation of its characters—either through an attack by armed terrorists or the gradual disappearance of the costumed characters from the stage. At first, I thought this was the result of my anger at the theater world, its traditions, and the audience's supposed expectations of what they know—that is, the repertoire.

The Past

Song recital Gerhaher · Huber

Gustav Mahler and Arnold Schoenberg, bound by mutual admiration and great respect for one another, decisively shaped the music of the early 20th century and, with their innovative ideas, built a bridge between Romanticism and modernism. This evening, featuring works by both composers, unfolds a dialogue between two significant artistic visions that offer different answers to existential and personal questions while complementing each other.

One Morning Turns into an Eternity

Children get active and prepare for their visit to the opera. They slip into roles, act out scenes, listen to music, and sing. The playful experience of the workshop, along with interaction with artists from the Opera for Children, brings the work to life. A team of supervisors will supervise the workshop for the duration.

We play opera!

Based on the ancient tragedy Oedipus Tyrannus by Sophocles, Igor Stravinsky created an impressive opera-oratorio in the 1920s. It was Stravinsky's idea to set the Oedipus story to music as a Latin text with a ritualistic feel. His librettist, the famous French playwright Jean Cocteau, accepted his friend's experiment and, together with the composer, wrote the translation for the vocal text as well as the narrator's French text. The first concert performance, which was not particularly well received, took place under Stravinsky's direction on May 30, 1927, at the Théâtre Sarah-Bernhardt in Paris, which was also the venue for Serge Diaghilev's Ballets Russes and was closely associated with Stravinsky through his ballets ( L'Oiseau de feu , 1910; Le Sacre du printemps, 1913). Since its 1928 stage production in Berlin under Otto Klemperer in the style of New Objectivity, Oedipus Rex has been considered Stravinsky's most monumental work of his neoclassical creative phase.

Oedipus Rex — Vienna Philharmonic · Salonen

The gruesome image presented right at the beginning of Handel's opera Giulio Cesare in Egitto (1724) would warrant a trigger warning, given today's sensitivities. After the welcoming chorus for Caesar and the solemn declarations of peace, a severed human head appears—the head of Caesar's political opponent, the Senate favorite Gnaeus Pompeius Magnus.

Giulio Cesare in Egypt

Mozart Matinee · Bolton

Chamber Concert Quatuor Ébène

The young people encounter the famous Austrian pioneers of modern music. The Song of the Earth is arguably Gustav Mahler's most personal work: "The Farewell" not only addresses life and death, but also musically signifies a departure from previous compositional principles. His younger admirer and friend, Arnold Schoenberg, set to music, with anticipation, a woman's anxious search for her lover. With the first features of free atonality, he finds the highest expression of intense emotions. In terms of both content and music, the young people in the opera camp develop a performance that reflects their engagement with the two works and their creators.

Final performance of the opera camp — anticipation / farewell

In a remote corner of France lives D'Artagnan, a fearless girl with a mind full of imagination and a strong sense of justice. The self-absorbed king and his power-hungry advisor, Cardinal Richelieu, have the country firmly in their grip. The key to their power is the mysterious golden croissant, which makes people selfish and ruthless. D'Artagnan hatches a plan: she must become a musketeer and put an end to the haunting! Together with the cheeky horse Holgar and the somewhat clumsy but courageous Portos, she sets out on a journey.

Musketeers!

Two heavy models hang like the swords of Damocles over the material, a warning to all who would attempt it: Shakespeare and Verdi. Yet Salvatore Sciarrino avoids the trap of classicism and retells the story in a fresh and utterly captivating way. In developing the libretto, Sciarrino adhered closely to Shakespeare's original, but condensed it to a minimum. The portrait of the murderous upstart and his wife, Lady Macbeth, in Verdi's four-act opera Macbeth , premiered in Florence in 1847 and one of his darkest musical dramas, illuminates the depths of the soul with a poignancy that seems to render any further interpretation superfluous.

Kollegienkirche

Karl Kraus' monumental drama The Last Days of Mankind is a perceptive and bitter reckoning with the horrors of the First World War. Written between 1915 and 1922, in over 200 scenes, Kraus depicts the depths of war in all its grotesque and equally unbearable absurdity: from the cynical delusion of politicians and disinformation by the press to the dull indifference of the population. Kraus relentlessly exposes how the intertwining of power interests and war propaganda, together with a society that readily believes the lies, makes the madness of war possible in the first place. In the foreword, he emphasizes: "The most improbable conversations held here were spoken verbatim; the most lurid inventions are quotations." Kraus draws on documented events and overheard dialogue, turning his audience into witnesses to a world that is knowingly plunging into war. Kraus himself initially conceived The Last Days of Humanity as a reading piece and only approved it for the stage in 1928. It was written as a "Martian theater" because no earthly stage could ever fully perform this pandemonium, he states in the preface.

The last days of humanity

DSCH — Chamber Concert — Sternath · Levit

Musica dolorosa — Kopatchinskaja · Hinterhäuser · Camerata Salzburg · Ahss

After the fall of Troy, Princess Cassandra is abducted by Agamemnon to Mycenae, where certain death awaits her. In a final spiritual effort, she recalls past events and emotions, analyzes them, and interprets them: the abduction of Helen, which triggered the war; her own love for Aeneas and her hatred of "Achilles the Beast"; the increasingly authoritarian atmosphere within Troy in the face of external threats; and finally, the death of her family and the end of her hometown. The priestess and seer Cassandra had foreseen the catastrophes, but no one would believe her.

Cassandra

In the two performances of Johann Sebastian Bach's St. John Passion, Sebastian Myrus will take over the role of Pilate from Geoffroy Buffière, who will sing in the ensemble.

St. John Passion — Vox Luminis · Freiburg Baroque Orchestra · Meunier

Io, frammento dal Prometeo — Cantando Admont · Bürgi

The Third Man premiered in Vienna 75 years ago. The British thriller by Carol Reed and Graham Greene was made in 1949 with Austrian participation, including great actors such as Hedwig Bleibtreu and Paul Hörbiger. Holly Martins (Joseph Cotten) investigates the case of her supposedly dead friend Harry Lime (Orson Welles) in post-war Vienna and encounters drug smuggling, Lime's girlfriend Anna (Alida Valli), and the borders of the occupation zones. The film is considered a film noir masterpiece and has won numerous awards, including the Palme d'Or at Cannes and an Oscar. The film will be shown in its original version with subtitles in cooperation with DAS KINO. At the beginning, literary scholar Manfred Mittermayer provides an introduction to the work and its historical references.

The Third Man

Schloss Leopoldskron

Timor Dei — Vox Luminis · Meunier

The women's trio of the Vienna Glacis Ensemble—with Doris Haimel (flute), Daniela Preimesberger (violin), and Andrea Traxler (cello)—will transport you to the classical era. The program includes works by Johann Christian Bach, Johann Joachim Quantz, and Joseph Haydn, among others. The setting of the enchanting Leopoldskron Palace could not be better chosen. Anyone familiar with the Vienna Glacis Ensemble knows that one can always look forward to a "philharmonic" musical surprise. Doris Haimel will lead the concert and share, among other things, an anecdote or two about the everyday lives of the ensemble's musicians.

Wiener Glacis Ensemble

The Liederabend with Lydia Rathkolb (soprano) and Maximilian Flieder (piano) is dedicated to those voices of classical music who were silenced by political upheaval and marginalization—or forced into exile. Starting with the very first Lieder evening of the Salzburg Festival in August 1945, the program features works by Wolfgang Amadeus Mozart, Franz Schubert, Gustav Mahler, and Alma Mahler, complemented by rarely performed songs by Erich Wolfgang Korngold, Erich Zeisl, Iván Eröd, and Leonard Bernstein. A powerful program that combines musical diversity, emotional depth, and historical reflection. Supported by Salzburg Global Seminar.

Classical : Expelled : Excluded

stylistic accordion all-rounder Christian Bakanic. Categorizing them is impossible. Schneeberger and Bakanic conjure their own unique soundscapes, combining swinging gypsy jazz, fiery Balkan groove, lyrical melodies, and chamber music compositional form, bringing them to life through improvisational spontaneity. Their joint debut album is titled " Avanti, avanti ." It is synonymous with the determined collaboration between the two, which is carried forward by Martin Heinzle on double bass and Julian Wohlmuth on rhythm guitar.

Schneeberger & Bakanic Quartet

With her guitar, the Salzburg native reveals herself as warm-hearted, vulnerable, and loving in her songs, oscillating between crystal-clear directness and playful poetry. Timeless themes and honest, direct tones are the starting point for her unique songs, which the actress – this year also a member of the Everyman ensemble – creates between theater rehearsals and performances. Her single "Quarter to Four" has already garnered over 100,000 streams on Spotify.

Johanna Egger

The Tallis Scholars · Phillips · Kobler · Ensemble Musikfabrik · Volkov

Frau Perchta, the magician Jackl, the giant Abfalter, and sometimes even the entire Wild Hunt roam the forests and mountains of Salzburg . Knowledgeable dwarves know the secret entrances to the Untersberg and offer glimpses into its inner world of wonder.

Mountains whisper loudly

Concentrated power through fresh air and rhythm on the Old Market Square with young musicians between 12 and 22 years old. A percussionist and the wind players of the Salzburg Orchestra Academy whistle and drum from the stage: Good music creates community and is fun with works by John Williams, Alexej Gerassimez, Marc-Antoine Charpentier, the spirit of Philippe Chédeville, Jacques Oberst, and Wolfgang Amadeus Mozart. Conductor: Ferdinand Steiner, percussion: Jakob Mancinelli. The Salzburg Orchestra Academy is an offering of the Musikum in cooperation with the Mozarteum Orchestra Salzburg, the International Mozarteum Foundation, and the Salzburg Wind Music Association, and is funded by the State of Salzburg.

Wind Players Of The Orchestra Academy Salzburg · With Wood, Brass And Sticks

Alter Markt

Enjoy an authentic Mozart Room sound experience and hear cheerful and entertaining chamber music by the former Prince-Archbishop's court musician, full of melodic beauty and Italian elegance. Glorious times, illustrious guests, magnificent festivals and magnificent music, an international line-up of stars, and important premieres were all part of the reign of the Prince-Archbishops of Salzburg. Their festival performances took place in the 17th and 18th centuries at locations within the Residence that still exist today. We invite you today to the magnificent Knight's Hall, one of Mozart's "workplaces" during his Salzburg years.

Special Date With Mozart!

DomQuartier Salzburg

Their unique instrumentation, creative arrangements, and English translations have brought them performances on prestigious stages such as Wigmore Hall, the Konzerthaus Berlin and Vienna, and at the Schubertiade. Their six studio albums featuring songs by Schubert, Schumann, Beethoven, and Haydn have received excellent reviews. In 2024/25, they will present their new arrangement of Schubert's Winterreise at the Schubertiade Hohenems, are Ensemble in Residence at the Oxford International Song Festival, and make their debut at the Schumannfest Düsseldorf.

The Erlkings

Students in this year's Summer Academy master class led by Hannfried Lucke will play masterpieces of the Baroque and German and French Romantic periods on the two magnificent organs of the Franciscan Church. Johann Sebastian Bach, of course, will be a must, but music by Wolfgang Amadeus Mozart, Charles-Marie Widor, and Felix Mendelssohn Bartholdy will also be heard. In one of the oldest churches in Salzburg's Old Town, organ music in the mystical sacred space becomes a unique experience.

Organ Masterclass Of The International Summer Academy, Mozarteum

Franziskanerkirche

This time, the Salzburg Festival and Theater Children's Choir is hosting a very special ensemble: the Semperoper Dresden Children's Choir. Both choirs regularly perform at their respective theaters, both in major opera productions such as Tosca and Der Rosenkavalier, as well as in outstanding concerts. With this program, the choirs offer insights into the extraordinarily diverse life of theater children's choirs, characterized by music, stage performance, dance, and stage magic. The Semperoper Children's Choir is under the direction of Claudia Sebastian-Bertsch, while the SF and Theater Children's Choir is led by Wolfgang Götz and Regina Sgier.

Salzburg Festival And Theatre Children's Choir & Children's Choir Of The Semperooper Dresden

Esben Weile Kjær · Deepfake

Salzburg Art Association

With their debut album, On the Other Side of the Danube, Pavel Shalman (violin, vocals) and Boki Radenković (accordion, guitar, vocals) take audiences on a musical journey around the world. Inspired by the Balkans, Eastern Europe, and Latin America, and influenced by klezmer, tango, classical music, and jazz, they blend boundaries into their own unique style. Improvisation, joy, and tradition collide – free from convention. The duo is complemented by Brazilian percussionist Luis Oliveira, who adds an additional timbre with rhythmic refinement.

Pavel Shalman & Boki Radenković Feat. Luis Oliviera

Bürgerspitalkirche St. Blasius

An evening full of baroque drama and spiritual depth: Vox Luminis, the award-winning vocal ensemble conducted by Lionel Meunier, presents three moving 17th-century oratorios. The program includes Giacomo Carissimi's Historia di Jonas und Jephte and Marc-Antoine Charpentier's Le Reniement de Saint Pierre. With its signature sound, which combines soloistic brilliance and vocal cohesion, Vox Luminis brings the biblical stories to life in all their emotional power. A concert that combines musical excellence with touching expressiveness—early music at its most vibrant.

Vox Luminis & Lionel Meunier – Timor Dei

Human Faces is the title of Sinfonia de Carnaval's new album. It reads the depths of the faces of humans and animals. The power and primal might, but also the tenderness and vulnerability of nature, inspired the award-winning duo to create new sound stories. Anna Lang (cello, effects, percussion) and Alois Eberl (trombone, accordion, vocals, effects, percussion) utilize their entire range of instruments to create a unique sound: Sinfonic Art Pop.

Sinfonia De Carnaval

Forget gloss and etiquette: In the exhibition ORCHESTRAPUNK!, conducting clashes with dissonance. Classical musicians such as Igor Levit, Simon Rattle, Anna Netrebko, Isata Kanneh-Mason, and Jonas Kaufmann find themselves amidst a radically new visual language: raw, loud, unstaged. For two years, Sven-Kristian Wolf accompanied orchestras during rehearsals – from Carnegie Hall to the Salzburg Easter Festival. For the first time, his photographs are being presented in an exhibition.

Sven-kristian Wolf – Orchestrapunk!

When all five organs of Salzburg Cathedral are played simultaneously, it is always a special event, as five organists are required, as there is no central console. Cathedral organist Judith Trifellner-Spalt, Cathedral Kapellmeister Andrea Fournier, Markus Stepanek, the organist of the Salzburg Franciscan Church, Sarah Kim, and Stephan Pollhammer have chosen the forty-part motet "Ecce beatam lucem" by Alessandro Striggio (1568), which has been adapted for five organs, as the centerpiece of this concert. In addition to the presentation of the individual organs—the four crossing organs in the dome and the large organ on the west gallery—there will also be an improvisation by all five organists on the Salzburg Cathedral's organs on a given theme.

Salzburger Festspiele

Aug 31, 2025

19th Wind Music Concert of the Vienna Philharmonic

Aug 31, 2025

Berlin Philharmonic · Petrenko

Salzburger Festspiele