|I taste as good as I look|
As for Wien, Intendanten across the board don’t care if you’ve been naughty or nice and so there are a number of alternatives to the endless Nutcrackers. I’m adding some theatre to the list as this scene is amusingly oblivious to seasonal programming and there is some seriously good Regie to be seen. Highlights for the coming week include:
25th: On the first day of Christmas the Burgtheater gave to me a difficult choice between Hofmannsthal’s Elektra and Ibsen’s Ghosts (though I’ve heard better things about the Ibsen, a David Bösch production).
26th: The Wiener Staatsoper’s new Ariadne with FWM and a möstly philharmonisch Staatsopernorchester.
26th: Matthias Hartmann’s productions are so prone to horsing around that his work can seem empty when he eases off the shtick, but Viennese theatre legend Gert Voss is worth seeing in anything and so it’s returns only for this Uncle Vanya at the Akademietheater.
27th: At the Burgtheater, David Bösch’s departure point for Romeo and Juliet is merciless cynicism grounded in a tightly argued reading of the text, or auteur’s Shakespeare at its most fascinatingly dialectical; probably no coincidence that this is immeasurably more thought-provoking than any English-language production I’ve seen and at the same time too heretical for the UK. The two young leads are superb as well.
28th: Final performances of Mathis der Maler at the Theater an der Wien and Marco Arturo Marelli’s new Figaro at the Volksoper.
29th: As the Philharmoniker and FWM decamp to the Musikverein, Ariadne with Jeffrey Tate and the dregs of the Staatsopernorchester.
30th: For his Staatsoper debut, Cornelius Meister gets put to the Kapellmeister test with an unrehearsed Christmas Zauberflöte.
30th: Neujahrskonzert dry run at the Musikverein (also in the evening on the 31st), tickets should be obtainable at the Philharmoniker’s office even though the website says sold out.
31st: Fledermaus überall but at the Burgtheater, first night for a new production of Bernhard’s Der Ignorant und der Wahnsinnige (surely no coincidence...). At the Theater an der Wien, a screening of Stroheim’s The Merry Widow with the Wiener KammerOrchester and an abridged score by Maud Nelissen, and over at Meidling’s Palais Kabelwerk the premiere of MarieLuise, a chamber opera by Gernot Schedlberger (produced by sirene Operntheater).