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SALZBURG FESTIVAL BLOG

Final Report on the Salzburg Festival 2017

28 AUG 2017

by FESTSPIELKIEBITZ  12:28 h;
published in: General

Lukas Crepaz, Helga Rabl-Stadler, Markus Hinterhäuser, Florian Wiegand, Bettina Hering © SF / Anne Zeuner
A new production of Jedermann launched this year’s Festival summer 39 days ago. The 2017 programme featured 195 performances at 15 performance venues. It is time to summarize the Festival summer, the first under the current Directorate, which once again includes three members: Festival President Helga Rabl-Stadler, Artistic Director Markus Hinterhäuser, and Lukas Crepaz as Executive Director are joined on the podium by Bettina Hering, Director of Drama, and Florian Wiegand, Director of Concerts.

The 2017 Salzburg Festival programme reflected upon aspects of power: Wolfgang A. Mozart’s La clemenza di Tito ponders the power of forgiveness and the helplessness of pardoning. Political power and the powerlessness of the vanquished are the subject of Verdi’s Aida. The blood-stained revolt of a strong woman against the system of oppression is told in Lady Macbeth of the Mtsensk District by Dmitri Shostakovich. Alban Berg’s Wozzeck describes the outcry of a suppressed creature against the abuse of power by the authorities. And the summary of power and its blinding effect is the focus of Aribert Reimann’s Lear.

In addition to artists who already have a long history at the Salzburg Festival, such as Riccardo Muti, Anna Netrebko and Daniel Barenboim, this summer saw several highly successful debuts. Teodor Currentzis and his orchestra musicAeterna and the musicAeterna Choir of Perm Opera earned rapturous applause for their opera and concert performances. La clemenza di Tito made Marianne Crebassa an instant audience favourite. Asmik Grigorian as Marie in Wozzeck and Evgenia Muraveva in Lady Macbeth of the Mtsensk District were among the sensations of this summer, as were the Festival debuts of pianists Daniil Trifonov and Igor Levit, both of whom delivered notable performances. Among the directors, there were also several Salzburg debuts: William Kentridge, Simon Stone, Shirin Neshat, Karin Henkel, 600 HIGHWAYMEN and Athina Rachel Tsangari all directed for the first time at the Salzburg Festival. Mariss Jansons and Andreas Kriegenburg both celebrated their opera debuts; Michael Sturminger made his drama debut at the Salzburg Festival, while Andrea Breth, Peter Sellars and Christof Loy are familiar Salzburg Festival directors.

Read the whole report here.

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