Opera in three acts by Otto Nicolai (1810–1849)
Text by Girolamo Maria Marini (1801–1867)
after the novel Ivanhoe by Walter Scott (1771–1832)
Critical edition by Michael Wittmann in collaboration with Florian Bauer
With German and English surtitles
Duration of the opera approx. 2 hours and 50 minutes.
Print programme (PDF)
Andrés Orozco-Estrada, ConductorAlois Glaßner, Chorus Master
Juan Diego Flórez, Vilfredo d’IvanhoeLuca Salsi, Briano di Bois-GuilbertClémentine Margaine, RebeccaKristiane Kaiser, RovenaAdrian Sâmpetrean, Cedrico il SassoneArmando Piña, Luca di BeaumanoirFranz Supper, Isacco di YorkSalzburger BachchorVienna Philharmonic
ABOUT THE PRODUCTION
A year after its triumphal premiere in Turin, Otto Nicolai’s Il templario went on to conquer Vienna in 1841. It went without saying that most of the self-respecting German-speaking music critics turned their noses up at it – as they did at any kind of allegedly trivial opera issuing from Italy at that time. The Allgemeine musikalische Zeitung’s disparaging verdict was that every bar provided ‘evidence that the maestro had embraced local taste during his sojourn in Italy’, but it was nonetheless unable to ignore the enthusiasm of the audience. This was so great that Nicolai was promptly appointed First Kapellmeister at the Vienna Court Opera. Which of those critics could have imagined that Il templario would thus ultimately benefit in particular the sacrosanct ‘German’ repertoire? For in order to achieve standard-setting interpretations of the works of Mozart and Beethoven with the musicians of the court opera orchestra outside their statutory duties, Nicolai founded an orchestral association – and the Vienna Philharmonic was born.
Nicolai had originally gone to Rome in 1834 to study old church music. Soon, however, he became fascin-ated by Italian opera, and now began to dream of a career in this field. Compared to the work it is based on, Walter Scott’s medieval novel Ivanhoe, Il templario is limited to a small number of protagonists around the title character, the Knight Templar Briano. What is most impressive in musical terms is the mastery with which Nicolai explores the expressive potential of melody, attesting to his admiration for Bellini. Following the resurrection of Il templario in Chemnitz in 2008, this Italian belcanto opera written by a German will soon lie open on the music stands of the Vienna Philharmonic – as homage to their own origins.
SALZBURG FESTIVAL BLOG
Hellsberg describes it as one of the happiest moments of his professional life
– the former Chairman of the Vienna Philharmonic refers to an email he received
from tenor Juan Diego Flórez. In that email, the tenor voiced his interest in
performing the opera Il templario by
Otto Nicolai, the founder of the Vienna Philharmonic. Hellsberg is not only the
former Chairman of the Vienna Philharmonic, but also a veritable expert on the
life and work of Otto Nicolai. “It is very meaningful when a great artist such
as Flórez champions such a rarely performed opera,” says Clemens Hellsberg.
read more ...
The 2016 opera programme includes three new productions, two revivals, one re-staging, one revival from the Salzburg Whitsun Festival and three operas performed in concert. The 2016 Festival opens with a world premiere by the British composer Thomas Adès. The Exterminating Angel is the title of an opera in two acts which will also be shown in London, Copenhagen and in New York in 2018, after its Salzburg premiere.
Motive Il templario, © Robert Mertens
27 August, 15:00
30 August, 15:00
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