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Blog entries

The Festival Summer of 2015 • “Thank you” from the Directorate

30 AUG 2015

by FESTSPIELKIEBITZ  20:05 h;
published in: General

“The Festival summer of 2015 came to an end. We have to give thanks: First of all, to our audience, which reacted with such interest and enthusiasm to most of our events. Then to all the wonderful artists and our staff, whose outstanding abilities and passionate engagement are what makes this festival possible.”

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The 2015 Salzburg Festival in Figures

30 AUG 2015

by FESTSPIELKIEBITZ  20:04 h;
published in: Opera, Drama, Concert, General

In order to present 188 performances, this summer the artists rehearsed for 220 days: 735 hours in the drama department, 1,320 hours for the opera productions and 551 hours in the concert department. The costume workshops produced 1,550 costumes. 7,000 invoices were processed by the administration; 1,500 light bulbs illuminated the stages and backstage areas. 48,000 kilograms of steel were used.

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Salzburg Festival 2015 • Concert, Drama, Opera

30 AUG 2015

by FESTSPIELKIEBITZ  20:03 h;
published in: Opera, Drama, Concert

Once again, the 2015 Salzburg Festival began with the Ouverture spirituelle, a week before the Opening Ceremony which is dedicated to sacred music. This year, the focus was on Hinduism, and theatre, music and dance forms from the various regions of India were shown at the Kollegienkirche.

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Ernani • TerraceTalk with Riccardo Muti, Helga Rabl-Stadler, Walter Dobner

25 AUG 2015

by FESTSPIELKIEBITZ  13:03 h;
published in: Opera

“Today, the conductor and director are often considered completely different, “ the maestro adds. “However, this used to be different, and the conductor was also responsible for the action on stage – precisely because it cannot be separated.”

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Guest Orchestras • Blaise Déjardin • Boston Symphony Orchestra

20 AUG 2015

by FESTSPIELKIEBITZ  10:30 h;
published in: Concert

Could you describe your orchestra’s sound quality? What makes your orchestra’s sound special?
I think of it as very comfortable plush red velvet chair. It is round, warm, and I love being a part of that sound.

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Werther 2015 • TerraceTalk with Helga Rabl-Stadler, Piotr Beczala, Barbara Rett

17 AUG 2015

by FESTSPIELKIEBITZ  15:25 h;
published in: Opera

Piotr Beczala made a dramatic entrance this year at the Salzburg Festival. His first aria in Jules Massenet’s Werther is so dramatic, says moderator Barbara Rett, that it would be the finale of any other opera. On the whole, this opera oscillates between dramatic outbursts and lyrical passages. “Absolutely,” tenor Piotr Beczala agrees. “I was worried beforehand whether the piece is suitable for a concert performance, because the story takes place mainly between the persons on stage.” He adds that he was overwhelmed by the reception the audience gave him.

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Iphigénie en Tauride • TerraceTalk with Moshe Leiser, Patrice Caurier, Helga Rabl-Stadler, Rebecca Schmid

13 AUG 2015

by FESTSPIELKIEBITZ  15:59 h;
published in: Opera

For Moshe Leiser and Patrice Caurier, their work directing Gluck’s Iphigénie en Tauride did not start on stage. Rather, they sat down at the piano in an intimate atmosphere and discussed note for note and word for word with the singers. “We want to delve into profound emotions and depict extreme tragedy,” says Patrice Caurier. Especially in Gluck’s case, this is essential – one syllable equals one note, that was the point of Gluck’s opera reform, says Moshe Leiser. “People were to attend operas in order to understand the text, not only to hear beautiful music,” he explains.

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TerraceTalk with Daniel Barenboim, Helga Rabl-Stadler, Florian Wiegand, Wolfgang Schaufler

12 AUG 2015

by FESTSPIELKIEBITZ  18:18 h;
published in: Concert

To Daniel Barenboim, Pierre Boulez is not only “the most important and most interesting personality in contemporary music,” but also a friend who has accompanied the maestro’s career. At the Salzburg Festival, he and his West-Eastern Divan Orchestra will perform not only Wagner, Schoenberg, Tchaikovsky and Debussy, but also two Boulez works in the series Salzburg contemporary: sur Incises and Dérive 2. As the maestro points out at the Terrace Talk on Tuesday night, Boulez completely changed the musical world in many aspects.

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Der Rosenkavalier 2015 • TerraceTalk mit Krassimira Stoyanova, Golda Schulz, Günther Groissböck

11 AUG 2015

by FESTSPIELKIEBITZ  10:22 h;
published in: Opera

So difficult, so sympathetic, so touching – the language of Hofmannsthal’s Der Rosenkavalier simply goes straight to the heart, says the Bulgarian soprano Krassimira Stoyanova. After the huge success of Strauss’ Der Rosenkavalier at the 2014 Salzburg Festival, this year she will again embody the role of Feldmarschallin Fürstin Werdenberg at the revival.

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Nestlé and Salzburg Festival Young Conductors Award 2015. The Winner is Lorenzo Viotti from Switzerland

10 AUG 2015

by FESTSPIELKIEBITZ  17:09 h;
published in: Concert

“It was a privilege to observe three young gifted conductors at work this week. All three have a brilliant future in front of them. But it was the feeling of the jury that the winner – Lorenzo Viotti – is at this moment in his development a few steps ahead of the others in being ready to launch what we all feel it is going to be an important career,” said jury chairman Dennis Russell Davies when announcing the 2015 winner.

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