Karl-Böhm-Saal

About the venue

Karl-Böhm-Saal

The Karl Böhm Hall serves not only as a foyer but also for all sorts of prestigious purposes. It was built in 1662 by Prince-Archbishop Guidobald Graf von Thun (1654–1668) as a winter riding school. It was converted in 1926 by the Salzburg architect Clemens Holzmeister and during the building work the conglomerate rock of the Mönchsberg was revealed at the southern end of the hall. For the fireplace at ground level Holzmeister designed a wrought-iron guard in which the history and purpose of the hall are symbolically depicted by means of the regional coat of arms, a bishop’s mitre, a lyre, horseshoe, treble clef and theatre masks. A Baroque balustrade of stone offers a raised view of the hall, whose ceiling is covered by a 600-square-metre fresco. It is one of the largest of its kind in Austria and shows horsemen attacking “Turkish dolls”, which was part of cavalry training during the 17th century and was known as “Turkish Head Jousting”. The fresco was created in 1690 by the renowned Salzburg court painter Michael Rottmayr and his pupil Christoph Lederwasch; it was renovated in 1926 and – when the roof rafters were renovated – again in 1976.

The walls of the Karl Böhm Hall are panelled with dark wood and several balconies break up the cassette structure. In connection with the major conversion of the Felsenreitschule in 1969/70, Clemens Holzmeister linked the dais with two wooden staircases in the style of the rest of the hall. Further renovation work took place in June 1999: a new parquet floor of light oak and dark wood was laid, the wood panels newly stained and the curtains replaced by light, bright textiles. A new lighting concept creates a brighter atmosphere. Since July 2008 Max Weiler’s huge painting Wie eine Symphonie (Like a Symphony), 1990, an homage to Mozart, graces the Karl Böhm Hall as a permanent loan from the Max Weiler private foundation in Vienna.

Karl Böhm

Next to the all-dominant figure of Herbert von Karajan, Karl Böhm was the most influential conductor personality of the Salzburg Festival after World War II. For over forty years, he conducted operas nearly every summer, as well as many concerts – leading more than 300 performances on the Festival’s stages in total.

Karl Böhm made his Salzburg Festival debut on July 25, 1938 with Don Giovanni. Under his baton, numerous Mozart operas were performed during the following years: Die Zauberflöte, Le nozze di Figaro, Così fan tutte, Die Entführung aus dem Serail and Idomeneo. He was considered the gold standard of Mozart conductors of his time. The singer ensembles he assembled were legendary.

Richard Strauss’ oeuvre was particularly dear to Böhm’s heart, Strauss being a composer with whom he shared not only a fruitful professional collaboration, but also many years of personal friendship. At the Salzburg Festival, he conducted Strauss’ Der Rosenkavalier, Arabella, Capriccio, Ariadne auf Naxos, Die schweigsame Frau and Die Frau ohne Schatten, inspiring audiences and critics alike to thunderous applause.

Böhm was also a champion of modernism, however. Against massive political opposition, he ensured that Alban Berg’s Wozzeck was performed at the Festival in 1951 and conducted the world premiere of Gottfried von Einem’s Der Prozeß in 1953.

On the occasion of Karl Böhm’s 85th birthday on August 28, 1979, the City Senate decided to rename the Municipal Hall “Karl-Böhm-Saal”.

Born in Graz in 1894, the conductor had begun his career at the opera house there and was appointed General Music Director in Hamburg in 1931, after stations in Munich and Darmstadt. Under his directorship, Darmstadt and Hamburg developed into centres of contemporary music. His playbills included works by Alban Berg, Ernst Krenek, Paul Hindemith and Igor Stravinsky. Modern productions interested Böhm as much as innovative theatrical spaces and stages.

Politically, however, Böhm’s curriculum vitae was overshadowed by his role as a follower during the Nazi era. In 1933 he became a member of the “Kampfbund für deutsche Kultur” (“Combat League for German Culture”) founded by Alfred Rosenberg. In June 1934, this organisation merged with others as part of the Nazis’ social consolidation, becoming the “National-Socialist Cultural Community”. Upon Adolf Hitler’s intercession, Böhm was released from his contract as Hamburg’s General Music Director in 1934 to become the successor of Fritz Busch (1890-1951), whom the Nazi regime had forced to resign and emigrate, at Dresden’s Semper Opera.

Böhm’s career during the Nazi era was crowned by his takeover of the Vienna State Opera, where he became director in 1943 at Adolf Hitler’s wish. There, upon the intervention of Reichsleiter Baldur von Schirach, he received the “Aryanised” Villa Regenstreif in Vienna’s 18th District, at Sternwartestraße 70, whose rightful owners were compensated after the war.

In 1944, during the final phase of World War II, when many artists were recruited for active service or obliged to do labour service on the “home front”, Hitler added him to the “List of God’s Talents” as one of the 15 most important conductors, which amounted to a dispensation from military service.

Böhm’s actions during the Third Reich were ambivalent. His rise was aided by the expulsion of Jewish and politically unwanted colleagues. He profited from the Third Reich and came to terms with the system in order to further his career. Böhm was not an Anti-Semite, and his publications are free of Nazi jargon with its plump resentment and racism. Nor was he ever a member of the NSDAP, the Nazi party. However, as the historian Oliver Rathkolb has remarked, he was the artist who “had presumably been the most active non-NSDAP member to provide propaganda for the ‘movement’.” Being a follower replaced his party membership.

At the end of April 1945, the Allies removed Böhm from his director’s position because of his great proximity to the Nazi regime, and forbade him to perform, an injunction that was lifted in 1947. In 1954 he returned once more as the director of the Vienna State Opera for two years. On November 1955, he conducted Beethoven’s liberation opera Fidelio on the occasion of the reopening of the Opera House on Vienna’s Ring.

After 1945 Karl Böhm received high national and international awards and honours, including the “Austrian Decoration for Science and Art” (1970), the “Commander’s Cross of the Federal Republic of Germany” (1960) and the “Commander’s Cross of the French Legion of Honour” (1976).

More information about Karl Böhm

How to find us

Adress & contact

Karl-Böhm-Saal
Hofstallgasse 1, 5020 Salzburg

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The foyers are opened to Festival visitors one hour before the beginning of each performance.

Tel.: +43 662 8045 0
info@salzburgerfestspiele.at

Public transport

Trolley bus stop Herbert-v.-Karajan-Platz
Lines 1, 8, 10, A, 22, 23

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Further bus lines operate from the foot-accessible trolleybus stops Ferdinand-Hanusch-Platz and Rathaus.

Festival ticket = bus ticket
Comfortably and relaxed to the Salzburg Festival – three hours before the beginning of the performance until end of operation, your festival ticket is valid as city bus ticket in the so-called ‘core-zone’!

Parking

Underground car park Altstadtgarage A+B
Hildmannplatz 1, 5020 Salzburg

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Opening hours: daily 0-24 h
From the underground car park Altstadtgarage B you have direct access to the Festival Halls.
At the cash desk guests you show your tickets one hour before the event starts and purchase a discounted parking ticket for 6€, valid for 8 hours.

Further possibility:
Rot-Kreuz-Parkplatz
Franz-Josef-Kai, 5020 Salzburg
Opening hours: daily 0-24 h

Further information

Venues of the Salzburg festival