Ticket information
Opening hours ticket office
Monday to Friday 9 a.m. – 1 p.m.

Due to the construction work for the new Festival Centre, the ticket office can be found at the following address until its completion:
5020 Salzburg, Austria
Tel. +43 662 8045 500
info@salzburgfestival.at
Salzburg Festival 2025
‘I am being given birth into death,’ remarks Samuel Beckett’s character Malone in a monologue that dissolves time and space, leaving only the nothingness of the end. The endgame of human existence is where we find the protagonists of this summer’s Salzburg Festival: siblings languishing in the Russian provinces in Peter Eötvös’s Three Sisters, a woman lost in the forest in Schoenberg’s Erwartung and a mournful, lonely wanderer in Mahler’s ‘Der Abschied’. The doctor in Vladimir Sorokin’s deadly blizzard is likewise caught up in extreme circumstances, as is the despondent prophetess Cassandra in Michael Jarrell’s adaptation of Christa Wolf’s novella.
Along the way, we will be transported to the historical power bases Caesar built up in Rome and Egypt, to Macbeth’s Scotland and to Tudor England where Mary Stuart was imprisoned. We meet powerful people who are facing the inevitable. They are all close to the end, whether staring right into it (Verdi’s and Sciarrino’s Macbeth), fearing it (Handel’s Giulio Cesare), choreographing it triumphantly (Donizetti’s Maria Stuarda) or longingly calling for it (characters in Three Sisters). They spend their final moments in lonely abandonment (Jarrell’s Cassandra), in a state of feverish anxiety (the protagonist of Erwartung), or in cosmic repose, having found comfort and spiritual transcendence (in Mahler’s Das Lied von der Erde).
Our questions, our doubts, our loneliness, our fears and our brightest hopes are all writ large in the works programmed at the Festival this summer, brought into sharp clarity as if by a magnifying glass. We see them much as Hofmannsthal’s Jedermann looks back on his life, his memories rapidly curdling in his final hours — yet he still finds redemption.
While Macbeth summons the end of the world and Karl Kraus, haunted by the horrors of war, feels he is standing ‘before the deathbed of time’ in his monumental drama The Last Days of Mankind, Mahler’s wanderer sees a glimmer of hope: ‘Everywhere and forever the distance shines bright and blue!’ For Mozart, the light always breaks through — and even Sorokin’s blizzard takes us ‘to the epicentre of a blinding brightness’. In the end, every vision of worldly doom also carries within it a vision of something new.
The tension between our current actions and our vision of the future is what defines our humanity.
This brings up the great philosophical question of human free will: are we truly able to choose between different courses of action, or are outcomes predetermined by fate? In the Ouverture spirituelle, we will plumb the depths of this question.
However differently an ending is portrayed and composed, and no matter how it is anticipated, feared or invoked — it is only through the playful nature of art that we can see ourselves reflected in others, and be present with them as they face their own endings. For the observers and for the audience — that is to say, for us — this expands our capacity to act meaningfully, opening up new spaces for imagination, change and transformation.
Kristina Hammer · Markus Hinterhäuser · Lukas Crepaz
Board of Directors of the Salzburg Festival

Ticket allocation procedure
- All orders are requested in writing by the deadline 21 January 2025:
- online: www.salzburgfestival.at
We provide instructions here to assist you. - by mail:
Ticket office of the Salzburg Festival
P.O. Box 140
5010 Salzburg, Austria - All orders arriving at the latest by the deadline will be handled equally, irrespective of when they arrive. This means that orders are not processed in the order in which they arrive. Notification of the extent to which the order is processed as requested will be sent by end of March 2025 at the latest.
Orders received after the deadline will only be processed after all orders placed before the deadline have been filled. - Orders from club members, patrons, association members and subscribers are given priority and are linked to the current member status. Here you can find more information about the Friends’ Association (Verein der Freunde).
- When ordering a wheelchair seat, it must be announced whether a seat for the accompanying person is required in the immediate vicinity. Detailed information on all wheelchair spaces in the individual venues and on the subject of accessibility can be found here.
- Once the order phase is complete, direct sales will start on 21 March 2025.
Salzburg Festival Whitsun 2025
Dear Friends,
After previous sojourns in Rome and Seville, we continue our musical travels during the 2025 Salzburg Whitsun Festival and journey this time to the lagoon city of Venice, where enchanting sounds await us. This place is the closest realization of a ‘utopia’ as described by Thomas More in his 1516 book of the same name. It was utopian for human labour to raise a city of stone, graced with the world’s most beautiful artworks, from changeable waters that could never be truly tamed. When Venice rose to become a world power, it was despite — or possibly even because of — a social order that was uniquely utopian for past centuries. And today it seems utopian to hope that the city’s historic structures and proud spirit might be preserved in the face of mass tourism, climate change and the various political challenges confronting European society.
With its unique blend of breathtaking splendour and chronic decay, over the course of its tumultuous history Venice became a place of convergence for people from a wide range of cultures — among them an incredible array of foreign statesmen, thinkers, philosophers, writers, painters, musicians and scientists — for whom the city’s morbid character was like a Baroque memento mori.
Though it may seem intuitive to reach for the words of an Italian writer or composer when describing such a city caught between dream and reality as a centre for music, it is fitting to quote Friedrich Nietzsche, in the introductory text to his famous poem Venedig (1888), since he expresses it better than anyone else: ‘When I seek another word for music, I always find only the word Venice.’
During the 2025 Salzburg Whitsun Festival, you will hear a selection of music spanning five centuries, featuring works that were either written in Venice, created for Venice or inspired by the city. Our benchmark from the 17th century is Monteverdi’s Vespro della Beata Vergine, a work made up of numerous and highly contrasting parts. The performance in Salzburg will, like every performance before it, recreate the work anew in the present day, as the players and singers must make critical decisions about the instrumental forces and interpretation. Our concert is conducted by Gianluca Capuano with Les Musiciens du Prince — Monaco on historical instruments and the vocal ensemble Il Canto di Orfeo, therefore promising a unique experience in every respect. When paired with Bruno Mantovani’s new work based on Rilke’s 1918 poem Venezianischer Morgen (Venetian Morning), to be premiered less than three months before the Whitsun Festival, this bridge across the centuries can be perceived very clearly; or, to put it in Rilke’s own words: ‘reflections drawn from the canal in rows — /reminding her of shimmering days like those’.
The music of Antonio Vivaldi, as repurposed in an operatic pasticcio to be created by Barrie Kosky, takes us back to the 18th century. Before copyright was established as a legal concept, before sheet music became widely accessible, and long before recording devices were invented, the reuse of music by different composers in new contexts was not seen as an illicit act of plagiarism, but as a compliment. This was the only way to preserve it, as every piece of music would otherwise disappear from the repertory after only a few performances and not be readily heard again. In taking up this tradition, our project serves as a great homage to Vivaldi the opera composer.
Throughout his life, Giuseppe Verdi received more and more commissions from Venice, though the rehearsals were fraught with difficulties and the performances were often far from successful. One such fiasco was the world premiere of La traviata at the Teatro La Fenice in March 1853. As it remains nevertheless a choice example of the 19th-century music created in or for Venice, I have programmed this opera as a concert performance with a cast of fantastic soloists.
This year, I am especially looking forward to a chamber-music matinee conceived by Markus Hinterhäuser, who also performs, which will feature Wagner’s Wesendonck Lieder as well as …..sofferte onde serene… by Luigi Nono, with the latter providing a reminder that Nono’s native city of Venice also inspired some of the greatest musicians of the 20th century.
John Neumeier was synonymous with the Hamburg Ballet for 50 years: an artistic symbiosis so close that the company now even bears his name. During this time, Neumeier’s dancers performed six times in Venice; at the Teatro La Fenice, of course, but also in the Piazza San Marco. I am moved and honoured that John Neumeier is reviving the ballet Death in Venice for us, as part of an extensive retrospective marking the end of his artistic directorship. This will put the crowning touch on our wonderful artistic partnership. In this adaptation of Thomas Mann’s novella, which gained worldwide fame through Visconti’s film, Neumeier draws on music by Bach and Wagner to build the bridges between eras and art forms that are so characteristic of his work. In the case of Venice, this strikes me as exactly the right approach to the myth of this city.
I don’t know how widely known it is that the first Rossini opera produced by a theatre, La cambiale di matrimonio, was unveiled in Venice, where the world premiere took place on 3 November 1810 at the Teatro San Moisè. And there is another Venetian connection: Semiramide, Rossini’s last opera to be premiered in Italy, was first performed at the Teatro La Fenice on 3 February 1823. On Whit Monday, we will dedicate the second eclectic pasticcio of this Whitsun Festival to Rossini and a selection of the most beautiful numbers from his ‘Venetian’ operas, such as La scala di seta, L’italiana in Algeri and Tancredi.
I look forward very much to seeing you again at the 2025 Salzburg Whitsun Festival!

Ticket Sales
From now on, you can book your subscriptions directly online.
When booking at least one date of the new production Hotel Metamorphosis, the ballet Death in Venice, the two concert operas La Traviata and Carmen and at least one of the following events: Sacred Concert, Matinee a 15 % discount will be granted. This subscription can be booked in price categories 1 to 5.
Subscription orders are processed with priority according to the date by which they are received. Single ticket orders are processed from January 20, 2025 (according to availability).
Individual tickets can be booked directly online from 20 January 2025.
Written orders can be sent to:
SALZBURGER FESTSPIELE
PO Box 140
5010 Salzburg · Austria
info@salzburgfestival.at
Team
Frequently asked questions
Still have questions about tickets or looking for a specific ticket information? Frequently asked questions are answered in our FAQ section.
Ordering:
- Once the programme is released, tickets can be ordered.
- Orders must include details such as the performance, number of tickets, and category, but exact seats cannot be chosen.
- Orders are collected up to a specified deadline, after which tickets are allocated continuously until the end of March.
- Up to a thousand orders a day are processed by the team of the ticket office, booked, and billed. Orders by members of the Friends of the Salzburg Festival (including club members, patrons and sponsors), which support us financially, thus helping to enable much of our programme in the first place, are processed first.
- The order processing takes into account how long a customer has been attending the festival, as maintaining relationships with long-term visitors is important.
- Due to high demand, not all requests can be fulfilled, and the chances of a successful allocation increase if the order is more flexible in terms of performance, date, and price categories.
Buying:
- After all orders have been processed, direct sales begin. At this point, all remaining tickets are available for purchase.
- During direct sales, specific seat selections are possible.
- Tickets can be purchased via the website, by phone, or at the ticket office.
- The ticket sale for Whitsun starts with the subscription sale, which has already started.
- Individual tickets will be available from 20 January 2025.
Summer:
- Tickets can be ordered as soon as the programme is published (early December).
- Orders will be collected until the deadline (21.01.2025) and then be processed.
- Orders must be made in writing. You can place an order via the website or using the order form.
- The time of the order has no influence on the processing; it is important that the order is placed before the deadline.
- No seats can be selected when ordering, only sectors and the category.
- Orders are no guarantee of a ticket allocation.
- After the order phase, direct sales will start (the exact date will be announced).
- Orders will be collected until the deadline (21 January 2025) and then processed.
- The time of the order has no influence on the processing; it is simply important that the order is placed before the deadline.
- No seats can be selected when ordering, only sectors and the category.
- Orders are no guarantee for a ticket allocation.
Start of direct sales: 21 March 2025
- From 21 March 2025 you can buy tickets directly on our website.
- The tickets correspond to the selected seats in the selected category.
- Orders will be collected until the deadline (21 January 2025).
- From 21 January 2025 orders will be allocated.
- All orders received by the deadline will be treated equally.
- This means that orders are not processed in the order in which they arrive.
- Orders from club members, patrons, association members and subscribers are prioritised and are linked to the current membership status.
- You will receive notification of the extent to which your order has been processed as requested in the end of March the latest.
- Orders are requested by the deadline (21 January 2025).
- The time of the order has no influence on the processing
- Orders received after the deadline will only be processed after all orders placed before the deadline have been filled.
- Yes, Orders can be edited or cancelled up to 21 January 2025. After this date they are binding.
- Instructions can be found here
- a positive allocation in the form of an invoice
- if no allocation was possible, you will receive a message by e-mail / letter no later than the end of March.
- Subscription: as of now
- Individual tickets: from 20. January 2025
Summer 2025
- Direct sales will start after the order phase on 21. March 2025
- E-tickets will be delivered free of charge by e-mail link or online at My Festival.
- Printed tickets can be sent by registered mail for a fee (€ 6.– for Austria, € 7.– for Germany and € 12.– for other countries) or be picked up in the ticket office or box office. From four weeks before the first performance booked, there is only the possibility to pick up the printed tickets on site or to book them as an e-ticket.
Please let us know when placing your order or making your purchase how you would like to receive the tickets.
Detailed information on the venues can be found at www.salzburgfestival.at/en/venues