Summer Festival
From 26 July to 30 July 2024

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    In Salzburg, beauty is everywhere. The home of Mozart and Karajan, nestled in an enchanting setting, is a marvellous Baroque city. In the evening, the Hohensalzburg fortress reveals itself like a fairy-tale abode… From its ramparts, you can admire the forest of colorful domes and bell towers built by the Prince Archbishops over the centuries. You can visit their cabinet of curiosities in the Residenz, a treasure hidden from the public for over two hundred years.


    During the Festival season, the city’s streets exude a unique joie de vivre and atmosphere of discovery. Every summer since 1920, Salzburg has brought together the gotha of the musical world, making this Austrian event, the most popular opera and symphony festival on the planet. The program we’re proposing is incredibly diverse: a sublime concert version of Strauss’s Capriccio, led by the Vienna Philharmonic, is combined with a long-awaited production of Mozart’s Don Giovanni by the brilliant director Romeo Castellucci, surrounded by a play (Jedermann), a symphonic concert (Brahms and Mendelssohn by Blomstedt) and a superb Baroque evening (Léa Desandre with Ensemble Jupiter).

    Movements between heaven and hell
    The program
    Capriccio, by R. Strauss
    July 26, 2024
    Jedermann, by H. von Hofmannsthal
    July 27, 2024
    Igor Levit Recital
    July 27, 2024
    Vienna Philharmonic Orchestra / H. Blomstedt
    July 28, 2024
    Don Giovanni, by W.A. Mozart
    July 28, 2024
    Canto Lirico / L. Desandre / Ensemble Jupiter
    July 29, 2024

    At 7pm, Grosses Festspielhaus :


    CAPRICCIO, by R. Strauss


    Vienna Philharmonic Orchestra

    Christian Thielemann: Music director


    Elsa Dreisig: The Countess

    Bo Skovhus: The Count, her brother

    Sebastian Kohlhepp: Fleming, a musician

    Konstantin Krimmel: Olivier, a poet

    Mika Kares: La Roche, the theatre director

    Ève-Maud Hubeaux: Clairon, an actress

    Jörg Schneider: Monsieur Taupe

    Regula Mühlemann: An Italian singer

    Josh Lovell: An Italian tenor

    Torben Jürgens: The butler


    Capriccio is Richard Strauss’s last opera. Inspired by an idea by Stefan Zweig, the work focuses on the very heart of opera: the relationship between words and music. Set in Paris circa 1775, it portrays the rivalry between the poet Olivier and the Flemish musician, both of whom are courting the Countess Madeleine. Strauss himself regarded Capriccio as his testament, and the Countess’s final monologue as “the best conclusion to his theatrical work”. This lyrical masterpiece is performed here in concert version by the sublime Vienna Philharmonic conducted by Christian Thielemann. The cast naturally includes the immense Countess, played by the Franco-Danish Elsa Dreisig, a worthy heir to the role’s greatest incumbents.



    At 5pm, on the Domplatz (Cathedral Square):


    JEDERMANN, by H. von Hofmannsthal


    Robert Carsen: Director

    Dominik Dos-Reis: Death

    Philipp Hochmair: Jedermann

    Christoph Luser: The Good Companion/Devil

    Kathleen Morgeneyer: A poor neighbor/Les Bienfaits

    Nicole Beutler: The creditor’s wife

    Deleila Piasko: Paramour

    Christoph Krutzler: Fat Cousin

    Daniel Lommatzsch: Thin Cousin

    Kristof Van Boven: Mammon

    Julia Windischbauer: Faith

    Andrea Jonasson: Jedermann’s mother

    Joseph Lorenz: Creditor


    Did you know that on August 22, 1920, the Salzburg Festival opened with Hugo von Hofmannsthal’s Jedermann? Since then, the Austrian event has regularly presented this magnificent play, a sublime reflection on life and death. For the current edition, the Festival called on one of the wizards of contemporary opera: Robert Carsen. The Canadian director has shown in the past what an immense interpreter of Richard Strauss he is (his Chevalier à la rose and Femme sans ombre, from a libretto by Hofmannsthal, are benchmarks), and this theatrical event will carry all the delicious quintessence of early 20th-century Vienna.



    At 9pm, Grosses Festspielhaus:




    Igor Levit : Piano

    – J.S. Bach: Chromatic Fantasy and Fugue in D minor, BWV 903

    – J. Brahms: Six piano pieces, Op. 118

    – L. van Beethoven: Symphony No. 7 in A major, Op. 92, piano version by F. Liszt


    Igor Levit is one of the leading pianists of our time. Although relatively unknown in France, the German-Russian pianist is an absolute star in German-speaking countries. A committed artist, he provokes debate and is fully in tune with our modern society. But above all, he is an exceptional pianist with an eloquent touch. Following his performance of the complete Beethoven sonatas, Levit returns to the Salzburg Festival with a program worthy of him. In addition to Bach and Brahms, his favorite composers, his recital program includes Beethoven’s irresistible Symphony No. 7, a whirlwind of rhythms and dances magnified by Franz Liszt’s transcription.


    At 11am, Grosses Festspielhaus:




    Vienna Philharmonic Orchestra

    Herbert Blomstedt: Music Director


    Vienna Singverein: Choir

    Johannes Prinz: Choirmaster

    Christina Landshamer: Soprano

    Elsa Benoit: Soprano

    Tilman Lichdi: Tenor


    – J. Brahms: Schicksalslied (Song of Destiny) for choir and orchestra, Op. 54

    – F. Mendelssohn: Lobgesang (Song of Praise), op. 52 – a symphony-cantata on verses from the Holy Bible


    In the 19th century, choral compositions with orchestral accompaniment enjoyed an essential position with German audiences and musicians alike. Three years after Un Requiem allemand, Brahms set to music an excerpt from Friedrich Hölderlin’s novel Hyperion. Some commentators have compared this Song of Destiny Op.54 (Schicksalslied in German) to a mini-Requiem, due to its philosophical scope and gravity. Mendelssohn was only 31 when he presented his Second Symphony in Leipzig. Called the Lobgesang (Song of Praise), the work irresistibly evokes Beethoven’s Ode to Joy. At the helm of the Vienna Philharmonic, the legendary Herbert Blomstedt conducts this major milestone of the choral symphony, situated between Beethoven and Mahler.



    At 6pm, Grosses Festspielhaus:


    DON GIOVANNI, by W.A. Mozart


    Orchestre Utopia

    Teodor Currentzis: Music Director

    Romeo Castellucci: Stage Director

    Davide Luciano: Don Giovanni

    Dmitry Ulyanov: The Commander

    Nadezhda Pavlova: Donna Anna

    Julian Prégardien: Don Ottavio

    Federica Lombardi: Donna Elvira

    Kyle Ketelsen: Leporello

    Ruben Drole: Masetto

    Anna El-Khashem: Zerlina


    In Castellucci’s staging, a bare, desacralized church becomes Don Giovanni’s space. With the brilliant director, Don Juan becomes the one who wants to destroy everything, a child expressing his frustration at not being able to obtain the object of his desire. For Castellucci, Mozart turns out to be a stubborn feminist composer. Blinded by his narcissism, Don Giovanni is incapable of perceiving women as unique individuals. For Act II, Castellucci invited a large number of women living in Salzburg to occupy the Grosses Festspielhaus stage. Add an exceptional cast and the direction of Teodor Currentzis, and you have a Don Giovanni of today, for the times of tomorrow.


    At 7:30pm 19h30, at the Haus für Mozart:




    Ensemble Jupiter

    Thomas Dunford: Musical Director

    Thomas Dunford: Luth
    Léa Desandre: Mezzo-soprano


    – J. Dowland:

    Extracts from The First Booke of Songes or Ayres – Come againe, sweet love doth now invite (XVII); Go crystall teares (VIII); Now, o now, I needs must part (VI); Can she excuse my wrongs (V); Frogg Galliard;

    Extracts from Lachrimæ, or Seaven Teares, Lachrimæ antiquæ (I) ; The Earle of Essex Galiard (XII) ; Semper Dowland semper dolens (VIII), The King of Denmark’s Galiard (XI) ;

    Excerpts from The Second Booke of Songes or Ayres; Sorrow, stay FII/12; Flow my tears



    – H. Purcell :

    Excerpts from the semi-opera The Fairy Queen Z 629; Air ‘If love’s a sweet passion’; Chaconne; Air ‘O let me weep’; Air ‘Now the night is chas’d away’, ‘Strike the viol’ from Orpheus Britannicus I Z 323,5; O solitude, my sweetest choice Z 406; Now that the sun hath veiled his light – An evening hymn Z 193;

    Excerpt from the opera Dido and Aeneas Z 626, Overture, Air ‘Ah Belinda’, Echo dance of the furies, Air ‘Thanks to these lonesome vales’, The witches’ dance, Air ‘When I am laid in earth’.



    Impetuosity, vitality and virtuosity are the hallmarks of Ensemble Jupiter concerts. Under the leadership of its founder, lutenist Thomas Dunford, the ensemble has forged a highly flattering reputation among Baroque ensembles. This growing success triumphs in this program at the prestigious Salzburg Festival. Mezzo Léa Desandre, an inseparable member of the Ensemble Jupiter, has established herself not only as one of the most sought-after young French singers on the international scene, but also as the interpreter of choice for the most lyrical Baroque repertoire, as this recital dedicated to 17th and 18th century amorous passion vividly demonstrates.

    Hotel selection

    Opposite the Festival Palace, the Goldener Hirsch, beloved of music lovers, saw Mozart’s birth almost on its doorstep… Cosy and warm, it is the Salzburg institution par excellence.

    SACHER (*****SUP.)

    On the banks of the Salzach River, facing the magnificent panorama of the Old Town, the Fortress and the Alps, the Sacher is a traditional hotel of impeccable elegance and service.

    Information about this trip
    In charge of the destination
    Pauline Heckly
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