At 7pm, at the Wiener Staatsoper:

TOSCA, by G. Puccini

Pier Giorgio Morandi: Conductor

Margarethe Wallmann: Stage Director

Elena Stikhina: Floria Tosca

Jonathan Tetelman: Mario Cavaradossi

Ludovic Tézier: Baron Scarpia

For the Viennese, this is the definitive production of Tosca. It is, admittedly, the Staatsoper’s oldest staging — its première dates back to 1958 — yet Margarethe Wallmann’s vision has lost none of its original magic. The passionate love story between Tosca and Cavaradossi, thwarted by the cruel Baron Scarpia, is brought vividly to life in a series of striking tableaux. Puccini’s breathtaking opera — a true thriller before the term existed — gains exceptional clarity and direction here, never more powerful than when performed by artists of the highest calibre. And that is certainly the case in this performance: Russian soprano Elena Stikhina, with her commanding dramatic temperament, takes on the title role alongside American tenor Jonathan Tetelman as Cavaradossi. Yet it may well be Ludovic Tézier’s Scarpia who emerges as the true star of the evening. The celebrated French baritone — one of the greatest singers of our time — portrays the sinister chief of Roman police with exceptional flair. In the pit, conductor Pier Giorgio Morandi conjures Puccini’s orchestral sorcery like few others can.

At 5.30pm, at the Wiener Staatsoper:

TANNHÄUSER, by R. Wagner

Axel Kober: Conductor

Lydia Steier: Stage Diretor

Georg Zeppenfeld: Landgraf Hermann

Clay Hilley: Tannhäuser

Ludovic Tézier: Wolfram von Eschenbach

Jörg Schneider: W. von der Vogelweide

Matheus França: Biterolf

Lukas Schmidt: Heinrich der Schreiber

Marcus Pelz: Reinmar von Zweter

Camilla Nylund: Elisabeth

Ekaterina Gubanova: Venus

Ileana Tonca: A young sheperd

Tannhäuser is the most renowned opera of the young Richard Wagner. Premiered in Dresden in 1845, the work underwent numerous revisions, culminating in the notorious Paris scandal of 1861. Among its Parisian admirers was none other than Charles Baudelaire, who saw in Tannhäuser a struggle “between flesh and spirit, between Hell and Heaven, between Satan and God.” Indeed, the libretto centres on a hero torn between the carnal love of Venus and the pure devotion of Elisabeth. While the grandiose Overture — with its irresistible sense of sonic ascent — has earned lasting fame, the opera itself contains moments of sublime beauty that anticipate the sweeping passion of Tristan und Isolde. For this new production, the Vienna State Opera has, for the first time, entrusted direction to American stage director Lydia Steier. The cast brings together seasoned Wagnerians, including Clay Hilley in the title role, as well as Camilla Nylund and Ekaterina Gubanova in the two central female roles. Continuing the rare and illustrious tradition of French Wagnerian baritones, Ludovic Tézier once again impresses as Wolfram von Eschenbach. In the pit, Axel Kober — former Music Director of the Düsseldorf Opera and a regular at the Bayreuth Festival — draws on his deep affinity with Wagner’s music.