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Nina Stemme (c) Tanja Niemann

Wagner Siegfried

The 26 May 2022
Wiener Staatsoper - Wien

Wagner : Siegfried

  • Conductor
    Axel Kober
  • Director
    Sven-Eric Bechtolf
  • Performers
    Siegfried: Michael Weinius
    Brünnhilde: Nina Stemme
    Wanderer: John Lundgren
    Mime: Jörg Schneider
    Erda: Noa Beinart
    Alberich: Jochen Schmeckenbecher
    Fafner: Dmitry Belosselskiy
  • Venue Info
  • Seating Plan
  • Synopsis

Wiener Staatsoper - Wien Location Opernring 2 - 1010 Wien Autriche

  • Venue's Capacity: 1709

The Vienna State Opéra is much more than just a local institution; it is a vital part of the city's identity and a national landmark.

As of the 17th century, the Hapsburgs lavishly patronized the opéra. Family members Ferdinand III and Leopold I composed for the théâtre, while Charles VI tried his hand at conducting the orchestra, and the Empress Maria-Theresa often mingled with the corps de ballet.

During the 19th century, the Karntnerthor-Theater was demolished and the présent building was constructed on the famous " Ring ". It was here that Mahler, with the help of the set designer Alfred RoUer, imposed a new style of performance, based on audacious stagings and a very précise interprétation ofthe score, which demanded countless rehearsals.

After the fall of the Hapsburgs, Richard Strauss took over the reins of the newly baptized Vienna State Opéra. Curiously enough, only one of Strauss'operas, THE WOMAH WITHOUT A SHADOW, was premiered in Vienna. Clemens Krauss and Karl Bôhm were to follow in his footsteps. Under Bôhm's direction, the Opera created its own Company, which was to serve as a model for several générations. Even the bombs that destroyed the opéra house in 1945 could not prevent singer s such as Elisabeth Schwarzkopf, Irmgard Seefried, Sena Jurinac or Erich Kunz from becoming legendary.

One musn't think that the Viennese applaud only their homegrown stars. In 1955, when Maria Callas came to sing LUCIA DI LAMMERMOOR in the reconstructed building with Karajan conducting, the public blocked traffic to pay tribute to the diva... in the street! Karajan succeeàed Karl Bôhm, and invited many international stars to corne sing on the Viennese stage. Works were henceforth sung in their language of origin, and coproductions with La Scala permitted the disco-very of voices such as that of Mirella Freni in LA BOHEME.

Ioan Holender has suceeded in deftly combining these international distributions with an ensemble System. He has scheduled many works never heard on the Viennese stage, which are now included in the Opera's répertoire, such as Verdi's JERUSALEM and Enesco's OEDIPE, furthering a policy instated under Claudio Abbado's brilliant direction. Whatever changes may now occur, the Opera will continue to stage at least 300 performances per season (an absolute world record ren-dered feasible thanks to the în-house technical crew, which hires no less than 250 people), and the public will continue to applaud the finest orchestra any amateur could wish for in the pit : the Vienna Philharmonie !

Wiener Staatsoper

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.




As the third of four installments of Der Ring des Nibelungen, Siegfried is an opera inspired by the tale of the legendary Norse hero Sigurd. Created by Richard Wagner, the Opera premiered on 16th August 1876 at Bayreuth Festspielhaus as a segment of the initial complete performance of The Ring.

The Opera opens with a young orphan fearless boy who is expressing his desire to learn fear. His foster father advises him that the wise learn fear quickly. Eventually the boy is taught fear by his future wife and learns it when he discovers the slumbering Brunnhilde.


The Opera is part of the operatic tetralogy Der Ring des Nibelungen (Ring of the Nibelung). The creation of the text occurred between 1848 and 1853 when the four parts of The Ring were printed privately. The names of the remaining two Ring operas were not established until 1856. The composition of the tetralogy consumed Wagner for almost a quarter century.

Act 1

Nibelung dwarf Mime, the brother of Alberich, begins the Opera in a cave where he is fashioning a new sword. He has nurtured a human foster boy named Siegfried to kill a dragon, Fafner, who protects the ring. The boy requires a sword to kill the dragon but has broken all that have been created. The boy returns to the cave for a new sword and immediately breaks it. When demanding a new sword, Nibelung explains that he cannot create one. After the boy departs, The Wanderer tells Nibelung that only the boy can forge the sword.

Act 2

The Wanderer arrives at the entrance to the dragon's cave were Alberich is keeping watch. At dawn, the boy and Mime arrive where he lures the dragon out. The boy stabs the dragon in the heart and takes the ring and other treasure. Mime offers the boy a poisoned drink but the boy can read his thoughts and stabs him to death. The boy moves the two corpses to block the entrance to the cave.

Act 3

The Wanderer appears and summons the Earth goddess Erda who cannot offer advice. The Wanderer tells her that he does not fear the end of the gods and that his heritage will be left to the boy. He arrives and the Wanderer questions the boy who answers insolently. He attempts to move down the path to Brunnhilde's rock but is blocked by the Wanderer. The boy easily passes and emerges on Brunnhilde's rock. He sees an armored being which turns out to be a woman. He instantly gains fear as this is the first woman he has ever seen.


Siegfried, the fearless boy, tenor
Mime, the foster father, tenor
The Wanderer, brass-baritone
Alberich, baritone
Fafner, bass
Waldvogel, the woodbird, soprano

Wiener Staatsoper © Michael Poehn

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