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Reserva sus entradas para la temporada 2018 del Ópera de Viena

 

No hay que perder en Mayo 2018 : En el mes de mayo en el Wiener Staatsoper (Ópera de Viena), el acontecimiento principal es el reencuentro en la cima de una obra maestra de la ópera francesa. Sansón y Dalida, de Saint-Saëns, está interpretada por Roberto Alagna y Elina Garanca, dos artistas incandescentes. Simon Boccanegra, de Verdi, disfruta también de un soberbio reparto: Thomas Hampson, Marina Rebeka, Francesco Meli. El mes Verdi prosigue con grandes figuras en cartel: Plácido Domingo, Pavol Breslik e Irina Lungu en La Traviata y Aída Garifullina y Juan Diego Flórez en Rigoletto. Con el recital de Waltraud Meier, el mes de mayo de la Ópera de Viena se prevé espectacular.

 

Temporada 2017-2018

La célebre Ópera Estatal de Viena, institución de la más alta relevancia en Austria, propone esta temporada 2017-2018 unas 227 representaciones de ópera y 53 de ballet, así como conciertos y recitales. El repertorio aquí es siempre de un nivel excepcional y los melómanos del mundo entero se dan encuentro en Viena, donde reina la excelencia.

 

El director Dominique Meyer es fiel al puesto ycontinúa maravillándonos (Bogdan Roscic, director recientemente nombrado no entrará en funciones hasta el 2020). Por supuesto, cada temporada las nuevas producciones que entran en el repertorio son muy esperadas.

 

La ópera de Prokofiev, The Gambler, es una rareza que tiene toda una plaza en una de las primeras escenas mundiales. Con Ariodante, de Haendel, la aventura barroca continúa. William Christie, gran figura, está frente al atril. El repertorio alemán no se descuida, con dos grandes obras maestras tan diferentes com Der Freischütz, de Weber, y Lulu, de Berg, así como el retorno de un compositor harto conocido del público austríaco, Gottfried von Einem, con Dantons Tod.

 

Uno de los grandes acontecimientos de la temporada es sin duda Sansón y Dalila ya que reúne a una pareja incandescente: Elina Garanca y Roberto Alagna.

 

En ballet, los nuevos espectáculos de la Ópera Estatal de Viena presentan los grandes nombres de MacMillan, McGregor y Ashton, e incluso Edward Clug, con Peer Gynt.

 

A continuación, hace falta desgranar el denso programa para remarcar, entre las soberbias producciones, algunas representaciones que destacan, sin duda, más que otras. Las superestrellas del arte lírico se sienten en casa en la Ópera Estatal de Viena. Un papel a la altura de la desmesurada Anna Netrebko le espera, con Adriana Lecouvreur donde forma pareja perfecta con el gran tenor Piotr Beczala (quien interpreta también a Don José en Carmen). La sublime soprano, en el apogeo de sus capacidades vocales, está también en el cartel de El Trovador, de Verdi. ¿Cabe presentar a Jonas Kaufmann y a Anja Harteros, su pareja ideal?  Los dos inmensos intérpretes se reúnen en Andrea Chénier.

 

En ballet, Manuel Legris ha preparado con sumo cuidado una bellísima temporada, a destacar grandes clásicos como Giselle y El Cascanueces (en la coreografía de Noureev), pero también a grandes contemporáneos como John Neumeier.

 

A señalar, igualmente, una tetralogía de Wagner que constituye todo un acontecimiento con la llegada de Sonya Yoncheva – una Marguerite ideal para el Fausto, de Gounod – [16/06/2017 : Wiener Staastoper announced Sonya Yoncheva will be replaced by Anita Hartig as Marguerite], de Juan Diego Flórez – soberbio en Rigoletto –, de Ludovic Tézier – Don Giovanni de gran clase – o la llegada de Plácido Domingo que dirige una Traviata de excepción (Olga Peretyatko).

 

La nueva generación está bien presente en Viena destacando particularmente Sabine Devieilhe – en La Fille du Régiment –, Aida Garifullina – Rigoletto –, o Ioan Hotea (1er Premio Operalia 2015) – en El Barbero de Sevilla –.

 

En cuanto a los directores, la Ópera Estatal de Viena sabe igualmente crear acontecimientos, invitando a grandes figuras como Daniel Harding que dirige Pelléas et Mélisande, de Debussy, con bellísimo reparto (Christiane Karg, Bernard Richter y Simon Keenlyside). Richard Strauss está particularmente bien servido con Yannick Nézet-Séguin para Salomé y Jeffrey Tate para Ariadne auf Naxos). ¡Es imprescindible reserva plazas cuanto antes, tal como comprenderán!

 

Reserva entradas para Concierto, Ópera, Ballet : Wiener Staatsoper

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    Alagna
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    Samson et Dalila Saint-Saëns


    Wiener Staatsoper Wien, Austria

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  • Ópera
    La Traviata © Michael Pöhn & Wiener Staatsoper
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    La Traviata Verdi


    Wiener Staatsoper Wien, Austria

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  • Ópera
    Capriccio © Wiener Staatsoper
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    Capriccio Strauss R.


    Wiener Staatsoper Wien, Austria

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  • Danza
    Giselle © Michael Pöhn & Wiener Staatsoper
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    Giselle


    Wiener Staatsoper Wien, Austria

    • Compañía de danza :
      Wiener Staatsballet

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    De 120€ hasta 187€ + Info / Entradas
  • Ópera
    Rigoletto © Michael Pöhn & Wiener Staatsoper
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    Rigoletto Verdi


    Wiener Staatsoper Wien, Austria

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Informaciones sobre Wiener Staatsoper

Tanto por la excepcional programación y calidad de los elencos, como por la belleza de su sala, la Ópera de Viena, es indiscutiblemente, uno de los más importantes centros operísticos del mundo. Un lugar donde se siente el peso de la tradición y donde la excelencia es costumbre. Para los vieneses, su ópera es más que una institución, es un símbolo de identidad insustituible, un asunto de estado.
 
En el siglo XIX, el Kàrntnerthor-Theater fue demolido y se construyó el edificio actual en el famoso Ring. Aquí es donde Mahler impuso su nuevo estilo, hecho de precisión en la interpretación, conseguida  a través de incontables ensayos y una audacia nunca vista en las escenografías, a cargo de Alfred Roller. Después de la caída de los Habsburgo, fue Richard Strauss, el encargado de dirigir los destinos de la nueva institución: la Wiener Staatsoper. Sin embargo, curiosamente, sólo una de sus obras será estrenada en Viena: La mujer sin sombra. Más tarde, Clemens Krauss y Karl Bohm serán los encargados de mantener la tradición. Con Bohm se creó la famosa troupe, que será un modelo a seguir para las siguientes generaciones de cantantes. Ni siquiera las bombas que destruyen la ópera en 1945, podrán impedir que los nombres de Elisabeth Schwarzkopf, Irmgard Seefried, Sena Jurinac o Erich Kunz entren en la leyenda. 
 
Pero que nadie piense que los vieneses aplauden sólo a sus estrellas: en 1955, con el edificio finalmente reconstruido, Maria Callas canta Lucia di Lammermoor dirigida por Karajan y el público amontonado en la calle,  detiene el tráfico para vitorear a la diva. Es en efecto Hervert von Karajan quien tomó las riendas después de Karl Bohm, e invitó a las grandes voces de todo el mundo a la escena vienesa, gracias a la costumbre de cantar las obras en versión original. Con coproducciones con La Scala, Viena descubrió voces como la de Mirella Freni en La Boheme.
  
Bajo el liderazgo de Ioan Holender, director hasta 2010, el teatro ha visto estrenos de óperas hasta entonces inéditas, como Jerusalem de Verdi, o Oedipe de Enesco, contemplando la contratación de elencos internacionales, pero respetando a la vez el espíritu de compañía, costumbre iniciada durante los brillantes años de Claudio Abbado en el podio. Sean cuales sean los cambios, la Ópera de Viena sigue ofreciendo anualmente alrededor de 300 representaciones, gracias a un completo equipo técnico de 250 personas y una orquesta de ensueño en su foso: la Filarmónica de Viena.
 
Dominique Meyer, actual director de la entidad, ha anunciado para esta temporada, transmisiones en directo de algunas óperas, a través de Internet.