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Fri. March 17, 2017, 7 p.m. - 10 p.m. Vienna

Richard Strauss

Arabella

Conductor: Peter Schneider | Director: Sven-Eric Bechtolf | With: Wolfgang Bankl, Camilla Nylund, Chen Reiss, Bo Skovhus, Herbert Lippert

 
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Peter Schneider | Conductor

Peter Schneider was born in Vienna and joined the Wiener Sangerknaben at the age of eight, later he studied at the Vienna Music Academy (composition and conducting). First he was répétiteur, director of studies and Kapellmeister in Salzburg and Heidelberg, later first Kapellmeister at the Deutsche Oper am Rhein, where he worked on nearly the entire opera repertoire. In 1978 he became GMD in Bremen. He has regularly conducted in Bayreuth since 1981. After having worked in Bremen, he became opera and General Music Director in Mannheim for two years. In 1993/1994 he became Chief Conductor of the Bayerische Staatsoper and the Bayerische Staatsorchester. He worked there for five years and remains Permanent Guest Conductor at the Bayerische Staatsoper. In 1995 he made his debut at the Met. He made his debut at the Wiener Staatsoper in 1984 with Der Rosenkavalier and is honorary member of the house on the ring. He has conducted (selection) Capriccio, Salome, Don Giovanni, Nozze di Figaro, Fidelio, Zauberflöte, Fliegender Holländer, Meistersinger von Nürnberg, Ring des Nibelungen, Parsifal, Tristan und Isolde, Frau ohne Schatten, Palestrina. Conducting for the Wiener Staatsoper 2012/2013: Salome, Die Walküre, Fidelio, Le nozze di Figaro (Japan guest appearance).

 
 

Camilla Nylund | Arabella

Camilla Nylund was born in Vaasa (Finland). She studied at the Salzburger Mozarteum. The artist, who has won numerous competitions, was member of the ensemble of the Staatsoper Hannover between 1995 and 1999 and was member of the ensemble of the Sachsische Staatsoper in Dresden from 1999 to 2001. In the year 2008 she was appointed Sachsische Kammersängerin. Guest appearances for example led her to La Scala, the Bayerische Staatsoper, Finnish National Opera, the Teatro La Fenice, the Teatro Carlo Fenice in Genua, the Vlaamse Opera, the Deutsche Oper Berlin, the Staatsoper Hamburg, the Königliche
Oper Kopenhagen, the Nederlandse Opera, the ROH Covent Garden, Bayreuth and to the Salzburger Festspiele. 

Her most important roles are Salome, Leonore (Fidelio), Figaro and Capriccio Gräfin, Pamina (Zauberflöte), Fiordiligi, Antonia, Marie (Die verkaufte Braut), Eva (Meistersinger von Nürnberg), Rosalinde (Fledermaus), Lisa (Land des Lächelns), Mimi (La Bohème), Tatjana (Eugen Onegin) Ann Trulove (The Rake’s Progress), Marschallin (Rosenkavalier), Elisabeth (Tannhäuser) and Arabella. She made her debut at the Wiener Staatsoper in 2005 as Salome and has since then also sung Ariadne, Elsa, Feldmarschallin, Rosalinde, Donna Anna, Sieglinde here.

Chen Reiss | Zdenka

Soprano Chen Reiss was trained in New York and was ensemble member of the Bayerische Staatsoper, where she sang roles such as Sophie (Der Rosenkavalier), Oscar (Un ballo in maschera), Servilia (La clemenza di Tito) and Gilda (Rigolett). Soon debuts at the Semperoper Dresden, the Deutsche Oper Berlin, the Hamburgische Staatsoper, the Oper Frankfurt and the Philadelphia Opera followed.

In 2010 she interpreted Nannetta (Falstaff) at the Theatre des Champs-Elysees under the direction of Daniele Gatti. At the Maggio Musicale Fiorentino, under the direction of Zubin Mehta, she sang Blonde (Die Entführung aus dem Serail) and debuted in the Philharmonie Köln as Adele (Die Fledermaus). In 2011 she sang Gilda at the Wiener Festwochen. She sang concerts at the Festivals in Salzburg, Ludwigsburg, Luzern or Rheingau. In her new solo album Liaisons, which was recently awarded the Diapason d’Or, Chen Reiss for example sings arias of Mozart and Haydn. A DVD live recording of Faure´s Requiem under the direction of Paavo Järvi has just been released. She made her debut at the Wiener Staatsoper in 2009 as Sophie and has since sung roles such as Pamina, Elvira, Waldvogel, Adina, Servilia, Xenia here.
 

Bo Skovhus | Mandryka

BO SKOVHUS studied at the Music Institute Aarhus, at the Royal Opera Academy in Copenhagen and in New York. His career began in Vienna in 1988 with Don Giovanni at the Volksoper. In 1997, the artist was awarded the title Austrian Kammersänger. His opera repertoire includes parts such as Don Giovanni, Conte d‘Almaviva in Le nozze di Figaro, Alfonso, Graf in Capriccio, Barbier in Die schweigsame Frau, Mandryka, Wozzeck and Eugen Onegin, Jelezki, Danilo, Eisenstein, Wolfram, Kurwenal, Amfortas, Beckmesser, Frank and Fritz in Die tote Stadt, die Titelpartie in Reimann´s King Lear. He interpreted this and further parts in houses such as the Hamburgische Staatsoper, the Deutsche Oper am Rhein, the Deutsche Oper Berlin, at the Salzburger Festspiele, at the Staatsoper Munich, Opéra de Paris, the Lyric Opera Chicago, at the Royal Opera House Covent Garden in London, at the Teatro Real in Madrid, the Semperoper Dresden, in Budapest and Brussels. At the Wiener Staatsoper he for example sang Mandryka, Billy Budd, Olivier, Capriccio-Graf, Guglielmo, Dr. Falke, Eisenstein, Rodrigue, Eugen Onegin, Don Giovanni, Wolfram, Kurwenal, Frank and Fritz.

Herbert Lippert | Matteo

The austrian and former member of the Vienna Boys Choir Herbert Lippert is considered amongst the most important tenors of our times. The first promoters of his voice were Sir Georg Solti and Wolfgang Sawallisch, under whose direction came numerous recordings like Die Schöpfung, Don Giovanni and Die Meister­singer von Nürnberg. In 1997, Herbert Lippert was awardsd a Grammy Award for his interpretation of the role of David in Die Meistersinger von Nürnberg under the direction of Sir Georg Solti. He is connected to the Vienna Philharnomic not only through intensive work in the opera and concert sector, but also through cooperation in the field of operetta, in particular the "degenerate operetta". Some great successes in the Lied field include Lieder evenings with Wolfgang Sawallisch and Maurizio Pollini. He is an ensemble member of the Vienna State Opera where made his debut in 1985 in La Traviata, and has sung roles here like Tamino, Matteo, Fla­mand, Don Ottavio, Offizier (Cardillac), Belmonte, Alfred, Froh, Walther von der Vogelweide, Skuratov, Aegisth, Jim Mahoney, Peter Grimes, Erik and Eisenstein. 




 

Wolfgang Bankl | Graf Waldner

KS WOLFGANG BANKL comes from Vienna, received training in Violin and studied singing, Lied and Oratorium as well as opera at the Conservatoire of Vienna. He received initial engagements at the Vienna Kammeroper, the Opera House Kiel and the Tiroler Landestheater. Guest performances led him, among others, to Zurich, Hamburg, Cologne, Barcelona, Salzburg, Strasbourg, the Milan Scala, to the Vienna Festwochen, Bregenz, Tokyo, Tel Aviv, Rome and Paris. He recently gave his debut as Baron Ochs auf Lerchenau in Dresden under the direction of Christian Thielemann. Together with Norbert Pfafflmeyer, Harald Kollegger and Schmerzhel v. Solchgemut, he established the travelling Kleinfestival Giro d’Arte. Since 1993, he is an ensemble member of the Wiener Staatsoper and has since then sung here among others: Papageno, Alberich (Rheingold), Doktor (Wozzeck), Klingsor, Figaro (Le nozze di Figaro), Harašta (Schlaues Füchslein), Frank, Graf Waldner, Bartolo (Il barbiere di Siviglia), Hauptmann (Boris Godunow), Ochs, Geisterbote (Die Frau ohne Schatten), Tierbändiger/Athlet (Lulu), Ringender (Die Jakobsleiter), Zirkusdirektor (Der Riese vom Steinfeld), La Roche, Leporello, Dreieinigkeitsmoses (Mahagonny), Swallow (Peter Grimes). He has been awarded the title "Österreichischer Kammersänger".
 

Arabella, Count Waldner´s beautiful daughter, is desired by many men: three countes are vying for her hand, and the young officer Matteo is also in love with her. Matteo´s hopes are nourished by Zdenka, who is very taken by him. Although she is Arabella´s sister, she is dressed as a boy, since the Waldner family is to impoverished to give both their daughters an appropriate social debut in Vienna. Arabella, however, wants to wait fort he right husband, and points out a stranger  to Zdenka from the window. She has encountered him previously in the street, and he made a deep impresison on her. The stranger´s name is Mandryka, who has come to Vienna in response to Waldner´s letter to his deceased uncle oft he same name. Under pressure from his creditors, Waldner has written to his wealthy friend and former regimental comrade in Slavonia, enclosing a picture of his daughter Arabella. The young Mandryka, sole heir to his father´s fortune, flls in love with the picture at first sight, and now asks Waldner for Arabella´s hand in marriage. Since he ist he right ma for her,m she gives him her word. However, she wishes to take leave of her unmarried life with a last dance at the Fiacre Ball. Zdenka slips the despairing Matteo an envelope which, she says, contains the key to Arabella´s room, where the latter will await him this very evening. Mandryka happens to overhear this conversations, and assumes that Arabella is being un-faithful to him. In the mean time, Arabella has returned from theball and meets Matteo in the foyer oft he hotel. Matteo, believing he has just held her in his arms in her room, cannot understand why she is now so unresposive. Mandryka now appears, accompanied by Arabella´s parents, and is convinced he has caught her red-handed. Suddenly Zdenka rushes in, now dressed in women´s clothing. It was she who received Matteo in the darkness oft he hotel room: now she intends to drown herself in the River Danube. Ashamed of his behaviour, Mandryka now pleads with Zdenka on Matteo´s behalf. And his own happiness is also now certain: in keeping with the custom of her homeland, Arabella gives him a glass of pure, fresh water as a sign of her forgiveness.