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Tue. Sept. 11, 2018, 7 p.m. - 10 p.m. Vienna

Carl Maria von Weber

Der Freischütz

Conductor: Sebastian Weigle, Director: Christian Räth
With Anna Gabler, Tomasz Konieczny, Christopher Ventris, Falk Struckmann, Hans Peter Kammerer

  • Carl Maria von Weber  |  Musik
  • Sebastian Weigle  |  Conductor
  • Christian Räth  |  Director
  • Gary McCann  |  Stage and costume design
  • Thomas Hase  |  Light Design
  • Nina Dunn  |  Video
  • Vesna Orlic  |  Choreography

Anna Gabler | Agathe

ANNA GABLER was born in Munich and studied at the local Hochschule für Musik und Theater. Still a student, she became a member of the Youth Ensemble at the Bavarian State Opera. Engagements at the Deutsche Oper am Rhein and at the Nuremberg State Theatre followed soon after. Alongside this, she also sang at the Bavarian State Opera and the Semper Opera. From 2007, she sang the role of Ortlinde in Die Walküre in Bayreuth. Further international engagements took her to such places as the Théâtre de la Monnaie in Brussels, the Théâtre du Châtelet in Paris, Hamburg State Opera, and she sang the roles of Eva at the Glyndebourne Festival and Rosalinde at the New National Theatre in Tokyo, where she also gave her debut performance of Arabella in Spring 2014. In 2013 she made her debut in the role of Senta in Bologna. In Summer 2013, she sang Eva at the Salzburg Festival for the first time. In Bologna she gave her debut performance as Chrysothemis, which led to a performance of the same role at the Prague State Opera and in 2017, at the Aalto Theatre in Essen. In 2016, she sang the role of Salome at Klagenfurt State Theatre. She is a member of the ensemble at the Vienna State Opera.

Tomasz Konieczny | Caspar

Tomasz Konieczy was born in 1972 in Lodz/Poland. At the Film Academy there, he studied acting as well as singing in Warsaw and Dresden. In 1997, he gave his debut in Poznan as Figaro (Nozze di Figaro), two years later in Leipzig, and in 2000/2001 he changed to the Lubecker Theatre. During this time he was committed to St. Gallen, Halle, Chemnitz and Mannheim. From 2002/2003, he became an ensemble member in Mannheim. In 2005, he gave his debut at the Deutschen Oper in Rhein. Further engagements include performances in the Scala, at the Paris Opera, the Semperoper, the Teatro Real, Warsaw, the Bayerischen Staatsoper, Tokyo, Berlin and the Salzburger Festspiele. His roles include among others: Kezal, Orest, Procida, Ramfis, Wotan Wanderer, Pizarro, Großinquisitor, Jochanaan, Osmin, Golaud, Saras­tro, Mandryka, Amfortas, Alberich, Pimen, Marke, Colline, Melitone and Wozzeck. In 2008, he gave his debut at the Wiener Staatsoper as Alberich and also sang here since then Fra Melitone, Alberich (kompletter Ring), Amfortas, Goldhändler, Jochanaan, Wotan, Wanderer, Mandryka, Jack Rance, Don Pizarro and Dreieinigkeitsmoses.  

Christopher Ventris | Max

Since his debuts in Glyndebourne, at the Opera North and at the English National Opera, CHRISTOPHER VENTRIS is amongst the leading tenors of his fach. In recent years, he focused his career on Wagner roles such as Parsifal, Siegmund, Lohengrin and Erik. He for example debuted very successfully at the Bayreuther Festspiele as Parsifal and enthralled the audience with that same role under the direction of Bernard Haitink at the Zurich Opera, under the direction of Christian Thielemann at the Wiener Staatsoper, with Kent Nagano at the Bayerische Staatsoper, with Lorin Maazel in Valencia, as well as at the Nederlandse Opera, the ROH Covent Garden, in Paris, in San Francisco, Seattle and Barcelona. Other important recent engagements include Erik in San Francisco, Max at the Deutsche Oper Berlin and at La Scala in Milan, Sergei (Lady Mabeth von Mzensk) in Geneva, Brussels, Madrid, Barcelona, Amsterdam and London. He debuted as Števa at the New York Met, as Tannhäuser at the Paris Opera. Furthermore, he sang the title role in Palestrina (Munich) and Dmitri in Boris Godunow (London). Apart from Parsifal, he also sang Siegmund and Jim Mahoney (Mahagonny) at the Wiener Staatsoper.

Falk Struckmann | Ein Eremit

For many years, KS FALK STRUCKMANN has been one of the most sought-after singers of his fach. He is a regular guest at the world´s most renowned opera houses and festivals such as the state operas in Berlin, Ham­burg, Munich and Vienna, at the Gran Teatre del Liceu in Barcelo­na, the Royal Opera Covent Garden, La Scala in Milan, the Met, the Opéra National Paris and the Bayreuther and Salzbur­ger Festspiele. After his debut in Kiel in 1985, guest contracts already led him to the Wiener Staatsoper in 1990 and to the Berliner Staatsoper in 1992 – two places that should become the centre of his artistic career in the following years and where he sang all the great roles of his fach. He made his international breakthrough in 1993 at the Bayreuther Festspiele as Kurwenal, where he later also performed as Amfortas and Wotan. He made his debut at the Wiener Staatsoper in 1991 as Orest (Elektra). Scarpia (Tosca), Escamillo (Carmen), Kurwenal (Tristan und Isolde), Wozzeck, Don Pizarro (Fidelio), Telramund (Lohengrin), Wotan/ Wanderer (Ring), Barak (Frau ohne Schatten), Holländer, Jago (Otello), Rangoni (Boris Godunow), Amfortas (Parsifal), Amonasro (Aida), Hans Sachs (Meistersinger von Nürnberg) were to follow here.

KS Hans Peter Kammerer | Samiel

Hans Peter Kammerer was born in South Tirol and studied among others, under Walter Berry at the Musikhochschule in Vienna. His first engagements led him to the Vienna Kammeroper and the Bregenz Festivals. Furthermore, he has sung at the Berlin State Opera, La Monnaie in Brussels , the Pfingstfestspielen in Salzburg, the Mozart Festival in Schönbrunn, the Opéra Bastille, the Staatstheater in Stuutgart, Geneva, the opera houses in Barcelona and Lyon as well as the Vienna Volksoper. He gave his debut at the Vienna State Opera in 1995 as Dancaïro (Carmen). This was followed by roles among others like Ascanio (Gesualdo), Marullo (Rigoletto), Barbier (Schweigsame Frau), Achter Stammesfürst (Moses und Aron), Graf Dominik (Arabel­la), Spalanzani (Les Contes d’Hoffmann), Hauptmann (Eugen Onegin), Haly (L’italiana in Algeri), Masetto (Don Giovanni), Haushofmeister (Ariadne auf Naxos), Papageno, Dr. Falke, Gubetta (Lucrezia Borgia), Kleiner Sträfling (Aus einem Totenhaus), Wagner (Faust) and Mitjuch (Boris Godunow). He has also appeared in children's operas as well as in Zimmermann's White Rose in Parliament.

The young composer Max is due to marry Agathe, but before his wedding he must finish his opera on which he has been working for quite some time. Despite all his efforts, Max is plagued by worries that he will fail to complete the piece and so makes almost no progress. Visions and hallucinations haunt him, the boundaries between dream and reality seem to blur and overlap. Caspar tries to persuade him finally to give in to the hidden and dark creative powers within him and so overcome his inability to write; Caspar’s efforts are finally rewarded. Max first breaks away from Agathe’s world and seeks out the nightmarish Wolf’s Glen. Invoking Samiel, in a kind of creative ecstasy he welcomes his dark creative potential which he now draws on eagerly. Agathe is beset with doubts about her future with Max. Together with Ännchen, she feels hope and longing but also sees fearful visions. However, when Max, pressed from all sides, dares to take the final step and plays the seventh inspiration he came by at the Wolf’s Glen, as if by a miracle it remains intact. Before the assembled company, Max finally admits that he has spent time in the Wolf’s Glen. The punishment imposed by Ottokar is reduced by the seemingly superior Hermit to one trial year in which Max must continue the composition of his opera. Max is once again torn between the bright and dark forces within him ...