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Sat. May 25, 2019, 5:30 p.m. - 9:15 p.m. Vienna

Richard Strauss

Die Frau ohne Schatten

Conductor: Christian Thielemann, Director: Vincent Huguet
With Stephen Gould, Camilla Nylund, Evelyn Herlitzius, Sebastian Holecek, Wolfgang Koch, Nina Stemme

  • Christian Thielemann  |  Conductor
  • Vincent Huguet  |  Director
  • Aurélie Maestre  |  Bühne
  • Clémence Pernoud  |  Costumes
  • Bertrand Couderc  |  Licht und Video
  • Louis Geisler  |  Dramaturgie
  • Richard Strauss  |  Musik

Christian Thielemann | Conductor

Since the beggining of the 2012/2013 season, Christian Thielemann has been the Principle Conductor of the Sächsische Staatskapelle in Dresden. After his highly acclaimed inaugural concerts, the FAZ (Frankfurter Allgemeine Zeitung) stated that he led the Staatskapelle to the “height of their glorious sound”.

His professional career began in 1978 as an accompanist at the Deutschen Oper Berlin. After working in Gelsenkirchen, Karlsruhe and Hannover, in 1985 he joined the Office of the First Kapellmeister at the Düsseldorf Rhein opera before becoming the youngest general music director in Germany in Nuremberg in 1988. In 1997 he returned to the same position for seven years at the German Opera Berlin, and from 2004 to 2011, he served as musical director of the Munich Philharmonic.

His interpretations of German Romantic opera and concert repertoire are used worldwide as examples. Since his Bayreuth debut in 2000, he has shaped the festival with his standard-setting conducting. For his direction of Strauss’ Die Frau Ohne Schatten, he was named “Conductor of the Year” by “Opera World”. His Brahms cycle with the Staatskapelle is available on CD and DVD, and with the Vienna Philharmonic Orchestra, he recorded all the Beethoven symphonies.


Since 2013, Christian Thielemann is the artistic director of the Salzburg Easter Festival. He is an honorary member of the Royal Academy of Music in London, and also received an honorary doctorate from the University of Music Franz Liszt in Weimar and the Catholic University of Leuven (Belgium).

Stephen Gould | Der Kaiser

Stephen Gould was born in Virginia and studied at the New England Conservatory of Music. In recent years he has sung in the new productions of Der fliegende Holländer in Madrid, Munich, Vienna and New York, Siegfried and Götterdämmerung in Bayreuth, Tannhäuser in Tokyo, Paris and Geneva, Peter Grimes in Dresden and Geneva, Otello and Die Liebe der Danae in Dresden, Lohengrin in Trieste and Hamburg, Die tote Stadt in Berlin and London, Fidelio in Rome und Tokyo, Les Troyens, Fidelio and Otello in Florence as well as in many further productions and concerts in Dresden, Berlin, Munich, Vienna, Hamburg, Mannheim and Barcelona. In 2012/2011 he sang Gurre-Lieder in Montreux and Luzern, Tristan und Isolde in Tokyo and Dresden, Tannhäuser in Dresden, then Die Frau ohne Schatten in Salzburg, Götterdämmerung in Berlin, and in 2012 Tristan und Isolde in Berlin, Fidelio in Dallas, Götterdämmerung in Munich and Tannhäuse in Turin, to only name a few.

In 2004 he made his debut at the Wiener Staatsoper as Paul (Die tote Stadt) and has since then also sung Erik, Parsifal, Siegfried (Siegfried, Götterdämmerung), Tannhäuser and Bacchus here.


Camilla Nylund | Die Kaiserin

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.

Evelyn Herlitzius | Die Amme

Evelyn Herlizius recieved her musical training at the Hochschule for Music and Theatre in Hamburg. In 1997, Evelyn Herlizius gave her debut at the Sächsischen Staatsoper in Dresden as Leonore (Fidelio). At this house, she earned many important roles of her field, like Elisabeth and Venus, Brünn­hilde, Kundry, Sieglinde, Salome, Färberin, Jeanne and Turandot. Evelyn Herlizius is a welcome guest on the international stage, like for example at the Staatsopern Berlin, Hamburg and Munich, at the Deutschen Oper Berlin, the Nederlandse Opera, the Teatro alla Scala in Milan, the Gran Teatre del Liceu, and at the Bayreuther and Salz­burger Festspielen. Evelyn Herlizius is a Sächsische Chamber singer. In 2000, she gave her debut at the Wiener Staatsoper as Lenonre and also sang here Sieglinde (Die Walküre), Isolde (Tristan und Isolde) as well as Färberin (Frau ohne Schatten) and Kundry (Parsifal). She has performed with orchestras like the Vienna and Berlin Philharmonic orchestras.  

Roles for the Wiener Staatsoper 2014/2015: Brünnhilde (Walküre, Siegfried, Götterdämmerung).

Wolfgang Koch | Barak

Wolfgang Koch is considered one of the most important dramatic baritone voices of the Opera world. Firstly, he had engagements at the Stadttheater Bern, and at the Staatstheater Stuttgart and was also engaged at the Vienna Volksoper. Meanwhile, the artist has worked freelance and made guest appearances at all major opera houses and festivals in the world. Particular success came recently, among other things, as Hans Sachs, Mandryka, King Lear and Borromeo (Palestrina) in Frankfurt as Doktor Faust (Busoni), Orest, Alberich (Ring), Telramund, Pizarro and Graf Luna in Munich, as well as at the Hamburg Staatsoper, where he also sang Alberich, Morone (Pa­lestrina), Don Giovanni, Jochanaan, Kurwenal and Amfortas. At the Royal Opera House in London, he gave his debut as Hans Sachs and a short time later also sang Alberich. At the Salzburg Festivals, Wolfgang Koch was Barak (Frau ohne Schatten), at the Bayreuther Festivals in 2013, he was Wotan/Wanderer. Wolfgang Koch is a regular guest on the international concert podium. In 2008, he gave his debut at the Vienna State Opera as Kothner and also sang Hans Sachs, Jochanaan, Barak and Telramund. 

Roles for the Wiener Staatsoper 2013/2014 include: Telramund.

Roles for the Wiener Staatsoper 2014/2015: Jochanaan.  

Nina Stemme | Sein Weib

The Swedish soprano Nina Stemme is one of the most sought-after interpreters of her field. After her debut as Cherubino in Italy, invitations to opera houses in Stockholm, Vienna, Dresden, Zurich, Naples, Barcelona, to the Metropolitan Opera, to the Royal Opera House Covent Garden, to San Francisco, Zurich and the Festivals in Bayreuth, Luzern, Salzburg, Savonlinna, Glyndebourne and Bregenz followed, where she successfully sang the roles of her repertoire, such as Mimi, Madama Butterfly, Tosca, Manon Lescaut, Tatjana, Suor Angelica, Euridice, Katerina (Lady Macbeth von Mzensk), Contessa (Nozze di Figaro) Marguerite (Faust), Agathe, Marie (Wozzeck), Nyssia (König Kandaules), Jenufa, Rosalinde, Marschallin (Der Rosenkavalier), Eva (Meistersinger), Elisabeth (Tannhäuser), Elsa (Lohengrin), Senta (Fliegender Holländer), Sieglinde (Walküre), Amelia (Un ballo in maschera), Leonora (Forza del destino), Aida, Isolde, Arabella, Brünnhilde (Ring), Salome.


Not all that many important masterpieces have had their world première at the opera house on the Ring. Richard Strauss and Hugo von Hofmannsthal’s Die Frau ohne Schatten, is one of the few exceptions in this regard. On 10 October 1919 the opera that Strauss regarded as his “last romantic opera” first saw the light of day at the Wiener Staatsoper; since then, it has been a fixture on international schedules. While they were still working on the piece, the composer said enthusiastically of the libretto: “Unbelievably noble, superb, mature and interesting, with magnificent dramatic, moral problems, marvellous scenic events.” In terms of the music and musical drama, Strauss took up some of Wagner’s ideas and expanded them with his own. Mozart’s The Magic Flute was the inspiration for the fairy-tale ambience and the tests which the heroes must undergo.