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Sun. Feb. 9, 2014, 6:30 p.m. - 10 p.m. Vienna

Antonín Dvořák


This opera - the composer's second last work - was written around 1900. Musically it is related both to the Czech national school and in individual aspects to the musical drama of Richard Wagner.

This production is made possible thanks to the support of
  • Sven-Eric Bechtolf  |  Director
  • Rolf Glittenberg  |  Stage
  • Jürgen Hoffmann  |  Light Design

Michael Schade | Prinz

As one of the leading tenors of our time, German-Canadian KS Michael Schade appears regularly as a guest at the world´s most renowned opera houses, concert and lied stages. He closely collaborates with the Wiener Staatsoper, where he made his debut in 1992 as Almaviva (Barbiere di Siviglia) and has since then sung (Cosi fan tutte), Don Ottavio (Don Giovanni), Belmonte (Entführung), Nemorino (L’elisir d’amore), Jaquino (Fidelio), David (Meistersinger), Henry (Schweigsame Frau), Tamino (Zauberflöte), Leukippos (Daphne), Alfred (Fledermaus), Matteo (Arabella), Alfredo (La traviata), Flamand (Capriccio), Tito (La clemenza di Tito) and the title role in the Staatsoper production of Idomeneo at the Theater an der Wien.

For many years now he has been a regular guest at the Salzburger Festspiele, the Hamburgische Staatsoper, the Met, the Canadian Opera Company and has for example appeared at La Scala, the Liceu Barcelona, the ROH Covent Garden, at the Paris Opera Bastille and in Amsterdam. Apart from his opera performances he has dedicated himself to concert literature and lied recitals. In 2007 he was appointed Österreichischer Kammersänger. 2009/2010 he held a residency at the Musikverein.

Krassimira Stoyanova | Rusalka

KS KRASSIMIRA STOYANOVA was born in Bulgaria and studied vocal arts and violin at the University of Music in Plowdiw and violin at the Conservatory in Russe. In 1995 she made her debut at the Opera National de Sofiya. Soon the soprano appeared as a guest at the world´s most renowned opera houses and concert halls: At the New Yorker Met, the Royal Opera House Covent Garden, the Hamburgische Staatsoper, the Bayerische Staatsoper, the Nationaloper Helsinki, the New Israeli Opera, the Teatro Colon Buenos Aires, Carnegie Hall, at the Ravenna Festival, the Festspielhaus Baden-Baden, the Washington Opera, at the Opernhaus Zurich, the Deutsche Oper Berlin, the Gran Teatro del Liceu in Barcelona, the Musikverein Wien and the Salzburger Festspiele. Since 1998 Krassimira Stoyanova is closely linked to the Wiener Staatsoper – here, she has for example sung Alice Ford, Mimì, Antonia, Liù, Rachel, Contessa d’Almaviva, Nedda, Violetta, Amelia, Desdemona, Anna (Le villi) Elisabetta (Don Carlo ital.), Ariadne.

Ilseyar Khayrullova | 3. Elfe

The young mezzosoprano Ilseyar Khayrullova was born in 1987 in Tatarstan in Russia. In 2006, she graduated from the Tatarstan Music College, and went on to study at the Rimski-Korsakow-Conservatoire in St. Petersburg, from which she graduated from in 2012. Ilseyar Khayrullova is a prize winner of the international competition Playing Slominsky 2012 in St. Petersburg. From 2010, Ilseyar Khayrullova was seen in different studio productions from the St. Petersburg Conservatoire, among others as Cherubino in Wolfgang Amadeus Mozarts Le nozze di Figaro, Clarisse in Sergei Prokofiews Die Liebe zu den drei Orangen, Olga in Peter Iljitsch Tschaikowskis Eugen Onegin and Martha in Tschai­kowskis Iolanta. Further roles include Azucena in Giuseppe Verdis Il trovatore, Kontschakowna in Alexander Borodins Prinz Igor, Orfeo in Christoph Willibald Glucks Orfeo ed Euridice and Polina in Peter Iljitsch Tschaikowskis Pique Dame. Since the 2013/2014 season, Ilseyar Khayrullo is an ensemble member of the Vienna State Opera, where she made her debut as the third Elf in Rusalka.

Mihail Dogotari | Jäger

Mihail Dogotari was born in Glodeni (Moldova) in 1986. He studied at the National Music Academy in Bucharest and completed a large number of master classes. Furthermore, he has won numerous national and international competitions. His repertoire includes Alidoro (La cenerentola), Aeneas (Dido and Aeneas) and Figaro (Il barbiere di Siviglia), to only name a few. He has performed in Ravenna, Milan, Bucharest, Bergamo. From the beginning of the season 2012/2013 he has been member of the ensemble of the Wiener Staatsoper. He is holder of the Novomatic scholarship and made his debut at the house on the ring in September 2012 as kaiserlicher Kommissär in Puccini´s Madama Butterfly.

Unlike the mischievous wood nymphs, the water nymph Rusalka does not tease the awakening water goblin, but confesses to him her desire to acquire a human form and a human soul in order to fulfil her love for a prince whom she has often observed by the lake. Although the water goblin warns Rusalka, he advises her to seek Ježibaba's assistance. The latter appears and drives a hard bargain with the impassioned nymph: Rusalka will be able to adopt the human form, but will lose the power of speech. However, if she is nevertheless unable to win the prince's unfailing love, only the death of her lover will enable her to return to the kingdom of nymphs.


Since Rusalka agrees, she is transformed into a human being, and is able to win the love of the prince when he appears by the lake. However, the planned wedding of the couple is prevented by a mysterious and seductive princess who unexpectedly appears on the scene, and whom the prince finds irresistibly attractive. When the prince makes a declaration of love to the princess and dismisses his planned wedding to Rusalka as a mere escapade, Rusalka makes one last desperate attempt to win him back, but is coldly rejected.


The water goblin puts a curse on the Prince before pulling Rusalka back into his underwater realm. A short time later, Ježibaba offers the lonely and lamenting Rusalka a means of returning to the kingdom of nymphs for ever. She hands Rusalka a dagger with which to murder her unfaithful lover. But Rusalka throws the dagger into the lake. Filled with remorse, the prince comes down to the lake: Rusalka appears to him as a will-o'-the-wisp. He begs her to free him of his guilt. Though Rusalka warns him that her embrace will cost him his life, he insists on a final kiss. He dies in her arms, and Rusalka sinks back into the lake.


This production is kindly supported by RAIFFEISEN.