D: € 15.15 - US: $ 15.54 - UK: £ 13.98 *
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).
In 2011/2012 the German baritone made his successful role debuts as Kurwenal (Tristan und Isolde) at the Opera de Lyon, as Dr. Kolenaty (Sache Makropulos) at the Salzburger Festspiele and as Alberich (Siegfried und Gotterdämmerung) at the Oper Frankfurt, where he had already sung Amfortas (Parsifal) and Alberich (Das Rheingold) in 2010. Future plans include the debut at the Bayerische Staatsoper, Alberich in the Ring des Nibelungen in Frankfurt and with the RSB Berlin as well as projects at the Bastille in Paris, at the Liceu in Barcelona and the Gulbenkian in Lisbon, where he recently sang Orest (Elektra) and Creon (Medee). He regularly guests at international opera and concert stages, e.g. at the Staatsoper Berlin, the Semperoper Dresden, La Scala in Milan, the Teatro Regio Turin, the Wiener Volksoper, the Aalto Theater Essen as well as at the Ruhrtriennale. Also he sang in Dallas, Philadelphia and at the San Francisco Opera (Faninal in Rosenkavalier). As Wozzeck he for example guested at the Gran Teatro del Liceu Barcelona, at the Teatro Real in Madrid and at the Staatsoper Hamburg. As Musiklehrer (Ariadne auf Naxos) he made his debut at the Met in 2010 as well as at the Wiener Staatsoper in 2011.
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.
HILA FAHIMA graduated from the Jerusalem Rubin Academy for Music, where she learned under Agnes Massini. During her studies, she appeared in several productions, among them as Adele in der Fledermaus, als Belinda in Dido and Aeneas, als Susanna in Le nozze di Figaro und als Frasquita in Carmen. In 2010, she gave her debut at the New Israeli Opera in the leading role of the opera Alice in Wonderland by David Sebba. In 2010, she won the first prize in the European singing competition, Debut and in 2013 the first prize in the Stella-Maris competition. In 2010, she joined the ensemble of the Deutschen Oper Berlin, where she sang among others Königin der Nacht in der Zauberflöte, Nannetta in Falstaff, Najade in Ariadne auf Naxos, Ninetta in Die Liebe zu den drei Orangen, Demele inDie Liebe der Danae and Ruggiero in Tancredi. Since the 2013/2014 season, she is an ensemble member of the Wiener Staatsoper, where she made her debut as Frasquita and also sang among others Papagena and Oscar. Finally, she sang Amore in Orfeo et Euridice as well as Oscar in Un ballo in maschera at the New Israeli Opera as well as the Queen of the Night at the Oper Graz. She is also successful as a concert singer.
The Canadian soprano singer ADRIANNE PIECZONKA was engaged at the Wiener Volksoper at the beginning of her career and then became member of the ensemble of the Wiener Staatsoper. There, her international career began, leading her to all the world´s great opera houses and music centres. She sang Donna Anna at the ROH Covent Garden in London, in Otello, Rosenkavalier and Tannhäuser at La Scala in Milan, in Pique Dame, Walküre and Simon Boccanegra at the Metropolitan Opera, Ariadne auf Naxos at the Münchner Opernfestspiele, at the Maggio Musical in Florence in Die Frau ohne Schatten. She performed Senta at the Paris Opera Bastille and sang her first Leonore at the Canadian Opera Toronto. She sang in Don Carlo and Rosenkavalier at the Salzburger Festspiele, and sang Sieglinde and Senta at the Bayreuther Festspiele. She made her debut as Chrysothemis in Aix en Provence. At the Wiener Staatsoper she has for example sung Contessa d’Almaviva, Antonia, Tatjana, Donna Anna and Donna Elvira, Senta, Marschallin, Elsa, Eva, Desdemona, Arabella and Ariadne. Adrianne Pieczonka is Austrian Kammersängerin, „Officer of the Order of Canada“ and since 2010 member of the Royal Society of Canada.
Roles at the Wiener Staatsoper 2014/2015: Tosca, Elisabeth (Don Carlos Italian).
Prologue The servants of the wealthiest man in Vienna are busy preparing the stage for a planned performance in their master's palace. Two troupes have been engaged and are busily making preparations behind the scenes. One them is to play the opera Ariadne on Naxos, the first work by a young composer, whilst the other will perform a dance masquerade in the Italian buffo style. Petty jealousies between the members of both troupes already have emotions running high. The situation is exacerbated by an unexpected and incomprehensible change of programme communicated by the lord of the house through his major-domo: he now wishes the two pieces to be performed for his invited guests not one after the other, but at the same time. Deeply mortified, the composer wishes to withdraw his composition and forgo its first public performance, since the work represents an authentic implementation of his artistic worldview. However, he has a change of heart thanks to the practically minded music teacher, and Zerbinetta: well versed especially in the art of seduction, the latter inveigles the inexperienced young composer in no time at all. With a resounding hymn to the nature of music, the composer accepts reality and the instructions of his patron. The opera Ariadne on Naxos will therefore be performed in the desired manner, with interludes by an troupe of Italian comedians. Opera Outside a cave on the shores of the island of Naxos, Ariadne longs for death after being abandoned by Theseus, her rescuer and lover. Oblivious to everything going on around her, she takes no notice of the three nymphs, nor of the comedians trying to cheer her up, nor even of Zerbinetta. Drawing on her wealth of experience, Zerbinetta sings an audacious aria advising the grieving Ariadne not to shed a single tear for her departed lover, and to remain open for new love. A radiant youth is seen approaching in the distance: it is Bacchus, the god of the eternal regeneration. He comes from the arms of the sorceress Circe, where he was unable to find what he was looking for. Mistaking him for the messenger of death, Ariadne, goes out to meet him: without immediately noticing it, she falls ecstatically in love with him, an emotion which the god reciprocates. Transformed by one another as if reborn, Ariadne and Bacchus bring the opera to a close as a truly mystically united couple.