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Fri. Oct. 18, 2019, 6 p.m. - 10:30 p.m. Vienna

Richard Strauss

Die Frau ohne Schatten

Conductor: Christian Thielemann, Director: Vincent Huguet
With Andreas Schager, Camilla Nylund, Sebastian Holecek, Tomasz Konieczny, Nina Stemme


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€ 14.00*

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Programme booklet


  • 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).

Andreas Schager | Der Kaiser

ANDREAS SCHAGER studied at the Universität für Musik in Vienna. He gave his debut performance in 2009 at the Tirole Festival Erl als David in Die Meistersinger von Nürnberg. He has since sung the roles of Florestan (Fidelio), Max (Der Freischütz), Rienzi (Rienzi), Tristan (Tristan und Isolde) and Siegfried in Götterdämmerung as well as in Siegfried. Engagements have taken him to the Deutsche Oper Berlin, Berlin State Opera, Teatro Real Madrid, Hamburg State Opera, the Opera in Rome and La Scala Milan. His most recent highlights include Apollo in Daphne in Cleveland and at Carnegie Hall in New York, Tristan in Rome, Gurrelieder in Paris, Erik (Fliegender Holländer) at the Hamburg and Berlin State Opera as well as at the Bayreuth Festival in 2016, Tannhäuser in Antwerp, Siegmund in Leipzig and a new production of Fidelio at the Berlin State Opera. Current projects include Tamino as well as a new production of Parsifal at the Berlin State Opera, Tristan in Rome und Siegfried in Toronto, Leipzig und Wiesbaden. In the seasons 2017-2019 Andreas Schager will take on the title role of Parsifal at the Bayreuth Festival.

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.

Tomasz Konieczny | Barak

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.  

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.