Blog entries for "Drama"
( 18 Apr 2017 ) Due to high demand, the Salzburg Festival will double the number of its youth subscriptions in 2017. Altogether, 6,000 tickets for operas, dramas and concerts will be reserved for young people up to the age of 26 (i.e. born after June 30, 1990) with discounts of up to 90%.
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by
FESTSPIELKIEBITZ
17:42
h;
published in: Drama
( 6 Apr 2017 ) There will be a change of directors for Jedermann. The Festival has managed to engage director Michael Sturminger and his team of designers, Renate Martin and Andreas Donhauser, for the new 2017 Jedermann – an experienced and successful leading team.
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by
FESTSPIELKIEBITZ
10:17
h;
published in: Drama, General
( 31 Aug 2016 )
The completely
sold-out drama programme was also extremely successful, featuring three new
productions, the revival of Jedermann,
the staged melodrama Requiem für Ernst
Jandl and two readings of selected works by Thomas Bernhard.
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by
FESTSPIELKIEBITZ
14:28
h;
published in: Drama
( 29 Jan 2016 ) Miriam Fussenegger was born in Linz in 1990 and graduated from the acting school Max Reinhardt Seminar in Vienna. Apart from her theatrical performances, she also appeared in Der Tote am Teich, part of the Landkrimi TV series, and most recently in the three-part history drama Maximilian. Miriam Fussenegger made her Salzburg Festival debut in the summer of 2015 as Lucy in Julian Crouch's and Sven-Eric Bechtolf's production Mackie Messer. Eine Salzburger Dreigroschenoper. Miriam Fussenegger in conversation about her new role.
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by
FESTSPIELKIEBITZ
11:23
h;
published in: Drama
( 5 Nov 2015 ) Three new productions, the revival of Jedermann, the staged melodrama Requiem für Ernst Jandl and two readings from works by Thomas Bernhard constitute the drama programme for 2016. The drama season opens at Salzburg’s Landestheater with Samuel Beckett’s Endgame – an apocalyptic comedy and tragedy at the same time, playing with the end, after the end and before the end.
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( 30 Aug 2015 ) In order to present 188 performances, this summer the artists rehearsed for 220 days: 735 hours in the drama department, 1,320 hours for the opera productions and 551 hours in the concert department. The costume workshops produced 1,550 costumes. 7,000 invoices were processed by the administration; 1,500 light bulbs illuminated the stages and backstage areas. 48,000 kilograms of steel were used.
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( 30 Aug 2015 ) Once again, the 2015 Salzburg Festival began with the Ouverture spirituelle, a week before the Opening Ceremony which is dedicated to sacred music. This year, the focus was on Hinduism, and theatre, music and dance forms from the various regions of India were shown at the Kollegienkirche.
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( 24 Jul 2015 ) From July 25 to August 30, 2015, another edition of the Siemens Festival>Nights takes place on Salzburg’s Kapitelplatz – for the 14th time in parallel with the Salzburg Festival. In cooperation with the Salzburg Festival, ORF Salzburg and Unitel, not only historical productions, but many highlights from this year’s programme will be shown over a period of five weeks.
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( 22 Jul 2015 ) This year, the Salzburg Festival takes place for the 95th time. Last weekend, the traditional performance of Haydn’s Die Schöpfung, part of the Ouverture spirituelle, and the premiere of Jedermann launched the festival season. The opening ceremony of the Salzburg Festival takes place at the Felsenreitschule on July 26 at 11 am. The ceremony will be attended by the Austrian President Dr. Heinz Fischer, Landeshauptmann Dr. Wilfried Haslauer, the Austrian Minister of Art and Culture, Constitution and Media Dr. Josef Ostermayer and Festival President Helga Rabl-Stadler. The keynote address will be delivered this year by Prof. Dr. Rüdiger Safranski.
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by
FESTSPIELKIEBITZ
17:06
h;
published in: Drama
( 9 Jul 2015 ) Carefully, Nina Fahrbach picks up a sparkling crystal with her tweezers, heating it over a candle – but not too long, or soot would cling to it. Applying gentle pressure, the Swarovski crystal is finally placed on the red silk satin of the Paramour’s dress. Nina Fahrbach is a costume painter; for four days, she has already been working with Kaname Kiyono to give the dress that the Paramour wears in Hofmannsthal’s Jedermann the right sparkle. “It is almost meditative work,” says Nina Fahrbach while she heats stone by stone, placing them on the dress. Kaname Kiyono explains that there is no pattern. It is a matter of feeling which rhinestone goes where.
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