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July 26 – August 30

A well-tailored beginning: Gerard Mortier and Peter Stein have prepared six new opera and two drama productions; on the other hand, the number of revivals is limited to Jedermann and Figaro and thus lower than it has been in decades. This enormous increase of premieres was made possible not least through coproductions: Luc Bondy’s interpretation of Salome will go on to enrich the repertoire of the opera in Brussels, Peter Sellar’s sensational production of Messiaen’s Saint François d’Assise travels to the Opéra Bastille in Paris. The Felsenreitschule, now restored to its original state, provides a venue for Shakespeare’s Roman trilogy, which Peter Stein opens with Julius Caesar. The former salt mine on the Perner-Insel in Hallein, the model building yard and the Golden Hall of the Hohensalzburg Castle become new performance venues: the new directorate has resolved to push beyond borderlines and to change structures. Including especially the audiences: a subscription model with lower ticket prices and various offers for young audiences are designed to attract younger visitors. For the first time, the concert program features a composer in residence: Pierre Boulez is the first to hold the title. A long-awaited Salzburg debut takes place when Nikolaus Harnoncourt conducts two orchestra concerts. Another conductor, however, leaves ahead of time: Riccardo Muti, who considers Ursel and Karl-Ernst Herrmann’s production of Mozart’s Titus an impertinence, refuses to conduct this new production. The choice of the speaker for the keynote address documents the fact that the original humanitarian aims of the Festival’s founders will be taken into consideration increasingly in the future: the 14th Dalai Lama speaks about Human Compassion and Universal Responsibility: A Foundation for Happiness and Peace.

1992: Peter Stein begins his tenure as the Festival's theatre director with Shakespeare's Julius Caesar at the Felsenreitschule.

First German-language performance
Stanislaw Wyspianski
Stage director: Andrzej Wajda
Sets and costumes: Krystyna Zachwatowicz

New production
William Shakespeare
Julius Caesar
Stage director: Peter Stein
Stage sets: Dionissis Fotopoulos
Costumes: Moidele Bickel

Production of the National Theater Bukarest
Andrei Serban based on Sophokles, Euripides and Seneca
Stage director: Andrei Serban
Stage sets: Dan Jitianu
Costumes: Doina Levinta
Perner-Insel, Hallein

New production
Wolfgang Amadeus Mozart
La clemenza di Tito
Conductor: Gustav Kuhn
Stage directors: Ursel und Karl-Ernst Herrmann
Sets and costums: Karl-Ernst Herrmann
Kleines Festspielhaus

New production
Leoš Janáček
Aus einem Totenhaus
Conductor: Claudio Abbado
Stage director: Klaus Michael Grüber
Sets and costumes: Eduardo Arroyo
Großes Festspielhaus

New production
Wolfgang Amadeus Mozart
La finta giardiniera
Conductor: Sylvain Cambreling
Stage directors: Ursel und Karl-Ernst Herrmann
Sets and costums: Karl-Ernst Herrmann

Coproduction with the Easter Festival Salzburg
Richard Strauss
Die Frau ohne Schatten
Conductor: Sir Georg Solti
Stage director: Götz Friedrich
Stage sets: Rolf Glittenberg
Costumes: Marianne Glittenberg
Großes Festspielhaus

Coproduction with the Los Angeles Philharmonic and the Opéra de la Bastille Paris
Olivier Messiaen
Saint François d‘Assise
Conductor: Esa-Pekka Salonen
Stage director: Peter Sellars
Stage sets: George Tsypin
Costumes: Dunya Ramicova

Coproduction with the Théâtre Royal de la Monnaie, Bruxelles
Richard Strauss
Conductor: Christoph von Dohnányi
Stage director: Luc Bondy
Stage sets: Erich Wonder
Costumes: Susanne Raschig
Kleines Festspielhaus

Revivals: Jedermann, Le nozze di Figaro

Concert performance: Rossini's Tancredi

Choir and Orchestral Concerts, Chamber Concerts, Serenades, Mozart Matinees, Solo Recitals, Lied Recitals, Concerts "20th Century Classics“, Academy Concerts, Concerts of Sacred Music, Church Concerts, Literary Recitals

Details of the several years:

1990, 1991, 1992, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001,