Opera chronology of the Salzburg Festival
The opera productions of the Salzburg Festival have a style-forming effect in the global opera industry due to their outstanding quality. The focus of the Salzburg Festival has remained unchanged since it was founded on (a) Mozart , (b) Richard Strauss , (c) contemporary works. In addition, baroque operas , examples of works from the classical repertoire and occasionally rarities are played regularly in Salzburg .
The founding years
Although the opera was intended as the central axis of the Salzburg Festival in all of the founders' manifestos , it was opened in 1920 with a play , Hofmannsthal's Jedermann . The first concerts took place in 1921 - with local staff under the direction of Bernhard Paumgartner , some of whom were amateur musicians. Richard Strauss was very angry about this, feared the idea of the festival "forever discredited", picked up the phone and the baton, hired the Vienna State Opera and conducted the festival's first opera on August 14, 1922: Don Giovanni . The cast with the ladies Born , Kappel , Schöne and the gentlemen Jerger , Madin , Markhoff , Mayr , Tauber was exquisite .
It is characteristic of the character of the festival that every weakness has to be immediately developed into a new climax. “Opera, drama or concert? Everything and the highest of everything, ”wrote Hofmannsthal in the Salzburg program, giving the spiritus loci the right words. The Vienna Philharmonic has been the festival's first orchestra since 1922 , traditionally playing the opening concert and almost all operas. Since 1927 the Festspielhaus - opened two years earlier with a theater production - can also be used for operas.
The opera business in the first few years consisted mainly of repertoire pieces from the State Opera. When, however, the planned Magic Flute could not be realized in 1928 , the set and costumes were first made in Salzburg. In 1928 the Leningrad Opera Studio also made a guest appearance at the festival with four operas and one concert. Step by step, the new festival freed itself from the accusation that it was “just a summer branch of the Vienna State Opera”, engaged its own singers and conductors - and gradually developed its own program.
As early as the 1930s, opera productions in Salzburg met the highest international standards - conducted by Fritz Busch , Hans Knappertsbusch , Clemens Krauss , Josef Krips , Richard Strauss , Arturo Toscanini , Bruno Walter and Felix von Weingartner . And it was an excellent ensemble of singers that established Salzburg's reputation: above all the legendary Maria Cebotari and the dramatic Lotte Lehmann , the sopranos Arangi-Lombardi , Berger , Born , Caniglia , Gerhart , Eisinger , Ivogün , Kern , Anny and Hilde Konetzni , Lubin , Müller , Pauly , Reining , Rethberg , Réthy , Schöne , Schumann and Ursuleac , the mezzo-sopranos Anday , Angerer , Bokor , Elsner , Hadrabová , Novotná , Onégin and Rünger , the tenors Fidesser , Grahl , Kalenberg , von Pataky , Rosvaenge and Völker , in the baritone subject Domgraf-Fassbaender , Hammes , Nissen and Rode , as well as the basses Alsen , Hann , Jerger , Kipnis , List , Mayr , from Manowarda and Pinza .
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The Toscanini era
Arturo Toscanini's era in Salzburg was short, but impressive and lasting . After achieving brilliant success with three orchestral concerts in 1934, he was the crowd puller at the festival in the following years. With perfectionism and charisma, he was able to attract an international audience, which was all the more important for the survival of the institution, especially since the German group of visitors was de facto excluded from the festival due to the 1000-mark ban under the Hitler dictatorship . Toscanini conducted three lavish new productions in Salzburg: Falstaff in 1935 , Meistersinger von Nürnberg in 1936 , and The Magic Flute in 1937 . On his 70th birthday, the rear forecourt of the stage was renamed Toscanini-Hof . After the National Socialists came to power , the upright anti-fascist immediately canceled his further participation in the festival.
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Festival under the swastika
Immediately after the Nazi takeover of power in March 1938, the inexorable decline of the Festival began: Jedermann was deposed, Max Reinhardt's Faust city was dismantled, all critical spirits and all artists with Jewish ancestors were expelled from Salzburg, Heinrich Puthon as President of the Festival and Bernhard Paumgartner was relieved of his offices as director of the Mozarteum , the festival hall was adapted to the Nazi taste by Reich stage designer Benno von Arent - it was given a driver's box. Arturo Toscanini , the upright anti-fascist who had shaped the festival three years before, cancels his participation.
Little changed in the opera schedule. Wilhelm Furtwängler stepped in for Toscanini as the Mastersinger conductor, the Rosenkavalier production by the expelled Lothar Wallerstein was continued, albeit with a regime-compliant director on the program. The international celebrities stayed away, more and more uniforms mingled with the audience. In 1939 the festival was shortened due to the outbreak of war and Wagner was no longer allowed to be played in Salzburg - Bayreuth should not have to face any competition. In 1940 the Vienna Philharmonic organized its own concert cycle, there were no operas. From 1941 to 1943 there were reduced war festivals for returnees and armaments workers. From 1943 onwards, by order of Hitler, the festival was no longer allowed to be called a festival , but instead the Salzburg theater and music summer . The theater ban in 1944 - after the attempted assassination of Hitler - the Salzburg people were able to bypass the public rehearsal of Richard Strauss' Die Liebe der Danae (and a concert by the Philharmonic). In this way, the continuity of the festival was preserved even during the collapse of the Third Reich . After the final rehearsal, the 80-year-old composer speaks to his beloved Philharmonic in a tear-choked voice: "I hope we will see each other again in a better world."
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The post-war years
After the most important conductors of the Third Reich were banned from performing and the expellees could not be won back so quickly, Austria's only unencumbered conductor Josef Krips and the less burdened Felix Prohaska and Hans Swarowsky filled the void. While town and country were still in ruins, Salzburg made music again. As early as 1947, Furtwängler and Knappertsbusch returned to Salzburg as concert conductors , and Karl Böhm as musical director of Arabella , followed by Herbert von Karajan in 1948, and Clemens Krauss in 1952 . The years 1948 to 1954 were dominated by Wilhelm Furtwängler , who jealously kept Karajan away from Salzburg from 1949 and Krips from 1951 and the other colleagues - Böhm, Fricsay , Solti , Szell - under control. But thanks to the exemplary interpretations - above all of the Mozart and Strauss operas - and the first-class singers, the festival quickly regained its glamor and international reputation.
Thanks to the Americans as the occupying power, who immediately brought Puthon and Paumgartner back and in 1946 appointed the 29-year-old composer Gottfried von Eine to the directorate, the festival opened up to contemporary music: operas by Blacher , Egk , von Eine, Liebermann , Martin , Orff , as well as Die Liebe der Danae von Strauss will be premiered , works by Berg , Britten and Pfitzner will be reenacted.
In 1948 the Felsenreitschule , which had been used for drama productions since 1926, was also able to host an opera for the first time: Orfeo ed Euridice , conducted by Herbert von Karajan (who had directed the incidental music for Max Reinhardt's Faust production here in 1933 ), staged by Oscar Fritz Shoe and equipped by Brecht's set designer Caspar Neher . It sang - heavily acclaimed - Elisabeth Höngen the Orfeo , Maria Cebotari the Euridice , Sena Jurinac the Amor and Elisabeth Schwarzkopf the Blessed Spirit .
Karl Böhm, again Oscar Fritz Schuh (as director) and Caspar Neher (as set designer) established the Residenzhof as another new venue for the Salzburg Festival in 1953 with an acclaimed Così fan tutte production . The production stayed on the program until 1959. An exquisite ensemble sang and played - mainly consisting of members of the famous Mozart Ensemble of the Vienna State Opera : Irmgard Seefried , later Elisabeth Schwarzkopf as Fiordiligi , Dagmar Hermann and Christa Ludwig as Dorabella , Erich Kunz and Rolando Panerai as Gugliemo , Anton Dermota , Luigi Alva and Nicolai Gedda as Ferrando , Lisa Otto , Rita Streich and most recently Graziella Sciutti as Despina, as well as Paul Schöffler and Karl Dönch as Don Alfonso .
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The years of Karl Böhm and Herbert von Karajan
The years between 1957 and 1989 are often incorrectly described as the sole reign of Herbert von Karajan , who acted as artistic director from 1957 to 1960 and from 1964 had a seat and a voice in the directorate of the festival. In reality, until 1980 there was a finely balanced balance between Karl Böhm , the exemplary Mozart , Strauss and Berg interpreter, and the great stage director Karajan. From 1938 Karl Böhm conducted a total of 275 opera performances and 55 concerts, Karajan conducted 260 opera performances and 86 concerts at the Summer Festival from 1948. Karajan was sole ruler at most at the Easter Festival and the Whitsun Concerts , which he founded and - organisationally separated from the summer festival - led.
In 1960 the Salzburg Festival opened its largest - some said: oversized - venue: the Great Festival Hall , designed by Clemens Holzmeister and immediately taken over by Karajan. The widescreen stage with a portal width of 32 meters allows great operas, but not the intimate setting for Mozart. Because of this architecture alone, Wagner (at Easter), Verdi , but also Bizet and Puccini moved into the Salzburg repertoire.
The 1970s and 1980s in particular are considered a time of artistic stagnation in the retrospective - admittedly at the highest level: the same works over and over again in the same staging over up to ten seasons, more conventional direction, flavourful stage designs. (The only exception was the legendary Giorgio Strehler production of The Abduction from the Seraglio from 1965 - with Zubin Mehta at the desk and Luciano Damiani as outfitter, which brought a radically new perspective on Mozart.) At the same time, Salzburg established itself as a meeting point of the international jet set and the German financial nobility. World premieres and risky projects had become rare, the cultural waves of the 1968 movement passed Salzburg by. When Giorgio Strehler wanted to renew the Salzburg aesthetic as artistic consultant from 1973, he quickly failed because of himself, the encrusted structures - and Karajan. While Bayreuth then opened up to the zeitgeist in 1976 - with the Ring of the Century by Boulez , Chéreau , Peduzzi and Schmidt - Salzburg styled itself as a noble temple of high culture until the late 1980s .
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| 1973 |
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| 1981 |
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| 1982 |
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| 1983 |
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| 1984 |
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Artistic director Gerard Mortier
The need to catch up and the deficits were evident - despite all the merits - when the “last absolutist ruler” of Salzburg, Herbert von Karajan , died on July 16, 1989 in Salzburg. Nevertheless, it is still astonishing today how quickly and radically those responsible decided to turn around. Just six weeks later, Gerard Mortier , the innovative artistic director of the Brussels Opera La Monnaie , was appointed and introduced as artistic director and Hans Landesmann as financial manager and concert director. "The new Salzburg", which Mortier proclaimed, pursues "a policy of opening up: towards a broader and, not least, more modern repertoire, towards unspent, sometimes provocative aesthetic perspectives, towards other and younger audiences."
Mortier kept what he promised. He firmly and continuously established the rich operas of the 20th century in Salzburg, presented a Janáček cycle, Messiaen's Saint François d'Assise , Ligeti's Grand Macabre , musical theater works by Stravinsky , Schönberg , Weill and Busoni , as well as both operas by Alban Berg , committed directors who were able to make references to the real world, such as Klaus Michael Grüber , Herbert Wernicke , Ursel and Karl-Ernst Herrmann , Peter Mussbach , Patrice Chéreau , Hans Neuenfels , Luc Bondy , Achim Freyer , Peter Sellars or Robert Wilson , conductors beyond the beautiful sound, like Pierre Boulez , Sylvain Cambreling , René Jacobs and Nikolaus Harnoncourt . In retrospect, Mortier's merits cannot be valued highly enough: He saved Salzburg into the present.
Mortier also showed a lucky hand in selecting the singers. He was able to hold great voices of the Böhm / Karajan era (and the two years after) in Salzburg - the ladies Behrens , Bumbry , Jones , Kasarova , Lipovšek , Malfitano , Marton , Murray , Popp , Schmidt , Schwarz , Studer , Upshaw and Ziesak , Messrs. Adam , Allen , van Dam , Furlanetto , Ghiaurov , Grundträger , Hale , Hampson , Krause , Moser , Pape , Prey , Ramey , Rydl , Schöne and Zednik - and he signed a number of excellent (mostly young) singers for the first time in Salzburg : Aikin , Bacelli , Bartoli , Bayo , Bonney , Borodina , Denoke , Dessay , Fleming , Frittoli , Gheorghiu , Graham , Hartelius , Koch , Kringelborn , Lott , Mattila , Meier , Mescheriakova , Naef , Netrebko , von Otter , Pecková , Polaski , Röschmann , Schäfer , Szmytka and Tramonti , as well as Messrs. Álvarez , Bär , Beczala , Botha , Braun , Bruson , Conrad , d'Arcangelo , Dohmen , Goerne , Groves , Hawlata , Hvorostovsky , Kaufmann , Keenlyside , Klink , Koch , Kowalski , Larin , Lloyd , Moss , Saccà , Salmine n , Schade , Seiffert , Shicoff , Struckmann , Terfel , Trost , Villars and Volle . The only opera production by Jessye Norman in Salzburg - she sang numerous concerts in Salzburg from 1977 to 2002 - was Mortier's directorship: in 1995 she was the woman in Schönberg's expectation , exceptionally staged by Robert Wilson .
| year | Small festival hall | Felsenreitschule | Large festival hall | residence | Other venues |
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Transition intendances
Messrs. Ruzicka , Flimm and Hinterhäuser are all considered transitional directors in the retrospective. Peter Ruzicka (2001 to 2006) has the merit of having three of the composers expelled by the Nazis - Korngold , Schreker , Zemlinsky - presented for the first time in Salzburg's opera program. His gigantic project of wanting to present all of Mozart's 22 operas on the occasion of the Mozart Year 2006, aroused criticism in advance. The memory of two exceptional productions ( Kušej's Don Giovanni and Guth's Le nozze di Figaro , both with Nikolaus Harnoncourt at the podium), one scandalous ( Herheim's Abduction ) and several mediocre productions remain . Ruzicka's directorship is also responsible for the last conversion of the Kleiner Festspielhaus to a house for Mozart . The house is now functionally better than ever, but the design has been criticized as a "contemporary variant of ingratiation". The Neue Zürcher Zeitung even wrote of the “discreet charm of an ambitious parking garage”.
Jürgen Flimm (2007 to 2010) remained - despite interesting approaches with rarely performed operas by Berlioz , Dvořák , Haydn , Handel and Rossini - luckless. It remains to him to have entrusted Claus Guth with the two other da Ponte operas of Mozart and to have brought Al gran sole carico d'amore by Luigi Nono to Salzburg. Flimm resigned prematurely. The successful concert director - and step in as artistic director for the summer of 2011 - Markus Hinterhäuser had little luck with his directors, but could be more than satisfied with his concert program and with Christian Thielemann's conducting of the woman without a shadow .
| year | Small festival hall | Felsenreitschule | Large festival hall | residence | |
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The Alexander Pereira era
With great impetus, Alexander Pereira took over the management in 2012. He wanted to increase the uniqueness of the festival by showing all productions only for one summer. He was not afraid of populism , and in his first season he also played Carmen (with Kožená ), La Bohème (with Netrebko ) and Die Zauberflöte (conducted by Nikolaus Harnoncourt ). However, Pereira celebrated the greatest success of his first summer festival with Bernd Alois Zimmermann's opera The Soldiers from 1965, staged (and furnished) by Alvis Hermanis , conducted by Ingo Metzmacher , played by the Vienna Philharmonic . Hermanis has dedicated his direction to the persecuted women band Pussy Riot .
As a "great moment", "Triumph" and "miracle" the press celebrated six of seven opera productions in summer 2013: Already at the Mozart Week enthusiastic Lucio Silla with Villazón in the Whitsun Festival Norma with Bartoli . Both productions were co-developed by Pereira and included in the program of the summer festival. After the difficult but nevertheless successful start with Gawein , Falstaff , Die Meistersinger von Nürnberg and an acclaimed Peter Stein production of the five-act Don Carlo with Antonio Pappano at the podium followed. Only Così fan tutte , directed by Bechtolf with Eschenbach at the desk, did not meet the high expectations of most critics.
The audience and press of Pereira's third (and last) festival were just as enthusiastic. After Cecilia Bartoli caused a sensation and standing ovations as La Cenerentola at Pentecost (and this production was then also shown in the summer), both the Rosenkavalier and the Trovatore new productions (the former with Erdmann , Groissböck , Koch and Stojanowa , the latter with Domingo , Meli and Netrebko ) the paying audience and the writing guild. The world premiere of Marc-André Dalbavie's bitterly serious commissioned work Charlotte Salomon , conducted by the composer, also met with broad approval. Only Don Giovanni , staged by Sven-Eric Bechthold and conducted by Christoph Eschenbach, was received with mixed feelings.
Pereira also has the merit of having set new impulses from Salzburg for international opera development through composition commissions to György Kurtág (for 2013), Marc-André Dalbavie (2014), Thomas Adès (2015) and Jörg Widmann (2016). Since György Kurtág could not finish his opera - Fin de partie after the play Endspiel by Samuel Beckett - in time, Harrison Birtwistle's opera Gawain from 1991 was performed in 2013 . In memory of the artist Charlotte Salomon , murdered by the National Socialists , Dalbavie composed the opera of the same name, the libretto of which is based on the gouaches Leben? or theater? and which was commissioned by the Festival on July 28, 2014 under the direction of the composer and in a production by Luc Bondy .
After the premature end of the artistic directorship of Pereira, he went to La Scala , the previous theater director Sven-Eric Bechtolf took over the overall artistic direction for 2015 and 2016. He consciously put his opera program in the tradition of Pereira, but had to cut back on costs and the concept, to show every festival production in just one summer, say goodbye. In addition to the resumption of three successful Pereira productions and the takeover of Iphigénie en Tauride from the Salzburg Whitsun Festival , he started three new productions in 2015: a new Fidelio in the Great Festival Hall , staged by Claus Guth , conducted by Franz Welser-Möst , his own new production of Le nozze di Figaro with Dan Ettinger at the podium in the Haus für Mozart , as well as the Salzburg premiere of Rihm's Die Eroberung von Mexico in the Felsenreitschule , staged by Peter Konwitschny , conducted by Ingo Metzmacher .
| year | House for Mozart | Felsenreitschule | Large festival hall | Other venues |
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Artistic director Markus Hinterhäuser
The directorship of Markus Hinterhäuser , who has been the festival director for many years and interim director from 2011, will begin in 2017, initially for five years . The new director will put the following works on the 2017 program:
- Verdi's Aida in the Großes Festspielhaus, conducted by the Italian conductor Riccardo Muti and staged by the Iranian director Shirin Neshat , with Anna Netrebko in the title role (role debut).
- Reimanns Lear with Franz Welser-Möst at the desk, Gerald Finley in the title role and Evelyn Herlitzius as Goneril, Gun-Brit Barkmin as Regan.
- Mozart's La clemenza di Tito , conducted by Teodor Currentzis .
- Bergs Wozzeck , directed by William Kentridge , with Matthias Goerne in the title role.
- Shostakovich's Lady Macbeth from Mtsensk , conducted by Mariss Jansons , staged by Andreas Kriegenburg , with Nina Stemme in the title role
Muti's return to Salzburg as an opera conductor is considered to be Hinterhäuser's first success. The maestro explained in an interview with the Italian magazine Sette : “Neshat's ability to illuminate the complexity of the female Muslim universe convinced me.” For Muti, this work also pays homage to the director Giorgio Strehler . A jointly planned production was able to cannot be realized because of its death. “20 years after Strehler's death, the project we were working on is taking shape. The times are ripe for it. ”, Muti told Sette . Helga Rabl-Stadler , President of the Festival, also announced that there would be no resumption in 2017 in order to enable Hinterhäuser to reposition the Festival.
| year | House for Mozart | Felsenreitschule | Large festival hall | Other venues |
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Explanation of the tables
New productions are shown in normal font and linked to the work or the composer. Resumptions of the same production are printed in small print and are not linked. UA stands for premiere .
The names of some of the Salzburg Festival venues have changed over time:
- The city theater has been called the Landestheater since 1940 .
- The Festspielhaus was called the Altes Festspielhaus from 1960 and the Little Festspielhaus from 1963 , and since the last renovation in 2006 it has been called the House for Mozart .
- The New Festival Hall, completed in 1960, has been called the Large Festival Hall since 1963 .
- The Kollegienkirche is also known as the University Church.
The dates of these lists were taken from the directory of the works and artists of the theater and music at the Salzburg Festival 1920-1981 , compiled by Hans Jaklitsch, In: Josef Kaut: Die Salzburger Festspiele 1920-1981 . Residenz Verlag, Salzburg 1982, pp. 241–469, as well as the homepage of the Salzburg Festival, archive section
See also
literature
- Stephen Gallup: The History of the Salzburg Festival. Orac, Vienna 1989, ISBN 978-3-7015-0164-9 .
- Josef Kaut: The Salzburg Festival 1920-1981. Residenzverlag, Salzburg 1982, ISBN 978-3-7017-0308-1 .
Web links
Individual evidence
- ↑ The last absolutist ruler and his world stars , History of the Salzburg Festival, accessed on November 15, 2012
- ↑ Das neue Salzburg , official homepage of the Salzburg Festival, accessed on October 28, 2012.
- ↑ No crocodile tears on the Salzach. In: The world. March 24, 2004.
- ↑ a b Salzburg Festival: About the era of Flimm and Sunnyi Melles as Phaedra. In: Tagblatt. August 20, 2010.
- ↑ a b directors of the Salzburg Festival since Karajan. ( Memento from September 11, 2014 in the Internet Archive ) In: Kleine Zeitung. May 19, 2009.
- ↑ Franziska Weber: Dimensions of Thought. The spatiotemporal collapse of the present. Humanities and scientific designs - verified on Martin Kusej's “Don Giovanni”. Bielefeld 2008, ISBN 978-3-8376-1010-9 .
- ↑ Men are all criminals. In: Frankfurter Allgemeine. July 28, 2006.
- ↑ Herheim's sex corpse in the doll's house cellar. In: Wiener Zeitung. August 8, 2006.
- ^ Off for Mozart. In: The Standard. June 17, 2006.
- ↑ How good was Peter Ruzicka? In: profile. July 8, 2006.
- ^ Festival: Criticism of Pereira before the handover. on: ORF (Vienna). September 29, 2011.
- ↑ The Imbalance of the Popular. In: Frankfurter Allgemeine. August 3, 2012.
- ↑ Too good for this world. In: Der Tagesspiegel (Berlin). 22nd August 2012.
- ↑ Rolando Villazon gives the "Lucio Silla". Marc Minkowski, Les Musiciens and the singers enthusiastic audience OE24; Retrieved August 17, 2013
- ↑ "Lucio Silla": With the grace of the silent film. Musically exceptionally good production of the Mozart opera . Der Standard (Vienna); Retrieved August 17, 2013
- ↑ "Lucio Silla": Singing Festival in Ancient Rome , "Lucio Silla" [...] had already caused a triumph at the Mozart Week, since Saturday it can be enjoyed at the Festival. In luxury cast. Salzburg News; accessed on August 16, 2013
- ↑ Salzburger Nachrichten: The miracle “Norma” at the Whitsun Festival. With standing ovations […] Cecilia Bartoli and her team were thanked for an overwhelming performance of Bellini's opera “Norma”. Retrieved August 17, 2013
- ↑ A red carpet for Bartoli. Bellini's “Norma” was a triumph at the Whitsun Festival in Salzburg . Courier (Vienna); Retrieved August 17, 2013
- ↑ Bartoli's double triumph. An exquisite ensemble of singers captivated the audience for five hours . Kleine Zeitung (Graz); accessed on April 21, 2020
- ^ Salzburg Festival: Triumph for Ingo Metzmacher . Hamburger Abendblatt; accessed on August 16, 2013
- ↑ Z weimal Verdi . At the end of the day, the audience [...] celebrated the artists extensively, and the directing team received unanimous applause! The new marker; accessed on August 16, 2013
- ↑ The Mastersingers as a fairy tale dream . With the opera “Die Meistersinger von Nürnberg”, Salzburg competes with Bayreuth in the Wagner anniversary year. The acclaimed premiere turns into a fabulous journey through time . star; accessed on August 16, 2013
- ↑ Of the true values . Great moment at the Salzburg Festival . The New Zurich Times; accessed on August 16, 2013
- ^ Salzburg Festival commissions 4 new operas. ( Memento of November 20, 2011 in the Internet Archive ) on: CBC News. November 17, 2011.
- ^ Salzburg Festival Summer 2014: Marc-André Dalbavie. Charlotte Salomon
- ↑ Gert Korentschnig: Welser-Möst: “Don't throw our culture in the trash”. Conductor Franz Welser-Möst on the "love of Danae", popularization and leveling down . In: Kurier (Vienna), July 29, 2016 (interview); accessed on August 5, 2016.
- ^ Harrison Parrott: Gun-Brit Barkmin, Soprano , updated biography, accessed August 11, 2016.
- ↑ Hinterhäuser himself also announced a Mozart opera in which an original sound ensemble will not play the Vienna Philharmonic, see: Austria Presse Agentur (Vienna): Salzburg Festival: Markus Hinterhäuser's plans for 2017 , here quoted from Der Standard , 3. April 2016, accessed August 5, 2016.
- ↑ “Aida” and more: Salzburg's open secrets . Die Presse (Vienna), August 17, 2016; Retrieved August 26, 2016.
- ↑ Muti conducts “Aida” at the 2017 Salzburg Games . ( Memento from August 13, 2016 in the Internet Archive ) Vorarlberg Online (Schwarzach), July 22, 2016; accessed on August 5, 2016.
- ↑ Helga Rabl-Stadler: Saving for 2017 . In: Kleine Zeitung (Graz and Klagenfurt), November 5, 2015; accessed on August 5, 2016.
- ^ Salzburg Festival: Salzburg Festival / Opera. Retrieved November 10, 2017 (Austrian German).
- ↑ Salzburg Festival Archive , at www.salzburgerfestspiele.at, accessed from September to November 2012
1922–1926 founding phase •
1927–1930 Schalk / Walter / Krauss •
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1935–1937 Toscanini / Walter
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Overview
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