Acting chronology of the Salzburg Festival
The drama chronology of the Salzburg Festival clearly shows how much in the shadow of the opera the spoken piece at the Salzburg Festival was for decades - although Salzburg attracts prominent actors and also the play with Jedermann on the Domplatz under Max Reinhardt on August 22, 1920 marked the birth of the Festival depicted.
Nevertheless, the Salzburg spoken theater productions always had a style-forming effect in the German-speaking area. Since its inception, the focus of the drama at the Salzburg Festival has been on Hofmannsthal's Jedermann am Domplatz, Austrian drama and classics of world literature, primarily Shakespeare's work . Since the 1990s - Gerard Mortier's artistic directorship with acting directors Peter Stein and Ivan Nagel - Salzburg has been increasingly open to innovative directors, new texts and international trends. The Young Directors Project existed from 2002 to 2014 , founded by the then acting director Jürgen Flimm . It showed three to five productions by young directors every year.
The era of Max Reinhardt
The founding years of the Salzburg Festival were - as far as drama is concerned - firmly in the hands of Max Reinhardt. He designed the program and staged (almost everything) himself. And he opened four original venues for the festival :
As innovative as Reinhardt was in finding picturesque venues, he was just as conservative in designing the schedule. While in other places he staged or had contemporary pieces staged ( Hauptmann , Ibsen , Lasker-Schüler and Kokoschka in Berlin, Tolstoy , George Bernard Shaw , Cocteau and Pirandello in Vienna), in Salzburg he limited himself to the classical canon of the licensed. He also brought successful own productions to Salzburg, where he revised and prominently newly occupied - from Berlin to everyone ( Circus Schumann , 1911), from London Miracle ( Olympia Hall , 1911) or from Vienna Servant of Two Masters , Love and Intrigue , the difficult (all three productions from the Theater in der Josefstadt , 1924) and the Midsummer Night's Dream (there, 1925).
Reinhardt's attempts to establish a second mystery play in addition to Jedermann in Salzburg failed. His merit to Salzburg - in addition to finding picturesque venues - was two monumental productions and a burlesque one: Jedermann on Domplatz, The Servant of Two Lords and Faust in the Felsenreitschule. To everyone he occupied from 1920 to 1931 with Alexander Moissi , from 1932 to 1934 with Paul Hartmann , finally in 1935 with Attila Hörbiger . The passion of the first two festival summers was Johanna Terwin , in 1926 Dagny Servaes took over .
From 1933 Reinhardt was increasingly the target of the persecution of the Jews, in 1937 he emigrated to the United States with his wife and two sons.
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Festival under the swastika
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Immediately after the Nazi seizure of power in March 1938 began the inexorable decline of the Festival: Everyman is issued, the fist -Stadt Max Reinhardt dismantled all critical spirits and all artists with Jewish ancestors are expelled from Salzburg, the Max Reinhardt biography is Passed to the flames on Residenzplatz as part of the book burning , the only one in Austria.
Instead of Reinhardt's successful Faust , the Felsenreitschule now played Egmont , unsuccessfully. In 1939 the National Socialists shortened the festival due to the outbreak of war . Wagner was no longer allowed to be played in Salzburg. In 1940 spoken theater and opera were canceled, and the city theater was raised to the status of the state theater . From 1941 to 1943 there was a reduced war festival for returnees and armaments workers, they played - as a distraction - Nestroy wanted to make a joke and Ludwig Anzengruber . From 1943 onwards, by order of Hitler, the festival could no longer be called a festival , but only the Salzburg theater and music summer . Bayreuth should not have to endure any competition. 1944, there were only a concert and the public rehearsal of Liebe der Danae , not a spectacle.
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The post-war years
Come what may, the festival has to happen: after only 25 years, the festival had become so firmly anchored in the self-image of the city and country that the Salzburg people were already organizing festivals a few weeks after the end of the war, amid destruction, poverty and hunger. In 1945 they did not manage to let Jedermann return to Domplatz , but since 1946 the game of the dying of the rich man has been on the program every year. The festival had its trademark again. The title role was played by Ewald Balser in 1946 , Attila Hörbiger again from 1947 to 1951 , Will Quadflieg from 1952 , and finally Walther Reyer from 1960 .
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 and brought a series of opera premieres . As in the 1930s, music was the focus of the festival in the post-war period, on the one hand because there was no language barrier to the occupying powers there, and on the other hand because Salzburg loved to submit to despotic conductors: if Toscanini dominated the festival from 1935 to 1937, so this was Furtwängler from 1948 to 1954.
Max Reinhardt had opened four new venues for the festival, each with theater productions . But just four years after the establishment of the Festspielhaus , it was lost to the theater. The opera took over the new house. Something similar happened in the post-war years with the Felsenreitschule and the Kollegienkirche , which were played with operas from 1948 and 1969 respectively. After that, the Felsenreitschule was only left to the spoken theater in a few cases. The play found a permanent home in the State Theater . Josef Kaut , who later became President of the Festival, described this time: "In addition to the Jedermann , which has been performed annually since 1946 , in the years that followed, with changing directors, an acting repertoire without a recognizable line."
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| 1960 |
Ernst Haeusserman's decades
The direction of the play by Ernst Haeusserman , Reinhardt's assistant director in America, can also be seen as an era of ingratiation to the presumed public taste: Although he began ambitiously by introducing Leopold Lindtberg (a) both parts of Faust , (b) the Lumpazivagabundus and ( c) 1969 even had Jedermann re-staged, tolerated Giorgio Strehler's interlude with the play of the mighty and Josef Kaut's efforts to get Thomas Bernhard premieres, but he also accepted the gradual expulsion of the play from the festival halls and the Felsenreitschule . Haeusserman engaged what was good and expensive - Oskar Werner as Hamlet , OW Fischer as Difficult , Götz George as Danton and Will Quadflieg in various roles. But the rest was a courtesy, sometimes even crude Viennese humor , personified by Otto Schenk . Are considered exceptions to the rule - in 23 years Haeusserman - only three productions: Johannes Schaaf's Leonce and Lena , Rudolf Noeltes Misanthrope and Ingmar Bergman's Dom Juan .
Haeusserman only staged once himself in Salzburg: 1973 Jedermann am Domplatz with Curd Jürgens in the title role, from 1974 also with Senta Berger as a fanatic and for the first time with microphone amplification. In 1978, Maximilian Schell to everyone , 1983 Klaus Maria Brandauer . With the star cult Haeusserman helped this Salzburg institution to leap into the rainbow press and thus cemented Hofmannsthal's moralizing mystery play in the program of the festival.
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interregnum
Even after Haeusserman's death in June 1984, nothing fundamental changed in the programming of the theater. Formally, Otto Schenk acted as a member of the board of trustees from 1986 to 1988 with responsibility for acting. Furthermore, the expectations of the conservative audience were met: on the one hand the sublime - Aeschylus , Lessing , Grillparzer , Schnitzler and Hofmannsthal , on the other hand amusing - folk pieces by Raimund and Nestroy , two world premieres by Thomas Bernhard . The direction was in the hands of directors who could be matched with the audience's taste - such as Johannes Schaaf , Dieter Dorn and Jürgen Flimm . For the first time at least one dared a drama by Elias Canetti , and for the first time a difficult man from German directorial theater , Klaus Michael Grüber , made a guest appearance in Salzburg: he staged Bruno Ganz as Prometheus, tied up , in a new, brittle translation by Peter Handke at the Felsenreitschule .
The new staging of Jedermann was entrusted to Haeusserman's long-time assistant, Gernot Friedel , in 1990 and differed essentially in the new costumes and new cast: Helmut Lohner took over the title role from Klaus Maria Brandauer and Sunnyi Melles was the first to give "a particularly flirtatious, perky woo".
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The Peter Stein era
Monumental - this is how the beginning of Peter Stein's era as Drama Director of the Salzburg Festival was generally described. He had stipulated - for the first five years of his management - the Felsenreitschule for four Shakespeare productions and there he staged first Julius Caesar , then Antonius and Cleopatra . In 1993 he entrusted the Coriolan to British director Deborah Warner , and in 1996 the Midsummer Night's Dream to the young Leander Haussmann .
Structurally, Stein ensured an enormous expansion of the festival's drama program, also by taking over the Pernerinsel in Hallein as the new festival venue . There he had plays from antiquity , Pirandello and again Shakespeare played. It was only in the last year of his management that Stein himself staged on the Perner Island - namely Grillparzer's enigmatic tragedy Libussa , after he first dealt with the Austrian classic Ferdinand Raimund in 1996 and performed the Alpine King and Misanthrope at the Landestheater . As much as Peter Stein was interested in contemporary interpretations of classical texts, he largely disregarded contemporary drama. The only exceptions in six years of office: 1993 the world premiere of the play The Balance of his friend and former dramaturge Botho Strauss and in 1996 a guest performance of the Patrice Chéreau production of a play by Bernard-Marie Koltès - In the loneliness of the cotton fields . The Everyone was Peter Stein unaffected. However, from 1994 he cast his partner Maddalena Crippa , an Italian, as woo and from 1995 Gert Voss as Jedermann.
Peter Stein directed Wozzeck at the Easter Festival in 1997 , Simon Boccanegra in 2000 and Parsifal in 2002 . In the 2010s he returned to Salzburg as the director of Oedipus auf Kolonos (Perner-Insel, 2010), two Verdi operas: Macbeth (Felsenreitschule, 2011) and Don Carlos (Großes Festspielhaus, 2013), and most recently by Franz Schuberts rarely performed opera Fierrabras (Haus für Mozart, 2014).
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| 1994 |
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Ivan Nagel and Frank Baumbauer
The connection between Salzburg and contemporary literature is - as paradoxical as it may sound in the case of a management of just one summer (1998) - thanks to acting director Ivan Nagel . He created the position of Poet Guest and was the first to invite Elfriede Jelinek, who later won the Nobel Prize . He entrusted Danton's death to the esthete Robert Wilson , brought Robert Lepage to Salzburg and commissioned the only stage work by the cult filmmaker Hal Hartley to date .
Frank Baumbauer , acting director from 1999 to 2001, continued the series Dichter zu Gast with five prominent exponents from Germany, Austria and Hungary. He cooperated intensively with top German theaters. Baumbauer's greatest merit was the risk of battles! on the Perner-Insel, a twelve-hour theater marathon of Shakespeare's royal dramas by Tom Lanoye and Luk Perceval , who also directed. In the years of Nagels and Baumbauer, Shakespeare continued to be played diligently , but now - since the Felsenreitschule had to be returned to the opera - on the Perner Island, in the State Theater and in the city cinema. World premieres and German language premieres became a matter of course, and the so-called Regietheater had finally found its way into Salzburg.
| year | Cathedral Square | Poets as guests | State Theater | Perner Island | Other venues |
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Elfriede Jelinek |
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Hans Magnus Enzensberger |
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The 2000s
The years of the transition directors Ruzicka , Flimm and Hinterhäuser were also an era of transition in acting. Contemporary drama and directorial theater were now firmly anchored, but not always represented in top quality in Salzburg. Jürgen Flimm was relatively unsuccessful as a drama director from 2002 to 2004. His credit remains the Young Directors Project , with which he anchored new perspectives for young directors in the festival program. In 2002 he handed Jedermann over to Christian Stückl , the director of the Passion Play in Oberammergau, and cast Peter Simonischek in the title role, Veronica Ferres as lover , Tobias Moretti as devil and good fellow and Jens Harzer as death .
Martin Kušej , acting director from 2005 and 2006, made the strongest impression of the decade thanks to his own productions on Austrian history: With King Ottokar's luck and end, he thoroughly dusted the national poet Grillparzer's main work, with fear of hell he opened up a new, wild approach to Nestroy for the public and the press .
Thomas Oberender , who was responsible for the drama from 2006 to 2011, will be remembered mainly for his public controversy with the artistic director Flimm . His achievements are limited to the quartet in the Carabinieri Hall of the Residenz, a brilliant Andrea Breth staging of crime and punishment and the German-language premiere of Beckett 's Last Volume . In 2010 he recast Jedermann with Nicholas Ofczarek and Birgit Minichmayr . With Nicolas Stemann's Faust project on the Perner Island in 2011, Oberender failed permanently.
| year | Cathedral Square | Poets as guests | State Theater | Perner Island | Other venues |
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Robert Gernhardt |
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Christa Wolf |
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Tankred Dorst |
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| 2006 |
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Beyond the border |
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Sven-Eric Bechtolf
Together with the new artistic director Alexander Pereira , Sven-Eric Bechtolf took up his position as acting director of the Salzburg Festival in 2012. Bechtolf was Pereira's preferred candidate, he had already staged operas during Pereira's Zurich Intendanz . Bechtolf ended the institution of poets as guests . However , he continued the Young Directors Project until 2014 - after the departure of the sponsor Montblanc , no new one was found. And he produced plays for children for the first time at the Festival .
While he dared an international start in 2012 - with two projects by Irina Brooks on Perner Island, an English-language Peer Gynt and a French version of Sturm - Bechtolf steered a highly populist and culinary course in 2013: with a new production of Jedermann by Brian Mertes and Julian Crouch (with Cornelius Obonya as Jedermann and Brigitte Hobmeier as woo), a Midsummer Night's Dream (with Mendelssohn's drama) in the Residenzhof and a Matthias Hartmann production of the Lumpazivagabundus on the Perner Island. Obonya and Hobmeier had each other through charismatic roles last year - he in the citizen as a nobleman , she in my bees. A swath - qualified for the leading roles in Hofmannsthal's long-running hit.
2014 was marked by the 100th anniversary of the declaration of war on the First World War and examined the topic from very different perspectives. For the first time, the notorious Hofmannsthal contemptor and Max Reinhardt opponent Karl Kraus came to festival honors: Although his Last Days of Mankind suffered a change of director from Matthias Hartmann to Georg Schmiedleitner due to the Burgtheater crisis , thanks to the excellent ensemble they succeeded splendidly.
| year | Cathedral Square | House for Mozart's Felsenreitschule |
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| 2016 |
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Bettina Hering
In March 2015, Bettina Hering , previously Artistic Director at the Lower Austria State Theater , was introduced as the new Acting Director of the Festival for the years 2017 to 2021 . She is the first woman in this position. Her first task was to fill the main roles of Jedermann am Domplatz, as Cornelius Obonya , Miriam Fussenegger (after only one season) and Julia Gschnitzer resigned from their roles as Jedermann, Buhlschaft and mother. Together with the artistic director of the Salzburg Festival from 2017, Markus Hinterhäuser , she entrusted Tobias Moretti , Stefanie Reinsperger and Edith Clever with these exposed tasks. In an interview with the Austria Press Agency she announced: "My credo is certain to open the doors more in principle, to allow more and not to close oneself to life".
| year | Cathedral Square | State Theater | Perner Island | Other venues |
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Artistic director Markus Hinterhäuser (2017–2021) announced a new production for everyone for 2020, the 100th anniversary of the Festival and Jedermann on Domplatz.
Explanation of the tables
New productions are shown in normal font and linked to the work or the author. Resumptions of the same production are printed in small print and are not linked. U stands for premiere , DE for German-language 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 university auditorium was initially used as an alternative venue for everyone in bad weather, then the festival hall and, since 1961, the large festival hall .
swell
The dates of these lists were added to the directory of the works and artists of the theater and music at the Salzburg Festival 1920-1981 , compiled by Hans Jaklitsch, published in: Kaut, Josef: Die Salzburger Festspiele 1920-1981 . Salzburg: Residenz Verlag 1982, pp. 241–469, as well as the homepage of the Salzburg Festival, archive section , accessed from September 2012 to July 2013. Furthermore:
- Novak, Andreas: Salzburg hears Hitler breathing, The Salzburg Festival 1933-1944 . DVA, Munich 2005, ISBN 3-421-05883-0
See also
- Cast at the Salzburg Festival 2012 to 2016
- Cast at the Salzburg Festival from 2017
- Opera productions of the Salzburg Festival
- Opera chronology of the Salzburg Festival
Individual evidence
- ^ Josef Kaut: The Salzburg Festival 1920-1981 . Salzburg 1982, 56f
- ↑ Süddeutsche Zeitung: Salzburg Festival: Every year greets the super woman , accessed on August 8, 2013
- ↑ Hellmuth Karasek: With stone and marble. Shakespeare's "Julius Caesar" as a monumental theater in Salzburg , Der Spiegel, August 3, 1992
- ^ Peter von Becker: Large battle painting, modern Kleist weight. Deborah Warner directs Coriolan, Luc Bondy the world premiere of Botho Strauss . Theater heute, J. 1993, H. 9
- ↑ Der Spiegel: The volcano is still spewing smoke , accessed on August 15, 2013
- ↑ Der Standard: The escape from the core of the matter , accessed on August 15, 2013
- ↑ Frankfurter Allgemeine Zeitung: Two boys live, alas, in his chest , accessed on August 15, 2013
- ↑ Kraus resigned angrily from the Catholic Church because the Archbishop of Salzburg had allowed the Jedermann performances in front of the Salzburg Cathedral.
- ↑ After Hartmann complained about the outstanding salaries after his ill-justified dismissal, the interim director of the Burgtheater forced Hartmann to also relieve him of the Salzburg Festival production, which was agreed as a co-production with the Vienna Burgtheater.
- ↑ Ronald Pohl: Das Kriegslatein der Menschenhetzer , Der Standard , July 30, 2014
- ↑ The Salzburger Nachrichten already announced Tobias Moretti as the new Jedermann in August 2016 , but confirmation from the artist or the festival was long pending. The Hinterhäuser opera plans, however, were confirmed from several sides. Source: ORF : Festival 2017: First plans leaked , accessed on September 27, 2016.
- ↑ Quotation from Salzburger Nachrichten : A "Salzburg Dramaturgy" for the Festival , January 12, 2016, accessed on September 28, 2016.