Organization

Admin

Bregenz Festival

Conductor

Enrique Mazzola

Erina Yashima

Stage director

Stage director (+2)

Philipp Stölzl

Orchestra

Vienna Symphony Orchestra

Chorus

Prague Philharmonic Choir

Choir of the Bregenz Festival

Costume designer

Costume designer (+2)

Gesine Völlm

Baritone (+3)

Liviu Holender

Ottokar

Baritone (+5)

Johannes Kammler

Bass (+3)

Franz Hawlata

Kuno

Bass-baritone (+4)

Raimund Nolte

Soprano (+2)

Nikola Hillebrand

Agathe

Soprano

Elissa Huber

Soprano (+1)

Hanna Herfurtner

Ännchen

Gloria Rehm

Katharina Ruckgaber

Bass (+4)

Christof Fischesser

Caspar

David Steffens

Bass-baritone (+6)

Oliver Zwarg

Tenor (+5)

Thomas Blondelle

Tenor

Attilio Glaser

Tenor (+2)

Mauro Peter

Actor (+1)

Moritz von Treuenfels

Samiel

Frederic Jost

A Hermit

Bass-baritone (+7)

Andreas Wolf

Maximilian Krummen

Kilian

Baritone (+2)

Philippe Spiegel

Lighting designer

Florian Schmitt

Choreographer

Wendy Hesketh-Ogilvie

Chorusmaster

Chorusmaster (+2)

Lukáš Vasilek

Conductor (+2)

Benjamin Lack

Dramaturge

Dramaturge (+1)

Olaf A. Schmitt

Sound designer

Alwin Bösch

Clemens Wannemacher

Set designer

Niklas Wetzel

Theresa Gauß

Four bridesmaids

Sarah Kling

Sarah Schmidbauer

Mandy Fredrich

Seebühne

An inhospitable village in Germany shortly after the Thirty Years' War: The young clerk Max loves Agathe, the daughter of the hereditary forester Kuno. But in order for Max to marry her, the untrained shooter has to submit to an archaic custom and complete a test shot - an impossible challenge for him.

The shady war veteran Kaspar also knows this, and he persuades the clerk to join him at midnight in the Wolfsschlucht to cast free balls that never go wrong. In his hopeless situation, Max makes a pact with the devil in the Wolfsschlucht. What he doesn't know: Six of the cursed free balls hit, but the devil directs the seventh where he wants. Meanwhile, his fiancée Agathe tries in vain to find sleep in the stormy night. On the morning of her wedding day, she is gripped by a dark premonition. Even her best friend Ännchen can't cheer her up. And when it comes to the test shot, Max has loaded the seventh bullet. He aims, aims and pulls the trigger...

“Hit the mark,” Carl Maria von Weber wrote jubilantly to his librettist Friedrich Kind after the premiere of their joint opera Der Freischütz . The premiere audience in Berlin enthusiastically celebrated the new work in 1821, which, with its emotionally charged and gripping music, would soon become the epitome of German romantic opera. As one of the most popular operas in German-speaking countries today, Der Freischütz can be experienced for the first time on the lake stage. Also there: the director and set designer Philipp Stölzl and the conductor in residence Enrique Mazzola, who will work together again in Bregenz after the phenomenal success of Giuseppe Verdi's Rigoletto .

alemany

Gregorio Chávez Coutiño

Der Freischütz

Bregenz

Austria

Der Freischütz, op. 77 Weber

Staged

Opera

The Marksman

Als eine der heute populärsten Opern im deutschsprachigen Raum ist DER FREISCHÜTZ zum ersten Mal auf der Seebühne zu erleben. Mit dabei: der Regisseur und Bü...

Approved

Der Freischütz

Repartiment

Ottokar

Kuno

Agathe

Ännchen

Kaspar

Max

Samiel

Ein Eremit

Kilian

Vier Brautjungfern

Tripulació

Stage director

Conductor

Set designer

Costume designer

Chorusmaster

Lighting designer

Choreographer

Dramaturge

Sound designer

Instrumentació

Productor

Productor

Conjunt

Orquestra

Cor

Coproductor

Ressenyes 4

Vídeos destacats

Fotografies

Sobre

Composer

Librettist

Descripció

Sinopsi de la producció

Llocs

Seebühne

Bregenz, Austria