Organization

Admin

Bregenzer Festspiele

Direction d'orchestre

Enrique Mazzola

Erina Yashima

Mise en scène

Mise en scène (+2)

Philipp Stölzl

Orchestra

Vienna Symphony Orchestra

Chorus

Chœur Philharmonique de Prague

Bregenzer Festspielchor

Costumes

Costumes (+2)

Gesine Völlm

Baryton (+3)

Liviu Holender

Ottokar

Baryton (+5)

Johannes Kammler

Basse (+3)

Franz Hawlata

Kuno

Baryton-basse (+4)

Raimund Nolte

Soprano (+2)

Nikola Hillebrand

Agathe

Soprano

Elissa Huber

Soprano (+1)

Hanna Herfurtner

Ännchen

Gloria Rehm

Katharina Ruckgaber

Basse (+4)

Christof Fischesser

Kaspar

David Steffens

Baryton-basse (+6)

Oliver Zwarg

Ténor (+5)

Thomas Blondelle

Ténor

Attilio Glaser

Ténor (+2)

Mauro Peter

Acteur (+1)

Moritz von Treuenfels

Samiel

Frederic Jost

Un Ermite

Baryton-basse (+7)

Andreas Wolf

Maximilian Krummen

Kilian

Baryton (+2)

Philippe Spiegel

Lumières

Florian Schmitt

Chorégraphie

Wendy Hesketh-Ogilvie

Direction de choeur

Direction de choeur (+2)

Lukáš Vasilek

Direction d'orchestre (+2)

Benjamin Lack

Dramaturge

Dramaturge (+1)

Olaf A. Schmitt

Créateur sonore

Alwin Bösch

Clemens Wannemacher

Décors

Niklas Wetzel

Theresa Gauß

Quatre demoiselles d'honneur

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 .

allemand

Gregorio Chávez Coutiño

Der Freischütz

Bregenz

Autriche

Der Freischütz, op. 77 Weber

Staged

Opéra

Le franc-tireur, op. 77

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...

Valide

Der Freischütz

Distribution

Ottokar

Kuno

Agathe

Ännchen

Kaspar

Max

Samiel

Ein Eremit

Kilian

Vier Brautjungfern

Équipage

Mise en scène

Direction d'orchestre

Décors

Costumes

Direction de choeur

Lumières

Chorégraphie

Dramaturge

Créateur sonore

Instrumentation

Producteur

Producteur

Ensemble

Orchestre

Chœur

Coproducteur

Critiques 4

Vidéos liées

Photos

À propos de

Compositeur

Livret

Description

Synopsis de la Production

Salles

Seebühne

Bregenz, Autriche