Organization

Admin

Bregenzer Festspiele

Dirección orquestal

Enrique Mazzola

Erina Yashima

Dirección de escena

Dirección de escena (+2)

Philipp Stölzl

Orchestra

Orquestra Sinfónica De Viena

Chorus

Philharmonischer Chor Prag

Bregenzer Festspielchor

Diseño de vestuario

Diseño de vestuario (+2)

Gesine Völlm

Barítono (+3)

Liviu Holender

Ottokar

Barítono (+5)

Johannes Kammler

Bajo (+3)

Franz Hawlata

Kuno

Bajobarítono (+4)

Raimund Nolte

Soprano (+2)

Nikola Hillebrand

Agathe

Soprano

Elissa Huber

Soprano (+1)

Hanna Herfurtner

Ännchen

Gloria Rehm

Katharina Ruckgaber

Bajo (+4)

Christof Fischesser

Kaspar

David Steffens

Bajobarítono (+6)

Oliver Zwarg

Tenor (+5)

Thomas Blondelle

Tenor

Attilio Glaser

Tenor (+2)

Mauro Peter

Actor (+1)

Moritz von Treuenfels

Samiel

Frederic Jost

Ermitaño

Bajobarítono (+7)

Andreas Wolf

Maximilian Krummen

Kilian

Barítono (+2)

Philippe Spiegel

Iluminación

Florian Schmitt

Coreografía

Wendy Hesketh-Ogilvie

Dirección coral

Dirección coral (+2)

Lukáš Vasilek

Dirección orquestal (+2)

Benjamin Lack

Dramaturgo

Dramaturgo (+1)

Olaf A. Schmitt

Diseñador de sonido

Alwin Bösch

Clemens Wannemacher

Escenografía

Niklas Wetzel

Theresa Gauß

Cuatro damas de honor

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 .

alemán

Gregorio Chávez Coutiño

Der Freischütz

Bregenz

Austria

Der Freischütz, op. 77 Weber

Staged

Ópera

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...

Válido

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