Organization

Admin

Bregenzer Festspiele

Direttore d'orchestra

Enrique Mazzola

Erina Yashima

Regia

Regia (+2)

Philipp Stölzl

Orchestra

Vienna Symphony Orchestra

Chorus

Coro di Praga

Bregenzer Festspielchor

Costumi

Costumi (+2)

Gesine Völlm

Baritono (+3)

Liviu Holender

Ottokar

Baritono (+5)

Johannes Kammler

Basso (+3)

Franz Hawlata

Kuno

Basso-baritono (+4)

Raimund Nolte

Soprano (+2)

Nikola Hillebrand

Agathe

Soprano

Elissa Huber

Soprano (+1)

Hanna Herfurtner

Ännchen

Gloria Rehm

Katharina Ruckgaber

Basso (+4)

Christof Fischesser

Kaspar

David Steffens

Basso-baritono (+6)

Oliver Zwarg

Tenore (+5)

Thomas Blondelle

Tenore

Attilio Glaser

Tenore (+2)

Mauro Peter

Attore (+1)

Moritz von Treuenfels

Samiel

Frederic Jost

Un eremita

Basso-baritono (+7)

Andreas Wolf

Maximilian Krummen

Kilian

Baritono (+2)

Philippe Spiegel

Luci

Florian Schmitt

Coreografia

Wendy Hesketh-Ogilvie

Direzione del coro

Direzione del coro (+2)

Lukáš Vasilek

Direttore d'orchestra (+2)

Benjamin Lack

Drammaturgo

Drammaturgo (+1)

Olaf A. Schmitt

Sound Designer

Alwin Bösch

Clemens Wannemacher

Scenografia

Niklas Wetzel

Theresa Gauß

Quattro damigelle

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 .

tedesco

Gregorio Chávez Coutiño

Der Freischütz

Bregenz

Austria

Der Freischütz, op. 77 Weber

Scenica

Opera

Il franco cacciatore

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...

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