Organization

Admin

Bregenzer Festspiele

Dirigent

Enrique Mazzola

Erina Yashima

Regisseur

Regisseur (+2)

Philipp Stölzl

Orchestra

Vienna Symphony Orchestra

Chorus

Philharmonischer Chor Prag

Bregenzer Festspielchor

Kostuum ontwerper

Kostuum ontwerper (+2)

Gesine Völlm

Bariton (+3)

Liviu Holender

Ottokar

Bariton (+5)

Johannes Kammler

Bas (+3)

Franz Hawlata

Kuno

Bas-bariton (+4)

Raimund Nolte

Sopraan (+2)

Nikola Hillebrand

Agathe

Sopraan

Elissa Huber

Sopraan (+1)

Hanna Herfurtner

Ännchen

Gloria Rehm

Katharina Ruckgaber

Bas (+4)

Christof Fischesser

Kaspar

David Steffens

Bas-bariton (+6)

Oliver Zwarg

Tenor (+5)

Thomas Blondelle

Tenor

Attilio Glaser

Tenor (+2)

Mauro Peter

Acteur (+1)

Moritz von Treuenfels

Samiel

Frederic Jost

Ein Eremit

Bas-bariton (+7)

Andreas Wolf

Maximilian Krummen

Kilian

Bariton (+2)

Philippe Spiegel

Licht ontwerper

Florian Schmitt

Choreograaf

Wendy Hesketh-Ogilvie

Koor meester

Koor meester (+2)

Lukáš Vasilek

Dirigent (+2)

Benjamin Lack

Dramaturg

Dramaturg (+1)

Olaf A. Schmitt

Geluidsontwerper

Alwin Bösch

Clemens Wannemacher

Set designer

Niklas Wetzel

Theresa Gauß

Vier Brautjungfern

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 .

Duits

Gregorio Chávez Coutiño

Der Freischütz

Bregenz

Oostenrijk

Der Freischütz, op. 77 Weber

Staged

Opera

Der Freischütz, 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...

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