Name: Der Freischütz, op. 77
Start: 2018-06-11T00:00:00.000Z
End: 2018-06-28T00:00:00.000Z
Location: Wiener Staatsoper

Admin

Organization

Soprano

Camilla Nylund

Agathe

Daniela Fally

Ännchen

Bass

Alan Held

Caspar

Tenor

Andreas Schager

Albert Dohmen

A Hermit

Spoken

Hans Peter Kammerer

Samiel

Baritone

Adrian Eröd

Ottokar

Clemens Unterreiner

Kuno

Gabriel Bermúdez

Kilian

Conductor

Tomáš Netopil

Stage director

Christian Räth

Set designer

Gary McCann

Video

Nina Dunn

Lighting designer

Mark McCullough

Wiener Staatsoper

Der Freischütz, op. 77 -  (The Marksman)

Vienna

Austria

Few pieces in the operatic literature have been subject to such an intensive and frequent paradigm shift in their reception history as Weber's Freischütz: for example, some considered him the creator of the natural folk tone, others even considered the "most German" composer (Wagner). While the latter saw the ghostly as the central element of the plot, the latter wanted to recognize fate or even nature, specifically the forest, as the actual main role (Pfitzner). Later, people liked to point out how fundamentally Weber followed in the footsteps of the French Revolutionary Opera and, with regard to the use of folk song tones, in the footsteps of Haydn and Beethoven. Irrespective of all these considerations, Der Freischütz, this “romantic opera” in the broadest sense, belongs to the popular core of the German-language repertoire.
In a new production of Carl Maria von Weber's groundbreaking romantic opera Der Freischütz, staged by Christian Räth at the Vienna State Opera, Finnish soprano Camilla Nylund sings the role of Agathe, the daughter of the princely hereditary forester.
In order to win Agathe's hand, the young forest hand Max must undergo a test of his marksmanship. Acclaimed Austrian tenor Andreas Schager will play the desperate lover who resorts to magic bullets to win the competition. The role of the scheming Kaspar, about to lose his soul to the devil, is sung by bass-baritone Alan Held, while Albert Dohmen as the Hermit brings the opera's sinister story to a conciliatory ending by condemning the practice of the practice shot.
Räth's inspiring production of "Freischütz" in the Haus am Ring impresses with a bold stage design, the costumes by Gary McCann and the breathtaking light and video design by Thomas Hase and Nina Dunn. Conductor Tomáš Netopil, who conducts the excellent orchestra of the Vienna State Opera, will explore Weber's complex score.

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