To be or not to be — A Shakespeare evening

Georg Nigl, baritone
Dörte Lyssewski, recitation
Alexander Gergelyfi, tafelklavier

Im Sommer war das Gras so tief — A François-Villon-evening

Georg Nigl, baritone
Dörte Lyssewski, recitation
Alexander Gergelyfi, tafelklavier

Maximilian Schmitt, Friedrich Wilhelm, Kurfürst von Brandenburg
Tanja Ariane Baumgartner, Die Kurfürstin
Kathrin Zukowski, Prinzessin Natalie von Oranien
Lauri Vasar, Feldmarschall Dörfling
Georg Nigl, Prinz Friedrich Artur von Homburg
Anthony Robin Schneider, Obrist Kottwitz
Magnus Dietrich, Graf Hohenzollern

ORF Radio-Symphonieorchester Wien
Ingo Metzmacher, Musical director

Georg Nigl, baritone
Vladimir Jurowski, piano
Nicholas Ofczarek, recitation

Program:
Excerpts from The Last Days of Mankind by Karl Kraus
Music by Gustav Mahler, Dmitri Shostakovich, Hanns Eisler, and Pete Seeger
The celebrated Austrian baritone Georg Nigl has transferred the concept of his “Musical Salons” from previous years into The Last Days of Humanity? A special combination of song recital and literary reading, in which selected music and literature enter into a new dialogue and expand one another – for an evening of existential intensity. Together with Burgtheater actor Nicholas Ofczarek and Vladimir Jurowski, General Music Director of the Bavarian State Opera, at the piano, Nigl creates a theatrical evening in which songs by Gustav Mahler, Hanns Eisler, and Pete Seeger are interwoven with texts from Karl Kraus’s The Last Days of Mankind.

Written between 1915 and 1922, the Austrian writer’s monumental drama is a sharp and unflinching indictment of the horrors of the First World War. In the hands of these three expressive artists, the combination of voice, text, and music becomes a searing accusation against war and a clarifying reflection on humanity in all its tragedy and destructive force.

Richard Wagner: Siegfried

Benjamin Bruns, Siegfried
Matthias Klink, Mime
Nicholas Brownlee, Der Wanderer
Georg Nigl, Alberich
Timo Riihonen, Fafner
Wiebke Lehmkuhl, Erda
Simone Schneider, Brünnhilde

Vladimir Jurowski, conductor
Tobias Kratzer, director
Rainer Sellmaier, set and costume design
Michael Bauer, lighting design
Manuel Braun/Jonas Dahl/Janic Bebi, video
Olaf Roth & Bettina Bartz, dramaturgy
Bayerisches Staatsorchester

Richard Wagner: Siegfried

Benjamin Bruns, Siegfried
Matthias Klink, Mime
Nicholas Brownlee, Der Wanderer
Georg Nigl, Alberich
Timo Riihonen, Fafner
Wiebke Lehmkuhl, Erda
Simone Schneider, Brünnhilde

Vladimir Jurowski, conductor
Tobias Kratzer, director
Rainer Sellmaier, set and costume design
Michael Bauer, lighting design
Manuel Braun/Jonas Dahl/Janic Bebi, video
Olaf Roth & Bettina Bartz, dramaturgy
Bayerisches Staatsorchester

Richard Wagner: Siegfried

Benjamin Bruns, Siegfried
Matthias Klink, Mime
Nicholas Brownlee, Der Wanderer
Georg Nigl, Alberich
Timo Riihonen, Fafner
Wiebke Lehmkuhl, Erda
Simone Schneider, Brünnhilde

Vladimir Jurowski, conductor
Tobias Kratzer, director
Rainer Sellmaier, set and costume design
Michael Bauer, lighting design
Manuel Braun/Jonas Dahl/Janic Bebi, video
Olaf Roth & Bettina Bartz, dramaturgy
Bayerisches Staatsorchester

Richard Wagner: Siegfried

Benjamin Bruns, Siegfried
Matthias Klink, Mime
Nicholas Brownlee, Der Wanderer
Georg Nigl, Alberich
Timo Riihonen, Fafner
Wiebke Lehmkuhl, Erda
Simone Schneider, Brünnhilde

Vladimir Jurowski, conductor
Tobias Kratzer, director
Rainer Sellmaier, set and costume design
Michael Bauer, lighting design
Manuel Braun/Jonas Dahl/Janic Bebi, video
Olaf Roth & Bettina Bartz, dramaturgy
Bayerisches Staatsorchester

Richard Wagner: Siegfried

Benjamin Bruns, Siegfried
Matthias Klink, Mime
Nicholas Brownlee, Der Wanderer
Georg Nigl, Alberich
Timo Riihonen, Fafner
Wiebke Lehmkuhl, Erda
Simone Schneider, Brünnhilde

Vladimir Jurowski, conductor
Tobias Kratzer, director
Rainer Sellmaier, set and costume design
Michael Bauer, lighting design
Manuel Braun/Jonas Dahl/Janic Bebi, video
Olaf Roth & Bettina Bartz, dramaturgy
Bayerisches Staatsorchester

Georg Nigl, baritone
Olga Pashchenko, hammerklavier

Franz Schubert: Lieder set to lyric by Seidl
Franz Schubert: Schwanengesang

Mozart’s Clavichord in the Costume Workshop
With August Diehl and Alexander Gergelyfi (clavichord)

For the first time since 1842, Mozart’s clavichord leaves Salzburg. It is his own instrument, on which he composed, dreamed, and doubted. Amid the whirring sewing machines of the costume workshop, his immortal music suddenly becomes tangible – as if Mozart had just left the room. The texts are read by actor August Diehl, who for several years has been Georg Nigl’s sparring partner at the Salzburg Night Music series.

Georg Nigl, baritone
August Diehl, reader
Alexander Gergelyfi, clavichord

Mozart’s Clavichord in the Costume Workshop
With August Diehl and Alexander Gergelyfi (clavichord)

For the first time since 1842, Mozart’s clavichord leaves Salzburg. It is his own instrument, on which he composed, dreamed, and doubted. Amid the whirring sewing machines of the costume workshop, his immortal music suddenly becomes tangible – as if Mozart had just left the room. The texts are read by actor August Diehl, who for several years has been Georg Nigl’s sparring partner at the Salzburg Night Music series.

Georg Nigl, baritone
August Diehl, reader
Alexander Gergelyfi, clavichord

Mozart’s Clavichord in the Costume Workshop
With August Diehl and Alexander Gergelyfi (clavichord)

For the first time since 1842, Mozart’s clavichord leaves Salzburg. It is his own instrument, on which he composed, dreamed, and doubted. Amid the whirring sewing machines of the costume workshop, his immortal music suddenly becomes tangible – as if Mozart had just left the room. The texts are read by actor August Diehl, who for several years has been Georg Nigl’s sparring partner at the Salzburg Night Music series.

Georg Nigl, baritone
August Diehl, reader
Alexander Gergelyfi, clavichord

Mozart’s Clavichord in the Costume Workshop
With August Diehl and Alexander Gergelyfi (clavichord)

For the first time since 1842, Mozart’s clavichord leaves Salzburg. It is his own instrument, on which he composed, dreamed, and doubted. Amid the whirring sewing machines of the costume workshop, his immortal music suddenly becomes tangible – as if Mozart had just left the room. The texts are read by actor August Diehl, who for several years has been Georg Nigl’s sparring partner at the Salzburg Night Music series.

Georg Nigl, baritone
August Diehl, reader
Alexander Gergelyfi, clavichord

Wolfgang Amadeus Mozart: Die Zauberflöte, KV 620

Günther Groissböck, Sarastro
Magnus Dietrich, Tamino
Clemens Unterreiner, Sprecher
Sabine Devieilhe, Königin der Nacht
Slávka Zámečníková, Pamina
Jenni Hietala, 1. Dame
Alma Neuhaus, 2. Dame
Monika Bohinec, 3. Dame
Georg Nigl, Papageno
Ilia Staple, Papagena
Jörg Schneider, Monostatos

Axel Kober, musical direction
Barbora Horáková, direction
Falko Herold, stage setting & video
Eva Butzkies, costumes
Stefan Bolliger, lighting
Isabella Gregor, text adaptation
Marius Kob, puppet making
Eren Karakuş, puppet making
Christian Pfütze, puppet coach

Wolfgang Amadeus Mozart: Die Zauberflöte, KV 620

Günther Groissböck, Sarastro
Magnus Dietrich, Tamino
Clemens Unterreiner, Sprecher
Sabine Devieilhe, Königin der Nacht
Slávka Zámečníková, Pamina
Jenni Hietala, 1. Dame
Alma Neuhaus, 2. Dame
Monika Bohinec, 3. Dame
Georg Nigl, Papageno
Ilia Staple, Papagena
Jörg Schneider, Monostatos

Axel Kober, musical direction
Barbora Horáková, direction
Falko Herold, stage setting & video
Eva Butzkies, costumes
Stefan Bolliger, lighting
Isabella Gregor, text adaptation
Marius Kob, puppet making
Eren Karakuş, puppet making
Christian Pfütze, puppet coach

Wolfgang Amadeus Mozart: Die Zauberflöte, KV 620

Günther Groissböck, Sarastro
Magnus Dietrich, Tamino
Clemens Unterreiner, Sprecher
Sabine Devieilhe, Königin der Nacht
Slávka Zámečníková, Pamina
Jenni Hietala, 1. Dame
Alma Neuhaus, 2. Dame
Monika Bohinec, 3. Dame
Georg Nigl, Papageno
Ilia Staple, Papagena
Jörg Schneider, Monostatos

Axel Kober, musical direction
Barbora Horáková, direction
Falko Herold, stage setting & video
Eva Butzkies, costumes
Stefan Bolliger, lighting
Isabella Gregor, text adaptation
Marius Kob, puppet making
Eren Karakuş, puppet making
Christian Pfütze, puppet coach

Johann Strauß: Die Fledermaus

Georg Nigl, Gabriel von Eisenstein
Rachel Willis-Sørensen, Rosalinde
Martin Winkler, Frank
John Holiday, Prince Orlofsky
Granit Musliu, Alfred
Konstantin Krimmel, Dr Falke
Kevin Conners, Dr Blind
Mirjam Mesak, Adele
Miriam Neumaier, Ida
Max Pollak, Frosch I
Franz Josef Strohmeier, Frosch II

Vladimir Jurowski, musical director
Barrie Kosky, director
Otto Pichler, choreography
Rebecca Ringst, set design
Klaus Bruns, costumes
Joachim Klein, lighting
Franz Obermair, chorus
Christopher Warmuth, dramaturgy
Bayerisches Staatsorchester
Bayerischer Staatsopernchor

Johann Strauß: Die Fledermaus

Georg Nigl, Gabriel von Eisenstein
Rachel Willis-Sørensen, Rosalinde
Martin Winkler, Frank
John Holiday, Prince Orlofsky
Granit Musliu, Alfred
Konstantin Krimmel, Dr Falke
Kevin Conners, Dr Blind
Mirjam Mesak, Adele
Miriam Neumaier, Ida
Max Pollak, Frosch I
Franz Josef Strohmeier, Frosch II

Vladimir Jurowski, musical director
Barrie Kosky, director
Otto Pichler, choreography
Rebecca Ringst, set design
Klaus Bruns, costumes
Joachim Klein, lighting
Franz Obermair, chorus
Christopher Warmuth, dramaturgy
Bayerisches Staatsorchester
Bayerischer Staatsopernchor

Johann Strauß: Die Fledermaus

Georg Nigl, Gabriel von Eisenstein
Rachel Willis-Sørensen, Rosalinde
Martin Winkler, Frank
John Holiday, Prince Orlofsky
Granit Musliu, Alfred
Konstantin Krimmel, Dr Falke
Kevin Conners, Dr Blind
Mirjam Mesak, Adele
Miriam Neumaier, Ida
Max Pollak, Frosch I
Franz Josef Strohmeier, Frosch II

Vladimir Jurowski, musical director
Barrie Kosky, director
Otto Pichler, choreography
Rebecca Ringst, set design
Klaus Bruns, costumes
Joachim Klein, lighting
Franz Obermair, chorus
Christopher Warmuth, dramaturgy
Bayerisches Staatsorchester
Bayerischer Staatsopernchor

Johann Strauß: Die Fledermaus

Georg Nigl, Gabriel von Eisenstein
Rachel Willis-Sørensen, Rosalinde
Martin Winkler, Frank
John Holiday, Prince Orlofsky
Granit Musliu, Alfred
Konstantin Krimmel, Dr Falke
Kevin Conners, Dr Blind
Mirjam Mesak, Adele
Miriam Neumaier, Ida
Max Pollak, Frosch I
Franz Josef Strohmeier, Frosch II

Vladimir Jurowski, musical director
Barrie Kosky, director
Otto Pichler, choreography
Rebecca Ringst, set design
Klaus Bruns, costumes
Joachim Klein, lighting
Franz Obermair, chorus
Christopher Warmuth, dramaturgy
Bayerisches Staatsorchester
Bayerischer Staatsopernchor

Johann Strauß: Die Fledermaus

Georg Nigl, Gabriel von Eisenstein
Rachel Willis-Sørensen, Rosalinde
Martin Winkler, Frank
John Holiday, Prince Orlofsky
Granit Musliu, Alfred
Konstantin Krimmel, Dr Falke
Kevin Conners, Dr Blind
Mirjam Mesak, Adele
Miriam Neumaier, Ida
Max Pollak, Frosch I
Franz Josef Strohmeier, Frosch II

Vladimir Jurowski, musical director
Barrie Kosky, director
Otto Pichler, choreography
Rebecca Ringst, set design
Klaus Bruns, costumes
Joachim Klein, lighting
Franz Obermair, chorus
Christopher Warmuth, dramaturgy
Bayerisches Staatsorchester
Bayerischer Staatsopernchor

About the Concert

When Johannes Brahms advised his student Gustav Jenner to first recite a poem like an actor before setting it to music, he had in mind the style of theatrical speech common at the time. Richard Wagner, too, wished for singers to begin by speaking the texts when rehearsing his operas, and only later to learn the vocal lines. Arnold Schönberg even attempted to notate theatrical speech using a system developed by Engelbert Humperdinck.

Today, more than 100 years later, this form of theatrical speech is hardly in use and often no longer familiar. While an actor such as Attila Hörbiger was still able to perform Jedermann at Salzburg’s Cathedral Square without technical amplification, actors today are increasingly miked in theatrical productions. The aesthetic reference for stage speech has shifted toward film and television—something both performers and audiences have long grown accustomed to. This evening aims to make tangible just how closely recitation and singing were once connected on stage.

Georg Nigl, baritone
Nicholas Ofczarek & August Diehl, recitation
Alexander Gergelyfi, piano
Markus Edelmann, dramaturgy

About the Concert

When Johannes Brahms advised his student Gustav Jenner to first recite a poem like an actor before setting it to music, he had in mind the style of theatrical speech common at the time. Richard Wagner, too, wished for singers to begin by speaking the texts when rehearsing his operas, and only later to learn the vocal lines. Arnold Schönberg even attempted to notate theatrical speech using a system developed by Engelbert Humperdinck.

Today, more than 100 years later, this form of theatrical speech is hardly in use and often no longer familiar. While an actor such as Attila Hörbiger was still able to perform Jedermann at Salzburg’s Cathedral Square without technical amplification, actors today are increasingly miked in theatrical productions. The aesthetic reference for stage speech has shifted toward film and television—something both performers and audiences have long grown accustomed to. This evening aims to make tangible just how closely recitation and singing were once connected on stage.

Georg Nigl, baritone
Nicholas Ofczarek & August Diehl, recitation
Alexander Gergelyfi, piano
Markus Edelmann, dramaturgy

About the Concert

When Johannes Brahms advised his student Gustav Jenner to first recite a poem like an actor before setting it to music, he had in mind the style of theatrical speech common at the time. Richard Wagner, too, wished for singers to begin by speaking the texts when rehearsing his operas, and only later to learn the vocal lines. Arnold Schönberg even attempted to notate theatrical speech using a system developed by Engelbert Humperdinck.

Today, more than 100 years later, this form of theatrical speech is hardly in use and often no longer familiar. While an actor such as Attila Hörbiger was still able to perform Jedermann at Salzburg’s Cathedral Square without technical amplification, actors today are increasingly miked in theatrical productions. The aesthetic reference for stage speech has shifted toward film and television—something both performers and audiences have long grown accustomed to. This evening aims to make tangible just how closely recitation and singing were once connected on stage.

Georg Nigl, baritone
Nicholas Ofczarek & August Diehl, recitation
Alexander Gergelyfi, piano
Markus Edelmann, dramaturgy

Breath Line – A Journey into Käthe Kollwitz in the Scenery Storage

With Nina Hoss and Olga Pashchenko (piano)

“I can hardly imagine that any art other than music can penetrate so deeply into the inner self,” Käthe Kollwitz writes about Schubert. What happens when her words meet his songs? A dialogue between two artists who never spoke – and yet understand each other. In this program, Nina Hoss meets Georg Nigl for the first time, and they take us behind the scenes of the Deutsche Oper Berlin.

Georg Nigl, baritone
Nina Hoss, narrator
Olga Pashchenko, piano

Breath Line – A Journey into Käthe Kollwitz in the Scenery Storage

With Nina Hoss and Olga Pashchenko (piano)

“I can hardly imagine that any art other than music can penetrate so deeply into the inner self,” Käthe Kollwitz writes about Schubert. What happens when her words meet his songs? A dialogue between two artists who never spoke – and yet understand each other. In this program, Nina Hoss meets Georg Nigl for the first time, and they take us behind the scenes of the Deutsche Oper Berlin.

Georg Nigl, baritone
Nina Hoss, narrator
Olga Pashchenko, piano

Breath Line – A Journey into Käthe Kollwitz in the Scenery Storage

With Nina Hoss and Olga Pashchenko (piano)

“I can hardly imagine that any art other than music can penetrate so deeply into the inner self,” Käthe Kollwitz writes about Schubert. What happens when her words meet his songs? A dialogue between two artists who never spoke – and yet understand each other. In this program, Nina Hoss meets Georg Nigl for the first time, and they take us behind the scenes of the Deutsche Oper Berlin.

Georg Nigl, baritone
Nina Hoss, narrator
Olga Pashchenko, piano

Breath Line – A Journey into Käthe Kollwitz in the Scenery Storage

With Nina Hoss and Olga Pashchenko (piano)

“I can hardly imagine that any art other than music can penetrate so deeply into the inner self,” Käthe Kollwitz writes about Schubert. What happens when her words meet his songs? A dialogue between two artists who never spoke – and yet understand each other. In this program, Nina Hoss meets Georg Nigl for the first time, and they take us behind the scenes of the Deutsche Oper Berlin.

Georg Nigl, baritone
Nina Hoss, narrator
Olga Pashchenko, piano

Karl Kraus’s unperformable play The Last Days of Mankind becomes a musical reading with piano and voice.

For Georg Nigl, the art song has always also been a way of confronting the contradictions and danger zones of our time. Together with Nicholas Ofczarek and Markus Hinterhäuser, he embarks in The Last Days of Humanity? on the adventure of Karl Kraus’s texts combined with the music of Gustav Mahler and Hanns Eisler — creations by three artists who, more than a hundred years ago, examined the everyday reality of war and its consequences for the individual as if under a burning glass. The mercilessness of their perspective still sends shivers down one’s spine today …

Georg Nigl, baritone
Nicholas Ofczarek, recitation
Markus Hinterhäuser, piano

Richard Wagner: Parsifal

Jonas Kaufmann, Parsifal
Georg Nigl, Klingsor
Gerald Finley, Amfortas
Martin Snell, Titurel
John Relyea, Gurnemanz
Irene Roberts, Kundry

Philipp M. Krenn, stage director
Heike Vollmer, set design
Regine Standfuss, costumes
Stefan Schlagbauer, lighting
Thomas Achitz, video
Asher Fisch, conductor

Orchestra and Chorus of the Tyrolean Festival Erl

Richard Wagner: Parsifal

Jonas Kaufmann, Parsifal
Georg Nigl, Klingsor
Gerald Finley, Amfortas
Martin Snell, Titurel
John Relyea, Gurnemanz
Irene Roberts, Kundry

Philipp M. Krenn, stage director
Heike Vollmer, set design
Regine Standfuss, costumes
Stefan Schlagbauer, lighting
Thomas Achitz, video
Asher Fisch, conductor

Orchestra and Chorus of the Tyrolean Festival Erl

Georg Nigl, baritone
Nicholas Ofczarek, recitation
Markus Hinterhäuser, piano

For the baritone Georg Nigl, the art song must always grapple with the contradictions and danger zones of our time. Together with Nicholas Ofczarek - an actor at the Burgtheater -  and pianist Markus Hinterhäuser, he embarks on an exploration of the texts of Karl Kraus in The Last Days of Humanity?. Alongside these, he places songs by composers such as Dmitri Shostakovich, Gustav Mahler, and Hanns Eisler.

The result is an artistic event not easily forgotten: The Last Days of Humanity? is not a concert in the traditional sense, but a passionate, poetic, and deeply moving confrontation with war, hope, and dignity.

PROGRAMME
Karl Kraus // 1874–1936
Excerpts from Die letzten Tage der Menschheit // 1915–22

combined with

Hanns Eisler // 1898–1962
Ballade vom Wasserrad // 1934
Horatios Monolog // 1954
An die Hoffnung // 1942

Gustav Mahler // 1860–1911
Urlicht // 1905
Der Tamboursg’sell // 1901

Hanns Eisler
Spruch 1939 // 1939

Gustav Mahler
Wo die schönen Trompeten blasen // 1898

Hanns Eisler
Der Graben // 1959–61

Dmitri Schostakowitsch // 1906–1975
Präludium es-Moll op. 34 Nr. 14 für Klavier solo // 1933

Gustav Mahler
Revelge // 1899

Pete Seeger // 1919–2014
Sag mir, wo die Blumen sind // 1955

Hanns Eisler
Und endlich // 1953

"Once upon a time..." fairy tales & ballads

Georg Nigl, baritone
Nicholas Ofczarek, recitation
Olga Pashchenko, piano

Gordon Kampe: Die Kreide im Mund des Wolfs

Georg Nigl, Despot (Bariton)
Gordon Kampe, Musik
Georges Delnon, Szenische Einrichtung
Klaus-Peter Kehr, Dramaturgie
Bayerisches Staatsorchester, Orchester

Gordon Kampe: The Chalk in the Wolf’s Mouth

Georg Nigl, Despot (baritone)
Gordon Kampe, music
Georges Delnon, stage direction
Klaus-Peter Kehr, dramaturgy
Bavarian State Orchestra

Gordon Kampe: The Chalk in the Wolf’s Mouth

Georg Nigl, Despot (baritone)
Gordon Kampe, music
Georges Delnon, stage direction
Klaus-Peter Kehr, dramaturgy
Bavarian State Orchestra

Alban Berg: Lulu

Ilia Staple, Lulu
Georg Nigl, Dr. Schön/Jack the Ripper
Anja Mittermüller, Eine Kunstgewerblerin
Tanja Ariane Baumgartner, Gräfin Geschwitz
Margaret Plummer, Gymnasiast/Groom
Sean Panikkar, Alwa (sein Sohn)
Wolfgang Bankl, Schigolch (ein Greis)
Olafur Sigurðarson, Tierbändiger/Athlet

Willy Decker, stage dirctor
Ruth Orthmann, scenic rehearsals
Wolfgang Gussmann, stage
Susana Mendoza, costumes
Simone Young, musical direction

Alban Berg: Lulu

Ilia Staple, Lulu
Georg Nigl, Dr. Schön/Jack the Ripper
Anja Mittermüller, Eine Kunstgewerblerin
Tanja Ariane Baumgartner, Gräfin Geschwitz
Margaret Plummer, Gymnasiast/Groom
Sean Panikkar, Alwa (sein Sohn)
Wolfgang Bankl, Schigolch (ein Greis)
Olafur Sigurðarson, Tierbändiger/Athlet

Willy Decker, stage dirctor
Ruth Orthmann, scenic rehearsals
Wolfgang Gussmann, stage
Susana Mendoza, costumes
Simone Young, musical direction

As an interested opera lover or enthusiastic opera fan, of course you know in which city the highest-altitude opera house is located, what shoe size Maria Callas wore, and whether there is a metro station beneath the Paris Opera. Or perhaps not?

The opera quiz with Georg Nigl is not a fierce competition, but rather a humorous and witty evening dedicated to the premieres at the Vienna State Opera and to opera in general. The quiz contestants include stars currently performing at the State Opera, brave members of the audience, and colleagues from the State Opera who are not necessarily known from the stage boards that supposedly mean the world. When does the stage manager begin work? When does the makeup department open its doors? Quizmaster Georg Nigl explores these and many other questions together with the audience — including star guests and show acts!

Georg Nigl, host
Catharina von Bülow, stage director
Martin Zehetgruber, design
Stephanie Wagner, design

Alban Berg: Lulu

Ilia Staple, Lulu
Georg Nigl, Dr. Schön/Jack the Ripper
Anja Mittermüller, Eine Kunstgewerblerin
Tanja Ariane Baumgartner, Gräfin Geschwitz
Margaret Plummer, Gymnasiast/Groom
Sean Panikkar, Alwa (sein Sohn)
Wolfgang Bankl, Schigolch (ein Greis)
Olafur Sigurðarson, Tierbändiger/Athlet

Willy Decker, stage dirctor
Ruth Orthmann, scenic rehearsals
Wolfgang Gussmann, stage
Susana Mendoza, costumes
Simone Young, musical direction

Alban Berg: Lulu

Ilia Staple, Lulu
Georg Nigl, Dr. Schön/Jack the Ripper
Anja Mittermüller, Eine Kunstgewerblerin
Tanja Ariane Baumgartner, Gräfin Geschwitz
Margaret Plummer, Gymnasiast/Groom
Sean Panikkar, Alwa (sein Sohn)
Wolfgang Bankl, Schigolch (ein Greis)
Olafur Sigurðarson, Tierbändiger/Athlet

Willy Decker, stage dirctor
Ruth Orthmann, scenic rehearsals
Wolfgang Gussmann, stage
Susana Mendoza, costumes
Simone Young, musical direction