Vienna State Opera tickets 23 February 2025 - Fidelio | GoComGo.com

Fidelio

Vienna State Opera, Vienna, Austria
All photos (10)
Select date

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Vienna, Austria
Starts at: 19:00
Acts: 2
Duration: 2h
Cast
Performers
Bass-Baritone: Bryn Terfel (Don Pizarro)
Conductor: Axel Kober
Tenor: Michael Spyres (Florestan)
Bass: Peter Kellner (Don Fernando)
Soprano: Simone Schneider (Leonore)
Creators
Composer: Ludwig van Beethoven
Librettist: Georg Friedrich Treitschke
Sets: Günther Schneider-Siemssen
Librettist: Jean-Nicolas Bouilly
Librettist: Joseph Sonnleithner
Costume designer: Leo Bei
Director: Otto Schenk
Overview

In his Fidelio, Beethoven manifests his vision that the belief, love and hope of an individual can have great impacts - and even cause political systems to totter.

Fidelio is still regarded as a mythical freedom opera, and "Fidelio also has a controversial libretto with many rough edges. For example, we don't know what kind of prisoners are being freed. Innocents? Political prisoners? Fidelio, intentionally or unintentionally, is also about being a follower; Rocco is a typical follower, a good guy, but one who has no way of defending himself. On the other side is Leonore, the woman who is the source of liberation. In this context, Günther Schneider-Siemssen and I came up with the idea of using the drawbridge as a symbol of freedom. And when it finally opens to reveal a sea of light - with people embracing each other - that's quite something. The touching moments are so essential that they inspired Beethoven to write his only opera. And Beethoven's rapture is transferred to the audience," says director Otto Schenk.

Beethoven's Fidelio is a work with a double texture: in some respects still strongly rooted in the world of the Singspiel, the opera also points far into the future in terms of its emotionality and affinity to music drama. We experience this for the first time relatively early on in the opera, in the very well-known, very fine quartet of Leonore, Rocco, Marzelline and Jaquino ("Mir ist so wunderbar"), in which time seems to stand still. Beethoven performs this quartet as a canon, so there is a link in the form - and yet each character stands alone and is preoccupied with their own thoughts. At this point, one of the challenges of the opera becomes clear: Beethoven conducts the vocal parts very instrumentally, using them as if they were musical instruments. Basically, purely in terms of the compositional setting, the section could also come from a string quartet. (Axel Kober)

Throughout his life, from his youth in Bonn until a few months before his death, Beethoven was intensely interested in music drama. There were plenty of libretti, 53 in fact. Beethoven dealt with all these subjects, but ultimately set none of them to music. What we are left with are only vague plans, a few passages from letters and a few sketches with scribbled motifs. Interestingly, no criteria are recognizable, neither in the selection nor in the rejection. Among others, the following were considered: an Alcina and an Armida, Odysseus' return and even Memnon's triad. From the summer of 1808, Titan considered setting Goethe's Faust. The Tragedy Part One to music. Despite or because of the personal meeting between the two in Teplitz and the subsequent rumor that the privy councillor was already working on the opera libretto, nothing came of it. (Robert Quitta)

Short Summary
In a Spanish state prison, under the reign of terror of the brutal governor Don Pizarro, the innocent Don Florestan suffers. His wife Leonore, disguised as Fidelio, works in the prison to be close to him. When a surprise inspection is announced by the minister Don Fernando, a confidant of Florestan, Pizarro plans to kill Florestan. But Fidelio bravely opposes him. At the decisive moment, the minister appears to end the oppression and free Florestan. A story of courage, love and triumph over tyranny.

History
Premiere of this production: 20 November 1805, Theater an der Wien, Vienna

Fidelio (originally titled Leonore, oder Der Triumph der ehelichen Liebe; English: Leonore, or The Triumph of Marital Love) is Ludwig van Beethoven's only opera. The German libretto was originally prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, with the work premiering at Vienna's Theater an der Wien on 20 November 1805.

Venue Info

Vienna State Opera - Vienna
Location   Opernring 2

The Vienna State Opera is one of the leading opera houses in the world. Its past is steeped in tradition. Its present is alive with richly varied performances and events. Each season, the schedule features 350 performances of more than 60 different operas and ballets. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season.

The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (Wiener Hofoper) in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the Vienna Court Opera, the original construction site chosen and paid for by Emperor Franz Joseph in 1861.

The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka.

Gustav Mahler was one of the many conductors who have worked in Vienna. During his tenure (1897–1907), Mahler cultivated a new generation of singers, such as Anna Bahr-Mildenburg and Selma Kurz, and recruited a stage designer who replaced the lavish historical stage decors with sparse stage scenery corresponding to modernistic, Jugendstil tastes. Mahler also introduced the practice of dimming the lighting in the theatre during performances, which was initially not appreciated by the audience. However, Mahler's reforms were maintained by his successors.

Herbert von Karajan introduced the practice of performing operas exclusively in their original language instead of being translated into German. He also strengthened the ensemble and regular principal singers and introduced the policy of predominantly engaging guest singers. He began a collaboration with La Scala in Milan, in which both productions and orchestrations were shared. This created an opening for the prominent members of the Viennese ensemble to appear in Milan, especially to perform works by Wolfgang Amadeus Mozart and Richard Strauss.

Ballet companies merge

At the beginning of the 2005–2006 season, the ballet companies of the Staatsoper and the Vienna Volksoper were merged under the direction of Gyula Harangozó.

From the 2010–2011 season a new company was formed called Wiener Staatsballet, Vienna State Ballet, under the direction of former Paris Opera Ballet principal dancer Manuel Legris. Legris eliminated Harangozós's policy of presenting nothing but traditional narrative ballets with guest artists in the leading roles, concentrated on establishing a strong in-house ensemble and restored evenings of mixed bill programs, featuring works of George Balanchine, Jerome Robbins, Jiří Kylián, William Forsythe, and many contemporary choreographers, as well as a reduced schedule of the classic ballets.

Opera ball

For many decades, the opera house has been the venue of the Vienna Opera Ball. It is an internationally renowned event, which takes place annually on the last Thursday in Fasching. Those in attendance often include visitors from around the world, especially prominent names in business and politics. The opera ball receives media coverage from a range of outlets.

Important Info
Type: Opera
City: Vienna, Austria
Starts at: 19:00
Acts: 2
Duration: 2h
Top of page