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Salzburg Festival – 18 July to 30 August, 2015
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+++ Today, the Jedermann performance will take place on Cathedral Square (at 5 p.m.). +++
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SALZBURG FESTIVAL BLOG

Ernani • TerraceTalk with Riccardo Muti, Helga Rabl-Stadler, Walter Dobner

25 AUG2015

by FESTSPIELKIEBITZ  13:03 h;
posted in: Opera

“Today, the conductor and director are often considered completely different, “ the maestro adds. “However, this used to be different, and the conductor was also responsible for the action on stage – precisely because it cannot be separated.”

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Guest Orchestras • Blaise Déjardin • Boston Symphony Orchestra

20 AUG2015

by FESTSPIELKIEBITZ  10:30 h;
posted in: Concert

Could you describe your orchestra’s sound quality? What makes your orchestra’s sound special?
I think of it as very comfortable plush red velvet chair. It is round, warm, and I love being a part of that sound.

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Werther 2015 • TerraceTalk with Helga Rabl-Stadler, Piotr Beczala, Barbara Rett

17 AUG2015

by FESTSPIELKIEBITZ  15:25 h;
posted in: Opera

Piotr Beczala made a dramatic entrance this year at the Salzburg Festival. His first aria in Jules Massenet’s Werther is so dramatic, says moderator Barbara Rett, that it would be the finale of any other opera. On the whole, this opera oscillates between dramatic outbursts and lyrical passages. “Absolutely,” tenor Piotr Beczala agrees. “I was worried beforehand whether the piece is suitable for a concert performance, because the story takes place mainly between the persons on stage.” He adds that he was overwhelmed by the reception the audience gave him.

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Iphigénie en Tauride • TerraceTalk with Moshe Leiser, Patrice Caurier, Helga Rabl-Stadler, Rebecca Schmid

13 AUG2015

by FESTSPIELKIEBITZ  15:59 h;
posted in: Opera

For Moshe Leiser and Patrice Caurier, their work directing Gluck’s Iphigénie en Tauride did not start on stage. Rather, they sat down at the piano in an intimate atmosphere and discussed note for note and word for word with the singers. “We want to delve into profound emotions and depict extreme tragedy,” says Patrice Caurier. Especially in Gluck’s case, this is essential – one syllable equals one note, that was the point of Gluck’s opera reform, says Moshe Leiser. “People were to attend operas in order to understand the text, not only to hear beautiful music,” he explains.

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EDITORIAL 2015

Introduction 2015

by Helga Rabl-Stadler and Sven-Eric Bechtolf

Download PDF

The Salzburg Festival 2015: The Opera


Download Magazine Opera 2015

The Salzburg Festival 2015: The Drama


Download Magazine Drama 2015

The Salzburg Festival 2015: The Concert


Download Magazine Concert 2015

The Salzburg Festival 2015: Youth Programme


Download Magazine Youth 2015


Nestlé & Salzburg Festival Young Conductors Award 2016


Link: Microsite Young Conductors Award 2016

Young Singers Project 2015


Link: Young Singers Project 2015

Siemens Festival>Nights 2015


Link: Siemens Festival>Nights 2015

Siemens Children’s>Festival 2015


Link: Siemens Children’s>Festival 2015