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Former Artistic Director of Salzburg Festival Alexander Pereira Found Guilty of Embezzlement

https://operawire.com/former-artistic-director-of-salzburg-festival-alexander-pereira-found-guilty-of-embezzlement/

Alexander Pereira, the former artistic director of the Salzburg Festival, the Zurich Opera House, and Teatro alla Scala in Milan, has been convicted of embezzlement in Florence. A court found Pereira guilty of charging private expenses to the opera house while he was artistic director of the Maggio Musicale Fiorentino. As a result, he will receive a suspended sentence of {…}
News

Salzburg Festival Announces Anne Applebaum as 2025 Keynote Speaker

https://operawire.com/salzburg-festival-announces-anne-applebaum-as-2025-keynote-speaker/

Anne Applebaum will give the keynote speech at the opening of the Salzburg Festival 2025. The Pulitzer Prize winner will deliver the keynote address on July 26. Her speech titled, “Democracy and the Music Festival” focuses on the current ideological realignment, democratic decline, and on the role of art in a time of global upheaval. Applebaum is a journalist and {…}
Interviews, Stage Spotlight, Streaming

Q & A: Olga Kulchynska on ‘Le Nozze di Figaro,’ The Metropolitan Opera & Her Salzburg Festival Debut

https://operawire.com/q-a-olga-kulchynska-on-le-nozze-di-figaro-the-metropolitan-opera-her-salzburg-festival-debut/

(Credit: Julia Wimmerlin) Olga Kulchynska is currently starring in the Metropolitan Opera’s production of “Le Nozze di Figaro.” The soprano made her Met debut six years ago and has already performed over 20 times with the company in “La Bohème” and Turandot.” This season, she will get her first Met Live in HD with her interpretation of Susanna in Mozart’s {…}
News

Salzburg Festival Names 3 Finalists for 2025 Herbert von Karajan Young Conductors Award

https://operawire.com/salzburg-festival-names-3-finalists-for-2025-herbert-von-karajan-young-conductors-award/

The Salzburg Festival has announced the three finalists for the Herbert von Karajan Young Conductors Award. The finalists include Christian Blex, Jakub Przybycień, and Jong-Jie Yin. They were selected from amongst eight semifinalists who spent a weekend at the Felsenreitschule with the oenm. œsterreichisches ensemble fuer neue musik and the Mozarteum Orchestra. They will compete for the Award during the {…}
News

Salzburg Festival Names New Director of Concert & Media

https://operawire.com/salzburg-festival-names-new-director-of-concert-media/

(Photo credit: Jan Friese) Along with the announcement of its 2025 season, the Salzburg Festival has appointed Axel Hiller to the position of Director of Concert and Media. He commences his tenure on May 1, 2025. The concert office is responsible for concert programming in close collaboration with the artistic director. Meanwhile, the media department coordinates recordings and broadcasts of {…}
Reviews, Stage Reviews

Salzburg Festival 2024 Review: Les Contes d’Hoffmann

https://operawire.com/salzburg-festival-2024-review-les-contes-dhoffmann/

It is blatantly evident that there is a connection between the advent of cinema and the decline of Opera. Once the main form of entertainment, the operatic stage lost its prominence to the silver screen. There is something that opera used to give that cinema somehow gave, too—the question is what? Last year, the Salzburg Festival attempted to bridge the {…}
Reviews, Stage Reviews

Salzburg Festival 2024 Review: Don Giovanni

https://operawire.com/salzburg-festival-2024-review-don-giovanni/

( Photo: © SF/Monika Rittershaus) All sinful things come wrapped in fascinating aesthetics. You know the feeling: something that is extremely beautiful and appealing, but disquieting—too pleasurable to be ethically good. That is Salzburg Festival’s “Don Giovanni”: a spectacular dramatic installation, a grandiose musical project, a lustful conception; yet sinfully wrong. First things first. This is a revival of Romeo {…}
Reviews, Stage Reviews

Salzburg Festival 2024 Review: La Clemenza di Tito

https://operawire.com/salzburg-festival-2024-review-la-clemenza-di-tito/

(Photo credit: © SF Marco Borrelli) Is it possible to be merciful with fascists? In Robert Carsen’s reading of Mozart’s “La Clemenza di Tito” the answer must be a reverberant “No”—otherwise, the moment one turns their back, they will not miss the opportunity to stab it. Robert Carsen often enjoys updating opera plots, making them reflections of current politics—often achieving {…}

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