Grosses Festspielhaus 26 August 2023 - Les Troyens (Concert performance) | GoComGo.com

Les Troyens (Concert performance)

Grosses Festspielhaus, Salzburg, Austria
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5 PM

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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: Salzburg, Austria
Starts at: 17:00
Acts: 5
Sung in: French
Titles in: German,English

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).

Festival

Salzburg Festival Summer 2023

In a city that has preserved its baroque architecture in almost perfect condition and therefore is a breathtaking backdrop in itself, the Salzburg Festival presents performances of opera, plays and concerts of the highest artistic standards over a period of five to six weeks each summer. The Salzburg Festival is often described as the greatest and most important festival in the world, and this reputation is confirmed by countless superlatives: witness the number of performances and of annual visitors, or the wide-ranging programme.

Overview

By the time Hector Berlioz came to compose Les Troyens, he had already suffered various personal tragedies and artistic failures. Nonetheless, he held fast to his long-cherished desire to create an opera based on themes from Virgil’s epic poem the Aeneid, writing the libretto himself and completing the score between 1856 and 1858. The work grew to such dimensions, with such great instrumental and vocal challenges, that the five acts were divided up into two parts. Although Berlioz only saw the premiere of the second part — with considerable cuts — at the small Théâtre-Lyrique in Paris in 1863, he was convinced that with Les Troyens he had composed his most important work.

The two parts of his monumental opera, which both make extensive use of the chorus, display clear parallels in their dramatic structure. United by the overall title of Les Troyens, La Prise de Troie and Les Troyens à Carthage deal with two mythological events linked by the figure of Énée, who fled Troy and was later stranded in Carthage. However, the focus of each part is not on the war hero but rather on a strong female figure: respectively the prophetess Cassandre and Didon, queen of Carthage, both of whom ultimately decide that death is their only option.

In Act II, as urged by the shade of Hector — ‘Fuis, fils de Vénus!’ — Énée escapes the sacking of Troy, leaves his homeland and sets off with his fellowwarriors towards Italy. He is following the prophetic mission to found a new state there, but first fetches up in Didon’s kingdom. Here the action seems to take a different turn when at her side he defeats the hostile Numidians and a love affair develops between the two of them, culminating in the tender duet ‘Nuit d’ivresse et d’extase infinie’. But ultimately a ghostly apparition warns Énée once again of his duty, and he leaves behind a broken-hearted Didon and a people destined for destruction.

History
Premiere of this production: 04 November 1863, Théâtre de la Ville, Paris

Les Troyens (English: The Trojans) is a French grand opera in five acts by Hector Berlioz. The libretto was written by Berlioz himself from Virgil's epic poem the Aeneid; the score was composed between 1856 and 1858. Les Troyens is Berlioz's most ambitious work, the summation of his entire artistic career, but he did not live to see it performed in its entirety. After decades of neglect, today the opera is considered by some music critics as one of the finest ever written.
 

Synopsis

Act 1
At the abandoned Greek camp outside the walls of Troy

The Trojans are celebrating apparent deliverance from ten years of siege by the Greeks (also named the Achaeans in the opera). They see the large wooden horse left by the Greeks, which they presume to be an offering to Pallas Athene. Unlike all the other Trojans, however, Cassandre is mistrustful of the situation. She foresees that she will not live to marry her fiancé, Chorèbe. Chorèbe appears and urges Cassandre to forget her misgivings. But her prophetic vision clarifies, and she foresees the utter destruction of Troy. When Andromaque silently walks in holding her son Astyanax by the hand, the celebration halts.

A captive, Sinon, is brought in. He lies to King Priam and the crowd that he has deserted the Greeks, and that the giant wooden horse they have left behind was intended as a gift to the gods to ensure their safe voyage home. He says the horse was made so big that the Trojans would not be able to move it into their city, because if they did they would be invincible. This only makes the Trojans want the horse inside their city all the more.

Énée then rushes on to tell of the devouring of the priest Laocoön by a sea serpent, after Laocoön had warned the Trojans to burn the horse. Énée interprets this as a sign of the goddess Athene's anger at the sacrilege. Against Cassandre's futile protests, Priam orders the horse to be brought within the city of Troy and placed next to the temple of Pallas Athene. There is suddenly a sound of what seems to be the clashing of arms from within the horse, and for a brief moment the procession and celebrations stop, but then the Trojans, in their delusion, interpret it as a happy omen and continue pulling the horse into the city. Cassandre has watched the procession in despair, and as the act ends, resigns herself to death beneath the walls of Troy.

Act 2
Before the act proper has started, the Greek soldiers hidden in the wooden horse have come out and begun to destroy Troy and its citizens.

Scene 1: Palace of Énée

With fighting going on in the background, the ghost of Hector visits Énée and warns him to flee Troy for Italy, where he will build a new Troy. After Hector fades, the priest Panthée conveys the news about the Greeks hidden in the horse. Ascagne appears with news of further destruction. At the head of a band of soldiers, Chorèbe urges Énée to take up arms for battle. All resolve to defend Troy to the death.

Scene 2: Palace of Priam

Several of the Trojan women are praying at the altar of Vesta/Cybele for their soldiers to receive divine aid. Cassandre reports that Énée and other Trojan warriors have rescued Priam's palace treasure and relieved people at the citadel. She prophesies that Énée and the survivors will found a new Troy in Italy. But she also says that Chorèbe is dead, and resolves to die herself. The other women acknowledge the accuracy of Cassandre's prophecies and their own error in dismissing her. Cassandre then calls upon the Trojan women to join her in death, to prevent being defiled by the invading Greeks. One group of women admits to fear of death, and Cassandre dismisses them from her sight. The remaining women unite with Cassandre in their determination to die. A Greek captain observes the women during this scene with admiration for their courage. Greek soldiers then come on the scene, demanding the Trojan treasure from the women. Cassandre defiantly mocks the soldiers, then suddenly stabs herself. Polyxène takes the same dagger and does likewise. The remaining women scorn the Greeks as being too late to find the treasure, and commit mass suicide, to the soldiers' horror. Cassandre summons one last cry of "Italy!" before collapsing, dead.

Act 3
Didon's throne-room at Carthage

The Carthaginians and their queen, Didon, are celebrating the prosperity that they have achieved in the past seven years since fleeing from Tyre to found a new city. Didon, however, is concerned about Iarbas, the Numidian king, not least because he has proposed a political marriage with her. The Carthaginians swear their defence of Didon, and the builders, sailors and farmers offer tribute to Didon.

In private after these ceremonies, Didon and her sister Anna then discuss love. Anna urges Didon to remarry, but Didon insists on honoring the memory of her late husband Sichée. The bard Iopas then enters to tell of an unknown fleet that has arrived in port. Recalling her own wanderings on the seas, Didon bids that these strangers be made welcome. Ascagne enters, presents the saved treasure of Troy, and relates the Trojans' story. Didon acknowledges that she knows of this situation. Panthée then tells of the ultimate destiny of the Trojans to found a new city in Italy. During this scene, Énée is disguised as an ordinary sailor.

Didon’s minister Narbal then comes to tell her that Iarbas and his Numidian army are attacking the fields surrounding Carthage and are marching on the city. But Carthage does not have enough weapons to defend itself. Énée then reveals his true identity and offers the services of his people to help Carthage. Didon accepts the offer, and Énée entrusts his son Ascagne to Didon's care, but he suddenly dries his tears and joins the Carthaginians and Trojans in preparing for battle against the Numidians.

Act 4
Scene 1: Royal Hunt and Storm (mainly instrumental)

This scene is a pantomime with primarily instrumental accompaniment, set in a forest with a cave in the background. A small stream flows from a crag and merges with a natural basin bordered with rushes and reeds. Two naiads appear and disappear, but return to bathe in the basin. Hunting horns are heard in the distance, and huntsmen with dogs pass by as the naiads hide in the reeds. Ascagne gallops across the stage on horseback. Didon and Énée have been separated from the rest of the hunting party. As a storm breaks, the two take shelter in the cave. At the climax of the storm, nymphs with dishevelled hair run to-and-fro over the rocks, gesticulating wildly. They break out in wild cries of "a-o" (sopranos and contraltos) and are joined by fauns, sylvans, and satyrs. The stream becomes a torrent, and waterfalls pour forth from the boulders, as the chorus intones "Italie! Italie! Italie!". A tree is hit by lightning, explodes and catches fire, as it falls to the ground. The satyrs, fauns, and sylvans pick up the flaming branches and dance with them in their hands, then disappear with the nymphs into the depths of the forest. The scene is slowly obscured by thick clouds, but as the storm subsides, the clouds lift and dissipate.

Scene 2: The gardens of Didon by the shore

The Numidians have been beaten back, and both Narbal and Anna are relieved at this. However, Narbal worries that Didon has been neglecting the management of the state, distracted by her love for Énée. Anna dismisses such concerns and says that this indicates that Énée would be an excellent king for Carthage. Narbal reminds Anna, however, that the gods have called Énée's final destiny to be in Italy. Anna replies that there is no stronger god than love.

After Didon's entry, and dances from the Egyptian dancing girls, the slaves, and the Nubian slave girls, Iopas sings his song of the fields, at the queen's request.

She then asks Énée for more tales of Troy. Énée reveals that after some persuading, Andromaque eventually married Pyrrhus, the son of Achilles, who killed Hector, Andromaque's earlier husband. Hearing about Andromaque remarrying, Didon then feels resolved regarding her lingering feelings of faithfulness to her late husband. Alone, Didon and Énée then sing a love duet. At the end of the act, as Didon and Énée slowly walk together towards the back of the stage in an embrace, the god Mercury appears and strikes Énée's shield, which the hero has cast away, calling out three times, "Italie!"

Act 5
Scene 1: The harbour of Carthage

A young Phrygian sailor, Hylas, sings his song of longing for home, alone. Two sentries mockingly comment that he will never see his homeland again. Panthée and the Trojan chieftains discuss the gods' angry signs at their delay in sailing for Italy. Ghostly voices are heard calling “Italie! Italie! Italie!”. The sentries, however, remark that they have good lives in Carthage and do not want to leave.

Énée then comes on stage, singing of his despair at the gods' portents and warnings to set sail for Italy, and also of unhappiness at his betrayal of Didon with this news. The ghosts of Priam, Chorèbe, Hector and Cassandre appear and relentlessly urge Énée to proceed on to Italy. Énée gives in and realizes that he must obey the gods' commands, but also realizes his cruelty and ingratitude to Didon as a result. He then orders his comrades to prepare to sail that very morning, before sunrise.

Didon then appears, appalled at Énée's attempt to leave in secret, but still in love with him. Énée pleads the messages from the gods to move on, but Didon will have none of this. She pronounces a curse on him as she leaves. The Trojans shout “Italie!”.

Scene 2: Didon's apartment at dawn

Didon asks Anna to plead with Énée one last time to stay. Anna acknowledges blame for encouraging the love between her sister and Énée. Didon angrily counters that if Énée truly loved her, he would defy the gods, but then asks her to plead with him for a few days' additional stay.

The crowd has seen the Trojans set sail. Iopas conveys the news to Didon. In a rage, she demands that the Carthaginians give chase and destroy the Trojans' fleet, and wishes that she had destroyed the Trojans upon their arrival. She then decides to offer sacrifice, including destroying the Trojans' gifts to her and hers to them. Narbal is worried about Didon and tells Anna to stay with her sister, but the queen orders Anna to leave.

Alone, she resolves to die, and after expressing her love for Énée one final time, prepares to bid her city and her people farewell.

Scene 3: The palace gardens
A sacrificial pyre with Énée's relics has been built. Priests enter in a procession. Narbal and Anna expound curses on Énée to suffer a humiliating death in battle. Didon says it is time to finish the sacrifice and that she feels peace enter her heart (this happens in a ghostly descending chromatic line recalling the appearance of Hector’s ghost in Act II). She then ascends the pyre. She removes her veil and throws it on Énée's toga. She has a vision of a future African warrior, Hannibal, who will rise and attack Rome to avenge her.

Didon then stabs herself with Énée's sword, to the horror of her people. But at the moment of her death, she has one last vision: Carthage will be destroyed, and Rome will be "immortal". The Carthaginians then utter one final curse on Énée and his people to the music of the Trojan march, vowing vengeance for his abandonment of Didon, as the opera ends.

Venue Info

Grosses Festspielhaus - Salzburg
Location   Hofstallgasse 1

The plans for a Grosses Festspielhaus (Large Festival Hall), where the former archiepiscopal princely stables were located, were drawn up primarily by the architect Clemens Holzmeister; Herbert von Karajan also made many suggestions for the building project, in particular regarding the design of the theatre hall. Every effort was made and no expense spared so as to “insert” between the three-centuries-old façade of the former court stables and the Mönchsberg a theatre with an opera stage whose structure and technical equipment would still meet highest international demands after fifty years. Between autumn 1956 and the early summer of 1960, 55,000 cubic metres of rock were blasted away to create the relevant space. The building was largely financed from the state budget and as a result the Republic of Austria is the owner of the Grosses Festspielhaus.

The Grosses Festspielhaus was opened on 26 July 1960 with a festive ceremony and the performance of Der Rosenkavalier by Richard Strauss conducted by Herbert von Karajan. Even though the new stage was undoubtedly impressive in its dimensions, voices were raised even then expressing regret that it would hardly be suitable for staging operas by Mozart which require a more intimate setting. The ground plan of the auditorium is almost square, nearly 35 metres long and from the stalls as well as from the circle offers ideal acoustic conditions and sight-lines for 2,179 seats. The iron stage curtain weighs 34 tonnes and in the middle is one metre thick. The ground steel plates were created by Rudolf Hoflehner; the main curtain behind it was designed by Leo Wollner.

The décor for the concert hall was renewed in 1993 by Richard Peduzzi. Five bronze doors with handles designed by Toni Schneider-Manzell allow the public access from the Hofstallgasse. The façade is ornamented by a Latin inscription by the Benedictine monk Professor Thomas Michels (Order of St. Benedict): Sacra camenae domus concitis carmine patet quo nos attonitos numen ad auras ferat (The holy house of the muse is open for lovers of the arts, may divine power inspire us and raise us to the heights).

Mostly local materials were used for fitting out the Grosses Festspielhaus: the reinforced concrete columns in the entrance foyer were covered with the conglomerate rock removed from the wall of the Mönchsberg; the floor is made of Adnet marble. Low beam lighting in the sloping ceiling and panel dishes made of glass from Murano create a solid lighting design. Two sculptures created by Wander Bertoni in Carrara marble represent music and drama. The four large-scale paintings in the form of crosses on the theme Dreams with the Wrong Solutions, which were bought by the Austrian patron of the arts and collector Karlheinz Essl and made available on loan to the Salzburg Festival, are by the New York painter and sculptor Robert Longo (1993).

The interval hall adjoining the entrance foyer is largely based on the original ground plan of the archiepiscopal princely stables. The floor of green serpentine is new and contains mosaics of horses by Kurt Fischer. On the wall is a steel relief by Rudolf Hochlehner entitled Homage to Anton von Webern. Through the arch built by Fischer von Erlach one can look out onto the horse statue and fountain and the Schüttkasten which was acquired by the Salzburg Festival in 1987. A separate access on the left of the interval foyer leads via an escalator and steps to the underground car park for the old town centre of Salzburg.

The furnishings for a Patrons’ Lounge on the first floor of the Grosses Festspielhaus were financed by the American patrons of the arts Donald and Jeanne Kahn, who later became major sponsors of the Salzburg Festival. Since 1995 it has served as a reception area for patrons, sponsors as well as their guests and is also used for press conferences and various other functions in connection with the Salzburg Festival.

Important Info
Type: Opera
City: Salzburg, Austria
Starts at: 17:00
Acts: 5
Sung in: French
Titles in: German,English
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