Vienna State Opera tickets 8 January 2026 - Rusalka | GoComGo.com

Rusalka

Vienna State Opera, Main Stage, Vienna, Austria
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7 PM
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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.

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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: Vienna, Austria
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 3h 25min

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).

Cast
Performers
Soprano: Nicole Car (Rusalka)
Tenor: Piotr Beczala (The prince)
Conductor: Robert Jindra
Bass: Alexander Vinogradov (Vodník)
Soprano: Eliška Weissová (The foreign princess)
Mezzo-Soprano: Monika Bohinec (Ježibaba)
Orchestra: Vienna State Opera Orchestra
Creators
Composer: Antonín Dvořák
Writer: Božena Němcová
Librettist: Jaroslav Kvapil
Light: Jürgen Hoffmann
Poet: Karel Jaromír Erben
Costume designer: Marianne Glittenberg
Sets: Rolf Glittenberg
Director: Sven-Eric Bechtolf
Overview

The story of a mermaid who falls in love with a human, abandons her life in the sea and fails in the world has been taken up by many a European fairytale and legend.

One need only think of Hans Christian Andersen's tale "The Little Mermaid", which continues to be popular to this day. Though Antonín Dvořák looked to Andersen with "Rusalka", he also brought in numerous other themes to the opera, which premiered in 1901. Those pressing questions of the turn of the century found expression in the Freudian element beneath the lyrical fairytale – that of cultural disquiet. Civilization and nature, fears and longings, power relations and gender definitions collide in a psychologically exaggerated way. Rusalka's loss of speech clearly reflects the fears of identification, exclusion and existence. Director Sven-Eric Bechtolf displays these emotional and mental states in a surreal, inhospitable and oppressive world: set among a snowy desert landscape and barren underbrush, it tells the haunting story of the renegade mermaid who falls in love with a prince who does not live up to her standards.

Dvořák adapts the characteristic musical descriptions of the protagonists to their respective situations and states of mind, he psychologizes his characters. Apart from these character leitmotifs (three motifs for four characters), there is also a so-called curse motif, and that would be number four: a violent chromatic musical upward movement in forte, it appears again and again when disaster announces itself or occurs, and it is so called because it is the accompaniment to the Aquarius' curse on the prince because, as he suspects, he will bring misfortune upon them. In comparison, it could also be described as the big angry brother of the negative third loop. This brings up a concrete keyword: Loops of thirds. This is what one could call the tone figures that appear repeatedly and in all variations throughout Rusalka, which move up a third interval, whether in whole tone steps or chromatically. It already begins in the overture, and if one thinks of Rusalka's famous song to the moon, but also of appearances by the admonishing Aquarius, then they are immediately present. (Heinz Irrgeber)

Around the time Antonín Dvořák was composing his opera, the first modern Czech illustrated encyclopaedia of general knowledge was published in Prague, the 22nd volume of which contains an astonishingly long article on the keyword "Rusalka": "In the traditional usage of the Russian people, Rusalky are wondrous creatures. They usually appear as very beautiful girls endowed with all the charms that are capable of enchanting a weak mortal. Their slender and agile figure is covered with green foliage or a white, unprotected shirt [...] Russian folklore contains numerous, extremely lively myths and legends about the Rusalky. It is often believed that children who have died unbaptized or died in an unnatural way become rusalky. Originally, the mythical creatures were called Nawje or Mawje, but later, when their main time and power was associated with the spring festival of Rusalje, they were given the name that has been preserved to this day."

Short Summary

Civilization and nature, fears and longings, power relations and gender definitions collide in a psychologically exaggerated way.

Rusalka's loss of speech clearly reflects her fears of identification, exclusion and existence. Director Sven-Eric Bechtolf reflects these emotional and mental states in a surreal, unreal and oppressive world. The story of the renegade mermaid is told in haunting images between a snowy desert and barren woodland.

History
Premiere of this production: 31 March 1901, Prague

Rusalka is an opera by Antonín Dvořák. The Czech libretto was written by the poet Jaroslav Kvapil (1868–1950) based on the fairy tales of Karel Jaromír Erben and Božena Němcová. A rusalka is a water sprite from Slavic mythology, usually inhabiting a lake or river. Rusalka is one of the most successful Czech operas and represents a cornerstone of the repertoire of Czech opera houses.

Synopsis

Act 1

A meadow by the edge of a lake

Three wood-sprites tease the Water-Gnome, ruler of the lake. Rusalka, the Water-Nymph, tells her father she has fallen in love with a human Prince who comes to hunt around the lake, and she wants to become human to embrace him. He tells her it is a bad idea, but nonetheless steers her to a witch, Ježibaba, for assistance. Rusalka sings her "Song to the Moon", asking it to tell the Prince of her love. Ježibaba tells Rusalka that, if she becomes human, she will lose the power of speech and immortality; moreover, if she does not find love with the Prince, he will die and she will be eternally damned. Rusalka agrees to the terms and drinks a potion. The Prince, hunting a white doe, finds Rusalka, embraces her, and leads her away, as her father and sisters lament.

Act 2

The garden of the Prince's castle

A Gamekeeper and his nephew, the Kitchen-Boy, note that the Prince is to be married to a mute and nameless bride. They suspect witchcraft and doubt it will last, as the Prince is already lavishing attentions on a Foreign Princess who is a wedding guest. The Foreign Princess, jealous, curses the couple. The prince rejects Rusalka. Rusalka then goes back to the lake with her father the Water Gnome. Though she has now won the Prince's affections, the Foreign Princess is disgusted by the Prince's fickleness and betrayal and she scorns him, telling him to follow his rejected bride to Hell.

Act 3

A meadow by the edge of a lake

Rusalka asks Ježibaba for a solution to her woes and is told she can save herself if she kills the Prince with the dagger she is given. Rusalka rejects this, throwing the dagger into the lake. Rusalka becomes a bludička, a spirit of death living in the depths of the lake, emerging only to lure humans to their deaths. The Gamekeeper and the Kitchen Boy consult Ježibaba about the Prince, who, they say, has been betrayed by Rusalka. The Water-Goblin says that it was actually the Prince that betrayed Rusalka. The wood-sprites mourn Rusalka's plight. The Prince, searching for his white doe, comes to the lake, senses Rusalka, and calls for her. He asks her to kiss him, even knowing her kiss means death and damnation. They kiss and he dies; and the Water-Goblin comments that "All sacrifices are futile." Rusalka thanks the Prince for letting her experience human love, commends his soul to God, and returns to her place in the depths of the lake as a demon of death.

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: 3
Intervals: 2
Duration: 3h 25min
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