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The Sydney Opera House, situated on Sydney Harbour at Bennelong Point, is considered by many to be one of the wonders of the modern world.
Designed by Jørn Utzon and constructed under some controversy, it was opened in October 1973.
Designed by one of my favorite woman architect Zaha Hadid, the Guangzhou Opera House is a stunning architecture that sits pompously at the heart of Guangzhou and opens to the Pearl River.The design is greatly influenced by the river valleys and the natural landscape.The famous "double pebble" concept tells the story of the two massive boulders that go through the process of erosion;an interplay between architecture and landscape.The whole project took about 5 years to finish and has now become one of Guangzhou's most celebrated architectural wonders. I have always wanted to capture this building with my lens and I finally did.
Sydney Opera House, taken from a boat on the harbour at dusk. I loved the light, and hoped a slow shutter speed wouldn't cause *too* much blur. As it turned out, I was wrong, but camera shake made for an abstract shot.
Taken with a Canon 35mm SLR.
Best viewed at original size.
A lot of construction work around the Opera House. The Bjørvika area is the site for the largest urban development project in Oslo for a long time. Finished it will look like this: www.bjorvikautvikling.no/toppmeny/english/about-bjorvika-...
This might look similar to the National Theatre in Costa Rica but it's the Semperoper (Saxon State Opera) in Dresden. I took the chance to do a guided tour there and it was really impressive.
These are some of the pictures I could take.
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In Dresden habe ich auch die Semperoper besichtigt. Erinnert ein bisschen an das Teatro National in Costa Rica, aber es ist irgendwie doch anders. Aber eben auch sehr sehr beeindruckend. Diese Fotos hier konnte ich während der Führung machen.
Marysville WA USA 8-31-2023: Opera House was originally built by the Independent Order of Oddfellows, it was placed on the National Register of Historic places in 1982
The Sydney Opera House is a multi-venue performing arts centre in Sydney, New South Wales, Australia. Situated on Bennelong Point in Sydney Harbour, close to the Sydney Harbour Bridge, the facility is adjacent to the Sydney central business district and the Royal Botanic Gardens, between Sydney and Farm Coves.
Designed by Danish architect Jørn Utzon, the facility formally opened on 20 October 1973[3] after a gestation beginning with Utzon's 1957 selection as winner of an international design competition. The NSW Government, led by Premier Joseph Cahill authorised work to begin in 1958, with Utzon directing construction. The government's decision to build Utzon's design is often overshadowed by circumstances that followed, including cost and scheduling overruns as well as the architect's ultimate resignation.[4]
Though its name suggests a single venue, the project comprises multiple performance venues which together are among the busiest performing arts centres in the world — hosting over 1,500 performances each year attended by some 1.2 million people. The venues produce and present a wide range of in-house productions and accommodate numerous performing arts companies, including four key resident companies: Opera Australia, The Australian Ballet, the Sydney Theatre Company and the Sydney Symphony Orchestra. As one of the most popular visitor attractions in Australia, more than seven million people visit the site each year, with 300,000 people participating annually in a guided tour of the facility.[5][6]
Identified as one of the 20th century's most distinctive buildings and one of the most famous performing arts centres in the world,[7][8][9] the facility is managed by the Sydney Opera House Trust, under the auspices of the New South Wales Ministry of the Arts.
The Sydney Opera House became a UNESCO World Heritage Site on 28 June 2007
She studied at the St. Petersburg Conservatory (with Alexander had supposed - we interviewed him) and sings in many European countries. And on the street it is difficult to find because of the opera singers (and even on the conductors) always think they are a huge growth - those who are on the scene, always a cut above those in the audience. In fact, in art, everything is a little different than we think.
Liubov BELOTSERKOVSKAYA:
THREE "THANK YOU"
THREE "LOVE"
JUNIOR CLASSES AND ITALY
As the concert began a stormy life?
Long ago, with lessons on the piano. We went with my parents at the two international competition, and even occupied. They had the euphoria - hurray, our child will be a musician. Then it all started. Why tumultuous life? Interventions require daily activities; stormy life - it is rough work. I was five years old started practicing the piano, and won the first contest, it seems, at nine. Four years of painstaking training, and you're the first prize winner, so anything is possible.
They say that musicians do not have child ...
Of course, nothing is achieved without difficulty, but in the nine years I have visited in Italy. In the class asked me: "Well, how is it? .."
Jealous, I guess.
Respected.
PLAYER AND GERGIEV
The first "LOVE"
And listen to what music?
The player I have a classic. Sometimes I like listening to soundtracks to old Hollywood movies, Japanese movies and cartoons - when they are recorded with a symphony orchestra. We have a branch in St. Petersburg, directing - they love to put this music dance and other activities, and they want me and supply it. In general, modern classical authors in Russia are not enough. But we have an interesting cable channel "Mezzo", which sometimes show, for example, the modern opera productions. At the Mariinsky Theatre in "White Nights" has been modernized production of Wagner, a special interest to obtain "Tristan und Isolde." This concert was staged without costumes. Behind a screen, which aired video. It was very organic, with foreign soloists. And he knows how to be an organic Gergiev - no vulgarity, no inconsistencies: the music of Wagner, is a modern video director, they may be together.
AFTERNOON IN VENICE
SECOND "LOVE"
Tell us about the last competition.
The contest was held from 2 to 6 July in Padua ...
I really wanted to swim in the sea. We just drove by bus from Venice to Padua on a large bridge across the sea. It was a dream to go out and swim, but no one was swimming - nobody knows where they are the beaches.
Local does not disclose a secret?
No. They are tan, lying in the park, as we have in St. Petersburg, and swimming near Venice itself is prohibited, there is a company and the water is probably not very clean. And somewhere else on the beaches they are, I think, go on the weekends. And on weekends the city is empty, do not ask anyone. On Sunday, Italy dies, everything is closed, the scene of the western: noon, the streets are empty.
And how is it?
If you look at the city as a whole, and not inside the buildings - murals, paintings - you need to go back to the carnival or winter. Very hot, stagnant water in the canals. The town is small, very beautiful and very unique. He did not like Padua, bears no resemblance to Venice Mestre, which is on land.
In September I went to three concerts in Holland - this is my favorite country. I was in Harlem, in Amsterdam. The same North Sea, in St. Petersburg in St. Petersburg but if I'm sick and there, in Holland, I'm getting better.
There is a special student. People go to the festival films in small towns. They can go to another city just to listen to it a new opera production. Which one of us would go for this, for example, in St. Petersburg?
VERY HIGH CEILINGS
Those who organize the tours and help along the way and relax?
Trying to help. And sometimes it turns out to combine - some of the concerts are very beautiful. For example, we sang in Venice in the Palazzo Dzakko - a small feudal mansion, but he is built like a Venetian palace, with a through passage to the garden with fountains - you can have fun and seeing a building.
Or ancient European cathedrals - great place. And sing, and watch.
Speakers like?
Yes, there is fertile acoustics, especially for slow pieces. The church works often slow. Musicians are joking, "wrote potatoes" whole empty notes. Perhaps it sounds worse than a quick product: the sound goes, there is too much reverberation. And so - excellent acoustics, no need to give away, you can easily sing piano. The older church - the better acoustics.
In the old European cathedrals had to sing?
In the Netherlands - in Harlem, and in Germany, in a historic cathedral - it was just a charity concert to raise funds for its restoration of the frescoes. Speakers there was phenomenal.
HVOROSTOVSKY AND MICROPHONE
A popular in Europe, outdoor concerts, where artists are at ease - it's more complex form of speech?
This can be explained by the fact that people come to Europe to enjoy a classical concert, they need to show. Now all aimed at making the show, so there are artists like Hvorostovsky - and they can see and hear - artists like Netrebko.
On the other hand, a form of a concert close to the theater: you can run around the stage, gesticulating. A character embodied in the theater - it is easier than being in a concert.
Why do we have such a form of concerts are not held?
Maybe artists are afraid of themselves? We have no such equipment, as in the West. Maybe you noticed - at these concerts, singing into a microphone. But the microphone is not like our pop stars, and made especially for them, perceiving other frequencies. We have the technology there is little, only in Moscow, where, incidentally, had already arranged the speeches. For example, on the Sparrow Hills - May 9, Hvorostovsky sang it. There is, of course, were of good quality microphones. But I think that as long as the necessary equipment becomes more widespread, the practice shows such a plan even if enthusiasts will spread very slowly.
PARIS - TOKYO
THIRD "LOVE"
Plans for the far-distant future?
In Japan, the same has always been my dream to go, so heard-read about it - Ovichinnikova and other Orientalists. In short, I want to go there.
Invite?
There are clues, but let's see what time will tell.
And what promise to be the embodiment of dreams?
The biggest dream is to be realized in December - a concert in Paris.
In Paris the first time? And - what?
Of course, at Notre Dame. Walking on the Cité. Maybe even go to the cemetery. We will implement the plan, which is in the movie "Paris, je t'aime."
Maybe I'll see Paris and die.
PODVERSTKA: three "thank you"
After the interview Liubov Belotserkovskaya asked to convey my gratitude to my teacher, Tamara Novichenko. It Honored Artist of Russia and the professor. And yet - the parents and accompanists.
Text - Potap PLYUSCHSCH
Photos from the personal archives of Love BELOTSERKOVSKY
The State Opera in Vienna, Austria. I'm not a fan of opera itself, but the theatre was heaven for the fisheye ;-)
Performed by Kwok Sing Musical Association Cantonese Opera Troupe at the Moonfest Chinese Opera Stage at the Edge, Esplanade Waterfront during Moonfest, a Mid-Autumn Celebration.
i was pickpocketed this day :(. we were planning on trying for standing seats for the opera at the historic opéra garnier. unfortunately, being pickpocketed ruined that plan. instead, we went to eat korean food in the area.
It's the place to wine and dine after work and of course a great spot for tourists to wander around.
Grupo de teatro de Funcionarios de la UCSC.
Dirección: Leonardo Iturra.
Jueves 18 de diciembre, 2014.
Centro de Extensión UCSC.
The Burgtheater on the Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.
Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler). Director of the House since 2009, Matthias Hartmann.
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of ancient theater in Taormina in Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor), the London Globe Theatre and the final scene from William Shakespeare's " Romeo and Juliet" . Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. 8th May 1925 was the Burgtheater in Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza .
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-Semitic represented. The same director staged after the war Lessing 's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused out of fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned on 12th April 1945 it burned completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to bring Vienna 's cultural life as soon as possible again. The council called for 23 April (a state government did not yet exist), a meeting of all Viennese cultural workers into the town hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This Venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.
The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations of the 175th anniversary of the theater took place.
1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative, but also cost effective. The character of the lodges theater was largely taken into account and maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater, was appointed Director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel in the then politically separated East and took more account of the public taste .
Directorate Claus Peymann 1986-1999
Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals with the past and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard raised after the premiere to a challenge on the stage to applause and boos .
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann , to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his pieces precisely in his home not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the Schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.
In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.
Directorate Klaus Bachler 1999-2009
On Peymann followed in 1999 as director Klaus Bachler. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the Directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available only to visit )
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of it under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat ( December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg ) received the Nestroy Theatre Award for Best Actor for his role in this piece. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."
The Burgtheater to the Mozart Year 2006
Also the Mozart Year 2006 was thought at the Burgtheater. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over ", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the castle, the New York group Nature Theater of Oklahoma show their great episode drama live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
www.mariachiproductions.org/basel2012/index.php/tournamen...