Special offer. Weber: Der Freischütz
Mauro Peter (tenor), Nikola Hillebrand, Christof Fischesser, Katharina Ruckgaber (soprano), Moritz von Treuenfels, Bregenzer Festspielchor, Philipp Stölzl, Prague Philharmonic Choir, Wiener Symphoniker, Enrique Mazzola
Awards:
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International Classical Music Awards, 2025, Nominated - Video Opera
The Austrian director has sought creatively to bring the work to life for a modern audience, not just through theatrical wizardry – and there’s plenty of that, given Bregenz’s unprecedented...
Special offer. Weber: Der Freischütz
Mauro Peter (tenor), Nikola Hillebrand, Christof Fischesser, Katharina Ruckgaber (soprano), Moritz von Treuenfels, Bregenzer Festspielchor, Philipp Stölzl, Prague Philharmonic Choir, Wiener Symphoniker, Enrique Mazzola
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Awards:
-
International Classical Music Awards, 2025, Nominated - Video Opera
The Austrian director has sought creatively to bring the work to life for a modern audience, not just through theatrical wizardry – and there’s plenty of that, given Bregenz’s unprecedented...
About
“Bull’s eye,” Carl Maria von Weber triumphantly wrote to his librettist Friedrich Kind after the enthusiastically received world premiere of Der Freischütz in 1821 in Berlin. With its emotional and gripping music, it soon became the epitome of German Romantic opera. As one of the most popular operas in the German-speaking world, Der Freischütz has now been staged on the Seebühne for the first time under the lead of director and stage designer Philipp Stölzl and conductor-in-residence Enrique Mazzola. The two teamed up again in Bregenz following their phenomenal success with Verdi’s Rigoletto. “The staging is overwhelming” (Süddeutsche Zeitung). “A small theatre miracle is taking place in Bregenz” (Der Tagesspiegel). BONUS: A Winter's Tale: Inside 'Der Freischütz' at Bregenzer Festspiele.
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Awards and reviews
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International Classical Music Awards2025Nominated - Video Opera
January 2025
The Austrian director has sought creatively to bring the work to life for a modern audience, not just through theatrical wizardry – and there’s plenty of that, given Bregenz’s unprecedented budgets – but through an intelligent acknowledgement of elements of the work that can surely, even to its staunchest admirers, feel a bit creaky in the theatre.
