Page 442 - Weiss, Jernej, ur. 2019. Vloga nacionalnih opernih gledališč v 20. in 21. stoletju - The Role of National Opera Houses in the 20th and 21st Centuries. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 3
P. 442
vloga nacionalnih opernih gledališč v 20. in 21. stoletju
occupying its niche in the artistic being of the modern times. It is worth
pointing out several successful „marketing moves” in implementing the
opera performance: 1. the prestige of visiting opera performances, which
indicates a certain social status of a person. 2. Popularization of brands of
opera singers, composers or specific operas. 3. Conducting a show with the
participation of opera singers. 4. Promotions, where opera and pop singers
and musicians stand nearby. 5. Contemporary, often scandalous directing
of classical operas, which is very attractive to the public.
Keywords: Opera, Market, Marketing, Performance, historical dimension,
socially based
Susanne Kogler
Contemporary Opera in 20th and 21st Century Austria:
A Critical Case Study
Opera is traditionally seen as a very old-fashioned and inflexible art form
that does not easily correspond with the needs of contemporary music and
innovative performances. Due to the fact that we nevertheless do find con-
temporary works in the major (national) opera houses’ programmes, the
following questions arise: What function do contemporary works fulfil in
the context of the entire season’s programme? What is their specific role
regarding the institution’s image and the audiences targeted? What new
pieces are staged at national opera houses? In which way are these con-
temporary pieces different from works staged at other, often smaller or less
prestigious theatrical institutions? How do the new, often commissioned
pieces correspond with the whole programme?
By exploring and comparing the programmes of divergent Austrian insti-
tutions such as Vienna State Opera, Cosmos Theatre Vienna, Salzburg Fes-
tival, Theater an der Wien and musikprotokoll im steirischen herbst, which
during the last ten years staged, amongst others, works by Reimann, Rihm,
Henze, B.A. Zimmermann (Salzburg Festival), Reimann, Schnittke (Vienna
State Opera), Abstrial (Cosmos Theatre Vienna), Henze, Neuwirth, B. Lang
(Theater an der Wien / Wiener Festwochen, musikprotokoll im steirischen
herbst), Henze, Neuwirth (University of the Arts Graz / musikprotokoll im
steirischen herbst) I will provide some answers to these questions.
Keywords: Gottfried von Einem, Olga Neuwirth, Thomas Adès, contempo-
rary musical theatre, operatic programmes in Austria
440
occupying its niche in the artistic being of the modern times. It is worth
pointing out several successful „marketing moves” in implementing the
opera performance: 1. the prestige of visiting opera performances, which
indicates a certain social status of a person. 2. Popularization of brands of
opera singers, composers or specific operas. 3. Conducting a show with the
participation of opera singers. 4. Promotions, where opera and pop singers
and musicians stand nearby. 5. Contemporary, often scandalous directing
of classical operas, which is very attractive to the public.
Keywords: Opera, Market, Marketing, Performance, historical dimension,
socially based
Susanne Kogler
Contemporary Opera in 20th and 21st Century Austria:
A Critical Case Study
Opera is traditionally seen as a very old-fashioned and inflexible art form
that does not easily correspond with the needs of contemporary music and
innovative performances. Due to the fact that we nevertheless do find con-
temporary works in the major (national) opera houses’ programmes, the
following questions arise: What function do contemporary works fulfil in
the context of the entire season’s programme? What is their specific role
regarding the institution’s image and the audiences targeted? What new
pieces are staged at national opera houses? In which way are these con-
temporary pieces different from works staged at other, often smaller or less
prestigious theatrical institutions? How do the new, often commissioned
pieces correspond with the whole programme?
By exploring and comparing the programmes of divergent Austrian insti-
tutions such as Vienna State Opera, Cosmos Theatre Vienna, Salzburg Fes-
tival, Theater an der Wien and musikprotokoll im steirischen herbst, which
during the last ten years staged, amongst others, works by Reimann, Rihm,
Henze, B.A. Zimmermann (Salzburg Festival), Reimann, Schnittke (Vienna
State Opera), Abstrial (Cosmos Theatre Vienna), Henze, Neuwirth, B. Lang
(Theater an der Wien / Wiener Festwochen, musikprotokoll im steirischen
herbst), Henze, Neuwirth (University of the Arts Graz / musikprotokoll im
steirischen herbst) I will provide some answers to these questions.
Keywords: Gottfried von Einem, Olga Neuwirth, Thomas Adès, contempo-
rary musical theatre, operatic programmes in Austria
440
