If you can, get a Parterre ticket: these have some of the very best views in the house! The tickets cost:Ĭheck the Staatsoper service pages for the latest situation on standing tickets and the different box office location for matinees.
This ticket office opens 80-120 minutes before the start of an evening performance, when you can buy standing-only tickets for that day’s production. That’s the southwest corner of the building. You go to the dedicated “Stehplätze” ticket office (“Stehplatz-Kasse”) on the Operngasse side of the state opera house for the evening performances. Here’s how that works for the 2022/2023 season… Remaining standing tickets go on general sale on the day of the performance. I used this system to see La Bohème and, more recently, Carmen (with Elīna Garanča!) and Il ritorno d’Ulisse in patria (with Kate Lindsey). Register for a (free) federal theatre cardĪn Austrian Federal Theatre card allows you to purchase a standing ticket from a contingent online or at the box office from 10am the day before the performance for either €4 or €5, depending on where you stand. Staatsoper standing ticketsĮssentially, you have two options for getting hold of one of the 400+ standing tickets available for each performance at the Staatsoper: 1. Imagine: two tickets to one of Puccini’s famous works for about the cost of a cappuccino, double espresso and four pieces of cake in a neighbouring coffee house.Īnother way to experience Viennese opera cheaply is through a standing-room ticket (a “Stehplatz” ticket). I once got two tickets to Madame Butterfly just a month in advance for €30 total direct from the Staatsoper website (albeit with restricted views). However, pre-bookings for later productions may be oversubscribed, and opera-hungry locals may also snap up the cheap tickets for redistribution to their private operatic circle of friends.Įven if a Staatsoper performance is seemingly sold out when you search for tickets, my opera-going friend suggests you try the ticket offices on the day in case of returns. The Staatsoper (state opera house) is the most popular venue, and ticket sales and pre-bookings typically start as soon as the season previews are out. So you usually need to book early if you want to buy the inexpensive seats. Nice as low prices are, the three main Vienna opera houses don’t have unlimited capacities. So what’s the catch (apart from the possibility of a restricted view)? But you don’t have to.Īt the Staatsoper, for example, I’ve recently seen seats for the 2022/2023 season as cheap as €16 for some productions. You can, of course, spend a three-figure sum on a seat. Visiting the opera is one of my recommended authentic Vienna experiences. This was a grand, rich, deeply serious new opera, presented by a team with manifold coherent accomplishments.(Sign outside the entrance to the standing area ticket office at the Staatsoper) The final duet is a moving modern addition to the great line of father-daughter exchanges: Boccanegra-Amelia, Rigoletto-Gilda, even Wotan- Brünnhilde. Voices and instrumental/electronic sound are well balanced. He sets words sensitively, with a feeling for the natural weight, stress and length of syllables rare today. Machover has a command of expressive vocal gesture. But I’d like to stress what a good opera composer he is, bringing the ‘traditional’, necessary skills to a far from traditional work. technological inventions in giving to sounds, through electronics, new sonorities, new eloquence, have been widely and amply acclaimed. Machover, now a fully mature composer, is unafraid of harnessing the old-fashioned powers of opera, unafraid of sentimentality, unafraid of C major.” - Philip Kennicott in Opera News, October 2013 Dick and dubbed “the first opera of the twenty-first century,” now sounds anything but scary, and his last three operas, Resurrection, Skellig and Death and the Powers, have rare emotional depth. “…Machover, voluble and friendly in person, confounds expectations. Valis, based on a science-fiction novel by Philip K. “Schoenberg in Hollywood works splendidly as theater, and as an opera whose score allows its clever libretto to work its magic, seems likely to follow Machover’s previous successes.” – Keith Powers, Classical Voice North America “Death and the Powers doesn’t point the way to a new era of opera. The New York Times on “Cheesesteak at Carnegie Hall” “Death and the Powers” a Finalist for 2012 Pulitzer Prize in Musicīuzz from the world premiere performances of Schoenberg in Hollywood Translating the Music of Trees Into the Sounds of Opera Tod Machover is Musical America’s 2016 Composer of the Year
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