Festspielzeit

Maria Gnann spricht mit Florian Amort über Inszenierung, Reaktionen und Deutungen rund um Der Freischütz auf der Seebühne

On Fate, Guilt, and Free Will: Director Andreas Kriegenburg in an interview about George Enescu's Œdipe.
 

Maria Gnann spricht mit Florian Amort über Geschichten und die Höhepunkte der kommenden Festspielsaison

When clothes make people: For Der Freischütz, costume designer Gesine Völlm creates characters with personality.

Masterful craftsmanship: A look inside the costume atelier of the Bregenzer Festspiele

From shadows into light: Conductor Elim Chan and the Wiener Symphoniker present Mel Bonis' Trois femmes de légende.

About the storms of the heart and the subtle voices of the landscape: soprano Hedvig Haugerud on a special musical evening.

From the counter to the scaffold: Ferdinand Schmalz's latest play draws on a piece of Viennese judical history.

Thomas Blondelle speaks about playing the role of the scrivener Max in Carl Maria von Weber’s Der Freischütz

Classical antiquity as a source of inspiration for art: George Enescu's monumental opera Œdipe

In 2025, the Werkstattbühne hosts a  wide range of contemporary art, joined by the US-American mezzo-soprano Joyce DiDonato.
 

In the masterclass with Lilli Paasikivi and Jaako Kortekangas young singers work on Gioachino Rossini’s La Cenerentola

Ferdinand Schmalz' bumm tschak oder der letzte henker celebrates its world premiere as a co-production with the Burgtheater in Bregenz.

Brew a potion with Max to help him aim and accompany Agathe through the city