Vienna State Opera tickets 10 June 2025 - An Evening of Modern Ballet "Pathétique": Divertimento Nr. 15. Summerspace. Pathétique | GoComGo.com

An Evening of Modern Ballet "Pathétique": Divertimento Nr. 15. Summerspace. Pathétique

Vienna State Opera, Vienna, Austria
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7 PM
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US$ 104

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You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Modern Ballet
City: Vienna, Austria
Starts at: 19:00
Intervals: 2
Duration: 2h 30min

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Ballet company: Vienna State Ballet
Conductor: Christoph Altstaedt
Creators
Composer: Pyotr Tchaikovsky
Composer: George Frideric Handel
Composer: Morton Feldman
Composer: Wolfgang Amadeus Mozart
Choreographer: George Balanchine
Choreographer: Martin Schläpfer
Choreographer: Merce Cunningham
Overview

Two icons of the New York avant-garde of the 1950s meet a world premiere by Martin Schläpfer: with Divertimento No. 15, George Balanchine choreographed a fragrant neoclassical Mozart ballet and Merce Cunningham too has not lost touch with the skies in his bouncy dance piece Summerspace. In contrast, Martin Schläpfer will create a new work for the dancers of the Vienna State Ballet based on a highly dramatic symphony: Tchaikovsky’s “Pathétique”, characterised by emotional highs and deep abysses.

“I try to find interesting proportions of movement in time and space because music is time. It’s not the melody that counts, it is the time it gives you”, George Balanchine once said about his choreographic work. Divertimento No. 15 from 1956 is one of the few ballets he created to a work by Wolfgang Amadeus Mozart. Born entirely out of the music – Mozart’s Divertimento in B flat major KV 287 – it perfectly captures the spirit of the divertissement, originally created as entertainment. Its chamber music character is matched by a select cast consisting of five female soloists, three male soloists and a corps de ballet of eight female dancers for a choreography in which Balanchine skilfully and subtly inscribes a complex array of geometric patterns within the space while allowing his dances to unfold in their individual variations with great power, remarkable verve and unique character. 

Following the premiere of his Duets in June 2022 at the Vienna Volksoper, Summerspace is another work by Merce Cunningham to join the repertoire, marking the first time that one of the American’s pieces will be performed by the Vienna State Ballet at the Staatsoper. No other choreographer has challenged collective assumptions about the art of dance as radically as Cunningham with his abandonment of the connections between movement, music and stage and costume design, his development of a dance technique that establishes new links between different parts of the body and his rejection of traditional ideas of the theatre space. In Summerspace six dancers appear to pass through the space like birds in the detached atmosphere of a balmy summer day. “It was about space, as the title indicates”, Cunningham explained. “I decided to number the entrances and exits (...) and to link them by all the possible trajectories.” This yielded 21 possibilities, for which he defined different forms of movement and whose running order and tempo were fixed according to random principles of aleatoric. He persuaded two outstanding contemporary artists to design the decor and provide the music: Robert Rauschenberg, whose 100th birthday will be celebrated in 2025, created a pointillist “landscape of blossoms”, while Morton Feldman composed an atmospheric piece of music for two pianos. 

To round off the programme, Martin Schläpfer presents his world premiere Pathétique. He once again plunges into creative work with the dancers of the Vienna State Ballet to the sound of Pyotr I. Tchaikovsky’s Symphony No. 6 in B minor op. 74: “Tchaikovsky’s Sixth washes around us like water in which we are sinking, though not painfully – it is like a release, and then it rises up again, full of virtuosity, brilliant tempi, a broad spectrum of dynamics and a fascinating wealth of melody”, Martin Schläpfer comments on the score. “It is a symphony like a novel and, despite everything that has been read into it, an enigma. For me, it forms the starting point and the basis of my new ballet.” 

What happened in dance in New York during the 1950s can be seen as one of the most inspiring periods in dance history, which continues to guide us even now. On one side there was George Balanchine, the founder of New York City Ballet and an artist who personified the links between the old tradition of Czarist Russia with a neoclassicism of his own that was shaping ballet in America and had revolutionised the whole genre by extending the vocabulary of danse d’école, understanding dance as a form of music making using the body in space, and body images based on athleticism. On the other side were the many forms of modern dance, manifest in such varied approaches as those of Martha Graham, Paul Taylor and Merce Cunningham – to name just three of its exponents. With George Balanchine’s Divertimento No. 15 and Merce Cunningham’s Summerspace, the Vienna State Ballet’s premiere of Pathétique invites you to immerse yourself in this fascinating time and let yourself be enchanted by these two contrasting approaches. In addition, the programme also connects to the present with the world premiere of Pathétique, with which Martin Schläpfer will complete his work as a choreographer for the Vienna State Ballet in his term as Artistic Director.

For art lovers, the premiere presents a special highlight: the stage and costume design for Cunningham’s Summerspace was created by Robert Rauschenberg, who is regarded as a pioneer of American Pop Art, but whose affinity with the performing arts also made him a close partner of Cunningham and John Cage, among others. In 2025, the world will celebrate the artist’s centenary.

Venue Info

Vienna State Opera - Vienna
Location   Opernring 2

The Vienna State Opera is one of the leading opera houses in the world. Its past is steeped in tradition. Its present is alive with richly varied performances and events. Each season, the schedule features 350 performances of more than 60 different operas and ballets. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season.

The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (Wiener Hofoper) in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the Vienna Court Opera, the original construction site chosen and paid for by Emperor Franz Joseph in 1861.

The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka.

Gustav Mahler was one of the many conductors who have worked in Vienna. During his tenure (1897–1907), Mahler cultivated a new generation of singers, such as Anna Bahr-Mildenburg and Selma Kurz, and recruited a stage designer who replaced the lavish historical stage decors with sparse stage scenery corresponding to modernistic, Jugendstil tastes. Mahler also introduced the practice of dimming the lighting in the theatre during performances, which was initially not appreciated by the audience. However, Mahler's reforms were maintained by his successors.

Herbert von Karajan introduced the practice of performing operas exclusively in their original language instead of being translated into German. He also strengthened the ensemble and regular principal singers and introduced the policy of predominantly engaging guest singers. He began a collaboration with La Scala in Milan, in which both productions and orchestrations were shared. This created an opening for the prominent members of the Viennese ensemble to appear in Milan, especially to perform works by Wolfgang Amadeus Mozart and Richard Strauss.

Ballet companies merge

At the beginning of the 2005–2006 season, the ballet companies of the Staatsoper and the Vienna Volksoper were merged under the direction of Gyula Harangozó.

From the 2010–2011 season a new company was formed called Wiener Staatsballet, Vienna State Ballet, under the direction of former Paris Opera Ballet principal dancer Manuel Legris. Legris eliminated Harangozós's policy of presenting nothing but traditional narrative ballets with guest artists in the leading roles, concentrated on establishing a strong in-house ensemble and restored evenings of mixed bill programs, featuring works of George Balanchine, Jerome Robbins, Jiří Kylián, William Forsythe, and many contemporary choreographers, as well as a reduced schedule of the classic ballets.

Opera ball

For many decades, the opera house has been the venue of the Vienna Opera Ball. It is an internationally renowned event, which takes place annually on the last Thursday in Fasching. Those in attendance often include visitors from around the world, especially prominent names in business and politics. The opera ball receives media coverage from a range of outlets.

Important Info
Type: Modern Ballet
City: Vienna, Austria
Starts at: 19:00
Intervals: 2
Duration: 2h 30min
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