CERCLE DIPLOMATIQUE - issue 01/2017
CD is a bi-lingual, independent and impartial magazine and is the medium of communication between foreign representatives of international and UN-organisations based in Vienna and the Austrian political classes, business, culture and tourism. CD features up-to-date information about and for the diplomatic corps, international organisations, society, politics, business, tourism, fashion and culture. Furthermore CD introduces the new ambassadors in Austria and informs about designations, awards and top-events. Interviews with leading personalities, country reports from all over the world and the presentation of Austria as a host country complement the wide range oft he magazine.
CD is a bi-lingual, independent and impartial magazine and is the medium of communication between foreign representatives of international and UN-organisations based in Vienna and the Austrian political classes, business, culture and tourism. CD features up-to-date information about and for the diplomatic corps, international organisations, society, politics, business, tourism, fashion and culture. Furthermore CD introduces the new ambassadors in Austria and informs about designations, awards and top-events. Interviews with leading personalities, country reports from all over the world and the presentation of Austria as a host country complement the wide range oft he magazine.
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Christian Struppeck<br />
VIENNA MUSICALS SAVOIR VIVRE<br />
Christian Struppeck ist Musical-Intendant<br />
der Vereinigten Bühnen Wien und u.a. Autor<br />
der Musicals „Schikaneder“ und „Der<br />
Besuch der alten Dame“. | Christian<br />
Struppeck is the Musical Director of the<br />
Vereinigte Bühnen Wien (VBW) as well as<br />
the author of the musicals ”Schikaneder“<br />
and ”The Visit“.<br />
DER BESUCH DER ALTEN DAME.<br />
Das Musical nach Friedrich Dürrenmatts Klassiker feiert in<br />
Japan große Erfolge.<br />
The musical, adapted from Friedrich Dürrenmatt´s classic, is a<br />
big hit in Japan.<br />
VBW-Musicals in Wien:<br />
Sie waren kürzlich mit den VBW für ein<br />
Gastspiel in Shanghai. Wie hat das Publikum<br />
im Culture Square Theater„Mozart!“<br />
aufgenommen?<br />
Die Premiere in Shanghai war sehr beindruckend,<br />
wie auch schon 2<strong>01</strong>4 bei „Elisabeth“ - dieses Mal<br />
vielleicht sogar noch ein wenig emotionaler. Ganz<br />
generell ist zu sagen, dass in Asien, noch mehr als<br />
bei uns, Opulenz bei der Ausstattung von Musicals<br />
sehr wichtig ist. Persönlich finde ich es immer sehr<br />
spannend, die verschiedensten Inszenierungen<br />
unserer Musicals in den diversen Partnerländern<br />
anzusehen, da dies künstlerisch neue Aspekte zeigt<br />
und die Show in einem anderen Licht präsentiert.<br />
Wie transportieren Sie das Wiener Flair bei<br />
den Musicalaufführungen in der jeweiligen<br />
Landessprache, etwa in Japan oder Korea?<br />
Ich denke, alleine durch die österreichische<br />
Geschichte, die in vielen Produktionen essentieller<br />
Teil der Handlung ist, transportieren unsere<br />
Musicals Wiener bzw. österreichischen Flair in die<br />
Welt.<br />
Wie stellen Sie bei den Lizenzproduktionen<br />
den hohen Standard der VBW Musicals, was<br />
die Musik und Ausstattung anbelangt, sicher?<br />
Wir sind bei unseren Lizenzproduktionen immer in<br />
alle wesentlichen künstlerischen Prozesse<br />
involviert, sei es Regiekonzept, Bühnenbild,<br />
Kostüme oder Casting. Auch inhaltliche<br />
Änderungen aufgrund der kulturellen Unterschiede<br />
werden von uns mit den Autoren diskutiert. Das<br />
wichtigste ist, stetig in gutem Kontakt mit den<br />
Partnern zu bleiben.<br />
Gibt es manchmal auch so etwas wie ein<br />
Kulturclash bei den internationalen<br />
Aufführungen der VBW?<br />
Ja, immer wieder. Beispielsweise hat „Der Besuch<br />
der alten Dame“ in Japan ein anderes Ende als bei<br />
uns in Wien. Es ist dort undenkbar, dass die<br />
weibliche Hauptrolle, Claire Zachanassian, im<br />
Schlussbild in eine andere Richtung abgeht als der<br />
Totenzug von Alfred Ill. In Korea werden manche<br />
Kleinigkeiten im Text von „Mozart!“ oder<br />
„Elisabeth“ geändert, da viele historische Aspekte<br />
hierzulande Allgemeingut, vor Ort aber unbekannt<br />
sind.<br />
Spielen bei der Auswahl der Stoffe<br />
touristische Überlegungen, welches<br />
Wien-Bild mit den Musicals transportiert<br />
werden soll, eine Rolle?<br />
In der Entwicklung neuer Musicals versuchen wir in<br />
erster Linie Stoffe zu finden, die dem österreichischen<br />
Publikum gefallen könnten. Erst danach denkt<br />
man an die Lizenzierung ins Ausland. Wenn man<br />
aber bedenkt, dass über 23,5 Millionen Menschen<br />
weltweit eine unserer Produktionen gesehen haben,<br />
dann glaube ich sehr wohl, dass dies einen<br />
positiven Einfluss auf den Tourismus nach Wien hat.<br />
Recently, you had the chance to present a guest<br />
performance at the Culture Square Theatre in<br />
Shanghai. How did the Chinese audience<br />
respond to “Mozart!”?<br />
The premiere in Shanghai was very impressive, just<br />
as it was for “Elisabeth” back in 2<strong>01</strong>4. Perhaps it was<br />
even more emotional this time around. Generally, it<br />
seems that Asia values opulence in the decor of a<br />
musical even more than we do in Austria. Personally,<br />
I always find it very exciting to see the different<br />
implementations of our shows in the various partner<br />
countries, as this always reveals new artistic aspects<br />
whilst presenting a show in a different light.<br />
How do you bring the Viennese flair to the<br />
performances in Japan or Korea for example,<br />
which are performed in the local national<br />
language?<br />
I think that Austrian history itself – an essential<br />
element in the plots of many of our productions<br />
– helps transport the Viennese or Austrian flair of<br />
our musicals into the world.<br />
The VBW’s musical productions have reached a<br />
very high standard when it comes to music and<br />
decor. How do you ensure that the licensed<br />
productions meet this standard?<br />
We are always involved in all the crucial artistic<br />
processes of our licensed productions, whether<br />
directorial conceptualisation, stage design,<br />
costumes or casting. We also discuss any potential<br />
changes in content with the authors, which<br />
sometimes must be undertaken due to cultural<br />
differences. The most important thing is to maintain<br />
good contact with the partners and to find mutual<br />
understanding and to value the respective artistic<br />
standpoints.<br />
Is there ever such a thing as a culture clash<br />
during the international shows of the VBW?<br />
Yes, that does happen from time to time. “The Visit”,<br />
for example, has a different ending in Japan than at<br />
home in Vienna. It would be unfathomable in Japan<br />
for the female lead role, Claire Zachanassian, to walk<br />
in a different direction than Alfred III’s funeral<br />
cortege during the final scene. In Korea, some small<br />
details are changed in the script, especially when it<br />
comes to pieces like “Mozart!” or “Elisabeth”, as we<br />
take knowledge of various historical aspects for<br />
granted here, whereas they are much less known<br />
there.<br />
When selecting the shows, does the image of<br />
Vienna delivered through the musicals – in other<br />
words, touristic considerations – play a role?<br />
When developing new musicals, we focus on finding<br />
material that will appeal to the Austrian audience.<br />
Only afterwards, we give thought to foreign<br />
licensing. But when you consider that more than<br />
23.5 million people globally have seen one of our<br />
productions, then I do believe that this must have<br />
had a positive impact on tourism in Vienna.<br />
ELISABETH.<br />
VBW Geschäftsführer Franz Patay und Musical-Intendant<br />
Christian Struppeck mit dem Takarazuka Ensemble beim<br />
20-jährigen Bühnenjubiläum von „Elisabeth“ in Japan.<br />
Franz Patay, Managing Director of VBW, and Musical Director<br />
Christian Struppeck are celebrating the 20th stage anniversary<br />
of “Elisabeth“ in Japan.<br />
Polanski, has been running very successfully in Saint<br />
Petersburg since 2<strong>01</strong>1. In October 2<strong>01</strong>6, the musical,<br />
based on Polanski’s cult film, finally arrived in<br />
Moscow. Patay says, ”The Russian audience loves<br />
”Dance of the Vampires“. I was there during the premiere<br />
in Moscow and I was completely overwhelmed<br />
by the audience’s reaction.“ With more than 8 million<br />
visitors globally, the story about the not exactly<br />
fearless vampire hunters is slowly starting to catch up<br />
with ”Elisabeth“. A combined 23 million visitors have<br />
seen VBW’s musicals in the last 20 years. Up to one<br />
million musical enthusiasts watch VBW’s international<br />
productions every year, 500,000 of those in Vienna<br />
alone. And whilst the Viennese performances<br />
enjoy yearly subsidies of around 21 Million euro,<br />
VBW earns good money with every ticket sold for its<br />
international guest performances.<br />
Schikaneder on Broadway<br />
”We are very lucky to have such a highly qualified<br />
team at VBW, capable of working at a very high international<br />
standard,“ Christian Struppeck, Musical<br />
Director of the VBW, considers one of the main reasons<br />
for the success. Which is why so many big names<br />
from the musical world can’t keep their hands<br />
off Vienna. Trevor Nunn, three-time Tony Award<br />
winner, for example, directed the new production<br />
”Schikaneder“ for an autumn release. The music was<br />
musicalvienna.at<br />
vbw-international.at<br />
PHOTOS: PETER RIGAUD; VBW; TOHO LT.D.<br />
composed by the three-time Oscar-winner Stephen<br />
Schwartz. Negotiations are already underway for a<br />
Broadway performance of the musical about the turbulent<br />
creation story of the Magic Flute – rumour<br />
has it, none other than Hollywood star Hugh Jackman<br />
is set to play the lead role!<br />
High-calibre new productions in the queue<br />
Next to the September 2<strong>01</strong>7 premiere of a musical<br />
comprised of Austropop legend Rainhard Fendrich’s<br />
greatest hits, ”The Third Man“ is another, very exciting<br />
Vienna piece under production in VBW’s musical<br />
forge. The world premiere is planned to take place<br />
at Vienna’s Ronacher theatre in 2<strong>01</strong>8. Here too, the<br />
producers were able to get a high-calibre team on<br />
board, with names including Oscar-winner Christopher<br />
Hampton and composer George Fenton, responsible<br />
for the ”Gandhi“ score. Nevertheless, how<br />
exactly the Oscar-awarded visual language of the<br />
black and white classic is to be translated onto the<br />
musical stage remains a secret for now – but it is already<br />
more than clear that the VBW’s international<br />
success story will continue with ”The Third Man“.<br />
Kammermusikalische Highlights wie das „Forellenquintett“,<br />
die Arpeggione-Sonate oder „Der Hirt auf dem Felsen“,<br />
aber auch seltener gehörte Klavierwerke von Schubert und Liszt.<br />
Freitag, 5. Mai 2<strong>01</strong>7, 20:00 Uhr<br />
Gottlieb Wallisch I<br />
Franz Schubert<br />
Mit: Bernarda Bobro, Sopran / Matthias Schorn, Klarinette /<br />
Rainer Honeck, Violine / Sebastian Bru, Violoncello /<br />
Gottlieb Wallisch, Klavier<br />
Samstag, 6. Mai 2<strong>01</strong>7, 19:30 Uhr<br />
Chorus Viennensis<br />
Franz Schubert und das Volkslied<br />
Chorus Viennensis / Leitung: Florian Maierl<br />
Ramsch und Rosen (Volksmusik-Duo)<br />
Sonntag, 7. Mai 2<strong>01</strong>7, 11:00 Uhr<br />
Gottlieb Wallisch II<br />
Franz Schubert, Franz Liszt<br />
Mit: Rainer Honeck, Violine / Innokenti Grabko, Viola /<br />
Sebastian Bru, Violoncello / Christoph Wimmer, Kontrabass /<br />
Gottlieb Wallisch, Klavier<br />
„Schikaneder“<br />
Neues Musical über die turbulente Liebesgeschichte<br />
hinter der Zauberflöte. | New music about<br />
the turbulent love story behind the Magic Flute<br />
Raimund Theater, bis 21.6.2<strong>01</strong>7<br />
„Don Camillo und Peppone“<br />
Die berühmte Geschichte um den streitbaren<br />
katholischen Pfarrer und den kommunistischen<br />
Bürgermeister erstmals als Musical, Österreichische<br />
Erstaufführung. | The famous story about<br />
the pugnacious catholic priest and the communist<br />
mayor, for the first time as a musical, Austrian<br />
premiere.<br />
Ronacher, bis 25.6.2<strong>01</strong>7<br />
VBW-Musicals International 2<strong>01</strong>7:<br />
„I am from Austria“<br />
Das Musical mit den Hits von Rainhard Fendrich.<br />
The musical with Rainhard Fendrich’s greatest hits.<br />
Raimund Theater, Weltpremiere 16.9.2<strong>01</strong>7<br />
„Tanz der Vampire“<br />
Das VBW-Musical kehrt nach Wien zurück.<br />
| The VBW musical returns to Vienna<br />
Ronacher theatre.<br />
Ronacher<br />
ab 30.9.2<strong>01</strong>7<br />
„Tanz der Vampire“: Deutschland, Russland, Schweiz, Tschechische Republik, Ungarn | Germany,<br />
Russia, Czech Republic<br />
„Rebecca“: Korea, Deutschland, Tschechische Republik | Korea, Germany, Czech Republic<br />
„Mozart!: Shanghai<br />
„Rudolf: Korea<br />
„Elisabeth“: Japan<br />
Zyklus<br />
Schubertiade<br />
in the<br />
Konzertsaal der Wiener Sängerknaben<br />
Am Augartenspitz 1, 1020 Wien<br />
Tickets unter Tel. +43 1 347 80 80,<br />
www.muth.at oder an der Kassa<br />
108 Cercle Diplomatique 1/2<strong>01</strong>7
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