Premiere: 24.10.2024
The production is supported by ŠKODA (patronage for Juliet) and PALFINGER (patronage for Romeo).
In Verona, two powerful families have been feuding for generations: the Capulets and the Montagues. Once again, a violent brawl breaks out in the streets, eventually involving even the heads of the families. It is only a decree from the Prince that interrupts the unrest: whoever is caught fighting in the future will be punished with death.
Romeo Montague was not involved in the brawl; he is consumed by unrequited love for his beloved Rosaline and cannot be cheered up, even by his best friend Benvolio.
Meanwhile, preparations for a grand ball are underway at the Capulet house. The young Count Paris has asked Capulet for his daughter Juliet's hand in marriage and is invited to the ball. Lady Capulet tries to persuade her daughter to consider marrying Paris.
Romeo and his friends Benvolio and Mercutio manage to sneak into the Capulets' ball in disguise. When Tybalt, Capulet's nephew, recognizes Romeo and tries to throw him out, Capulet restrains him. Finally, Romeo and Juliet see each other for the first time and instantly fall in love – only to then reveal their family names to each other in shock.
Romeo manages to slip away from his friends after the ball and sneaks back into the empty ballroom of the Capulets. There, he encounters Juliet, who is overwhelmed by her feelings, and reassures her of his sincere intentions: both confess their love for each other and promise to marry in secret the next day.
Romeo asks his confidant Friar Laurence to marry him to Juliet. The friar reminds Romeo of Rosaline and accuses him of being fickle. However, in the hope of a possible reconciliation between the two families, Lawrence eventually agrees and marries Romeo and Juliet.
On the streets of Verona, Tybalt insults Romeo and his friends. Romeo tries to settle the dispute. Mercutio, unaware of Romeo’s marriage to Juliet, becomes enraged and draws his sword against Tybalt. In the ensuing duel, Mercutio is fatally stabbed by Tybalt and, dying, curses both families. Romeo then kills Tybalt.
As Juliet waits for Romeo's visit that night, her mother tells her about Romeo's murder of Tybalt and his banishment from Verona. Juliet's initial anger towards Romeo eventually turns to compassion.
At Friar Laurence's, Romeo learns of his banishment and is devastated at the thought of leaving Juliet. Lawrence advises him to visit her secretly that night and to flee to Mantua the next morning; he himself plans to announce the marriage publicly when the time is right.
Meanwhile, Paris asks Capulet whether Juliet has accepted his proposal – Capulet sets the wedding date for three days later without Juliet’s consent.
At dawn, Romeo and Juliet bid each other farewell without being sure that they will meet again. Sinking into despair, Juliet is confronted by her parents with the news of her impending marriage to Paris. When she refuses, Capulet flies into a rage and threatens to disown her.
Paris tells Friar Laurence about his wedding plans when Juliet arrives. Laurence sends Paris away under the pretence of hearing Julia's confession. In the seemingly hopeless situation, Laurence and Juliet devise a plan: he gives her a potion that will put her into a death-like sleep for a day. Romeo is to be informed by letter so that he can rescue her from the Capulet family crypt.
Meanwhile, wedding preparations are in full swing at the Capulet house. To avoid raising suspicion, Juliet asks her father for forgiveness. In his euphoria, Capulet postpones the wedding to a day earlier.
On the wedding day, Juliet is found in her bed, seemingly dead. The general shock is interrupted by Friar Laurence, who insists on bringing Juliet to the family crypt.
Instead of receiving Friar Laurence's letter, Romeo hears of Juliet’s death. Desperate, he buys poison from an apothecary, intending to kill himself beside Juliet.
In the crypt, Paris is guarding Juliet’s grave. When Romeo forces his way in, a duel ensues, and Paris falls. After taking one last look at Juliet, Romeo drinks the poison and dies.
Friar Laurence arrives at the tomb and is horrified to find Romeo dead. When Juliet awakens and sees Romeo, Lawrence is unable to persuade her to flee with him. Left alone, Juliet kills herself with a dagger.
It is only when the remaining family members discover the dead in the crypt that they realise the devastating consequences of their long-standing feud.
Romeo and Juliet – the greatest love story of all time, full of poetry and yet without false sentimentality, already told by Shakespeare with blatant directness – has six people dead at the end. The question arises: How can it be that a story from the day before yesterday is still so relevant today? What bitter testimony does this fact bear to our reality? We are probably not in a position to create an environment in which our children grow up to be peaceful adults, and so conflicts are passed on from generation to generation.
There are Romeo and Juliet, who can only save their love by committing suicide. They simply do not get a chance to grow up peacefully. Four other deaths are victims of this incompatibility of love and social constraints.
Marionettes can tell this story of hate, envy, jealousy and the greatest love in a particularly powerful way, as they – made only of wood and seemingly lifeless – can be the unrestricted canvas for projecting the feelings and thoughts of each individual spectator.
In 1913 the sculptor Anton Aicher founded the Salzburg Marionette Theatre, opening with a performance of Mozart's Bastien und Bastienne. His performances were such a success that in the autumn of that very first year he went on tour. The repertoire was expanded to include children's fairy-tales, with the "Kasperl" (perhaps equivalent to Mr. Punch) as the main figure.
In 1926, Hermann Aicher received the Marionette Theatre from his father Anton as a wedding present, and used his technical knowledge to create a real miniature stage. In collaboration with the Mozarteum Academy, he rehearsed increasingly ambitious operas, and soon the repertoire included Mozart's smaller operas, such as Apollo et Hyacinthus or Der Schauspieldirektor [The Impresario].
During the period 1927–34, the theatre gave guest performances in Hamburg, Vienna and Holland, and visited Istanbul, Sofia and Athens. Moscow and Leningrad followed in 1936, in venues seating 2,500 – which necessitated new, larger marionettes. The special attraction was the marionette of the legendary ballerina Anna Pavlova, dancing the "dying swan".
From 1940-44 the Salzburg marionettes were sent to the front. Hermann Aicher was summoned to military service in 1944, and the Theatre was closed. After the end of the war, the marionettes immediately resumed their activities, first of all for the occupying troops. In 1947, they gave the first post-war German-language guest performance in the famous Paris Théâtre des Champs-Elysées. There followed a busy period with tours, guest performances, and new productions including Mozart's five major operas.
In 1971 the present theatre, adapted specifically to the requirements of the marionettes, was opened with Rossini's Barber of Seville.
Hermann Aicher died shortly after his 75th birthday, and his daughter Gretl took over the theatre. The marionettes toured Europe, America and Asia, in New York, Paris, Italy, Switzerland, Hong Kong and Japan.
In 1991, to mark the 200th anniversary of Mozart's death, Götz Friedrich staged Mozart's Così fan tutte.
1994/95 brought TV and video recordings of all five major Mozart operas, with Sir Peter Ustinov as narrator, and from 1992–97 several productions were staged in co-operation with the Salzburg Landestheater. In 1996, the Salzburg marionettes collaborated with the Salzburg Festival in Carl Maria von Weber's opera Oberon, in the Small Festival Hall.
1998 saw the first collaboration with the Salzburg Easter Festival, in Sergey Prokofiev's Peter and the Wolf. To mark the 85th anniversary of the Marionette Theatre, the "World of Marionettes" museum was opened in Hohensalzburg Fortress.
In 2001, the theatre premièred the first spoken play for many years, with Shakespeare's A Midsummer Night's Dream. This was followed in December 2003 by the première of Humperdinck's opera Hansel and Gretel.
The 2006 Salzburg Festival marked the 250th anniversary of Mozart's birth with performances of all 22 operas; Bastien und Bastienne and Der Schauspieldirektor were staged in collaboration with the Marionette Theatre – a collaboration continued in 2007.
The world-famous Broadway musical The Sound of Music was premiered on November 2, 2007 in Dallas, Texas.
In 2010 the Salzburg Marionette Theatre staged Claude Debussy's puppet ballet La boîte à joujoux (The Toy Box). The world-famous pianist Andràs Schiff initiated the project which was premiered at the Ittinger Pfingsttage (Switzerland). 2011 and 2012 The Little Prince and a short version of The Ring of the Nibelung in cooperation with Salzburg State Theatre were brought on stage.
The death of Gretl Aicher in 2012 marks the end of the Aicher family's ownership after three generations.
2013 the Salzburg Marionette Theatre celebrates its 100th anniversary with the production Snow White and the Seven Dwarfs and Alice in Wonderland.
In 2016, the Austrian UNESCO commission designated the operating technique developed by the Salzburg Marionette Theatre a "most highly developed form of puppet and figure theatre" and declared this sophisticated, fine-tuned method Intangible UNESCO Cultural Heritage (Austrian List). With new productions such as Fidelio by Ludwig van Beethoven, new scenic approaches are taken and the technique of puppetry is refined.
Since 1913 the Salzburg Marionette Theatre made 270 tours throughout the world.
Since 1971, the Salzburg Marionette Theatre has been housed the historic building at Schwarzstrasse 24 – on the right side of Salzburg's Old Town, between the Landestheater and the International Mozarteum Foundation, and between the River Salzach on the one side and the Mirabell Palace with its world-famous garden on the other.
After it was founded in a studio in the Künstlerhaus in 1913, then moved to the gymnasium of the old Borromäum, and spent ten years in the temporary premises of the Kapitelsaal, the Marionette Theatre settled in Schwarzstrasse 24. This building has its own chequered history: between the Villa Lasser (now the Mozarteum Foundation) and the municipal theatre, Count Arco-Zinneberg's Kaltenhausen brewery had a restaurant and function-rooms built in 1893. The architect was Carl Demel, the master builder Valentin Ceconi. In 1897, the function-rooms were converted into the Hotel Mirabell.
Until 1968, the Mirabell Casino was part of the hotel. In 1970 reconstruction work was begun, in order to give the Marionette Theatre a new home. The former dining-room of the hotel was converted into the auditorium with the stage. It is still impressive, with its elaborate stucco-work and opulent painting. In the course of repairs to the foyer in 2000, the original stucco-work was discovered, and since 2003 the foyer ceiling can be admired in its former splendour.
In the Society of Friends of the Salzburg Marionette Theatre, you belong to our circle of close friends – who come backstage to get to know the puppeteers and their marionettes in person, and meet in special places. With our newsletter, you will be among the first to find out what's on the programme. You'll have exclusive access to rehearsals and you can take look behind the scenes with us, to see just who is pulling the strings.
Come and be part of this circle – you'll find inspiration and good company, besides contributing with you membership fee to the care and maintenance of this unique UNESCO cultural heritage. Rest assured that your membership fee goes 100% to the Salzburg Marionette Theatre.
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Committee: Harald Labbow, Julia Heuberger-Denkstein, Barbara Ortner, Nina Eisenberger, Julia Skadarasy, Katharina Schneider, Eva Rutmann
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