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House for Mozart

Clemens Holzmeister, Eduard Hütter

alias Haus für Mozart, Festpielhaus Salzburg (Festival Theatre, 1925-1960, Kleines Festspielhaus Salzburg (Small Festival Theatre, 1960-2006)
Historia del teatrosuplementodatos técnicosEquipamiento histórico

eventos importantes

(Detalle)1925 | Opening night

After the completition of the construction, which took place between 1924-1926 , according the design by Eduard Hütter as an alteration of the 1607 "Hofmarstall" (court horse stables), the theatre was opened on 13 Aug 1927 with Hofmannsthal's "Das Große Welttheater". (The Salzburg Great Theatre of the World).


(Detalle)1938 | Reconstruction

In 1937-38, Holzmeister carried out a rebuilding in which the auditorium was turned 180 degrees and among other he carried out such a changes as construction of additional stage area, enlargement of the orchestra pit or erection of two galleries as well as side galleries and loges.


(Detalle)1939 | Reconstruction

After Austria was annexed by the Third Reich in 1938, the frescoes by Anton Faistauer, the mosaics by Anton Kolig and the sculptures by Jakob Adlhart were considered to be "degenerate art."  Benno von Arent was commissioned to carry out the next adaptation. He replaced the wood paneling with a gold-decorated plaster ceiling.


(Detalle)1963 | Reconstruction
The unfavourable viewing and acoustic conditions necessitated another building alteration in 1962/63. The Salzburg Architects, Hans Hofmann and Erich Engels gave the Hall its appearance that it then kept until the 31st of August 2004.
(Detalle)2006 | Reconstruction

The former royal stables were last adapted as a "House for Mozart" from 2003 until 2006 (Mozart year) by architect Wilhelm Holzbauer, one of Clemens Holzmeister's students, and the Luxembourg architect François Valentiny. It consisted of new construction and truncation of the auditorium, lowering of fundaments, building of an upper circle, reconstruction of the foyer and erection of a lounge on the roof.


Gente

Historia

Toward the end of the First World War the idea arose of establishing a festival in Salzburg, a princely baroque town far removed from the everyday bustle of the big cities. Taking up an idea promoted by the Stiftung Mozarteum(Mozarteum Foundation) at the end of the 19th  century to regularly hold a Mozart Festival (W. A. Mozart) in Salzburg, F. Gehmacher and H. Damisch founded the society "Salzburger Festspielhaus-Gemeinde" (Festival Theatre Committee) in 1917, with the aim of raising the funds needed for the construction of a Festspielhaus (Festival Theatre). Director Max Reinhardt, whom had begun his career as an actor at Salzburg Stadttheater, submitted a memorandum to this effect in Vienna in 1917. The poet and dramatist Hugo von Hofmannsthal in turn published an outline of the festival’s philosophy in 1919. These two artists were then joined by composer Richard Strauss, scenic designer Alfred Roller and Franz Schalk, conductor and director of the Vienna Hofoper. Working in concert against all opposition, these five men founded the Salzburg Festival even before there were any prospects of obtaining funds for a festival theatre. The Festival was born on 22 August 1920 when Hofmannsthal’s morality play Jedermann ("Everyman"), in Reinhardt’s production, was performed on the steps of Cathedral Square. When the production was revived the following year a series of concerts was added, and the first opera was heard in 1922. After recurring financial difficulties, which were especially aggravated by the conversion of the court stables (dating from 1607) into a Festival Hall, the Salzburg Festival was guaranteed financial support by the city of Salzburg, the province of Salzburg and the Federal government.

 

The Small Festival Hall (Kleines Festspielhaus) was constructed in 1924-25 by the conversion of the former large Winter Riding School and was further altered in 1926 by Clemens Holzmeister and the frescos by Anton Faistauer added in the Foyer. In 1937-38, Holzmeister carried out a further drastic rebuilding in which the auditorium was turned 180 degrees and enlarged to 1682 seats. The auditorium had a length of 55 meters. After Austria was annexed by the Third Reich in 1938, the frescoes by Anton Faistauer, the mosaics by Anton Kolig and the sculptures by Jakob Adlhart were considered to be "degenerate art." Clemens Holzmeister was no longer politically opportune so that the "Reich stage designer" Benno von Arent was commissioned to carry out the next adaptation. He replaced the wood paneling with a gold-decorated plaster ceiling.  The unfavourable viewing and acoustic conditions necessitated another building alteration in 1962/63. The Salzburg Architects, Hans Hofmann and Erich Engels gave the Hall its appearance that it then kept until the 31st of August 2004. The former royal stables were last adapted as a "House for Mozart" from 2003 until 2006 (Mozart year) by architect Wilhelm Holzbauer, one of Clemens Holzmeister's students and the Luxembourg architect François Valentiny. The three entrance portals were designed by the artist Josef Zenzmaier, the German artist, Michael Hammers, was commissioned to design and install the "Golden Wall" in the foyer. Mozart's Le Nozze di Figaro, conducted by Nikolaus Harnoncourt, was performed at the festive opening.


All 22 of the Operas that Wolfgang Amadeus Mozart composed, starting with his early musical comedies and musical theatre fragments up to and including his world acclaimed Masterpieces, were performed in the year 2006 during the Salzburg Festivals: a gift in commemoration of the 250th birthday of Salzburg’s “favourite son”. The schedule of events for the “Year of Mozart” presented a great challenge, both artistically as well as organizationally. It not only meant engaging the best musical conductors, directors, and vocalists but also to clear up the question: What can be played where? For many years the Salzburg Festivals have pursued the idea of creating a “Haus fuer Mozart” (House of Mozart) that would do justice in all respects for the Stage works of the Composer: with optimal acoustics and ideal visibility from every seat. Here you should be able to hear even the softest of Pianissimo-Nuances, to see it on the actors’ faces, to be able to follow their expressions. Along with a necessary intimacy, the room must also provide ample seating because Mozart’s music has many friends. The Architectural Team of Holzbauer and Valentiny made what appeared to be “the square of a circle” possible: The former “Kleines Festspielhaus” (Small Festival Hall) was transformed into the “Haus fuer Mozart” in three constructional phases, starting in September of 2003 and now meets all the afore-mentioned standards.


The auditorium of the “Kleine Festspielhaus” was widened, shortened, and lowered. Two new tiers that reach up to the stage on both sides of the hall were added. By doing so the beautiful effect has been achieved that not the bare walls but people in a festive mood surround the stage on three sides. In the future, the “Haus fuer Mozart” will accommodate up to 1,580 people. There is seating for 1,495 and standing room for 85. The Foyer area has also been altered substantially in contrast to the “Kleines Festspielhaus” of the past. High windows that span a number of stories allow a wonderful view from the main Foyer onto the cityscape. Similarly, the brightly lit interior of the theatre casts its light outside at night. The main Foyer is primarily characterized by a gold gilded “Lamellenwand” (A wall with wooden slats) 17 meters high. Through its openings you can view the head of Mozart created out of Swarovski crystals. A terrace located on the front of the hall was never accessible to the public since its construction in 1924. With the new construction it has now become a part of the “Intermission Foyer”. The underlying arcade was glassed-in and now makes it possible to open up the Auditorium from two sides instead of just one, as it has been previously. It also allows you to step out of the “Festspielhaus” into the magnificent urban landscape.


The “SalzburgKulisse“ (Salzburg Backdrop), the new Festival lounge on the roof, is becoming quite an attraction: Just its name alone is an indication of the magnificent view that awaits you as look upon the Old Town and into the Salzach River Valley. The interior walls of the lounge are wainscoted with Pear tree wood and the tapestries in the alcoves stem from Anton Kolig, a contemporary of Anton Faistauer. The Faistauer-Foyer has become a jewel in this new “House”: The famous frescoes that adorn this room were created by the Salzburg Painter Anton Faistauer in 1926. They were removed during the Nazi invasion and some of them were wantonly destroyed. It was in the year 1956 that they could finally be refitted. They were restored back to their original condition for the Dedication of the “Haus fuer Mozart”. Moreover, the room itself was architecturally restored to its original, historical, state.


The exterior façade has retained Holzmeister’s “Ensemble”, from the years of 1924/37, in its original proportions. The optical impression of the façade is determined by the representative hall exits that lead onto the terrace and were designed by the sculptor Josef Zenzmaier: He created large Bronze reliefs that were installed above the portals and portray scenes from Mozart’s “Le nozze di Figaro”, “Don Giovanni, and “The Magic Flute”. The Stone masks of Jakob Adlhart are now well visible in front of the main entrance of the “Haus” underneath the new, far-overhanging, gold leafed, concrete roof. Coarsely spattered concrete surfaces contrast with fine gold leaf throughout the whole house, thereby creating an aesthetic tension.

 

This text is a compilation of the articles from these web sites :

http://www.salzburg.info/en/art_culture/salzburg_festival/haus_fuer_mozart.htm

http://www.aeiou.at/aeiou.encyclop.s/s037352.htm;internal&action=_setlanguage.action?LANGUAGE=en

http://www.planetware.com/salzburg/house-for-mozart-formerly-the-small-festival-theater-a-s-sft.htm

http://www.salzburghighlights.at/en-salzburg_festival-performance_venues.htm

 

 

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