First encounter with the Salzburg Festival – the world’s most famous summer opera event
I had barely recovered from the performances at the Wagner Festival in Bayreuth (read my report) when I found myself packing the suitcase for the next adventure – my first visit to the legendary Salzburg Festival (Salzburger Festspiele), where I attended two productions: Giuseppe Verdi’s “Macbeth,” directed by Krzysztof Warlikowski, and Gaetano Donizetti’s “Maria Stuarda.” Thanks partly to luck and partly to determination, I finally managed to secure the coveted tickets and take part in these landmark events.
Inextricably linked to Mozart, Salzburg is almost twice the size of Bayreuth. Its population is around 150,000, but during the summer months it becomes a mecca for over 250,000 music lovers from 80 countries worldwide. During my visit, the weather was capricious, and it was only on the day of my departure, when the sun finally appeared, that I could fully appreciate the city’s charm. Unlike in Bayreuth, the hotel where I stayed was operating normally, though many rooms were occupied by festivalgoers. It was a shame that this opportunity was not more fully exploited, but after all, I had not come for the hotel. To soak up the festival atmosphere, I immediately headed to the city center… and I was not disappointed.
First and foremost: the architecture. The Old Town houses, mainly dating from the 16th–18th centuries, often stand on medieval foundations. The most famous street, Getreidegasse, narrow and picturesque, is known for the wrought-iron trade signs attached to the façades. It is no surprise that in 1996 it was listed as a UNESCO World Heritage site. At number 9, Wolfgang Amadeus Mozart was born in 1756, and today the building houses a museum dedicated to the composer.
Second: the entire center is adorned with festival banners, and many shops display program posters. An inseparable element of the city is the heavily commercialized image of Mozart, especially present in shops, kiosks, and points of sale for the famous Mozartkugel chocolates (formerly Mozart Bonbon). Thanks to Anna S. Dębowska (Gazeta Wyborcza journalist), I learned that the only confectionery entitled to use the name “Original Salzburger Mozartkugeln” is Konditorei Fürst. It was there, in 1890, that these famous chocolates were created, and to this day they are handmade according to the traditional recipe and wrapped in the distinctive silver-and-blue foil. How do they taste? I think even those who are not fond of marzipan will be impressed by their texture, consistency, and flavor.
Through narrow streets and “secret” passages called “Durchhäuser,” which make it easier to navigate the crowded Old Town, I finally reached the Festspielhäuser, the complex of the festival’s three main theaters. The Großes Festspielhaus (Large Festival Hall), opened in 1960 and designed by Clemens Holzmeister, seats 2,179 and boasts one of the widest stages in the world – an impressive 100 meters. This allows for monumental productions, though it can also be challenging for directors. The Haus für Mozart (formerly Kleines Festspielhaus), with 1,580 seats, was built in 1925 and, after extensive renovation, reopened in 2006. The third venue, the Felsenreitschule (literally Rock Riding School), with three-story arcades carved in 1693 into the walls of a disused quarry, now has 1,437 seats and is famous for its extraordinary acoustics. The entire complex is located along a relatively narrow street at the foot of Mönchsberg, and from the outside it is hard to imagine the vast spaces inside.
The Salzburg Summer Festival offers not only opera performances but also concerts, theatrical productions, and specially curated programs for young audiences. The closer it got to the start of a performance, the more the street in front of the entrance filled with elegantly dressed patrons. I attended regular repertoire performances, so the crowd mostly wore suits with ties or bow ties and elegant but relatively subdued evening dresses. Apparently, for premiere performances, the dress code is much stricter: Black Tie.
As in Bayreuth, tickets are personalized, and upon entering the building, you must present both your ticket and ID. A stall in the spacious foyer of the Großes Festspielhaus offers CDs and DVDs of the artists performing that evening, as well as festival souvenirs: magnets, mints, pencils, and keychains. Programs are also available for 10 euros. In a few spots, small snacks, drinks, and alcoholic beverages can be purchased. Entry to the auditorium and the end of intermission are announced by staff, who ring an old-fashioned hand bell. And the Großes Festspielhaus itself? It is enormous, divided into stalls and balcony, with well-angled rows and comfortable seats. I sat in the last row in the circle, with very good visibility and acoustics. The only downside was the significant distance from the stage, which made it hard to catch the finer details.
On the first evening, I attended Verdi’s “Macbeth,” directed by Krzysztof Warlikowski, which premiered in 2023. This year the production returned with nearly the same cast. Warlikowski’s staging is, for me, a model example of contemporary opera interpretation: it combines respect for the music with a revitalization of theatrical language, giving the work a universal dimension. On the second evening, I attended Donizetti’s “Maria Stuarda.” Having already watched its live-broadcast premiere online, this year’s production was no surprise to me.
If I were to compare the two festivals – Bayreuth and Salzburg – the event that left a decidedly stronger impression on me was the former. All of Bayreuth lives and breathes the festival, treating it as something truly exceptional. Added to this are the rituals: fanfares from the musicians calling the audience to their seats, long one-hour intermissions during which you can eat and exchange impressions at leisure, and, above all, the power of Wagner’s music and the high level of performance. Salzburg is more reserved, and although it is flawless from an artistic standpoint, at times it can feel a bit snobbish. Both places, however, share one thing: both festivals are highly addictive. I speak from experience – I am already figuring out how to come back next year.
Things to keep in mind when planning a visit to Salzburg:
- Register for tickets immediately after the program for the following year is announced via the festival’s online form.
- Once you receive confirmation of whether tickets have been allocated to you, book your accommodation without delay.
- Salzburg can be reached by plane (with a connection) or by train from Vienna (approx. 300 km) or Munich (approx. 150 km).
- It is worth carrying cash. Many places enforce a minimum card payment, and it is not small: 15–20 euros.
- Admission to the Mozart Museum costs 15 euros.
- Tickets must be personalized no later than the day of the event.
- For added convenience, you can pre-order snacks to enjoy during the intermission.
- Be sure to try Wiener Schnitzel (prices vary depending on the venue, from 16 to 35 euros) and the original Mozartkugeln (1.80 euros).
- Even if you are not attending a premiere, it is worth bringing formal attire. A suit or evening dress is practically mandatory. In jeans and sneakers, you may feel out of place.
- Entry to the auditorium is signaled by the staff and takes place promptly. Latecomers are not admitted until the intermission.
- Programs cost 10 euros.
- The Salzburg Festival ranks among the world’s priciest opera events. Even balcony seats can top 80 euros, and the best stalls often go for several hundred. Planning ahead is essential.
- Salzburg becomes crowded during the festival, and restaurant and hotel prices soar. It is wise to make reservations well in advance and be aware that the city turns into one large social salon during this time.