What does an interlude look like

What connects us is so strong that everything else that may still lie ahead of us in our freedom appears to be insignificant. You feel that just as much as I do? After all, we still belong together, even if one of a hundred threads that bind us is torn. Or should we suddenly forget what we were to each other and what we can and must remain with each other? One thing is certain, that nobody will understand you the way I do, and nobody will understand me like you ... And that’s what matters!
Amadeus

The singer Cäcilie and the composer Amadeus try to save their crumbling marriage by giving each other permission to be unfaithful while demanding that each other be told the absolute truth. While Cäcilie draws increased self-confidence from this agreement, Amadeus is confronted with the limits of his patriarchal self-image - he is inflamed with jealousy and newly awakened love for his wife ...

The ethical requirement of loyalty is based on the prerequisite that each person is only given a limited amount of love, ability and need for love, which is just sufficient for a particular partner. But it seems very questionable whether such a requirement of exclusivity is based on nature and, above all, whether its observance would be sensible in any case, indeed whether it would only be in the interest of the apparently damaged partner.
Arthur Schnitzler

Peter Wittenberg's direction is concise and sensitive. Pleasing to hear the old Schnitzler tone again.
(COURIER)

Peter Wittenberg designs a dark, dreamlike mirror world that is atonally jagged between the scenes. He uses this ambience for a finely spun, in the good sense conservative work. In the "interlude" Schnitzler is at the height of his art of conversation, and on stage the often ridiculed, but in truth pretentious Josefstadt tone triumphs in the most beautiful self-irony. Maria Köstlinger and Bernhard Schir are a formidable Schnitzler couple, Joseph Lorenz and the courageous child Phillip Bauer stand out from the fine ensemble.
(Kronen Zeitung)

Maria Köstlinger and Bernhard Schir are doing a great job. They talk to each other, often with hints, never lying, but never telling the whole truth. That leads to comical, if not to say funny, moments. The appearances of Albertus Rhon, the writer and friend and librettist of Amadeus, are also bizarre and funny. Joseph Lorenz gives that Rhon to Amadeus' crazy ideas about "friendship between the sexes" in a somewhat sarcastic way. Roman Schmelzer gives Sigismund, Prince von und zu Maradas-Lohsenstein, brilliantly lovable naive. Gorgeous!
(FAZ)

Director
Peter Wittenberg

Stage design
Florian Parbs

Costumes
Alexandra Pitz

music
Bernhard Moshammer

dramaturgy
Matthias Asboth

light
Pepe Starman

Amadeus Adams, conductor
Bernhard Schir

Cäcilie Adams-Ortenburg, opera singer, his wife
Maria Köstlinger

Peterl, 15 years old, both children
Phillip Bauer / Teodor Gregor Ilic

Albertus Rhon
Joseph Lorenz

Marie, his wife
Martina Stilp

Sigismund, Prince of and to Maradas-Lohsenstein
Roman Schmelzer

Countess Friederike Moosheim, opera singer
Silvia Meisterle

How to buy tickets:

in the Online shop AROUND THE CLOCK

with the Josefstadt APP AROUND THE CLOCK


Opening times & ticket purchase:
at the box office and by phone on +43 1 42 700-300

General advance ticket sales begin on the 4th of each month for the entire next month.

weekdays Mon to Fri from 10:00 a.m.,
Sat, Sun and public holidays from 1 p.m.
until the beginning of the evening performance.
On days when a matinée or special event takes place:
Theater box offices open one hour before the start
Telephone sales can be reached one hour before the start
Closed on Good Friday.
Open on December 24th from 10 a.m. to 12 p.m.


additional Information

buy tickets

in the online shop


by phone: +43 1 42700-300


at the box office

workdays Mon to Fri from 10 a.m.,
Sat, Sun and public holidays from 1 p.m.
until the beginning of the evening performance.


additional Information