Thursday 26 May: "The Empire Falls and is Reborn"

Today’s class began with a discussion of something I read in a book I about the Hapsburgs I have been reading. Vienna under the reign of Maria Theresia was only a city of around 200,000 people. Of this there were 10,000 common prostitutes, 4,000 higher class courtesans, 12,000 people with syphilis, and an infant mortality rate of 40%. Putting the society into perspective gives a glimpse into the everyday life the Viennese lived in. There was a specific section of the city for prostitution, and those who did not abide by the laws governing it were deported to Hungary. Joseph II attempted to curtail prostitution by having bushes in parks uprooted, the churches locked, and other measures meant to deter the practice within the city wall.

Another figure in Viennese history to constantly enters our class discussions is Prince Metternich who rose to prominence as an Austrian foreign minister in 1809 under Francis II/I. We can thank the boundaries of modern day Europe to Metternich’s political influence over the congress of Vienna in 1814/1815 after Napoleon was defeated. It was through this act which Germany and Italy would become nations and immense nationalism through music and the arts would rise and color the world. This nationalism evolved from art and literature connections in the regions which Metternich ignored when the map of Europe was redrawn after the Napoleonic wars. The Holy Roman Empire was effectively dissolved, and Frances II was now Emperor Francis I of the Austrian Empire that struggled to regain their footing in European politics. Napoleon had not just shaped France, but the entirety of Europe for years to come. Talk then turned back to Beethoven, which I mentioned in an earlier entry.

Our abbreviated talk of Beethoven allowed us the opportunity to tour the Staatsoper. Built during the reign of Franz Joseph, the Staatsoper was intended to replace the wooden structure theater that had been located in the Hofburg complex. This earlier theater has become to be known as a fire hazard and was not well constructed, for if a fire began engulfing the building, there was hardly a way to escape unless you left by the grand entrance. The 1,709-seat Renaissance Revival venue was the first major building on the Ringstraße. It was built from 1861 to 1869 following plans by August Sincard von Scardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (Wiener Hofoper), but after the fall of the monarchy has been known as Wiener Staatsoper. One story goes that Franz Joseph disliked the building and informed the architect of this fact. Not long after, Nüll committed suicide and Scardsburg died of tuberculosis. Neither saw the building completed.

Most of present day operatic reforms were instituted in this theater under the hands of Director Gustav Mahler. Mahler was the first conductor to introduce the practice of dimming the lights. Mahler also insisted the attendees arrive on time or be seated after the intermission and discontinued the practice of eating, drinking, and socializing during performances.

For lunch I visited the market celebrating Ascension Day which had been set up around the Stephensdom. Much of the food offered were varying styles of bratwursts, ham and noodles with cheese, beer, wine, and a multitude of desserts. After a quick lunch, I decided to go back to the hostel to rest before the evening’s performance of Wagner’s Siegfried. My seat this time was much better than the box seats I had for the first two operas, and I was astounded with the production as were the Viennese public! It is exceedingly rare for the Viennese to give a standing ovation for any performance, as a standing ovation has a much more important meaning here than in the United States where it is common practice to stand no matter how good or bad the performance was. The performance ended with the love duet between Siegfried and Brünnhilde and the audience leapt to their feet for a standing ovation that lasted 10–15 minutes before the house lights were turned on and the audience was forced to leave. Had it not been stopped, there is no telling how long the ovation might have lasted! I have never experienced an opera nor any piece by Wagner in that manner, and it has excited me for the final performance of the Ring: Götterdämmerung.

An interesting side bar, the gentleman sitting next to me was escorted to his seat and called maestro by all of the staff at the Staatsoper and he seemed to know the score intimately, thus I was able to infer he at onetime was probably a former conductor of sometime at the opera. Europe is filled with wonders and happenings, so I may never know.

The view from my seat.