Herbert von Karajan rehearsing „Die Walküre“ in 1967 with assistant stage directors Wolfgang Zörner and Peter Busse (with spear). Photo: S. Lauterwasser, Karajan®-Archiv


WalküRe 1967 • 2017

The new production of Wagner’s music drama Die Walküre in the jubilee year of the Salzburg Easter Festival, with a reconstruction of Günther Schneider-Siemssen’s stage designs of 1967, offers an opportunity to contemplate the shift in theatre aesthetics and the changes in our reception habits over the past 50 years. To this end, two symposia will be held, to which a series of international experts will be invited. They will discuss what music theatre in the 21st century can learn from such a realization of scenic archetypes. Is it merely an ‘archaeological’ look back with candour on another epoch of operatic history or does its charged relationship with the Regietheater of today pose new, fundamental, topical questions for us?



Eleonore Büning
Music journalist, Frankfurter Allgemeine Zeitung
Ortrud Gutjahr
Professor for Modern German Literature and Intercultural Literature, University of Hamburg
Vera Nemirova
Opera director
Wilhelm Sinkovicz
Music journalist, Die Presse

Moderator: Peter Ruzicka

Monday, 10 April 2017, 11:00—12:30
Max Gandolph Library


Please register at



Herbert von Karajan presenting the CD with Akio Morita (Founder of Sony), 1981 Salzburg Easter Festival. Photo: S. Lauterwasser, Karajan®-Archiv.Please ask for hi-res photo via e-mail (see above).
Herbert von Karajan presenting the CD with Akio Morita (Founder of Sony), 1981 Salzburg Easter Festival. Photo: S. Lauterwasser, Karajan®-Archiv

Karajan Music Tech Conference

After the triumph of the compact disc – a medium on which Herbert von Karajan had a crucial influence – and the subsequent revolution of the music business through apple’s download platform iTunes at the turn of the century, the continuing digitization of the economy means that the music industry is once again faced with a (dual) challenge. On the one hand, there are music streaming services such as spotify and YouTube, which make music accessible to users all over the world, often at no cost. But on the other hand, we can observe the rise of ‘big data’ and systems of artificial intelligence that make completely new scenarios possible for both the creation and the use of artistic artefacts, such as linking scores and recordings.
Just how these developments will influence classical music is the topic of this international symposium. The focus of the discussion will be the changes in production methods and in the dissemination and reception of classical music over the last 30 years. Moreover within the frame of this event there will be a presentation of the newest technologies such as virtual reality and 360° viewing/immersive listening.


10:30 Welcome Notes
11:00 Classical Music and the Digital Revolution
12:00 Music Cognition and Big Data
13:00 Lunch Break
14:00 Understanding Music: Perspectives on Neuro-Sciences and Artificial Intelligence
15:00 Virtual Reality, Immersive Experiences and Music
16:30 Reception

Michael S. Cuthbert Massachusetts Institute of Technology
Philip Ginthör Sony Music Entertainment Austria
Alexander Rehding Harvard University
Peter Revers University of Music and Performing Arts Graz
Andreas Spechtler Silicon Castles
Eugen Trinka Christian Doppler Klinik Salzburg
Gerhard Widmer Johannes Kepler University Linz
Eva Wimmers Huawei Europe/Honor
Moderators: Hedwig Kainberger, Jessica Lustig, Rebecca Schmid und Matthias Röder


Thursday, 13 April 2017, 10:30—17:00
Mozarteum University Salzburg, Solitär

Further information and registration at



The Eliette and Herbert von Karajan Institute is a Cooperation Partner of the 2017 Salzburg Easter Festival


In collaboration with Salzburg Museum, Mozarteum University Salzburg and University of Salzburg