In Vienna in January, the early music festival “Resonanzen” extends the memory of the great Baroque era of the Austrian capital in the 18th century. In the various halls of the imposing and very classical Wiener Konzerthaus, up to three concerts a day are offered. The 2026 edition has just concluded under the theme “Women.” A look back at a major event in musical life in Central Europe. 
By Sabine Weber
“Resonanzen” in Vienna has been one of Austria’s most important early music festivals since 1993. Organized by the Wiener Konzerthaus, the festival takes place every January over nine days. Performances are held mainly in the old Art Nouveau building with its clean lines, a sumptuous staircase, and a richly gilded interior. Indeed, the first and last concerts of the festival always take place in the Great Hall and are broadcast live by Austrian radio. Other events are held in the Mozart Hall or, for chamber music, in the Schubert Hall. The 34th edition, devoted to the theme “Women,” has just come to a close with resounding success. An interview with its artistic director, Peter Reichelt.
You were the festival’s dramaturge and artistic advisor, and you are now its artistic director… As a native of Vienna, you’re immersed in the city’s culture. After all these years, can we talk about a festival philosophy, or does it reinvent itself every year?
Peter Reichelt: The two are not incompatible and are certainly both true. Of course, one has to reinvent oneself every year. The festival must be attractive, coherent, and harmonious. And when you are a themed festival, as we are, that is a central element of the dramaturgical conception. One must not bore people! This year, we were particularly successful in that respect. The reactions point in that direction. I attribute this to the theme we chose for the festival: women! (smiles) The entire early music world has, of course, changed since 1993. While there isn’t necessarily an equivalent festival that could overshadow us, there is, quite obviously, the Theater an der Wien, a formidable competitor for several years now…
… because it presents Baroque operas—that is, early music?
P. R.: Yes, the Theater an der Wien offers many Baroque operas, both in concert and staged versions, throughout the year. And that is not insignificant. Then the festival audience has also grown older. There are the unwavering subscribers and the new audience. In this respect, we must not only reinvent ourselves each year in dramaturgical terms but also, more broadly, adapt to current trends and respond to them thematically in particular. But that is also my ambition: to provide as much context as possible, to link history with the present. We need themes that resonate today. That is what makes programmes appealing. They do not necessarily have to be beautiful, because I do not want the audience to be lulled and say, “That was very beautiful!” and nothing more…
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