page_title: Gustav Mahler
section_title: Hofoper director
hierarchical_section_title: Gustav Mahler / Biography / Vienna, 1897–1907 / Hofoper director
caption_attribution_description: English: State opera in Vienna Deutsch: Wiener Staatsoper, fotografiert vor 1898
context_page_description: Gustav Mahler was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect, which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century. In 2016, a BBC Music Magazine survey of 151 conductors ranked three of his symphonies in the top ten symphonies of all time.
  Born in Bohemia to Jewish parents of humble origins, the German-speaking Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera.
context_section_description: As he waited for the Emperor's confirmation of his directorship, Mahler shared duties as a resident conductor with Joseph Hellmesberger Jr. (son of the former conservatory director) and Hans Richter, an internationally renowned interpreter of Wagner and the conductor of the original Ring cycle at Bayreuth in 1876. Director Wilhelm Jahn had not consulted Richter about Mahler's appointment; Mahler, sensitive to the situation, wrote Richter a complimentary letter expressing unswerving admiration for the older conductor. Subsequently, the two were rarely in agreement, but kept their divisions private.
  Vienna, the imperial Habsburg capital, had recently elected an anti-Semitic conservative mayor, Karl Lueger, who had once proclaimed: "I myself decide who is a Jew and who isn't." In such a volatile political atmosphere Mahler needed an early demonstration of his German cultural credentials. He made his initial mark in May 1897 with much-praised performances of Wagner's Lohengrin and Mozart's Die Zauberflöte. Shortly after the Zauberflöte triumph, Mahler was forced to take sick leave for several weeks, during which he was nursed by his sister Justine and his long-time companion, the viola player Natalie Bauer-Lechner. Mahler returned to Vienna in late July to prepare for Vienna's first uncut version of the Ring cycle. This performance took place on 24–27 August, attracting critical praise and public enthusiasm. Mahler's friend Hugo Wolf told Bauer-Lechner that "for the first time I have heard the Ring as I have always dreamed of hearing it while reading the score."
  On 8 October Mahler was formally appointed to succeed Jahn as the Hofoper's director. His first production in his new office was Smetana's Czech nationalist opera Dalibor, with a reconstituted finale that left the hero Dalibor alive. This production caused anger among the more extreme Viennese German nationalists, who accused Mahler of "fraternising with the anti-dynastic, inferior Czech nation." The Austrian author Stefan Zweig, in his memoirs The World of Yesterday (1942), described Mahler's appointment as an example of the Viennese public's general distrust of young artists: "Once, when an amazing exception occurred and Gustav Mahler was named director of the Court Opera at thirty-eight years old, a frightened murmur and astonishment ran through Vienna, because someone had entrusted the highest institute of art to 'such a young person' ... This suspicion—that all young people were 'not very reliable'—ran through all circles at that time." Zweig also wrote that "to have seen Gustav Mahler on the street [in Vienna] was an event that one would proudly report to his comrades the next morning as it if were a personal triumph." During Mahler's tenure a total of 33 new operas were introduced to the Hofoper; a further 55 were new or totally revamped productions. However, a proposal to stage Richard Strauss's controversial opera Salome in 1905 was rejected by the Viennese censors.
  Early in 1902 Mahler met Alfred Roller, an artist and designer associated with the Vienna Secession movement. A year later, Mahler appointed him chief stage designer to the Hofoper, where Roller's debut was a new production of Tristan und Isolde. The collaboration between Mahler and Roller created more than 20 celebrated productions of, among other operas, Beethoven's Fidelio, Gluck's Iphigénie en Aulide and Mozart's Le nozze di Figaro. In the Figaro production, Mahler offended some purists by adding and composing a short recitative scene to Act III.
  In spite of numerous theatrical triumphs, Mahler's Vienna years were rarely smooth; his battles with singers and the house administration continued on and off for the whole of his tenure. While Mahler's methods improved standards, his histrionic and dictatorial conducting style was resented by orchestra members and singers alike. In December 1903 Mahler faced a revolt by stagehands, whose demands for better conditions he rejected in the belief that extremists were manipulating his staff. The anti-Semitic elements in Viennese society, long opposed to 
caption: The Vienna Hofoper (now Staatsoper), pictured in 1898 during Mahler's conductorship
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