Allegro Vivo

The Allegro Vivo Festival and its Summer Academy are synonymous with top artistic Quality.
These high standards are a result of the combination of greatly experienced artists, lecturers and decision-makers involved in Allegro Vivo and the unique architecture and acoustics of the respective venues.

Building on the rich musical tradition of the host country, this inspiring environment enables musicians to develop their creative talents and provides a forum for innovative programmes.

The master classes of the Allegro Vivo Summer Academy will give emerging talents important creative impulses for their further musical development, encourage young musicians and familiarise children and their parents with music.

Allegro Vivo is intended to be a place of encounter and a vital element of public life in the region, making visitors from all walks of life and all generations aware of how music enriches life and connects people.

At all levels of the organisation, those involved in Allegro Vivo reflect the high standards of the undertaking. Their interactions with others are infused by the readiness to provide excellent service, professionalism and flexibility.

Since 2017, Vahid Khadem-Missagh is the artistic director of Allegro Vivo.


Inspired by the famous violin virtuoso Niccolò Paganini, Vahid Khadem-Missagh unravels unknown secrets and narrates a mysterious fable combining violin virtuosity and magical powers to create a thrilling and enjoyable program for young and old. STRADIVAHID wishes to awaken the passion, love and enthusiasm for music in the heart of every listener. The story of the little violin STRADIVAHID from its birth till it becomes a “master”, symbolizes the life of a young person. The first performance of Vahid Khadem-Missagh’s unique virtuoso music- and-magic performance in Vienna’s Musikverein was sensational. Stradivahid’s “birth” in the Brahms-Hall has become widely known since then and in demand with follow up performances at the Salzburg Festival, the Mozarteum Salzburg, Volkstheater Vienna, Grafenegg Festival, Philharmonie Luxembourg, Konzerthaus Klagenfurt, Jeunesse Austria and other Festivals.

… a stirring tale about virtuosity and the power of magic combined with exquisite pieces of violin literature…

Festspielhaus St. Pölten

Vahid Khadem-Missagh as a magical violinist and a violinist-magician…

ORF, Austrian Radio

Vahid Khadem-Missagh thrills with his virtuosity.

Kronen Zeitung

Vahid Khadem-Missagh enraptures with his magical violin playing and his magic with the violin.

Die Presse

“Vahid Khadem-Missagh enchants not only with his violin and bow…”

Gesellschaft der Musikfreunde in Wien, Musikverein
“It is expected, that a concertmaster is a violin virtuoso. But that he can also do magic? When things start floating through the air before your very eyes and cards disappear and are discovered totally elsewhere – then this is something very special. Or is it really? Just as music has a magical effect, does magic require light-fingered dexterity – a similar requirement for a violinist. Vahid Khadem-Missagh amazes in his virtuosity in both arts – music and magic – and has astounded audiences of children and adults already twice over at the Allegretto Concerts. When a Stradivarius violin hovers around in testithe air, some adult spectators hearts stand still – hopefully nothing happens to the precious instrument! The cards played are carefully observed via a closely positioned camera with their projection on a large screen – and yet none could unravel the secrets…”

– Gesellschaft der Musikfreunde in Wien, Musikverein

Quo Vahid?

Music meets Magic

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Virtuosität in Musik und Magie: Niccolò Paganini und Johann Nepomuk Hofzinser

Vahid Khadem-Missagh
herausgegeben von Cornelia Szabó-Knotik, Wien: Hollitzer Verlag, 2016

Als Sinnbild musikalischer Virtuosität ist Niccolò Paganini eine für den Kult um die makellos ausgeführte, faszinierende Bewegung im beginnenden 19. Jahrhundert zentrale Figur. Und er bediente durch seine Selbstinszenierung als ‚Teufelsgeiger‘ gleichzeitig auch den romantischen Geschmack für das Unheimliche und Übersinnliche.

Beide Phänomene, Virtuosität und Geheimnisvolles, bilden ebenfalls die Folie für den zeitgenössischen Ruf Johann Nepomuk Hofzinsers, der neben seiner musikalischen Ausbildung vor allem als Zauberkünstler hervorgetreten ist und auf diesem seinem Feld bis heute eine Referenzfigur geblieben ist – auch das eine Gemeinsamkeit beider Künstler.

Der selbst in beiden Bereichen wirkende Autor des Buches beschreibt auf der Grundlage akribischer historischer Dokumentation und persönlicher Erfahrung die strukturellen bzw. bedeutungsrelevanten Gemeinsamkeiten beider Felder und führt damit zu neuen, ungewöhnlichen Einsichten in die künstlerische Praxis ebenso wie in das Musikleben des biedermeierlichen Wien.

…fraglos lesenswert.

Das Orchester,
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Capriccio Vienna

The ensemble Capriccio Vienna was founded in 2006 by violinist Vahid Khadem-Missagh who was inspired by Arnold Schoenberg’s chamber music instrumentation and performances in his exclusive circle in Vienna in 1918-1921.

This young and dynamic ensemble explores the vast field of chamber music in all its diversity and crosses over programmatic borders between chamber ensemble and symphonic orchestral works. It focuses on works of the second Viennese school with a special accent on works by Schoenberg, Berg and Webern in their relationship to Gustav Mahler and the performance of his symphonic compositions in chamber ensemble instrumentation.

Members of Capriccio Vienna are soloists and leading musicians of prominent international orchestras. Since 2007 Capriccio Vienna has been a regular guest at the prestigious Grafenegg Festival alongside with the Vienna Philharmonic, Royal Concertgebouw, London Philharmonic and the Leipzig Gewandhaus Orchestra, to name a few. 2014 – CD release of Bruckner’s 7th Symphony in the chamber ensemble version.

Highpoint in a season of concert-going…

Larry L. Lash,

Prolonged, standing, bravo-yelling ovation…

Larry L. Lash,

A Lifetime Memory…

Larry L. Lash,

sheer magic…

Larry L. Lash,

A Mahler Four, a Lifetime Memory

By Larry L. Lash
September 6, 2007

”You never know when and where unforgettable music will occur, but in a drab, musty, former stable on a chilly, cloudy afternoon, Capriccio Wien provided me and, I think, many others in attendance, with the highpoint in a season of concert-going.

The solo violin of Capricco’s leader, Vahid Khadem-Missagh, was sweeter than any massed group of strings. The harmonium, played by Johannes Wenk, sometimes sounded a tad kitschy but somehow worked perfectly. Sandra Jost kept the rhythm just right with a complex assignment at the piano. Clarinetist Kurt Franz Schmid, trilling impressively, brought a raucous, klezmer flavor to the lusty folk dance passages, abetted by Walter Norbert Schober on flute and Andreas Gschmeidler on oboe. Erwin Falk and Gunter Benedikt were kept busy with sleigh bells, drums, and other things hit and tinkled. Operetta and Mozart specialist Birgid Steinberger brought gentle, cheeky irony to the fourth movement with her ravishing, bell-like soprano and perfect diction, describing some rather unsaintly behavior going on in heaven

The heart-stopping poetry of Georgy Goryunov’s honeyed cello concerting with violist Gertrude Rossbacher in the opening passage of the third movement, marked “Ruhevoll,” convinced me that it is simply the most gorgeous thing Mahler ever wrote. When they were joined by the violins of Khadem-Missagh and Alois Wilflinger and Michael Seifried on bass, I was so overwhelmed I began to weep from the sheer beauty of it. Moments like these linger in the mind for a lifetime. “Kein Musik ist ja nicht auf Erden, die uns’rer vergleichen kann werden” (There is no music on earth that can be compared to ours) boasts the soprano, and right she was.

The audiences’ reactions summed up the day. After the Capriccio performance, the prolonged, standing, bravo-yelling ovation seemed to almost embarrass the baker’s dozen, repeatedly called back for more applause. Their surprised faces seemed to ask, “Was it really that good?” It was more than good: it was sheer magic.


    Annely Peebo, Mezzosopran
    Norbert Ernst, Tenor


    Vahid Khadem-Missagh, Violine und Leitung

    Ludwig v. Beethoven:

    Septett op. 20


    Gustav Mahler: “Das Lied von der Erde”

    Fassung für Kammerensemble von Arnold Schönberg und Rainer Riehn


    Wolfgang Holzmair, Bariton


    Vahid Khadem-Missagh, Artistic director & Violin

    Arnold Schönberg: Kammersinfonie Nr. 1 op. 9

    Bearb. Für Flöte, Klarinette, Violine, Violoncello und Klavier von Anton Webern

    Gustav Mahler: Lieder eines fahrenden Gesellen (1883-85)

    Bearbeitung für eine Singstimme, Flöte, Klarinette, zwei Violinen, Viola, Violoncello, Kontrabass, Klavier und Harmonium von ARNOLD SCHÖNBERG (1920)


    Gustav Mahler: Kindertotenlieder

    für Singstimme und Kammerensemble bearbeitet von Rainer Riehn (1987)

    Text von Friedrich Rückert

    Nun will die Sonn’ so hell aufgeh’n • Nun seh’ ich wohl, warum so dunkle Flammen • Wenn dein Mütterlein • Oft denk’ ich, sie sind nur ausgegangen! • In diesem Wetter



    Vahid Khadem-Missagh, Artistic director & Violin

    Kurt Schwertsik (*1935): Twilight Music op. 30

    A Celtic Serenade for Octet


    Anton Bruckner: 7. Sinfonie E-Dur

    Bearbeitung für Kammerensemble von Erwin Stein, Hanns Eisler, und Karl Rankl 1921



    Vahid Khadem-Missagh, Artistic director & Violin


    Rosen aus dem Süden op.388 (1880)

    (Bearb. Arnold Schönberg 1921) Pf, Harm, 2V, Va, Vc,

    Schatzwalzer op.418 (1886)

    (Bearb. Anton Webern 1921) Pf, Harm, 2V, Va, Vc,

    Wein, Weib und Gesang op.333 (1869)

    (Bearb. Alban Berg 1921) Pf, Harm, 2V, Va, Vc


    GUSTAV MAHLER: Sinfonie Nr. 4 G-Dur,

    Bearbeitung für Kammerensemble von Erwin Stein (1921)