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Skip to main content. August Vollbild. Generating enthusiasm through passion is what links our "Story of Joy" campaign with the Bregenz Festival. We offer customers and audiences fascinating experiences that move them and bring them forwards in a variety of ways.

Since the beginning of our new partnership, the Bregenz Festival has been a key component of BMW Group's worldwide commitment to culture. We consider ourselves a sustainable partner and want to offer institutions like the Bregenz Festival a solid basis on which they can plan their future. And since this partnership with the Bregenz Festival works extraordinarily well, we can already look back today on more than 38 years of successful partnership. Ambitious, outstanding and connected - these are the values of Hypo Vorarlberg and they are also the factors behind the success of Bregenz Festival.

This connection makes a partnership with the biggest cultural event organiser in Vorarlberg particularly attractive for us. As green energy partner of the Bregenz Festival we ensure that the energy resources are used as efficiently and environmentally responsibly as possible. We are shaping our positive energy future together.



One September evening in , Arthur Schnitzler, a young doctor with literary aspirations, was out walking with a friend on the Ringstrasse, the grand new boulevard encircling the old city of Vienna. A pretty young woman caught his eye, and Schnitzler suggested that they all go back to his place, where he kept a bottle of cognac handy for just this sort of occasion. Jeanette Heger was twenty-two and made a living doing needlework in a modest apartment she shared with her sisters. The next afternoon, she visited alone. She found the doctor playing the piano and sat down at his feet. Her presence made it hard to use the pedals but easy for him to move his fingers from the keys to her blond hair. Schnitzler made his name capturing this aimless, pleasure-seeking atmosphere in plays and stories that drew on his own aimless, pleasure-seeking existence.


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When Arthur Schnitzler was sixteen years old, his physician father discovered the boy had visited a house of ill repute. He did not lecture him, but required him to read through a tome about venereal diseases, filled with grisly illustrations. This lesson did not restrain his amorous pursuits. However, it was not his personal adventures with women that aroused the critical attention of the public, such adventures were countless at the turn of the century in Vienna, but his stage dramas that called attention to that kind of behavior, criticizing it as being heartless, banal. It was bad taste to mention, let alone criticize, questionable behavior.

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