The Volksoper Vienna has taken a significant step toward the digitalization of its theater technology with the installation of a new IP-based stage management console (“Inspizientenpult”) and the comprehensive modernization of the technical infrastructure surrounding it. The project extends far beyond the console itself, bringing together new video and monitoring infrastructure, an expanded communication network, new technical connection points and integrated emergency communication.
At the center of the project is Martin Lukesch, head of the sound and media technology department at the Volksoper Vienna, who was responsible for the project’s technical and operational direction. Lukesch has previously discussed the technical development of the Volksoper with the NYC Daily Post, including its use of point sound source systems, in an interview published in March 2025.
To understand how the new stage management system came into being, NYC Daily Post conducted extensive interviews with people involved at different stages of the project. Lukesch outlined the technical and operational vision behind the modernization; Alexander Kränkl of Technical Planning Office Kränkl (TBK) explained how the theater’s requirements were translated into a realizable technical concept; and Michael Hirschmann provided insight into construction supervision and the transition from planning to on-site implementation.
Representatives of PKE Electronics GmbH, an Austrian technology and systems integration company specializing, among other areas, in professional media and theater technology, explained the technical implementation and integration of the system. Among them is Robert Peham, international sales director at PKE, who provided the company’s perspective on the project, alongside PKE specialists Thomas Hauschka and Erik Sagatelyan. The practical perspective of Head of Stage Management Celia Tafaj and the institutional perspective of Commercial Director Christoph Ladstätter complete the picture.
This range of perspectives is important because the new stage management console is not an isolated piece of equipment. It is the result of a multi-stage process involving the theater’s operational requirements, technical planning, system integration, programming, commissioning and ultimately the day-to-day work of the people who use it.
From serial communication to an IP-based system
The modernization also marks a significant shift in the underlying communication architecture. The previous stage management system relied extensively on RS-485-based serial communication. While this was already a digital communication system, its architecture was fundamentally different from the network-based infrastructure now being introduced. The new system moves these functions onto an IP-based network, providing a more flexible and scalable foundation for integrating the various technical systems throughout the theater.
For Lukesch, the development was part of a broader strategy to gradually modernize the Volksoper’s infrastructure and prepare the theater for increasingly networked production environments. He explained:
“For six years, we have known that we wanted to switch to an IP-based paging system — in fact, we had already made that decision toward the end of the last decade.”
The decision subsequently shaped the modernization of the theater’s infrastructure. In the summer of 2025, together with PKE, a new sound reinforcement system was installed in the circulation areas around the auditorium. The existing 100-volt loudspeaker system was replaced with new PoE (“Power over Ethernet”) loudspeakers from the German manufacturer Fohhn, allowing audio signals and power to be distributed via the network infrastructure and resulting in a significant improvement in sound quality.
Over several years, the theater’s structured network cabling in offices was progressively expanded, increasing the number of available CAT connections and providing the infrastructure required for the new architecture.
At the same time, not every part of the infrastructure was migrated to IP. As Lukesch explained:
“As for video, we decided to stick with SDI years ago. On one hand, IP-based video transmission still has issues when it comes to latency; on the other hand, there are still too few end devices with IP connectivity. In other words, if I have a monitor with an SDI connection, I might as well stick with SDI.”
The resulting system is therefore deliberately hybrid, combining IP-based communication and audio infrastructure with established SDI video technology according to the specific requirements of each application.
From requirements to realization: planning the system
With the technological direction established, the next challenge was to translate the theater’s operational requirements into a system that could be specified, tendered and ultimately implemented. At first, Technical Planning Office Kränkl was commissioned by the client Art for Art to develop the stage management system and prepare the tender documentation.
Alexander Kränkl has been involved in the planning and implementation of professional event technology in major cultural institutions and venues such as the Burgtheater, the Vienna State Opera and the Salzburg Festival since September 1988. His role in the Volksoper project extended from translating the requirements defined by Martin Lukesch into a technical planning concept through the planning and tendering process and the coordination of the conditions under which the project had to be implemented.
Kränkl conducted numerous discussions with the people involved, observed rehearsals and performances, analyzed established processes and continuously obtained approvals from the client and the operator for the planning steps that had been completed.
Martin Lukesch, who was responsible for the project’s technical and operational direction, defined the requirements for the new system in close consultation with Alexander Kränkl.
Kränkl explained:
“First and foremost, the new system had to be based on TCP/IP, Power over Ethernet (PoE) and Dante. At the same time, the existing workflows and working procedures at the Volksoper had to remain unchanged. This was particularly important because the system had to fit seamlessly into the established working environment of the theater. Another requirement was that the theater’s own staff should be able to control, configure and adapt the system themselves, without being dependent on the supplier for every modification. The implementation also had to be completed during the summer shutdown periods of 2025 and 2026, and there could be no cost overruns.”
These requirements meant the task was not simply to design a technologically modern console. The system had to introduce contemporary network technology while preserving the established workflows of the theater and giving its own staff sufficient control over its configuration and operation.
The technical design also had to comply with recognized engineering practices and the state of the art, while taking into account requirements specified by both the client and the operator.
Kränkl stated:
“For us as the planners, this meant that we first had to prepare a reliable cost estimate and then structure the planning and tender documentation in such a way that all of these mandatory requirements could be implemented defect-free, within budget, reliably, safely and on schedule.”
Once the project moved from technical planning into physical realization, ensuring that the requirements were correctly translated into the construction work became a central task.
Michael Hirschmann was responsible for on-site construction supervision during the implementation phase. As Hirschmann explained:
“A key focus of the tendering process was its execution based on the client’s specific requirements. Particular attention was paid to clearly defining the requirements of the stage management team. During the implementation phase, I was responsible for on-site construction supervision. This included monitoring the execution to ensure compliance with the specified technical requirements, coordinating with the contractors involved, and managing any technical issues that arose.”
Hirschmann’s role therefore occupied a position between the planning documentation and the actual realization of the project: the requirements defined by the theater and translated into technical planning had to be continuously checked against the conditions encountered during construction and installation.
Planning around an existing theater
An important aspect of the planning was the relationship between the new infrastructure and the theater’s existing systems and working environment. Where appropriate, parts of the existing technical infrastructure were to be reused and integrated into the new system. Established nomenclature and theater-specific terminology were also to be retained.
The building itself presented another set of requirements. Its architectural and structural characteristics had to be taken into account alongside all applicable standards and legal requirements.
The planning also had to ensure 24/7 availability of the supplied components and allow rehearsal and performance schedules to continue without interruption throughout the implementation.
Kränkl explained:
“At no point could the ongoing rehearsal and performance schedule be put at risk by the implementation work. Redundancies and sufficient reserves therefore also had to be taken into account.”
The implementation involved numerous project participants and different trades, all of whom had to be coordinated with one another. During this period, PKE and its project partners prepared components for subsequent installation at the Volksoper, including prefabricated elements manufactured off-site. Such preparation helped to make the limited installation periods during the theater’s shutdowns as efficient as possible.
Kränkl described the importance of maintaining an overview of the project as a whole:
“We had to keep the strict two-and-a-half-year project timeline in view throughout the process and identify potential situations or conflicts that could jeopardize the project at an early stage.”
Two construction phases
The extensive structural requirements for cabling, dismantling, installation and commissioning ultimately required the implementation to be divided into two separate construction phases.
Kränkl explained:
“Construction Phase 1, in 2025, focused on the renovation of the sound reinforcement system in the auditorium and the associated network infrastructure throughout the building. This included the corridors, cloakrooms, stairwells, break rooms, auditorium, VIP room, box anterooms, forecourt and box office hall.
Construction Phase 2, in 2026, was then responsible for the seamless technical integration of the components installed during the first phase, as well as the delivery and commissioning of the stage management system itself. This included the consoles, sequence control, signal lights, numerators, video system, call and monitoring system, networks, the integration of special characters and other components. A key part of this phase involved dismantling the existing console and rebuilding the stage management position to accommodate the new system.”
The work also extended into the orchestra pit, including the installation of the cable drag chain and signal distribution infrastructure. Alongside the physical installation, the different systems and interfaces had to be integrated and tested, including the loudspeaker circuits, video lines, QLab and PosiStageNet interfaces.
PKE: From technical integration to a working theater system
While TBK translated the theater’s requirements into the planning and tender documentation, PKE was responsible for turning that framework into a functioning technical installation. The Stage Management Console itself was manufactured by Industrial Arts, based on the requirements and specifications developed for the project. The implementation involved not only the new Stage Management Console itself, but the integration of communication, audio, video, monitoring and emergency systems across the theater.
Robert Peham, International Sales Director at PKE, described the network-based architecture underlying these systems:
“The system enables fully IP-based, virtually latency-free transmission of audio and video signals for the stage monitoring, listening and paging systems.”
Peham placed this technical implementation within PKE’s broader expertise in theater technology and described the stage management system as as a particularly demanding area:
“From several locations across Europe, PKE delivers technical installations for theaters, opera houses and event venues. Our expertise encompasses audio, video and lighting technology, as well as the complete cabling and power supply infrastructure for theater technology systems. The combination of high-quality products, comprehensive services, professional maintenance and turnkey system integration makes us a reliable partner for numerous event and performance venues both in Austria and abroad.
One of the particular challenges is always the heart of the entire stage operation: the stage management system, which serves as the central control and communication hub for the technical operations of the stage. This is where art and technology meet directly. Despite a high degree of standardisation and an efficient system architecture, the individual requirements of each venue continually call for customised solutions and unique installations.”
That description points to one of the defining characteristics of the Volksoper project: standardized network and system technologies did not eliminate the need for venue-specific engineering. The existing architecture, established workflows and physical conditions of the theater all had to be incorporated into the implementation.
Peham continued by emphasizing the particular role Martin Lukesch played in defining those requirements:
“The requirements were particularly demanding and were defined with precision by DI Martin Lukesch. As a recognised visionary and driving force for innovation in modern theater technology, with a reputation extending well beyond Austria, he set high technical and functional standards.”
Riedel intercom for theater-wide communication
Communication is at the heart of stage management. From the stage management console, the stage manager must be able to coordinate a highly complex production involving performers, musicians, technicians, stage machinery, lighting, sound, video and numerous other departments.
The new system significantly expands the theater’s communication infrastructure through Riedel’s professional intercom technology. It combines fixed intercom stations with wireless Riedel Bolero beltpacks, allowing staff to remain connected while moving between different working areas. Both the standard Bolero and the more compact Bolero Mini are used.
From the stage management console, communication is possible with virtually every relevant area of the theater, including the audio control room, lighting control room, stage, fly tower, stage basement, electrical control center, porter’s lodge, fire officer’s room and even the follow-spot room (“Verfolgerkammer”), where two intercom stations have been installed for the follow-spot operators.
The wireless Bolero devices are fully integrated into the same intercom infrastructure as the fixed stations. This allows the stage manager to communicate directly with individual staff members carrying a Bolero beltpack, regardless of where they are working within the theater. The Bolero system can also be used with wireless headsets, providing hands-free communication for staff who need to remain mobile while working.
Glensound and Fohhn stage monitoring
Complementing the theater’s communication infrastructure, small Glensound and Fohhn loudspeakers have been installed throughout virtually every room in the building. Around two-thirds are Glensound speakers, while the remaining third are by Fohhn. Together, they provide a monitoring feed that allows staff to hear what is happening on stage, even when working away from the auditorium or stage area.
The loudspeakers also provide the theater’s standard tuning pitch of A = 443 Hz as a reference throughout the building, allowing singers and musicians to access the tuning pitch regardless of their location.
The stage management console uses a second but similarly pitched call tone before stage-management announcements. This tone is set at 886 Hz — exactly one octave above the theater’s standard tuning pitch.
The two tones reflect two different functions within the system: the 443 Hz tone distributed through the Glensound and Fohhn monitoring system serves as the theater’s tuning reference, while the 886 Hz tone generated by the stage management console alerts staff that a stage-management announcement is about to be made.
Emergency communication and response
An important feature of the new system is its connection to the theater’s emergency communication system, allowing emergency announcements to be made directly through the fixed intercom stations.
The fire brigade’s room, for example, can use the system to make an emergency announcement to areas such as the auditorium, stage and backstage areas. In addition, a dedicated red emergency telephone has been installed at three key locations: at the conductor’s podium, at the Stage Management Console, and at the curtain control position, where the stage curtain can be monitored and operated.
SDI video throughout the theater
The modernization also significantly expanded the theater’s video infrastructure, including new conductor cameras, orchestra-pit connections and stage-management displays.
New conductor cameras have been installed in the prompter’s box. A newly implemented feature is the option to switch to an alternative camera if, for example, a double bassist happens to obstruct the view of the primary camera. This ensures that the conductor remains visible to the musicians even when the line of sight is temporarily blocked.
During performances, small SDI monitors are frequently positioned in the orchestra pit, connected to the theater’s infrastructure via SDI cables with BNC connectors, displaying either an image of the conductor or a view of the stage. These monitors provide orchestra musicians with a visual reference when the conductor or stage action cannot be seen clearly from their position. Ensuring that the correct conductor and stage camera feeds are available at each of the dozens of connection points required considerable technical work and precision beneath the orchestra pit.
Larger SDI monitors are also installed in the stage portals, providing visual references at additional positions around the stage. Finding the right combination of cameras and monitors was itself a process of extensive testing. Different configurations were evaluated over a longer period to identify the solutions that would provide the lowest possible latency, an important consideration when musicians and performers rely on the video feeds for real-time visual coordination.
The call indicators have also been renewed. They display the stage manager’s visual cues for different departments in the correct sequence, allowing the respective teams to follow the progression of calls throughout a production. In the lower right-hand corner of each indicator, the relevant department is clearly identified.
Televisions are also installed in virtually every room throughout the theater, from the dressing rooms used by soloists and chorus members and the extras’ rooms to the offices of technical management, personnel management, accounting and other departments. The screens provide access to different video views throughout the building. Five programs are assigned different combinations of conductor, stage and call-indicator views, allowing staff to access the visual information relevant to their location and role.
Edited by James Sutton
