Academy Opera Today 2013 / 2014


Academy Opera Today 2013 / 2014
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Academy Opera Today
2013 / 2014
The Future of
Four Interviews
The Language
of Composing
Eyes open,
The Chaos of
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Deutsche Bank Foundation's
“Academy Opera Today“
The key aspirations of “Academy Opera Today“ (AOT)
are to establish a vibrant network of students as
well as professionals who have recently embarked
a career in opera, and to encourage the exchange
of ideas across the various disciplines.
The annual ceremonial act marks the high point of each academic
year, when a new cohort of fellows is welcomed as another moves
on. Since 2006 the artistic design of the evening has been entirely
in the hands of the departing cohort, who present insights into
the year's final production, destined to be premiered at a German
opera house the following year and also to provide the framework
for the annual gathering of fellows and alumni.
“Academy Opera Today“ started out as a student initiative in 2001.
Deutsche Bank Foundation developed and formalized it, transforming
Collaborations with respected partners like the Berliner
it into a fellowship program. Ever since, the Foundation has awarded
Philharmoniker, the Festspielhaus Baden-Baden and the
15 annual fellowships to young stage designers, conductors,
Internationale Bachakademie Stuttgart, or research projects like
dramatic advisors, composers, cultural managers and directors.
“Oper anders denken“ with Kunstuniversität Graz confirm the
During the two-year fellowship, which is geared to run alongside
Academy's reputation as an established player in opera promotion
their studies or work, young artists are able to deepen their
and provide alumni and fellows with a space in which to experiment
knowledge of artistic design and management, acquire practical
with their talent and ideas.
experience and make transregional contacts.
Summary and Outlook
The Program
Since its inception, "Academy Opera Today" has become an
The core element of the academy program is the workshops.
established player in the promotion of opera. AOT's future lies in
Four to six times a year, fellows attend group visits to outstanding,
raising its profile in order to continue bringing important momentum
innovative productions at opera houses in Germany and across
to the art form and, through discerning collaborations, to inspire
Europe. These workshops offer fellows the opportunity to take part
a wider audience to follow contemporary opera. ///
in discussions and behind-the-scenes meetings with renowned
personalities from every opera discipline. This allows them an
insight into the artistic methods and organizational structures of
the opera houses they visit as well as the background of the
productions they go to see.
Photo cover: scene from “Orlando“ (world premiere). An opera by
Vito Žuraj / Martin Grütter / Michael Langemann. A Bielefeld Theater
and Deutsche Bank Foundation collaboration
Photo above: Impressions from the 2013 “Academy Opera Today“
summer workshop in Aix-en-Provence
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Current information
Programme 2013 / 2014
Workshop in Basel
How to apply
2014 – 2016 Fellowship of the Academy Opera Today
You may apply for a fellowship if you are nearing the end of
January / February: Workshop in Madrid
your studies in an opera-related field beginning your career as a
stage director, stage designer, dramatic advisor, cultural manager,
May / June:
Workshop in Mannheim
conductor or composer; you should speak German and be no
older than about 32. Career changers are also welcome but should
Gathering of the fellows and alumni in
also fulfil the requirements regarding language ability and age.
Berlin at Deutsche Oper Berlin
Period of application: each year from January until May.
Workshop in Edinburgh
Workshop at Ruhrtriennale
For further information please visit our website
Ceremonial act in Frankfurt
Academy Opera Today
of Deutsche Bank Stiftung
60262 Frankfurt am Main, Germany
Tel: +49 (0)69 247 52 59-0
Fax: +49 (0)69 247 52 29-99
E-mail: [email protected]
General Manager: Michael Münch
Programme Managers: Viola Mannel, Solveig Schartl,
Catherine Sondermann, Kirsten Uttendorf
Programme Assistant: Martin Jamrath
Photo: Scene from “Orlando“, Ceremonial Act 2012 at the
Holzfoyer of Oper Frankfurt
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The Future of Opera
On June 14, 2013, Deutsche Bank Foundation invited Professor Klaus Zehelein, Andreas
Rochholl, Elena Tzavara (fellow 2006 – 2008) and Karsten Wiegand (fellow 2004 – 2006) to
debate “The Future of Opera“ in a discussion moderated by director Kirsten Uttendorf. How
is today's opera business community responding to tomorrow's challenges? The panel
discussion was held as part of the Berliner Stiftungswoche 2013. In this issue of “con moto“
the panel revisits the key questions of the debate.
audience—about the values and goals of
How can opera businesses find a place
the cultural mandate. There's little point in
for New Music under tight financial and
forcing the guarantors of an institution into
structural conditions?
something if the genuine will to do it doesn't
exist. The impetus for these kinds of
Elena Tzavara New Music projects are
organizational issues can come from political,
crucial and they need to be prepared at an
business or artistic sources and it's not
early stage so that the internal operation
necessarily always to do with savings. For
can attune itself to the new conditions.
example, the discussion could be sparked
These projects can trample the fences of
by a comparison with the political values
an opera business and hit a wall. But you
in our society, like equal opportunity,
can prevent this by making sure that
including access to culture, or integration.
Elena Tzavara
the work's composers, conductors and
It's often implausible when artistic directors,
Studied opera directing. Attended
master classes with Sasha Waltz
and Peter Konwitschny. Assistant
director and production manager
at the Salzburger Festspiele, the
Osterfestspiele, the Ruhrtriennale
and the Deutsche Staatsoper Unter
den Linden. Manager of Kinderoper
Köln, various world premieres
including youth opera "Border".
production team are aware of the general
dramatic advisors and so on get het up over
conditions from an early stage. It's
the antiquated structure of the operation
important to talk over on a regular basis
after they sign the contract. If open dialog
what the business can support, and give
is at the fore then you know what you're
the artists a clear, honest and timely view.
getting into. If you sign on the dotted line
Basically it's like anything else—the
and then start complaining, you're part of
basis of trust has to be right.
the problem. Musicians, theater creatives,
Andreas Rochholl The only way to change
Picture, top: panel discussion at Berliner
awareness and find potential for a new
Stiftungswoche in Berlin, June 14, 2013:
partnership as regards content is through
Prof. Klaus Zehelein, Andreas Rochholl,
open dialog with direct funding sources and
Elena Tzavara, Karsten Wiegand (from left
the people they represent—the potential
to right)
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Andreas Rochholl
always plenty of reasons, naturally. But first
main thing is that you can only kindle
and foremost, projects fail through lack of
enthusiasm if you meet young people on
will". It begins with will. And then, there's
equal terms.
the fact that New Music performances
almost always cost more than the rest of
Andreas Rochholl The first question is this:
the repertoire—special instruments, live
who is actually claiming that getting young
electronics, and vocal and orchestral
people to go to the opera is important for
specialists, in particular. As I see it, two
society? Personally I think that if you focus
things are needed in order to make New
on young people then the question changes.
Music a normal part of the program: Firstly,
What might contribute to increasing a
make long-term changes to the theater's
young person's openness to experiencing
budget allocation so that the cost of
his own cultural identity? Music, movement,
performing New Music is planned in as
language and communication are
standard. Secondly, rather than defaulting
parameters of participating in that identity,
to engaging special artists every time
and there are many ways of bringing them
something unfamiliar comes up, to be brave
to life. If you focus on young people then
enough to entrust it to the ensemble and
you will draw them and their reality down
orchestra artists as far as possible and
that path. The opera as an institution and
allow them to plan sufficient preparation
an experiential space can play a fruitful
time into their day-to-day work. That way,
role in that, but it should not be an end
those artists will get better and better at
in itself just so that artistic directors can
performing the new repertoire and in the
go on filling seats. The strategic marketing
best case scenario they show the audience
objective of many orchestras and opera
that New Music is not an exception but
houses in this respect is essentially the
that it comes from the same long-standing
same as for commercial advertising:
choreographers and so on who want to
and rich tradition of works played by good
customer engagement. That's too simple
work for a pluralistic, tolerant business need
opera houses.
an objective for a vibrant society with a
Founder and artistic director of
Zeitgenössische Oper Berlin,
managing director of KADMOSProduktion, director and filmmaker.
After his studies in directing and
singing he became evening show
director at the Wiener Staatsoper
and director and dramatic advisor
at Theater Basel. 1997– 2002, deputy
managing director at Architektenkammer Berlin. Instigator and
manager of the “ohrenstrand mobil“
and “operare 2007– 2011“
competitions, and artistic director
of the “Ankunft: Neue Musik“
festival. His musical films “Half
the Heart“ (2012) and “I met Heine
on the Rue Fürstenberg“ (2011)
have featured widely at international
film festivals. Currently directing
audio-visual work, “Sphenoid“.
constantly changing reality.
to be alert to keeping this in their own
sights and acting accordingly. If you realize
that your ideas on content are out of line
Prof. Klaus Zehelein Opera's artistic directors
with those of the institution, you can either
What possibilities are there, in your
should regard the countless opportunities
keep hitting your head against the wall or
view, for attracting younger audiences
to work with kids and young people
you can show some personal responsibility
to opera?
less as a PR exercise and start putting in
place what's needed to make it happen:
and seek pastures new. It would also help if
we could overcome the current dominance
Elena Tzavara There are countless fantastic
clear personal commitment plus adequate
of large, isolated publicly-subsidized
offerings to inspire younger audiences for
budgets and permanent workspaces.
operations and intensify competition for
opera today. Most opera businesses take
the available public funding.
younger audiences seriously and are doing a
Karsten Wiegand If we in theater want to
great deal to present opera in all its guises.
get people interested in theater for the
Prof. Klaus Zehelein We need artistic
There are a lot of participative projects but
first time, then for me it all begins with our
directors to consider it obvious that operas
also some very traditional operatic presen-
taking an interest in those people. And
have to be refreshed and recreated.
tations. The diversity of younger audiences
is forcing theaters to try new directions.
Karsten Wiegand Gerard Mortier said that
However the key success factor is breaking
Pictures, top: musical prelude by
"When something is not working, there are
down inhibitions. In my experience the
members of the Berliner Philharmoniker
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That doesn't absolve schools of their duty
to provide children with practical access to
art. But constantly talking about what others
should be doing gets us nowhere either.
It's about opening up the largest possible
Karsten Wiegand
number of spaces where young people can
Educated in German studies,
political studies and business
administration. He has been
working as a dramatic advisor
since 1994 and more recently as
a theater director. Winner of the
2001 Bayerischen Theaterpreis.
From 2008 – 2013 he was opera
director at the Deutsche Nationaltheater in Weimar. From 2014 he
will be the new artistic director
at the Staatstheater Darmstadt.
take their own journey of discovery to find
out what music and theater does for them.
Prof. Klaus Zehelein
Educated in musicology, philosophy
and German studies. Began his
career as a dramatic advisor in Kiel.
Chief dramatic advisor and lecturer
for music sociology in Oldenburg
since 1970. 1977, chief dramatic
advisor at the Oper Frankfurt a.M.,
promoted to coordinated opera
director. Guest professor at the
State University of Minnesota, the
Collège International de Philosophie
in Paris, the University of Applied
Arts, Vienna and the Institute for
Applied Theatre Studies in Gießen.
1991–2006, artistic director of the
Staatsoper Stuttgart which was
named opera house of the year six
times during his tenure. President
of the Deutsche Bühnenverein since
May 2003 and of the Bayerische
Theaterakademie August Everding
since 2006.
Against this background, what are the
challenges facing educational institutions?
Elena Tzavara Education should be a safe
space where young artists can experiment
and discover themselves. Educators should
focus on teaching what's expected of
world view in universities remains
artists today and what they have to be able
Eurocentric. Content isn't even pan-
to do, and making sure that their teaching
European yet, let alone internationally
remains up to date. Also, young artists need
integrated. Anyone who were to examine
to be given a frank, honest view of their
the values of our pluralistic society as
career prospects in terms of their talent, and
expressed in conservatoire content would
their potential for artistic development.
be shocked to see where we really stand
Andreas Rochholl At the moment there's
a lack of cultural richness and diversity in
Prof. Klaus Zehelein Given that most
education. There needs to be a drastic
university singing coaches consider
change to open up today's elitist values.
contemporary music non-existent and that
Educational content and structures, and
they generally perceive and present it as
educators themselves, need to be more
vocally damaging, it remains a challenge.
outward looking. Cultural identity is
something that people go on seeking and
Karsten Wiegand Theater professionals
that starts with children, who have a keen
reviving and trying to make it fit with the
and teachers in educational institutions
sense of whether they are being taken
raw edges of past and future. In any case,
can work closely with each other to try to
seriously or simply regarded as customers
the unilateral focus on competition in the
understand what challenges we share and
and consumers that we want to acquire to
classical music niche is purely bound up
how we can rise to them. I cannot and
boost visitor numbers. And above all I
with the artificially-maintained public
would not wish to tell my colleagues what
think that we should run as many theater
service market. There is ignorance around
their challenges are, and I have no panacea
projects as possible that allow kids and
all other musical directions and that needs
to offer them. ///
young people themselves to sing, play,
breaking down. The key to that may be the
dance and act. The way that people best
increasing personal responsibility of artists
take art into their lives is through playful,
themselves. We are all co-responsible for
Pictures, top: musical prelude by
fun experiences with music and theater.
cultural diversity as it stands. The dominant
members of the Berliner Philharmoniker
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2013 – 2015
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Sophie Borchmeyer
Manuel Bust
Sven Daigger
Anna Drescher
Category: Cultural Management
Category: Cultural Management
Category: Composing
Category: Directing
Became orchestra and concert
Concert planning assistant at
Performances by ensembles
Freelance director. June 2013,
manager at the Münchener
the Kölner Philharmonie since
incl. ensemble recherche,
director of ”Tauffest für
Kammerorchester at the start
the 2012 – 2013 season. 2011–
earplayensemble, Susan &
Georg Daniel Speer“ at the
of the 2013 – 2014 season.
2012, brand management and
Sarah Wang Klavierduo,
Ludwigsburger Schlossfestspiele.
Previously orchestra manager
corporate communication
Badische Staatskapelle, Orchestra
April 2013, production of
for Cappella Aquileia under
at Unitymedia Group. Previously
of Staatstheater Cottbus, at
Dea Loher’s ”Blaubart – Hoffnung
chief MD Marcus Bosch. 2012 –
assistant project manager at
the Salzburg Biennale,
der Frauen“ at Schauspiel
2013 Intern at the Bayerischen
the conductors’ forum of the
San Francisco International Arts
Stuttgart. 2010 – 2013, assistant
Staatsoper opera studio. 2011–
Deutsche Musikrat (preparation
Festival, ARD Musikwettbewerb,
director at Staatstheater
2013 Studied music and cultural
and implementation of
Festspiele Mecklenburg
Stuttgart; several stage
management at the Hochschule
conducting master classes
Vorpommern, Bayerischer
installations and scripts for
für Musik und Theater, Munich,
across Germany). 2011,
Rundfunk and ORF Österreich.
pantomimes. While training she
graduating with a masters.
Bachelors in media and cultural
Fellow of the Studienstiftung
led the ”hArt times“ theater
2009 – 2011, ”Master of
studies / management at
des deutschen Volkes and the
group in Hanover (for users of
Music— Violin“ fellow at the
Cologne University. 2009 – 2011,
ad infinitum foundation.
mental health services). During
College-Conservatory of Music
orchestra management at
Composer-in-residence at the
her studies she was assistant
in Cincinnati. 2005 – 2009,
WDR Rundfunkorchester Köln.
Villa Wasmuth in Remagen-
director at Staatsoper Stuttgart
”Künstlerische Instrumental-
Undergraduate dissertation on
Rolandswerth. First prize in
for a number of productions
ausbildung — Violine“ in
Regietheater and operetta.
competitions incl. ”Earplay
including ”Judith“, a co-
Dusseldorf and Munich,
Currently studying for a masters
Donald Aird Memorial Composer
production with the Salzburger
graduating under Prof. Ingolf
in media studies / management
Competition“ and ”recherche“
Festspiele. 2005 – 2010,
Turban. Member of the Junge
in Paris and Cologne. Fellow
(Austria). Studying composition
educated in cultural studies
Deutsche Philharmonie. 2003 –
of the Studienstiftung des
under Prof. Peter Manfred
and aesthetic practice in
2005, studied new German
deutschen Volkes since 2009.
Wolf, Prof. Adriana Hölszky
Hildesheim. Born 1983 in
literature, Spanish philology
Born 1989 in Riesa.
and Prof. Wolfgang Rihm.
and history at FU Berlin. Born
Studying music theory under
1984 in Recklinghausen.
Prof. Dr. Birger Petersen and
Dr. Jan Philipp Sprick. Born 1984
in Eberbach.
News from the AOT network: +++ Karsten Wiegand, fellow 2004 – 2006, is to be the
Staatstheater Darmstadt's artistic director +++ Even Gardner, fellow 2009–2011, was
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2013 – 2015
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Manuel Durão
Hersilie Ewald
Category: Composing
Category: Directing
Composer and conductor. Prize
Currently assistant director at
winner of various competitions
Lucerne Theater. Director,
Dramaturgy assistant at Komische
studies at Freie Universität
incl. MDR-Kompositionswettbe-
Lucerne Theater 2013 – 2014
Oper Berlin since 2013 – 2014
Berlin since 2013, with links to
werb Wagner 2013, the Säch-
season. Previously assistant
season under artistic director
previous artistic research into
sische Musikbund advancement
director and performance
Barrie Kosky. 2009 – 2012,
new opera forms in virtual and
prize 2013, the MDR composition
manager at Staatstheater
cultural studies and aesthetic
urban public spaces. 2007 –
prize 2011, and the German
Wiesbaden. 2011, collaborated
practice at Hildesheim University,
2013, Bachelors in music and
Academic Exchange Service
on staging of ”Orlando furioso“
majoring in music and theater
media studies, American
prize for international students.
(Opernfestival Gut Immling).
studies. Dissertation on the
studies and Masters in media
2009 – 2011, German Academic
2009, first internship at Lucerne
influence of Vincenzo Bellinis
studies from the Humboldt
Exchange Service fellowship,
Theater. Additional directing
on Richard Wagner. 2011 – 2012,
Universität zu Berlin. In parallel,
2011 fellow of the Gulbenkian
internships and assistantships
overseas study, musicology at
various projects, incl. ideas,
Foundation (Workshop of
at Opernhaus Zürich, Wiener
Bologna University. During
production and dramaturgy for
European Network of Opera
Staatsoper, Lucerne Theater
studies, was dramaturgy intern
project ”X Tage bis zum
Academics, Verona). 2013 Master
and Staatsoper Berlin amongst
on Anselm Weber's ”Siegfried“
Wunder – eine Alternate Reality
class exams, 2011 graduated
others. Studies: German Studies
and directing intern on Barrie
Opera“ on research into
from HfMT Leipzig under
and Philosophy in Jena. During
Kosky's ”Götterdämmerung“,
practices in cross-media opera
Prof. Pfundt (composing) and
her studies she staged an
both at Aalto-Theater Essen.
forms. Directing, production
Dr. Rucha (conducting). Bachelors
abridged version of ”Hänsel und
Other experience at Neue
and editorial assistant at
in composition from Lisbon
Gretel“ and tableau evenings at
Ruhr Zeitung (NRZ) and
Staatsoper Unter den Linden
Conservatoire. Master classes
small venues in Weimar. First
subcoordination of music at
Berlin, at the Donaueschinger
in conducting under Jean-
theater experience aged 13 in
3sat / ZDFkultur. Born 1990 in
Musiktage, the Bregenzer
Sébastien Béreau. Music theory
the extra chorus and as an extra
Festspiele and radioeins. 2005 –
teacher at HfMT Leipzig.
at the Deutsche Nationaltheater
2007, internships at Staatsoper
Performances with Oper
Weimar. Born 1986 in Allgäu.
Unter den Linden and
Maximilian Anton
Änne-Marthe Kühn
Category: Dramaturgy
Category: Dramaturgy
Studying for masters in theater
Leipzig (”Tagebuch eines
Komischen Oper Berlin in
Wahnsinnigen“), MDR-
directing, dramaturgy and
Sinfonieorchester, Orquestra
PR. Born 1987 in Berlin.
XXI (Gulbenkian Foundation
project, Portugal) and others.
Born 1987 in Lisbon.
named winner of the "Neue Szenen" carpentry competition, Deutsche Oper Berlin
+++ Patrick Hahn, fellow 2009 – 2011, was awarded the first ever Reinhard Schulz prize
131126_Con Moto_2014_englisch_121120_conmoto_2013_englisch 10.12.13 16:31 Seite 9
2013 – 2015
page 9
Antonella Mazza
Nikolai Petersen
Natalie Schramm
Category: Stage Design
Category: Conducting
Category: Directing
Assistant stage designer at the
2012 – present, solo répétiteur
Directing assistant / evening
Staatsoper Hanover since 2013.
and musical assistant at Oper
show manager at Staatstheater
2011 – 2013, assistant stage
Frankfurt. 2010 – 2012, pianist
Braunschweig (opera) since
designer at Dortmund Theater:
and co-répétiteur for the Dresdner
2012 / 2013. Freelance director
stage and costume design for
Semperoper youth ensemble.
since 2011. Directing work
”Die Agonie und die Ekstase
Conducting appearances include
incl. ”haymatlos – EIN LIEDER-
des Steve Jobs“ (director
the Jenaer Philharmonie, the
ABEND“, own production
J. Whigham), ”Banditen und
Thüringer Symphonikern Saalfeld-
(theaterperipherie Frankfurt),
Caballeros“ (director
Rudolstadt and the Lautten
2nd prize, Iranian Theater
T. Oestereich), ”Der Klöng ist
Compagney Berlin. 2005 – 2011,
Festival (Heidelberg), 1st prize,
kaputt“ (director K. Voges), ”Der
degree in orchestral conducting,
Secondo Festival (Lucerne),
Live Code: Krieg und Frieden
Weimar (under G. Kahlert and
”Die Verwandlung“ (Frankfurt),
im globalen Dorf“ (director
A. Bramall). 2008 / 2009, guest
”Ein Sommernachtstraum“
D. Hengst). 2010 fellow of the
co-répétiteur at Karlsruhe, Gera
(collective: Schießkino / Trier),
Maggio Fiorentino Formazione.
and Fürth theatres. Occasional
”intravenös“ (Frankfurt)
2009 – 2011, theater project,
engagements as co-répétiteur on
(supported by ”Tanz der Künste“).
”Der Mund der Wahrheit“.
conducting courses. Born 1986
2004 – 2012, assistant director
Studied in Naples and Florence.
in Hamburg.
in Germany and internationally;
2008 – 2010, work experience
opera, theater and performance.
at various theaters incl. in
2005 –2011 and 2002 – 2006,
Florence (Maggio Musicale
studied at the Hochschule für
Fiorentino, La Pergola,
Musik und Darstellende Kunst
Teatro Verdi), Livorno (Teatro
Frankfurt and Goethe Universität
di Campiglia Marittima),
Frankfurt: masters/Staatsexamen
Montecatini / Pistoia (Teatro
music and German studies.
Verde), Prato (Teatro Metastasio),
Born 1981 in Fulda.
Cannes (Palais des Festivals).
Born 1985 in Salerno.
for contemporary music journalism +++ Katharina Kost-Tolmein, fellow 2004 – 2006, is
the new opera director at Lübeck Theater +++ Anno Schreier, fellow 2008 – 2010,
131126_Con Moto_2014_englisch_121120_conmoto_2013_englisch 10.12.13 16:31 Seite 10
2013 – 2015
page 10
Gabriel Venzago
Steven Walter
Elizabeth Waterhouse
Matthias Winkler
Category: Conducting
Category: Cultural Management
Category: Dramaturgy
Category: Stage Design
Studying under Prof. Per Borin
Cellist, producer and cultural
Freelance dancer, choreographer
Freelance stage and costume
(Stuttgart) since 2012. 2013,
manager. 2009 Founder and, to
and dramatic advisor. Artistic
designer. 2012, stage design for
co-répétiteur for ”Cendrillon“ at
date, artistic director of PODIUM
and scientific work on the
”Company“ at the Kehrwieder
the Osterfestspiele Baden-
Festival Esslingen, a music
development of body image in
Theater Hamburg, ”My fair Lady“
Baden, stage services manager
festival singled out by ECHO
performance and everyday life.
at the Freilichtbühne Altusried
at Stadttheater Heidelberg
Klassik and Trendmarken Award
2013, co-author of production
and ”La Cage aux Folles“ and
for Wolfgang Rihms ”Dionysos“.
amongst others. Responsible
”Don’t Play!“ at Schaubühne
”Sommernachtstraum“ at the
Concerts with Stuttgarter
for productions including
Leipzig. 2012, consultant
Grenzlandtheater Aachen (GTA)
Kammerorchester and
multimedia opera ”Strawinsky:
choreographer for ”Josefine“
for director Ulrich Wiggers. 2011,
Württembergischen Philharmonie
animated – Die Geschichte
at Oper Krefeld, a production
”Der Mann von La Mancha“ and
Reutlingen during studies. 2012,
vom Soldaten“. One of three
by Fonds Experimentelles
”Tod eines Handlungsreisenden“
conducted the world premiere
nominees for ”Cultural Manager
Musiktheater. 2011, dramatic
at GTA. 2010, ”Die Drei von der
of ”Tohuwabohu“ by Anna
of the Year“ in 2011 for his
advisor for Forsythe Company
Tankstelle“ at GTA and assistant
Korsun, temporary work at
entrepreneurship in music.
production ”Sider“. Dramaturgy
to Hartmut Meyer for ”Mutter
Philharmonischen Orchester
2010 academy member,
consultant for dance group
Courage“ at Schauspielhaus
Heidelberg under Cornelius
Sommerakademie Concerto 21,
MaMaZa. 2005 – 2012,
Frankfurt. 2010, graduated with
Meister. 2010 – 2012 musical
Toepfer Stiftung FVS. Numerous
project member, Motion Bank /
distinction at UdK Berlin for
director of student orchestra
published articles on art and
Dance Engaging Science,
Hans Henny Jahn's ”Medea“.
”StOrch München“. 2009–
management topics. Active
InnoLernenTanz, and
2008, ”Schumann im Liegen“,
2012 studied conducting in
chamber musician in Germany
Synchronous Objects. Member
director Beate Baron (Neuköllner
Munich under Prof. Bruno Weil.
and internationally. Co-founder of
of Forsythe Company. Has led
Oper Berlin) and stage design
2008 – 2009, studied musicology
Badische Kammerphilharmonie
workshops and masterclasses
for ”The Telephone“, director
at LMU in Munich. Various
and PODIUM KammerOper.
across Europe. Studied physics
Karoline Gruber (Teatro
assistantships and winner of a
Studied cello in Oslo and
at Harvard University and dance
Nacional de São Carlos, Lisbon).
number of youth music prizes.
Detmold, and cultural
(MFA) at Ohio State University.
Born 1981 in Rüdersdorf.
Born 1990 in Heidelberg.
management in Hamburg.
Born 1981 in New York.
Born 1986 in Nürtingen.
was named winner of the advancement prize for North Rhine-Westphalia. +++
Kevin John Edusei, fellow 2005 – 2007, is the new principal conductor at the
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2012 – 2014
page 11
Verena Billinger
Saskia Bladt
Koen Bollen
Christoph Breidler
Category: Dramaturgy
Category: Composing
Category: Dramaturgy
Category: Conducting
Freelance dramatic advisor,
World premieres (concerts,
Dramatic advisor at Jungen
Conductor and composer. Solo
choreographer, performer and
opera, theater) at Hamburger
Oper Stuttgart since 2010 – 2011
répétiteur with conducting
coach. Collaborations with
Ostertöne 2012, Maerzmusik
season. Dramaturgy for ”Momo“
duties at Stadttheater Aachen
Sebastian Schulz and Gudrun
Berlin 2010, Tage für Neue
by Matthias Heep, ”Schaf“ by
since 2011. 2nd prize, Ensemblia
Lange amongst others;
Musik Zürich, Ludwigshafener
Sophie Kassies, ”Die Taktik“ by
Composition Competition 2013.
professionals, children, youth.
Festspiele, Usinesonore and
Jennifer Walshe and ”smiling
2010 winner of the Theodor
Latest productions, ”Drei
Theater Winterthur amongst
doors“, an opera project which
Körner Prize and Heidelberger
Schwestern“ at Theater Freiburg
others; collaborations incl.
integrates young people
Frühling Young Composer Prize.
and ”Kummerkasten
Ensemble Resonanz, Ensemble
suffering from cancer. October
MD of closing concert at Kyoto
Meckerbox“ in Dusseldorf and
Ascolta, Zürcher Barock-
2009 – July 2010, assistant
International Music Students
Frankfurt. 2011, ”ROMANTIC
orchester. 2011, adaptation of
dramatic advisor at the Vlaamse
Festival 2010. 2008 – 2009
AFTERNOON*“ (choreography
the ”Ring des Nibelungen“ for
Opera Antwerp / Ghent. 2009,
studied composition at Shanghai
for six people kissing) at
”Wagner für Kinder“ at the
internship at Opéra national de
Conservatoire. Co-founder
Bayreuther Festspiele. Winner of
Paris for ”Le Roi Roger“ (director
and 2006 – 2008 secretary of
Theater, Performance und
Pfalzpreis für Musik 2010 for her
Krzysztof Warlikowski) and
”Platypus – Verein für neue
Live Art“; performances in Berlin,
opera ”Lilofee“. 2009, fellow
Muziektheater Transparant in
Musik“. From 2004, studied
Hamburg, Cologne, Weimar,
of Aribert-Reimann Foundation,
Antwerp for ”Een nieuw
composition under Michael
Vienna, Zurich, Stockholm and
graduated in composition
Requiem“. 2010, graduated
Jarrell and conducting under
others; 2012, distinction at the
under Isabel Mundry at ZHdK
with masters degree in Belgium.
Mark Stringer at the University
Favoritenfestival in Dortmund and
Zürich following recorder studies
Theater studies at Antwerp
of Music and Performing Arts,
admission to the North Rhine-
at HfMDK Frankfurt. 2004 –
University. 2009, masters in art
Vienna. MD of over 40 world
Westphalia KULTURsekretariat
2007, assistant director at Oper
history at the Free University
premieres including at Wien
performance network. 2005,
Frankfurt, own production,
of Brussels and Leiden University.
Modern, IGNM-Musikfest and
internship, ”Einstein on the
”Die drei Rätsel“, by Detlev
Born 1984 in Belgium.
Biennale Bern. Born 1986 in Graz.
beach“, staatsbankberlin / opera-
Glanert. 1998 – 2000, Chetham’s
works. 2004 – 2012, studied
School of Music, Manchester.
performing arts in Hildesheim
Born 1981 in Bensheim.
and applied theater studies in
Gießen. Born 1983 in Dusseldorf.
Münchner Symphoniker +++ Vito Žuraj, fellow 2010 – 2012, has been made a fellow at
Villa Massimo +++ PRASQUAL, fellow 2007– 2009, has been commissioned to write
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2012 – 2014
page 12
Matiss Druvins
Sarah Grahneis
Torsten Herrmann
Tobias Heyder
Category: Cultural Management
Category: Cultural Management
Category: Composing
Category: Directing
2013 – 2014 season, program
Dramatic advisor for opera,
Freelance composer. 2013
2014, production of ”L’Enfant et
and orchestra direction at
concerts and youth opera at
finalist in the Concours Musical
les Sortilèges“ at Staatstheater
Konzerthaus Berlin. Summer
Staatstheater Braunschweig.
Reine Elisabeth. Winner of the
Karlsruhe and world premiere of
2013, co-manager of master
2012, masters in theater and
2012 Franz Liszt advancement
Rolf Riehm’s ”Sirenen“ at Oper
classes at the Schleswig-
orchestra management at
prize at the Hochschule für Musik
Frankfurt. 2009 – present, director
Holstein Musik Festival. 2010 –
HfMDK Frankfurt. During her
Weimar. 2011 participant in the
at Oper Frankfurt alongside
2012, freelancer at ”Rigas Doma
studies she was an assistant
IEMA international composing
teaching workshops on directing
kora skolas atbalsta biedriba“
at the institute for contemporary
seminar. 2005 – 2011, studied
concepts, and stage work with
foundation in Riga. 2011 /
music and dramaturgy
composition at the Hanns Eisler
Opernstudio Frankfurt. Previously
2012 and 2009, orchestra office
internships at Staatstheater
Musikhochschule Berlin under
assistant director at Deutsche
associate at WDR Sinfonie-
Mainz and Staatsoper Berlin.
Hanspeter Kyburz. 2008, Erasmus
Oper am Rhein and Theater
orchester, Cologne. Directing
2007 – 2010, Bachelors in theater,
study placement in Paris at
Heidelberg. 2006 – 2009, studied
internships at the Latvian
media and musicology, Bayreuth
the Conservatoire Nationale
arts administration at Zurich
National Opera and the Aalto-
University. 2009 – 2010, worked
Supérieure. Numerous prizes
University. 2000 – 2005, studied
Theater Essen. Work experience
on research project, ”OPERA—
and fellowships incl. fellowship
opera directing at HfMT
with the Gürzenich Orchestra,
Spektrum des europäischen
of the Studienstiftung
Hamburg; during this time he
Cologne and the Latvian
Musiktheaters“. 2009, production
des deutschen Volkes and
also worked on his own
National Opera. 2011 – 2013,
management for BF Medien
advancement fellowship
productions in Hamburg and
international cultural and media
GmbH on ”Wagner für Kinder –
of Ferienkurse für Neue Musik
co-founded Kammeroper
management studies at Latvia's
Der fliegende Holländer“ and
Darmstadt. Concerts and
Rostock where he staged
Academy of Culture. 2004 –
conceptual work on the program
workshops with various
”Cox and Box“ (Arthur Sullivan)
2011, studied musicology,
booklet for ”Parsifal“ for the
ensembles incl. RSO Stuttgart,
and ”Der Apotheker“ (Joseph
Scandinavian studies and
Bayreuther Festspiele (director
Ensemble Modern, Ensemble
Haydn). Fellow of the German
phonetics at the Universities
Stefan Herheim). Born 1988
Intercontemporain and
Academic Exchange Service and
of Cologne und Uppsala. Born
in Göttingen.
conductors Johannes Kalitzke,
the Richard Wagner Association,
Susanna Mälkki, Matthias
Frankfurt. Born 1980 in
Pintscher and Lucas Vis. Born
1984 in Cologne.
1981 in Jülich.
for the ISCM World Music Days 2014 +++ Ulrich Kreppein, fellow 2009 – 2011, has
won first place in the Alexander Zemlinsky composition prize +++ Torsten Herrmann,
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2012 – 2014
page 13
Clemens Jüngling
Dimana Lateva
Catherine Leiter
Category: Conducting
Category: Stage Design
Category: Cultural Management
Freelance conductor and pianist
Freelance stage designer.
Developing and managing
since 2012. Projects with
Currently stage design assistant
Jugend an der Wien, and opera
Musikfabrik Köln amongst others.
for ”Ein Sommernachtstraum“,
education at Theater an der
Previously, from 2008,
Komische Oper Berlin (director,
Wien – Das neue Opernhaus
kapellmeister and répétiteur
Viestur Kairish), 2013 ”Die
since 2008, where she has
at MiR Gelsenkirchen; has
Meistersinger von Nürnberg“,
conceptualized and staged
produced and conducted many
Salzburger Festspiele (director,
”Béatrice et Bénédict“ based
productions including national
Stefan Herheim), 2012 ”Xerxes“,
on the Berlioz opera of the
and world premieres. Founder
Komische Oper Berlin (director,
same name (2013), ”The Voice
of a youth opera orchestra at
Stefan Hehrheim), 2011 stage
of Hoffmann“ based on
MiR and winner of Gelsen-
and costume design ”Bonnie
Offenbach’s ”Les Contes
kirchener Theaterpreis 2010.
und Clyde“, Stadttheater Gießen
d’Hoffmann“ (2012), and
Works and assists regularly
(director, Abdul M. Kunze). 2011,
”Rodelinda – Barock meets
with orchestras at home and
concept / design for children’s
E-Bass“ based on Händel's
internationally, incl. Neue
artistic activities in at the
”Rodelinda“ (2011). 2006 – 2008,
Philharmonie Westfalen and
Parochialkirche Berlin. 2009 –
press office assistant at Theater
Staatsphilharmonie Breslau.
2012, assisted on productions
an der Wien, postgraduate
Radio recordings for MDR. Lieder
by Heike Scheele, Stefan
course in journalism at the
and chamber music evenings
Heyne and Marsha Ginsberg in
Donauuniversität, Krems. 2001 –
at the Wiener Staatsoper and the
Germany, Switzerland and New
2006, studied music therapy
Kurhaus Baden-Baden amongst
York. 2010, participated in the
at the University of Music
others. 2001 – 2008 studied
”Sprungbrett 2010“ and
and Performing Arts Vienna;
conducting, piano, voice and
”Meisterszenen“ exhibitions at
practising music therapist.
law at Leipzig and at
TU Berlin. 2010, Master of Arts
Music and theater studies in
Universität für Musik in Vienna,
in stage design, TU Berlin.
Berlin and Vienna. Has been
under Fabio Luisi, Bernard
2008, architecture degree, Hafen
involved in theater since
Haitink, Seiji Ozawa and Kurt
City University, Hamburg. Born
childhood. Born 1980 in Bozen.
Masur. Born 1981 in Ravensburg.
1982 in Haskovo.
fellow 2012 – 2014, is a finalist in the Concours Musical Reine Elisabeth +++ Evelyn
Hriberšek, fellow 2009 – 2011, has received the distinguished title of “Kultur- und
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2012 – 2014
page 14
Martha Teresa Münder
Daniel Pfluger
Fabian Schäfer
Category: Directing
Category: Directing
Category: Dramaturgy
Production manager at
Independent director of opera,
2013 – present, assistant
Bayerische Staatsoper since
drama and dance in theaters
director and evening production
Freelance stage designer.
2012 – 2013 season.
and on the independent
manager at Oper Dortmund.
2013, stage design assistant for
2009 – 2012, opera studies at
scene. 2013 / 2014 projects
Masters in music journalism
Annette Kurz on ”Im Westen
Bayreuth University, during
incl. Deutsche Oper Berlin,
from TU Dortmund. Spring 2012,
Nichts Neues / De Grote Oorlog“,
which she was assistant director
Staatstheater Karlsruhe and
assistant director for the new
Thalia Theater Hamburg. 2012 –
on Andreas Kriegenburg’s
cooperations with Gessnerallee
staging of Anton Schweitzer’s
2013, internships under Pierre-
”Die Walküre“ and children’s
Zürich, Kaserne Basel and
”Rosamunde“ (staging by
André Weitz for ”Il Trovatore“,
opera ”Sigurd der Drachentöter“
Theater Bern. Co-founder of
Jens-Daniel Herzog) at the
Bayerische Staatsoper,
at the Bayerische Staatsoper,
artist's collective, ADAPT
Schwetzinger SWR Festspielen.
Annette Kurz for ”Die Brüder
with additional internships at
(incl. ”M & The Acid Monks“,
Journalistic articles published
Karamasow“, Thalia Theater
Hamburger Abendblatt,
theatrical concert based on
in ”Fono Forum“, ”Hörbar“, and
Hamburg and Jan Pappelbaum
Deutsche Schauspielhaus
E T A Hoffmann’s ”Die Elixiere
others. Interviews with artists
for ”Ein Volksfeind“, Schaubühne
Hamburg and Oper Frankfurt.
des Teufels“). 2010 with
for the ”Junge Wilde“ series at
am Lehniner Platz, Berlin.
2010 – 2011, responsible for
Vivaldi’s ”Il Bajazet“ as part of
Konzerthaus Dortmund. 2011 –
2011, stage design assistant for
Bayreuth University’s writing
the Winter in Schwetzingen
2012 season, collaborated
Jan Strobbe on ”Die Reise des
consultancy PR. Meanwhile
switch to opera projects. Winner
on dramaturgy at Theater
Elefanten“, Het Paleis youth
she studied voice as part of her
of Körber Studio Young Director
Dortmund, incl. Wagner‘s ”Der
theater, Antwerp. Studying
study preparation for ”Junge
2009 with ”Unvollkommen –
fliegende Holländer“, Cavalli’s
stage design at Antwerp Royal
Akademie für Popularmusik“
Bewegungstheater nach den
”L’Eliogabalo“ and the musical
Academy of Fine Arts since
at the Jugendmusikschule
Metamorphosen von Ovid“.
”The Full Monty“. Managing
2010. 2010 – 2013, collaborator
Hamburg. 2008 and 2009, lead
2001– 2005 assistant at the
editor of radio show ”Terzwerk“
at design en architectuur studio,
role in the musical ”Verliebt
Nationaltheater Mannheim.
and associate at the Institut
Leuven, Belgium. 2008, Master
in Babylon“ at Kampnagel in
2005 – 2010 masters at the
für Musik at TU Dortmund since
of Arts in architecture from the
Hamburg. Born 1989 in
Hochschule der Künste, Zurich.
2010. Born 1983 in Unna.
University College of Antwerp.
Born 1980 in Böblingen.
Sammy Van den
Category: Stage Design
2006, exchange semester at
Carnegie Mellon University in
Pittsburgh. Born 1985 in
Kreativpilot Deutschland“ from the German federal government +++ Peter Tilling,
fellow 2003 – 2005, is the new kapellmeister and deputy to the chief musical director
at Staatstheater Nürnberg
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Scene from “Orlando“ (world premiere).
An opera by Vito Žuraj / Martin Grütter /
Michael Langemann. A Bielefeld Theater and
Deutsche Bank Foundation collaboration
Eyes open, Orlando!
by Vito Žuraj, fellow 2010–2012
“AFF, AFF, AFF“ chorus the people out in the street, the
score rings around the orchestra rehearsal room for the
first time, and mysterious neon stickers are appearing all
over the Theater am Alten Markt while a trailer circulates
on the Internet: Orlando has arrived in Bielefeld!
After two years of very hard work, all of 2010–2012's fellows are excitedly
awaiting the premiere of “Orlando“ on June 15, 2013. The final steps are
underway to perfect sequences and technicalities. But no one is in a position
to sit back, relax and admire the fruits of their labor ... Well, perhaps the
composers? No, not even them!
The notes have long been written. I should be leaving it to the performers
now and simply wishing my first original opera work a roaring success.
Instead, my head is reeling with a thousand minutiae of the composing
Once we formed the working groups for Orlando, my work began in
The Language
of Composing
Two composing fellows report back
on their cohort's final projects
earnest with the libretto for my section (“Das Schloss“). I recall the detailed
discussions with librettist and dramatic advisor Alexander Stockinger. After
he had set down the scenario and the rough draft of the lyrics, it was a
case of creating an entity from the lyrics, colors, dynamics, words and, in
some case, even individual syllables. We had to find not just a common
working method but also a common language. Step by step the libretto
expanded and meanwhile I prepared myself for the composition by
selecting the sounds and instrumentation.
I was facing a major challenge—six soloists, a mixed choir, an orchestra
and electronics. Inspired by my co-fellow Johannes Keller I decided
on the chromatic harpsichord, an instrument with 24 keys per octave,
as the musical glue that would bring cohesion to these sound sources.
The libretto was set to music in chronological order—starting with the
end—surely not? This was something I would remember as very much
like slaloming uphill!
Once the quarter-tone score and the simplified piano arrangement
were written, it was time for some intensive work together with the
singers and their rehearsal team. Details were changed at this point,
as they were later in orchestral rehearsals: the polishing had begun.
I was so delighted to be working with Bielefeld theater's dedicated
performers. Of course, words and music are only two elements
of an operatic work. Bettina Geyer directed with a steady hand, and
Aliénor Dauchez and Julia Rommel came up with a spectacular stage
design. I wanted to bring that visual level into every note of my
score, too. But how would a conductor cope with such a colorful
Scene from “Die Versuchung des heiligen Antonius“
(world premiere). An opera by Ulrich Kreppein. An Oldenburg
Staatstheater and Deutsche Bank Foundation collaboration
score? Aurélien Bello produced a rich performance of my work
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page 16
despite the impractical calendar format of the score, with the
wings, or realize that the shortest way to the attic is through the
pages running from finish to start. In fact, that's a good metaphor
cellar. Ultimately, you only truly start to observe your surroundings
to describe my development through the entire two years of
if you lose your way.
the fellowship program. At first my key focus was on music, but
gradually my eyes have been opened to opera's complex,
But back to Antonius. The ideas are as numerous as the template
fascinating connections.
is lavish: What do we want to say and how? Conventional opera
or experimental music theater? Who is Antonius? What does he
Now, as an alumnus, I have a sense that things are only just
decide in the end? Should there be a development? Should we
beginning. My cooperation with Alexander Stockinger continues
present action or situation? What should we do with the whole
with two new semi-staged lyrics that I set to music in 2013. One
text? A practical question nevertheless! Speech can have so many
is “Insideout, Szene für zwei Sänger und Scharoun Ensemble
functions, from soundscape or subtext (practical, since you can
Berlin“, which was premiered at the Salzburger Festspiele and will
simply neglect the drama and thus especially popular in New Music)
be performed with the New York Philharmonic next year at the
through musically structured forms where lyrics and music proceed
Museum of Modern Art. Is there any wonder that this new work
formally in the same direction, to spoken theater situations or
is closely akin to “Orlando“? No. It bears an immediate proximity,
dialog (unpopular, because this requires you to give precedence
builds upon it and also hopefully represents a starting point for
to the drama). But you can use all these possibilities one after the
further successful collaborations with fellows and alumni of
other, layered, or all at once. How does that work with the other
“Academy Opera Today“.
questions though: Does Antonius find a solution? Has he learned
anything? Grand opera or experiment? Developing action, or
situation? If Antonius can't decide then how can I? Moreover, I don't
want to! Every question has a firm yes and no answer.
The Chaos of Things
I find myself sympathizing increasingly with Antonius. I begin
by Ulrich Kreppein, fellow 2009 – 2011
this was increasingly becoming my piece: it was precisely that
to have an inkling of what it was that fascinated me so much that
disorientation, which cannot be overcome but leads to enlighten-
I've been fascinated by the inside of opera
houses ever since I first went backstage. I think
it's probably because, as a composer, I always
get a pleasant feeling of having sneaked in, as
it were, without permission.
ment. This template, in its transitions between grand opera and
acting, allows you to draw simultaneously on all the richness of
melodrama with chorus, dialog and atmospheric soundscapes.
However, in order to find exactly the point that you are still seeking
to understand, you have to compose the vague and slightly
incomprehensible more precisely than you think. But the whole,
suddenly, no longer rules. There are more and more levels, a sound
is never clear, it is always overlaid or accompanied by commentary,
But above all, I have never yet seen an opera house where those
within the bounds of transparency at least. Citations and the
corridors, rehearsal rooms, workshops and offices were organized
seemingly familiar form a collage, hidden in sound, so that there
in any kind of sensible structure. They always seem to have been
is always too much information, supported by the images which
thrown together accidentally, like a jumble of possibilities and
in turn also always go beyond what's necessary.
promise of that which opera is and could be, bureaucracy and
magic included.
An invitation to lose your way by overload. I am not sure that we
ourselves always had the whole under control. After a year of such
“Die Versuchung des heiligen Antonius“ by Flaubert: that was
intensive work it's hard to say. But perhaps that wasn't the point.
to be the theme of a piece democratically legitimized and chosen
Antonius is like our deputy, or that of the audience. He doesn't
by an initially large group of fellows and put forward in concept
know what is happening to him but in the end he realizes that
form, which sparked the excitement of the Oldenburg Staatstheater
only in this situation has he any chance at all of accessing reality.
and would ultimately be brought to the stage by a smaller group
If wanting to understand reality is the precursor to experience,
of fellows. A jumble of images, discussions and possibilities—a
then reality gets lost. Ultimately I hope that people will be able to
Tower of Babel in the form of a staged novel. Antonius strays and
stray and lose themselves in the performance just as they might
loses his way in his visions which, in the end, he meets with the
in the building they are in—as in anything, really, where we give
same enthusiasm as composers who enjoy finding the orchestra
immediate experience free reign. There's no better place to lose
pit via the restaurant by way of the music archive and across the
your way than at the opera. ///
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page 17
In Brief
Other “Academy Opera Today“
The Deutsche Bank Foundation endeavors to help advance the careers of
members of "Academy Opera Today" (AOT) and other young artists. To this
end it regularly launches initiatives offering a platform where developing
talent can acquire experience on stage and behind the scenes. Here is a
selection of our current collaborations:
Oper anders denken
Partners: Kunstuniversität Graz
Project: Two-year research
project, “Zwischen Hermeneutik
und Performativität / Oper anders
denken“ (Between Interpretation
and Performativity / Thinking
Opera Differently), under the
leadership of Prof. Dr. Barbara
Beyer, using the example of
three different stagings of
“Così fan tutte“
Framework: performance of the
three stagings at the MUMUTH
of the Kunstuniversität and at
the Tischlerei (joinery) of the
Deutsche Oper Berlin
Deutsche Bank Foundation:
promotion of the production
management location and a
panel discussion as part of a
parallel symposium on “The
Future of Opera“
Participants: production
management: Annika Haller
(fellow 2001– 2003)
director: Margo Zālı̄te (fellow
2011– 2013)
Partners: Festspielhaus BadenBaden, Berliner Philharmoniker,
Theater Baden-Baden
Musikfest Stuttgart
Partners: START Foundation
Partners: Internationale
Bachakademie Stuttgart (IBA)
Project: staging of a children's
opera and a chamber opera by
Academy members
Project: opera workshops
for START fellows—young
schoolchildren with a migrant
background—under the leadership of AOT alumni and fellows
Framework: Osterfestspiele
Framework: various opera
houses in Germany
Deutsche Bank Foundation:
Call for proposals, and
promotion of directing team
Deutsche Bank Foundation:
initiator and promoter of the
cooperation which has been
running since 2009
Participants: For the
Osterfestspiele 2014:
a children's adaptation of the
Puccini opera “Manon Lescaut“:
director: Kristina Gerhard (fellow
2003 – 2005), dramatic advisor:
Stefanie Krahnenfeld, stage /
costumes: Azizah Hocke
“Mahagonny-Songspiel“ (Bertolt
Brecht / Kurt Weill) & “Lehrstück“
(Bertolt Brecht / Paul Hindemith):
Director: Alexander Fahima
(fellow 2009–2011), dramatic
advisor: Martina Stütz (fellow
2009–2011), stage / costumes:
Julia Schnittger (fellow 2009 –
2011), musical assistant:
Masayuki Carvalho (fellow
Participants: workshops in the
2013–14 season:
Theater Aachen, “Fidelio“,
Michael Dühn (fellow 2005 –
Staatstheater Darmstadt,
“Tristan und Isolde“, Daniel
Kunz (fellow 2005 – 2007)
Theater Bremen, “La Bohème“,
Katinka Deecke (fellow 2011 –
Project: to commission a
composer from the AOT
network, with Bach's choral
work “Ein feste Burg ist unser
Framework: Musikfest
Stuttgart 2013
Deutsche Bank Foundation:
commission via a call for
proposals from the AOT
Participants: Ulrich Kreppein
(fellow 2009–2011) under
conductor Kent Nagano with
the “Concerto Köln“ ensemble
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page 18
Board of trustees / jury
The involvement of
Academy Opera
Today's eminent board
of trustees is key to
the success of the
Sergio Morabito
Ulrich Lenz
Opera Director, Principal
Category: Dramaturgy
Dramatic Advisor of
Chief dramatic advisor at the
Staatsoper Stuttgart
Komische Oper Berlin
Enno Poppe
Anno Schreier
Composer, Conductor, Leader
Category: Composing
of “ensemble mosaik“ in Berlin
Composer, “Academy Opera
Today“ alumnus
Sebastian Baumgarten
Titus Engel
Viktor Schoner
Artistic Director at the
Peter Spuhler
Bavarian State Opera in Munich
Category: Cultural Management
Chief artistic director of the
Conductor, Music and Artistic
Director of “ensemble courage“
Eva Wagner-Pasquier
Badische Staatstheater
in Dresden
Artistic Director and General
Manager, Bayreuther Festspiele
Karoline Gruber
Prof. Heiner Goebbels
Director of the Ruhrtriennale,
Prof. Klaus Zehelein
Category: Directing
Composer, Stage Director,
President of Bayerische
Opera director
Professor of Applied Theater
Theaterakademie August
Studies at Justus-Liebig-
Everding at the Prinzregenten-
Universität Gießen
theater München
Johannes Harneit
Composer, Conductor,
Principal Conductor of the
Sinfonietta Leipzig and the
Landesjugendensemble für
Deutsche Bank Foundation
November 2013
Viola Mannel
Solveig Schartl
Martin Jamrath
Anna Schmitt
Weigand Design und
Kommunikation GmbH
Photo credits
Cover Page: © Matthias Stutte
Page 2: © Sammy Van den Heuvel
Page 3: © Deutsche Bank Stiftung /
Philipp Ottendörfer
Page 4–6: © BILDSCHÖN GmbH
Page 15: © Matthias Stutte, © Hans
Jörg Michel
Page 17 : from left to right:
© Alexander Wenzel, © manolopress,
© Deutsche Bank Stiftung / Insa
Hagemann, © Holger Schneider
Page 18: © Hans Jörg Michel
Photos of fellows:
Verena Billinger: © Florian Krauß
Christoph Breidler: © Foto Fischer,
Graz 2013
The fellows are
selected by a jury that
changes annually. The
jury for 2013 includes:
Neue Musik Schleswig-Holstein
Jens Kilian
Christian Jost
Category: Stage Design
Composer and Conductor
Stage and costume designer
Bernd Loebe
Dirk Kaftan
General Manager,
Category: Conducting
Frankfurt Opera
Chief music director of Stadt
Photo: Scene from Peter
Augsburg, principal conductor
Eötvös’s “Drei Schwestern“ at
at Oper Graz
Zurich Opera House, April 2013
All information in this brochure is
made in good faith and with care and
prudence from the different sources
collected. The publisher assumes no
liability for the accuracy or completeness
of the information. We would like to
thank all parties involved in producing
this publication for their support.