090121_Con Moto09_engl - Deutsche Bank Stiftung

Academy Opera Today
2011/ 2012
Is it alright to lie
on stage?
by Carl Hegemann
“The opera is
a huge box of
tricks“
Interview with Heike Scheele
A little den of
iniquity. The
defense states
its case
by Kai Luehrs-Kaiser
page 2
Deutsche Bank Foundation's fellowships
for the international opera world
Opera as an art form is currently at a watershed.
People who can give opera fresh impetus and
inspiration are needed to help this form of musical
expression survive and grow in the 21st century.
Attending international opera festivals
This is the aim of the “Academy Opera Today“, which was founded
Edinburgh Festival Fringe or the Festival d'Aix-en-Provence, is
that experiences can be shared and information, including helpful
contacts, can be exchanged.
A visit to a famous international opera festival, such as the
by Deutsche Bank Foundation in 2001. We offer young, talented
one of the highlights of the program. The fellows attend many
directors, dramatic advisors, conductors, cultural managers, stage
performances during the festival, are able to take a closer look at
designers and composers an interdisciplinary platform to exchange
what happens backstage, and participate in workshops in which
information and experiences and jointly confront the challenges
they confront the challenges posed by stagings of modern opera.
of today’s opera. The emphasis lies on networking – more than
ten years since the Academy was founded, many of its fellows
Conducting conversations with personalities of the opera world
and alumni now work for renowned houses and have forged many
Discussions behind the scenes with administrators, conductors,
interconnections through their artistic projects.
musical directors, stage designers and stage directors immerse
The preview of the opera “Die Versuchung des heiligen Antonius”
houses are managed and run and they learn valuable background
the fellows into the working life of artists; they see how opera
– the final production of the 2009-2011 class of Academy fellows –
information about productions they have seen. By bringing the
was presented with great success at the Oper Frankfurt in
fellows together with famous artists and enabling communication
October 2011.
amongst them, the program assists in promoting the creation of
a broad network.
Under the working title “Orlando” the 2010 – 2012 group of fellows
are developing a music theater based on the novel “Orlando furioso“
Participating in important competitions
by Ludovico Ariost. In autumn 2012 the public will be given a
Fellows are also expected to perform in public and participation
small preview of “Orlando” during the ceremonial act 2012 of
in competitions is considered important for their artistic growth.
“Academy Opera Today“.
The Academy helps to finance fellows taking part in public
performances.
What we offer
Participating actively in the fellows’ own artistic projects
Professional insight into the projects, discussions and networks
The Academy puts on innovative productions by the fellows
that form the pillars of our fellowship program.
themselves, encouraging them to gain practical experience and
Attending outstanding productions
fellows, for example, which includes world debut performances.
to promote cooperations – the annual ceremony to welcome new
The Academy class will attend exceptional, innovative productions
by major opera houses up to four times a year. Post-performance
discussions with the artistic teams and management of the opera
houses will enable background knowledge to be gained about
productions, while the program also encourages and supports
individual visits to Academy fellows’ own productions. The intention
Photo cover and above: Scenes from “Innenleben”, at the official
is to promote the growth of a network of artists and managers so
ceremony in October 2010 at Bockenheimer Depot
page 3
Current information
Program 2011– 2012
How to apply
November:
2012 – 2014 Fellowship for the “Academy Opera Today“
Workshop in Basel and Colmar
You may apply for a fellowship if you are nearing the end of
January:
Workshop in Berlin
your studies in an opera-related field, beginning your career
April:
Workshop in Paris
conductor or composer. You should speak German and not be
as a director, stage designer, dramatic advisor, cultural manager,
older than about 32 years. Career changers are also welcome but
May:
Gathering of the fellows and alumni in Oldenburg
should also fulfill the requirements regarding language ability and
at Oldenburgisches Staatstheater
age.
June:
Workshop in Frankfurt and Stuttgart
Period of application: annually from January until May.
August:
Workshop in Edinburgh
For further information please visit
October:
Ceremonial act in Frankfurt
www.deutsche-bank-stiftung.de
Contact
Academy Opera Today
c /o Deutsche Bank Stiftung
60262 Frankfurt am Main, Germany
E-mail: [email protected]
General Manager: Michael Münch
Program Managers: Solveig Schartl, Catherine Sondermann,
Kirsten Uttendorf
Program Assistant: Dr. Susanne Gilles
Photo: Shortly before the final rehearsal of Händel's “Acis and
Galatea” at the Festival d’Aix-en-Provence, July 2011
page 4
A little den of iniquity.
The defense states its case
by Kai Luehrs-Kaiser
The contradiction facing today’s theater – the
level at which theater performances are staged
is getting better and better. But the audiences
don’t know what they’re watching anymore.
In actual fact, we have perhaps reached a crossroad at which the
representatives of older generations of directors (for example Peter
Stein or Claus Peymann) will part ways from the younger generation,
and scarcely any dialogue will remain between the two. It is
interesting that, although dissent can be explained theoretically,
it is usually conducted morally. This means that if someone rashly
In the last few years, the gap between a preparatory education and
chooses the wrong side, they could quickly wind up on their
the level of analysis applied to opera and theater performances has
own. It also shows how strongly theatrical direction has become
widened considerably. The number of people familiar with major
ideologically contaminated, even when it calls on key witnesses
works of drama and literature is dwindling and yet at the same
such as Brecht.
time, we can rely less and less on the story of an opera or drama
actually being told during a production. This is because directors
As a journalist and a critic, I must confess that for me the problem
today simply don’t find that interesting enough anymore. (And they
is that even dramaturgically challenging performances, such as
are perfectly justified, too. When the same plays are interpreted up
those in which the stage design or characterization are quite radical,
and down the country, it’s the unconventional interpretations that
are often surprisingly boring. Particularly for those who are
get noticed and these are the ones, of course, furthest removed
roughly acquainted with the story, the concept behind this kind of
from the original intention.)
performance often becomes obvious within minutes. The curtain
rises and you immediately know exactly how it’s going to end. The
It’s a delicate issue: People raising questions about content and
result, in my opinion, is that performances with seemingly radical
the aesthetics of the dramatization are likely to be accused of
staging don’t appear to have been based on a very dramatic
conservatism. This also shows the degree to which aesthetics has
concept at all. The concept is not dramatic enough.
become ideology – far removed from the director’s artistic license
to interpret the original lines in one way or another. At a meeting
Thus I would propose that it’s not a question of too much thought
of the alumni of the “Academy Opera Today” in Dresden in 2011
being put into today’s productions, but rather of too little. Admittedly,
(at a discussion meeting held after the debut performance of
this is just a hunch. The problem lurking behind this is that a lot
David Marton’s “Rheingold”), theater manager, Wilfried Schulz,
of the director’s ideas don’t get through to the audience, but, like
commented that the Brechtian concept of theater had become
fireworks that prove to be duds, only sparkle in the performers’
more-or-less de rigueur for him and his generation.
heads, or, at best on the pages of the theater program. Put in
football terms: There’s too much dribbling in today’s matches, but
What this means is that we have to assume that, for theoretical
rarely does anyone score a goal.
reasons which are accepted as binding, plays are viewed today as
the material basis for a production. It also means that we have
To quote one of the old masters we don’t hear quite so much of
generally dismissed the rather naive idea that a play is a play and
these days, Peter Konwitschny, it is not enough to have an idea; it
therefore something that can be simply followed when staged.
is also necessary to visualize the idea on stage. Perhaps this was
And forget about thinking that you can do it justice.
the key to his success, but it is also precisely what is lacking in
many performances today.
Photo: Max Hopp, Mila Dargies, Cathleen Baumann, Olivia Grigolli,
Yuka Yanagihara and Christoph Homberger in “Rheingold. Musik-
A long time ago, a wish-list of scenes and props was compiled –
theater nach Richard Wagner” at Staatsschauspiel Dresden, May 2011
I believe by a number of opera directors – that should never, ever
page 5
classroom (Hamburgische Staatsoper). So, although I don’t want
to discourage the idea, I would advise caution!
(3) Uninspired costuming. Speaking from personal experience, the
most difficult question to answer in the annual review by “Opernwelt”
magazine is “Best costume designer of the year”. Symptomatically,
a few years ago, Johannes Schütz (in “Theater heute” magazine)
chose Jürgen Gosch’s staging of “Macbeth” (Schauspielhaus
Düsseldorf) where the actors were naked! These days, costume
designers seem very resistant to the idea of becoming seriously
involved in the dramatization of the production. They have become
(at best, shrill) fitters, in the negative sense of the word. This is a
great shame.
What has long since been put into practice in theater is still “under
construction” at the opera: emancipation from the script (in terms
be used because their encoded meaning had become so cliché.
of the afore-mentioned Brechtian concept of theater). The fact that
Included among these were suits and cocktail glasses, for example.
parts of the script are left out or rearranged is no longer unusual.
This possibly humorously intended index could be compared with
(An excellent example of this is Christof Loy’s sampled version
a catalog of common offences committed by directors that really
of “Fledermaus” at the Oper Frankfurt.) The inclusion of additional
should be forbidden.
spoken parts recently still led to an uproar among audiences
Little book of sins:
by Konwitschny, however. The fact that David Marton stages his
watching performances of “Meistersinger” and “Don Giovanni”
(1) Monotone stage design. Stage settings today are becoming
productions in theaters, rather than in opera houses (even
increasingly expensive and complex. This has led to the development
“Rheingold”) also points in this direction.
of Monotone Stage Disease and the inability to provide a variety of
settings within a performance. I assume people think the concept
Just how dramatic this paradigm shift will be depends on a
is diverse enough. And yet in reality this is seldom the case. An
number of financial issues. Shortening, rearranging, and conjecture
exception to this rule are the highly varied stage settings in Sebastian
on the score – this all takes time; time that is barely available in
Baumgarten’s “Tannhäuser” dramatization (Bayreuth 2011), or, to
today’s rehearsal schedules. But then again, that’s not really what
take an example from a stage play, Chekhov’s “Platonov”, directed
it’s all about. What it really depends on is whether the currently
by Alvis Hermanis (at Akademietheater Wien) in which new details
so emaciated and powerless crafts and techniques of dramatic
are still being discovered even five hours into the performance.
composition in opera and theater can be given a new lease of life.
In this case, however, the appeal of the stage lies in the excellent
Successful theaters in cities stretching from Stuttgart to Berlin
technical realization of the design.
were not always dependent on ingenious and talented directors,
(2) Repotting. Responsible for quite a number of major flops in the
theaters. The potential inability to distinguish between theaters
past has been the careless and harsh relocation of the scene of
is due to the fact that today, the best directors are always
but on the dramaturgic departments in situ in the respective
the action. “Der Fliegende Holländer” (“The Flying Dutchman”)
accompanied by their own dramatic advisor. In my opinion, a
set in the stock exchange (Deutsche Oper Berlin, Director: Tatjana
dramatic advisor is almost always the problem behind a bad
Gürbaca), “Aida” repotted to a foyer (Director: Christopher Alden)
production. It’s time to find a solution! ///
or “Arabella” staged on the deck of a multi-story car park (Director:
Alexander von Pfeil). These three examples unfortunately put a
damper on the Kirsten Harms’ era. There are only a few cases that
have dealt successfully with such a radical change of scene. A
classic, positive example is Konwitschny’s “Lohengrin” set in a
Kai Luehrs-Kaiser, born in 1961 in Bremen, Germany,
works as a music and theater critic for a variety of
newspapers including Spiegel Online, Opernwelt,
FonoForum and RBB Kulturradio. He studied philosophy,
German language and literature, music and religious
Photo: Jan Czaijkowski, Mila Dargies, Yelena Kuljic, Stefko
Hanushevski, Max Hopp, Olivia Grigolli and Benjamin Höppner in
studies and was awarded a PhD in 1999. He teaches
at Freie Universität Berlin. He works as a dramatic
advisor at the Berliner Schaubühne and as a research
“Rheingold. Musiktheater nach Richard Wagner” at Staatsschauspiel
assistant for the Austrian Literature Archive in Vienna.
Dresden, May 2011
He lives in Berlin and Vienna.
page 6
Is it alright to lie on stage?
by Carl Hegemann
In his series of letters “On the Aesthetic Education of Man”, written
declarations in general find no credit, and hence that all rights
between 1794 and 1795 in the wake of the French Revolution and
founded on contract should lose their force; and this is a wrong
under the sway of German philosophy, Schiller postulated a type
which is done to mankind.”
of aesthetic immoralism; something that was not expected of
the apparent inventor of the theater as a “moral institute”. “In the
Kant simply cannot consider lying to be a maxim that could be
midst of the awful realm of powers, and of the sacred realm of
“used as a foundation for general legislation”. For Kant, it calls
laws, the aesthetic creative impulse is building unawares a third
mankind into question. Anyone telling an untruth has us living in
joyous realm of play and of semblance, in which it releases
an illusory world in which we can rely on nothing. We probably
mankind from all shackles of circumstance and frees him from
live in this kind of illusory world far more these days than in Kant
everything that may be called constraint, whether physical or
and Schiller’s day. Things like contractual fidelity have become
moral.” The release from everything that may be called constraint,
old-fashioned, it would seem, in both public and private business
whether physical or moral – words that were actually penned by
and long-term partnerships don’t fit into a societal structure that is
Schiller. But what is he talking about here? In this third realm?
oriented towards personal gain. This is why trust is often taken as a
Blasting away the constraints of space and time? Sodom and
synonym for stupidity, whether it is trust in a romantic relationship
Gomorrah? There can only be one answer: Yes, all of this is possible
or in market conditions, while at the same time, perennial mistrust
and permitted there! And Schiller made thorough use of this
is regarded as unhealthy. Our life is set in conflict. “Truth and lies”
freedom in his work. Today we call this artistic license and it is a
are constantly merging, “There is no certitude. […] We play a part
constitutional right. That is why we are released from everything
and wise is he who knows it,” said Arthur Schnitzler on illusory
that may be called constraint on the stage, which naturally means
worlds at the end of the 19th century.
we are no longer under the childish and Kantian obligation to
always tell the truth.
On the other hand, Schiller’s aesthetically pleasing “Realm of Play
and Semblance” appears to be a haven for truth and authenticity,
According to one of the up and coming dramatic advisors required
for here, in contrast to relationships and business, lies are identified
to write an essay on this subject when he applied to the “Academy
as such and therefore cease to be lies. In the theater the audience
Opera Today”, this is the reason why it’s alright to say in a theater
and actors know that “it’s just a play.” No one is being duped and
that Salieri murdered Mozart, although this is not the truth
no one’s trust is being misused. Theater uses techniques to deceive,
according to the current state of historical research available on
but is not deceptive. Some applicants subsequently turned the
Mozart’s life. The other applicants were, without exception, all of
question in the title round and asked “Is it even possible to tell lies
the opinion that it was perfectly alright to lie on stage, just as it is
on the stage?”
allowed in real life under certain circumstances. In the meantime,
for both good and bad reasons, we have largely taken leave of
The answer given was: “Not really” or “Definitely yes and no.” To lie
Immanuel Kant’s belief that lying can never be ethically acceptable.
on stage, someone would have to claim or do something that wasn’t
Kant’s categorical and unbending rejection of lying, apparently
acting, e.g. a real murder, or a terrorist attack that did not appear
far too removed from life as we know it, has faded into oblivion.
to be staged or – long a favorite example – a fire in the theater. The
In Kant’s work “On a Supposed Right to Tell Lies from Benevolent
actors need to be particularly disciplined and clear in what they
Motives” (1797) he says, “so far as in me lies I cause that
are doing to pull off a lie of this sort, otherwise this drama would
suddenly go from drama to criminal offence. Paradoxically, you are
Photo: Camilly Nylund in “Tannhäuser” by Richard Wagner at the
only allowed to lie on stage if you are telling the truth in the guise
Bayreuther Festspiele 2011; Dramatic advisor: Carl Hegemann
of telling a lie.
page 7
This brings to mind a statement made by a great figure in
Photo: Stephanie Friede in “Tännhauser” by Richard Wagner at
dramaturgical sociology, Erving Goffman, who said that only
the Bayreuther Festspiele 2011; Dramatic advisor: Carl Hegemann
an original can create a fabrication: “An original, hidden behind
nothing but fabrications, is a fabrication of a fabrication.”
book, “Das Gespenst des Kapitals“: “It is even possible to call this
In a world of aesthetic semblance there is no fraud, no deception
a romantic financial intercourse profile: The circulation of credit is
and there are no lies, because everyone knows that “all the
based on the paradox of ‘self-guaranteeing money‘ and on stage,
world’s a stage” upon which every participant has the license to
turns out to be an effective fiction or poetry, on the basis of which
“act as if”. When the illusion moves from the aesthetic realm into
the illusions in circulation actually end up as the determining factors
the real world, however, according to Schiller it loses its aesthetic
in economic relations.“ The fact that these are fictive foundations
character and becomes lies and deception. But what happens if
for real processes has ceased to be a topic for discussion today.
we put aesthetic practices of the theater to the test in our daily
lives and turn the world into a theater or a place of lyrical semblance,
“Art is magic delivered from the lie of being truth,” Adorno
by telling ourselves that our real lives are merely set in a scene or
proclaimed in his concise summary of Schiller’s basic aesthetic
part of a fictional story?
principle. Are the systems of love and money about to go through
The aestheticization our own reality outside the theater is a theme
love and in the financial markets, and sit back and watch how
that emerges in the songs of Zarah Leander. In her song, “Nur nicht
fictive events magically trigger real processes? And will this kind
aus Liebe weinen" (“Just Don’t Cry About Love”), composed by
of magic end up turning into truth?
a similar emancipation? Will we also have to forego truth both in
Theo Mackeben, we believe in the lie that is revealed, just as we
believe in the theater. This make-believe, however, is connected to
What better place to think about these questions than in the
the reality of life. “Und darum will ich heut dir gehören, du sollst mir
theater, where fiction and its pitfalls have been discussed for
Treue und Liebe schwören, wenn ich auch fühle, es muss ja Lüge
some 2500 years? In a space that was originally created just for
sein, ich lüge auch und bin dein.” (“That’s why I want to belong to
this purpose. ///
you, You must promise to love and trust me, And although I feel
it must be lies, I lie too and am yours.“) This little story transports
aesthetic semblance into the real world – as aesthetic semblance.
The theatrical world and the real world cancel each other out and
the world becomes aesthetic. Of course, this happens most with
love and money (the two most important subjects in opera outside
Carl Hegeman, author and Professor for Dramaturgy
at the Hochschule für Musik und Theater Felix
of death, at least since Wagner). The financial markets also seem
Mendelssohn Bartholdy in Leipzig. Dramatic advisor
to follow the theatrical model of aesthetic semblance, but unlike
for the Bayreuther Festspiele (2011, 2004 – 2007), for
on stage, with real consequences. In the case of Zarah Leander,
the game of make-believe could end up in a real night of romance
and the finance and credit industry, operating with fictive values
the Volksbühne am Rosa-Luxemburg-Platz (1992 – 1995
and 1998–2006), the Berliner Ensemble (1996 –1998),
the Schauspielhaus Bochum (1995 –1996), the
Stadttheater in Freibug im Breisgau (1989 –1992) and
reminiscent of ‘romantic’ and ‘lyrical’ practices, produce real
for the Ruhrfestspiele Recklinghausen (1988 –1989) to
profits (and losses), as Joseph Vogl illustrates in amazement in his
name but a few.
page 8
“Art comes from a place you
can’t quite understand”
by Christian Grammel, fellow 2010 – 2012
Naturally it can be lovely to be able to escape the cold, rainy
longer dialog between him and the fellows of “Academy Opera
German summer and fly to Marseille, hop on a shuttle bus to
Today” in Aix-en-Provence. As this year’s mentor for “Atelier Opéra
Aix-en-Provence and sit back with a glass of Pastis, gaze up at the
en Création”, Eötvös brought together young operatic artists from
azure blue Provençal sky and think about art, culture, and music…
16 nations at the festival. Their closing plenary became our prelude.
But it can involve work as well: The “Academy Opera Today” 2011
Still, we were astonished by the obvious credo of their statement
summer workshop for example.
– “It is too early to form conclusions”: You would have thought they
The small town of Aix-en-Provence in the south of France isn’t
not left the year-old questions on the relationship of music, language
spoiled just by the weather alone. Every summer for over 50 years
and stage unanswered!
could at least have named a few interim theses and opinions and
it has hosted a festival, which, although taking place at almost
exactly the same time as the Avignon Festival, differs in its focus
Even Eötvös left us wondering. He pointed out the miserable ratio
on opera and music. Since 2007, when Bernard Foccroulle took
of performances of classical and contemporary works of music
over management of the festival in Aix, not only have artists from all
in comparison to art or theater. Culture should not be a subject
kinds of disciplines been included in the international co-productions
of education; he would far rather see culture being instrument to
of the festivals, but the educational and communicational aspects
education. But doesn’t it make us better people if we know about
of the program have been expanded, too. An important part of the
Beethoven?
program is the “Academie Européenne de Musique”, which brings
together young singers, musicians, composers and directors – for
We got our answer one day later from the festival’s director, Bernard
the 14th time now – for advanced workshops and to promote an
Foccroulle: Contact with music improves the world. Tolerance for
exchange of dialog. Over 60,000 visitors came to Aix for the festival
foreign cultures and understanding the problems of the world can
last year; statistically speaking, that means that every other resident
be achieved by coming into contact with all things foreign, which
of the town attended a festival event.
can also be found in art. In Europe, there is no single identity, but
Living up to the variety that the festival program offers in all of
concept of a cultural collective, we comprehend the basis upon
a whole host of multi-faceted identities. By understanding this
the represented disciplines, we also presented a diverse program
which his massive commitment to educational projects has been
of events: Five operatic performances taken from a span of almost
built.
300 years (from Händel to Bianchi), an exhibition, six inspiring
speakers and countless official and unofficial discussions, talks
It is necessary to take risks. And a Traviata would go much further
and presentations. We talked about the Baroque concept of work
up the risk scale if it was an unknown piece of music. The audience
and whether the 448th Traviata is a suitable piece of music for an
enters the room with a certain degree of previous knowledge
elegant funeral and what the new music scene can gain from the
about the piece, and while his expectations need not be reinforced,
“tubax”.
he also ought not be reduced to the level of a consumer. What
does ‘risk’ mean in the context of a festival? Risk assessment
“No doubt the artist is the child of his time; but woe to him if he
has become one of the key competences of banks – statistical
is also its disciple, or even its favorite!” (Friedrich Schiller)
The concepts Friedrich Schiller postulates in “On the Aesthetic
Photo: Shortly before the start of the performance of Dmitri
Education of Man” are not only the subject of current discussion
Shostakovich’s “The Nose” at the Festival d’Aix-en-Provence,
and work of the composer, Peter Eötvös, but have also initiated a
July 2011.
page 9
methods and empirical data are on hand to evaluate how risky
“Learning from the Absurd” was the objective set by the director
transactions and procedures can potentially be for companies and
and the creative artist, William Kentridge, in dealing with Dmitri
projects. With regards to art, are we reliant on more subjective
Shostakovich’s “The Nose” (1930). In a formidable collage of scraps
measures, or can we refer to concrete figures?
of newspaper, videos and Russian formalism, Shostakovich’s music
Is a bad production worse than a boring one?
Kazushi Ono, makes a statement about the political significance
and tableau were closely entwined. In the process, the director,
of the production: The 1920s’ principle of transcending barriers
After the festival had been held for the third time in Aix, people
makes its mark, with flying chairs of the theater of the absurd and
agreed that the success of an evening couldn’t be measured by
singing noses expressing our current blind belief in the progress
personal taste alone. In terms of style, the productions people
of nuclear power.
visited represented a wide range of compositions, interpretations,
dramatizations and aesthetics, providing something for all tastes.
But are we thinking too much about meanings, content and
At the same time, weaknesses in the tools of the trade were
statements? Is our view of opera and dramatizations too intellectual?
revealed, and were able to be clearly and swiftly carved out. The
A line-up of major and successful names in the pit, on, and behind
open air production of Händel’s “Acis and Galatea”, directed by
the stage on the last evening should give us pause for thought:
choreographer Saburo Teshigawara lacked a clear, organizational,
The production was “La Clemenza di Tito”. Our jaws dropped
dramaturgic hand. The wonderful – verging on great – singers
open. Unfortunately. We wondered about the director’s sense of
danced on artificial lawns in front of an idyllic backdrop of the parks
responsibility, about unfortunate coincidences and about our hasty
of Grand Saint-Jean. But images and movements were frequently
expectations. The director, David McVicar, who hates German
in no relation to each other and froze (in contrast to the music)
opera, provided this very own special answer in an interview:
in the beauty of the moment.
“No, it’s horrible. And institutionalized. You have to fight against
ineptitude, and arrogance, and stupidity.” We hadn’t seen it from
The risk of Verdi’s “La Traviata”, played by the London Symphony
that perspective yet. Our desire for conclusive performances was
Orchestra, hardly went higher on the scale than the orchestra pit.
a little short sighted. “Art comes from a much more instinctive,
The single-track psychology of the characters was in radical contrast
intuitive place, a place you can’t quite understand, that place you
to the dramatic approach, which focused largely on gestures:
go when you’re asleep.” Of course. One man’s dream is another
Pina Bausch’s Tanztheater style should have been an inspiration.
man’s nightmare. This is also a topic we worked on in our sunny
It is clear that characters and emotions only emerge in the
idyll in the Provence, until we finally shook off the convenient
projection of the audience. Director, Jean-François Sivadier was
role of the critic, lugged our cases towards the beach close to
unable to convince us that this happened in Violetta’s tragic
Marseille to wait under the Provençal sun for the flight that would
story, however, even during a subsequent interview.
take us back to Germany, land of thinkers and concepts… ///
This made us all the more ready to believe the difficulty of the role
Photo above, left: Fellows 2010-2012 at the Festival d’Aix-en-
of the composer of “Thanks to my eyes”, Oscar Bianchi, sandwiched
Provence, July 2011
between the librettist Joël Pommerat and the director Joël Pommerat.
The debut performance with the Frankfurt Ensemble Modern,
directed by Franck Ollu, demonstrates a mixture of an Oedipus
Photo above, center: Taking a break on the lawn at the Festival
d’Aix-en-Provence, July 2011
story and an artist’s drama in No-man’s Land, excoriated from
Photo above, right: Fellows of the “Academy Opera Today“ at
an acoustic and optical darkness.
the summer workshop in Aix-en-Provence, July 2011
page 10
Fellows
2011 – 2013
Hauke Jasper
Berheide
Birke Jasmin
Bertelsmeier
Category: Composing
Category: Composing
Katinka Deecke
Nina Dudek
Category: Dramatic Advisor
Category: Directing
PhD thesis on History and
From 2011 / 2012 Drama
Freelance composer. 2012
Composer, pianist, conductor.
Potential in Performing Arts.
Management and Director at
Fellow of Deutsche Akademie
Since 2011 Fellow of the
2010 / 2011 Production
Magyar Állami Operaház,
Villa Massimo in Rome, where
Internationale Ensemble
management of the international
Budapest. Since October 2011
he is working on an evening-
Modern Akademie, Soloist exam
art project 80*81 by Georg Diez
PhD student. Talks on Gounod’s
filling opera for Deutsche Oper
in composition (2011) with
und Christopher Roth. 2010
“Roméo et Juliette”, Mozart’s
am Rhein. 2011 Debut perfor-
W. Rihm (Karlsruhe), graduating
Awarded Master’s degree in
“Le nozze di Figaro” and
mances at Young Euro Classic
in 2008, received a Diploma
Dramaturgy in Frankfurt am
“Orchesterkonzert Boulez” at
in Berlin, at Schönberg-Haus
degree in Piano (2005) with
Main. Since 2009 collaboration
the Salzburger Festspiele
in Vienna, as part of the
Prof. P. Gililov (Cologne), Master
with the director, Benedikt von
2011 and 2010. April 2011
“Liederreihe” of the Hamburg
of Music Studies (Karlsruhe).
Peter. 2002 – 2006 Studied
Dramatization of Frid’s “Anne
symphony orchestras and
Teaching post for composition /
French Literature and Theater
Frank's Diary” in Lower Austria.
together with the Düsseldorf
improvisation at HMTM
Studies in Paris. During her
In the theater season 2010 /
symphony orchestra. 2013 First
Hannover. Performances and
studies, numerous posts as
2011 director’s assistant at
symphony with the Duisburg
compositions at Impuls Festival,
dramatic advisor and director
Landestheater Salzburg. 2008 –
philharmonic orchestra,
Heidelberger Frühling, Acanthes –
assistant as well as production
2010 Studied music and theater
additional debut performances,
Metz, Davos Festival, Akademie
management (Schauspielhaus
direction at MDW;
with the Hamburg philharmonic
der Künste – Hamburg,
Hamburg, Schauspiel Frankfurt,
dramatizations with director’s
orchestra, Auryn Quartett,
Darmstädter Ferienkurse
Theater Heidelberg, Thalia
team including Menotti’s
Freiburg philharmonic orchestra
(Arditti Quartett), Young Euro
Theater Hamburg, HfMDK
“The telephone” and Ullmann’s
and Dresdner Kammerchor in
Classic 2009 (Ensemble Modern
Frankfurt, Theaterakademie
“Der Kaiser von Atlantis”.
the Semperoper. Won awards
Akademie), Alpenklassik (Bad
Vilnius, etc.). Before embarking
2006 – 2008 Establishment
from various composition
Reichenhaller Philharmonie),
on university course, voluntary
and management of the Youth
competitions, as well as a prize
sponsored by the Ernst von
placement at a Kibbutz, and
Theater Segment, GRETA at
award from NRW 2008. 2001–
Siemens Musikstiftung,
dance training in Hamburg. Born
Grenzlandtheater Aachen. 2001–
2009 studied under Manfred
Ensemble Europa (WDR),
1980 in Hamburg, Germany.
Trojahn and José Maria Sanchez
Klavierfieber Berlin. Born 1981
WWU Münster. Born in 1082
Verdú. Born in 1980 in Duisburg,
in Hilden, Germany.
in Essen, Germany.
Germany.
2007 Studied Music Studies at
page 11
Fellows
2011 – 2013
Tilman Hecker
Irène Kaiser
Alexander Keil
Martin Nagashima Toft
Category: Directing
Category: Cultural Management
Category: Cultural Management
Category: Conducting
Dramatization of Mozart’s
Since 2011 communications
During the 2011 season,
Since 2010 freelance conductor.
“La Finta Giardiniera” in January
officer for the European Music
employed by the artists’
During the season 2011 / 2012
2012 at Opernhaus Wuppertal
Academy for the Festival d'Aix-
management office of the
resident artist at the Nationale
and “Aventures / Nouvelles
en-Provence and the European
Bayreuther Festspiele. Artistic
Reisopera, Netherlands. 2005 –
Aventures” by Ligeti in March
Network of Opera Academies
Director of the Seekult Festival
2010 Studied Conducting at the
2012 at Landestheater Coburg.
(ENOA). 2010 / 2011 Employed
on Lake Constance. Since 2010
Royal Danish Academy of Music.
2011 Berlin-Stipendium from
by the Sponsoring / Development
a fellow of the bilingual Master
2008 Awarded scholarship
the Berlin Akademie der Künste /
department of the Festival
program, Communication and
from the Léonie Sonning
Junge Akademie. Staged
d'Aix-en-Provence. 2009 / 2010
Cultural Management at Zeppelin
Music Foundation. Since 2007
projects: chamber opera,
Junior PR consultant at a London
University, Friedrichshafen (ZU).
assistant, director of orchestra,
“Narcissus und Echo” by Kay
PR agency. 2009 Six-month
Tutor for “Creative Performance”
choir, and stage music at the
Schwartz for the Salzburger
internship in the press office
at ZU. During the season 2009 /
Royal Danish Opera, Opera
Landestheater and the festival
of the Royal Opera House,
2010, director assistantship at
Hedeland, Denmark and at the
Musicadhoy, Madrid, in
Covent Garden. Previously work
Staatsschauspiel Dresden.
Danish National Opera. Since
collaboration with the Salzburger
experience and internships at
Assistantship also to Roger
2007 guest conductor for
Biennale (2011). Direction,
Radio France Internationale,
Vontobel for “Don Carlos”,
regional Danish orchestras.
stage design and concept for
the Berliner Ensemble and
Friederike Helloer for “Wilhelm
2007 First performance in Italy
the Mozart opera, “Mandy’s
Staatstheater Wiesbaden in
Meisters Lehrjahre”, Barbara
with the Filarmonia Veneta
Baby/Mandina amabile” for
Hessen, Germany. 2003 – 2009
Bürk for “Frau Müller muss
orchestra. Since 2006 artistic
Radialsystem V Berlin (2009).
Studied Political Studies and
weg”, etc. Own work as director
director for the Camerata
Assistant to Achim Freyer for
Cultural and Media
for Münchener Biennale für
chamber choir. 2006 Musical
“Der Ring des Nibelungen” by
Management at the Institut
neue Musik, St. Pauli Theater
directorship for the debut
Wagner at Los Angeles Opera
d'Études Politiques (Sciences Po)
Hamburg, Landestheater
performance in Germany of
(2007 – 2010). Since 2004
in Paris and the Freie Universität
Tübingen, etc. 2004 – 2009
Manos Tsangaris’ “Ich bin nur
assistant to Achim Freyer and to
Berlin. Born in 1984 in Bad
Studied Music and Drama
scheintot” at the Berliner
Robert Wilson at international
Kreuznach, Germany.
Directing at Theaterakademie
Festspiele. Born in 1982 in
opera houses. Born in 1980 in
Hamburg. Born in 1982 in
Copenhagen, Denmark.
Karslburg, Germany.
Meißen, Germany.
page 12
Fellows
2011 – 2013
Magnus-Cosmas
Piontek
Dariusz Przybylski
Felix Seiler
Category: Composing
Category: Directing
Composes operas, symphonic
Since 2011 / 2012 season,
Category: Conducting
Currently studies Vocal Arts in
works and works for voice and
director at the Komische Oper
Mannheim (Prof. Rudolf Pernay).
chamber music. 2010 soloist
Berlin. 2009 – 2011 Director at
Assistant for “Das Werk / Im Bus /
exam in composition under Prof.
Staatsoper Hannover. Also
Ein Sturz” (Schauspiel Köln /
Wolfgang Rihm at the Hochschule
assistantship under Barrie Kosky
Theatertreffen Berlin). March 2011
für Musik Karlsruhe and was
for “Der Ring des Nibelungen”,
Conducted performances of
awarded a PhD from Fryderyk
under Ingo Kerkhof for “Le nozze
“Death Knocks” (Christian Jost)
Chopin University of Music in
di Figaro”. Freelance director’s
and “Kein Wille geschehe”
Warsaw, Poland, where he has
assistant also at the English
(Andreas Winkler, debut perfor-
also held a tutorship since 2008.
National Opera London, Prinz-
mance). February 2011 Gradua-
2003–2008 Studied composition
regententheater München, Junge
tion concert in conducting under
and the organ at Chopin
Oper Staatsoper Stuttgart.
Prof. Marcus Creed (Cologne).
University, reading composition
Director for “Ob Mond auf seinem
Founder of Ensemble Solstitialis,
under Prof. Marcin Blazewicz.
Pfad wohl lacht?”, Staatsoper
involving performances, also
2006 / 2007 Studied composition
Hannover, Mauricio Kagel’s
debut performances, of contem-
under Prof. York Höller and
“Himmelsmechanik”, Kunstfest-
porary vocal music either a
Prof. Krzysztof Meyer at the
spiele Herrenhausen,
capella or with instrumental arran-
Hochschule für Musik Köln.
“Allemonde”, chamber version of
gements. 2008–2011 Conductor
Several scholarships from the
Debussy’s “Pelléas et Mélisande”,
of the VHS Kammerorchester
Polish Ministry of Culture and
opera stabile – Staatsoper
Köln. Concert work as singer in
the DAAD (the German
Hamburg, “Furcht”, Münchner
oratorios as well as member
Academic Exchange Service).
Biennale für neue Musik 2008.
of ChorWerk Ruhr (including
2007 – 2010 received support
Most recently, semi-finalist in
performances of “Moses und
from Krzysztof Penderecki,
the Ring Award 11. 2004 – 2009
Aaron”), Schola Cantorum
European Music Center. Has
Studied Music and Drama
Heidelberg, SHMH Festival Choir.
received prizes from numerous
Directing at Theaterakademie
Studied School Music (basic
competitions in composing. Since
Hamburg. Born in 1983 in
studies) at the Hochschule für
2008 Chairman of the Youth Circle
Stuttgart, Germany.
Musik und Tanz Köln. Born in
of Polish Composers' Union.
1985 in Bonn, Germany.
Born in 1984 in Konin, Poland.
page 13
Fellows
2011 – 2013
Amy Stebbins
Category: Dramatic Advisor
Nele Kathlen
Tippelmann
Lars Unger
Margita Zālīte
Category: Stage Design
Category: Directing
Freelance stage designer and
Freelance director, media artist
and writer. 2012 Preparation
Category: Cultural Management
Since 2010 PhD student at the
University of Chicago. Numerous
2011/2012 Dramatization of
theatermaker. From 2011
productions as freelance
Händel’s “Radamisto” at the
Studying for a Master’s Degree
of a multimedia evening, CAGE
dramatic advisor, director, video
Opernhaus Kiel and an assigned
in Stage Design at the Hoch-
CASE, in Latvia. 2010 – 2012
artist and producer in Berlin,
puppet trash opera. Semi-finalist
schule für bildende Künste
Master Degree in Music and
Boston, Brussels and New
at Ring Award 11. Since 2010
Hamburg. Lighting design for
Drama Directing at the Hoch-
York. Prizes and awards from
study of Cultural Sciences in
Into The Great Wide Open
schule für Musik Hanns Eisler.
Logan Center Arts’ Science
Hagen. 2007– 2011 Director
Festival; stage design for
2008 – 2010 DAAD scholarship
Grant (Logan Arts Center),
assistantship in Kiel. Production
“Micromorfose” by Collectief
to study Visual Anthropology
Intellectual Architecture Award
of several chamber operas
KG. 2009 / 2010 Stage design /
at the Freie Universität Berlin.
(Harvard University). Publication
(“Der Leuchtturm”,
lighting assistance for “Elektra”
2000 – 2012 own music and
of texts, write-ups and trans-
“Aschenputtel”, “Der Blonde
and “Carmen in Delfzijl”, Opera
drama productions in Riga
lations for Opera Quarterly, The
Eckbert”, “Der Bär”) and a
Spanga. 2009 Dancing projects
(including debut performances
Berkshire Review and Western
children’s musical (“König Keks”)
with choreographer, Manuela
of new music) also at the Latvian
European Stages. 2007– 2008
for the opera, theater and youth
Raurich, as part of an artists’
State Opera. Internships as
Fulbright scholarship for Berliner
theater. Previously studied Law,
residency in Centre Cívic
director at the Latvian State
Volksbühne and Maxim Gorki
English Language and Literature,
Barceloneta. Invitation to Open
Opera, Staatsoper Berlin and
Theater (including productions
Modern German Literature and
Dans Festival Rotterdam.
Komische Oper Berlin. 2001–
by René Pollesch, Sebastian
Media Studies as well as Music.
2008 Foundation of the artistic
2006 Studied Scandinavian
Baumgarten, Stefan Pucher).
Internships and assistantships
duo, BOSMOS (dramatizations
Cultural History in Latvia,
2011 Master degree in German
at the Salzburger Festspiele
of space and sound), with
specializing in Inuitology. Term
Language and Literature from
and in Hamburg (Thalia Theater /
subsequent performances in
spent studying abroad in
the University of Chicago. 2007
Kampnagel), first productions as
Paradiso Amsterdam and at the
Greenland, Iceland on the Faroe
Bachelor degree in History and
director and experience with
Noorderzon Performing Arts
Islands and in Copenhagen. At
Literature Studies from Harvard
dramatizations of student theater
Festival. 2008 Stage designer
the same time, vocal training
University. Born in 1985 in
productions, member of an
for Cirkus Cikör in Stockholm.
and practice in the performing
New Hampshire, USA.
improvisational theater group.
2004–2008 Studied Scenography
arts. Born in 1980 in Riga,
Born in 1982 in Münster,
at the Akademie Minerva
Latvia.
Germany.
Groningen (NL). Born in 1980 in
Oldenburg, Germany.
page 14
Fellows
2010 – 2012
Aurélien Bello
Aliénor Dauchez
Bettina Geyer
Christian Grammel
Category: Conducting
Category: Stage Design
Category: Directing
Category: Directing
Since 2010 freelance conductor,
Freelance stage designer,
Freelance director. Own works:
Freelance director and dramatic
permanent guest conductor
director and performing artist.
Concept, libretto and director
advisor. 2012 Music and drama
at the Junge Philharmonie
2011 Directed “XI – ein Polytop
for “Zauberberg. Eine Hotel
project “Josefine” at Theater
Brandenburg. 2011 “Die Liebe
für Iannis Xenakis – Guerilla
Oper”, debut performance at
Krefeld / Mönchengladbach
zu den drei Orangen” by
Aktionen” with the Solistenen-
the Davos Young Artists Festival
(Fonds Experimentelles
Prokofiev in MIR, Gelsenkirchen.
semble Kaleidoskop (SK),
2010 as well as numerous
Musiktheater NRW). Projects:
2010 “Tosca” at the Opernfest-
Berlin. 2011 Awarded prize for
productions, including “Die
“an meiner statt” (ZKM
spiele Heidenheim and debut
the competition, “operare 10”
Zauberflöte” (2009), “Hänsel und
Karlsruhe and AdK Berlin), “the
performances of Valtinoni’s
at the Zeitgenössische Oper
Gretel” (2008), “Das Tagebuch
phantom piper of corrieyairrack”
“Die Schneekönigin” (debut
Berlin. Stage designer for
der Anne Frank” (2007) at
(HAU Berlin and Kampnagel
performance) at the Komische
“Remembering the future”
Staatstheater Darmstadt. Several
Hamburg), “the seven songs
Oper Berlin. 2010 / 2011 season
(choreography: P. Bergmann),
productions for youth theater,
of hercules” (award winner of
Assistant to the GMD at Theater
Muffathalle, Munich; Director
including “Noah und die Flut”,
100° Festival Berlin 2009).
Kiel. Regular concert work with
for “Verstehen Sie Bahnhof?”
“Der kleine Schornsteinfeger”,
Semi-final Ring Award 08 for
numerous German orchestras,
(comp.: Kaspar König) in
“Cinderella”. Director
“Commandante Che Gueletto”.
including Konzerthausorchester,
ohrenstrand mobil, Haupt-
assistantship at Theater Freiburg,
Cooperations with Ensemble
MKO Leipzig, Folkwang
bahnhof Berlin; Director for
at Staatstheater Darmstadt and
musikFabrik (including
Kammerorchester Essen. 2004 –
“Hardcore 2” with SK in
at the Salzburger Festspiele
“Schlüsselwerke”), Ensemble
2009 Studied conducting at the
Radialsystem V. 2009 Stage
(also under P. Stein, S. Herheim,
Modern (including “Ich gehöre
Hochschule für Musik Hanns
designer for “Lenz – eine
J. Simons, P. Stolzl). Scholarship
mir” 2011) and IEMA (including
Eisler. Since 2007 Scholarship
Deutschlandreise” by Georg
from the Studienstiftung des
“I never went south” 2011).
from the conducting forum of
Büchner and “1.2.2.4.4 eine
Deutschen Volkes. 1997– 2003
Director assistantship at theaters
the Deutscher Musikrat. 1998 –
Metapraxis” (directed by A.
Studied School Music and
in Frankfurt and Wiesbaden.
2003 Studied Harp and Music
Charim) at Radialsystem V. Since
Music Science at Johannes
2011 Degree in Applied Theater
Theory at the Conservatoire
2009 Studied Performing Arts at
Gutenberg-Universität Mainz.
Studies at JLU Gießen. 2001–
National Superieur Musique et
the Universität der Künste Berlin.
Born in 1978 in Freiburg,
2003 Studied Drama at the
Danse de Lyon. Born in 1980
2002 – 2008 Studied Engineering
Germany.
Mozarteum Salzburg. Born in
in Colmar, France.
for Urban Systems, UTC (FR).
Born in 1984 in Annecy, France.
1981 in Wiesbaden, Germany.
page 15
Fellows
2010 – 2012
Martin Grütter
Johannes Keller
Michael E. Kleine
Michael Langemann
Category: Composing
Category: Conducting
Category: Directing
Category: Composing
Freelance composer.
Freelance harpsichordist and
Freelance director, performer,
Composer, conductor. During
2011 / 2012 Scholarship from
specialist for Early Music.
outfitter and dramatic advisor.
the 2011 / 2012 season, new
the Internationale Ensemble
Assistant to Andrea Marcon for
Established a connection
works for the London Symphony
Modern Akademie. Master
productions of Monteverdi's
between these skills and
Orchestra and NDR. Recent
classes under Brian Ferneyhough
“L’Orfeo” (2008) und Cavalli’s
developed his own signature,
commissions: BBC Symphony
and Stefano Gervasoni. 2004 –
“La Calisto” (2010) at Theater
for example in productions
Orchestra, North German Radio
2009 Studied composing at the
Basel as well as to Michael Form
performed at Opera Stabile –
Choir. Has appeared at Carnegie
Hochschule für Musik Berlin
for Vivaldi’s “Il Bajazet” (2010)
Staatsoper Hamburg. 2011
Hall, Lincoln Center, the
under Hanspeter Kyburz, since
at Theater Heidelberg. Musical
Performer in the music
Luxembourg Philharmonie and
2010 Electronic Music under
director for A. Scarlatti’s
and drama production of
at festivals including Cheltenham
Wolfgang Heiniger. Prizes
“Penelope la Casta” (2009) in
“Neunzehnhundert” (Oper
Festival, Schumannfest
from the Mahler composing
Basel. Co-founder of Ensemble
Frankfurt). 2010 Producer and
Düsseldorf, Kasseler Musiktage
competition Vienna (2010);
Il Profondo. Degrees awarded
outfitter for debut performances
and the Acanthes Centre for
the international composing
with excellence in harpsichord
(ZKM Karlsruhe, Musik-
Contemporary Music. Studied
competition for music, Triennale
(J.-A. Bötticher), for Basso
hochschule Lübeck) as well as
with George Benjamin at King’s
Cologne (2010) composing
Continuo (J. Christensen) and
performer at Kampnagel
College London, Tristan Murail
competition in memory of
“Maestro al Cimbalo” (A. Marcon)
Hamburg and Sopiensäle Berlin
at Columbia University in New
György Ligeti (2007), the Hanns-
at Schola Cantorum Basiliensis.
(Ultraschall Festival). Largely
York and Manfred Trojahn in
Eisler prize for composition and
Collaborations also with Venice
collaborated with composers,
Dusseldorf. Numerous fellowships
interpretation of contemporary
Baroque Orchestra, La Cetra
choreographers and performing
and awards, e.g., stipends from
music (2007). 2008 Finalist in
(Basel), Les Siecles (Paris).
artists producing various
the Bavarian Music Academy,
the Tremplin project of the
Cooperation in recordings for
production formats. 2002 – 2009
the Saarbrücken Composers
Ensemble Intercontemporain,
Deutsche Grammophon and
Studied Music and Drama
Workshop and the Forberg-
Paris. Writes solo, ensemble and
France 2. Own research projects,
Directing in Hamburg. Born in
Schneider-Foundation. Royal
vocal music, music and drama
including overtones in microtonal
1981 in Lahr, Germany.
Philharmonic Society
and electronic music, and
concepts in baroque and
Composition Prize 2009, State
works as an improviser. Born in
renaissance music. Born in 1984
Prize of North Rhine-Westfalia
1983 in Trostberg, Germany.
in Winterthur, Switzerland.
2010. Born in 1983 in Moscow,
Russia.
page 16
Fellows
2010 – 2012
Claudia Isabel Martin
Janine Ortiz
Judith Pielsticker
Category: Cultural Management
Category: Dramatic Advisor
Category: Dramatic Advisor
2011 Director for Telemann’s
PhD thesis since 2007 on the
Since summer 2011 freelance
“Pimpinone” at Kammeroper
late operas of Franz Schreker.
dramatic advisor and music
Schloss Rheinsberg. Director
Works as a freelance dramatic
mediator in a variety of areas. In
assistantship at the Hochschule
advisor, also for Sebastian
the 2009 – 2011 seasons worked
für Musik Mainz (“Wir sind
Baumgarten (“Die Banditen”,
at Theater Koblenz. Dramatic
daheim”, directed by K. Thoma).
Neumarkt Theater Zürich, 2010),
advisor for Berg’s “Wozzeck”
Since winter 2010, research
Klaus Weise (“Irrelohe”, Theater
and Mozart’s “Don Giovanni”
assistant for “Barock vocal”.
Bonn, 2010) and Ansgar Weigner
(directed by G. Wiesmüller), for
Director's assistant for the
(“Der Schmied von Gent”, Oper
the Schubert contact “BeGLÜCKe
Graupner Gesellschaft (“Berenice
Chemnitz, 2010). Assistant to
mich!!!” (directed by C. Gassen)
and Lucilla”, directed by
dramatic advisor, also under
and for Massent’s “La Navarraise”
S. T’Hooft). 2009 / 2010 Intern-
Christoph Schlingensief (“Sterben
and “Les Boulingrin” by Georges
ships at Staatstheater Mainz
lernen!”, Neumarkt Theater
Aperghis (directed by M.
(“Madama Butterfly”, directed by
Zürich, 2009 / “Metanoia”,
Schönfeldt / B. Baron). Thesis
K. Wanger; “Die verkaufte Braut”,
Staatsoper unter den Linden,
on Georges Aperghis’ music
directed by T. Gürbaca). Since
2010) and Sebastian Baumgarten
theater “Machinations”. Studied
2010 PhD student. Internships
(“Tannhäuser”, Bayreuther
School Music and Music
at 3sat und Laaber Musikverlag.
Festspiele, 2011). Numerous
Journalism at the Universität
2006 Director’s assistantship
publications and presentations
Dortmund until 2011. Tutorships
at Hessisches Staatstheater
focusing on contemporary and
at this university and initial
Wiesbaden (“Das Land des
modern music and theater.
teaching assignments. Intern-
Lächelns”). Internships for
Book publication: Feuer muss
ships also at Komische Oper
“Götterdämmerung” (directed by
fressen was Flamme gebar –
Berlin, Ruhrtriennale, Oper
J. Dew), press work and public
Franz Schrekers Oper “Irrelohe”
Dortmund and in the Editorial
relations and KBB for Hessisches
(Mainz 2008). 2004 – 2010
Department for “Hör-Zeichen”
Staatstheater Wiesbaden.
Scholarship from the Studien-
at WDR. Born in 1982 in
2003 – 2009 Studied Music and
stiftung des deutschen Volkes.
Werl/ Westphalia, Germany.
Theater Studies and Business
Born in 1980 in Hanau, Germany.
Administration in Mainz. Born
in 1984 in Wiesbaden, Germany.
page 17
Fellows
2010 – 2012
Julia Rommel
Jonathan Spindler
Alexander Stockinger
Vito Žuraj
Category: Stage Design
Category: Cultural Management
Category: Dramatic Advisor
Category: Composing
Freelance scenographer.
Since 2006 has been studying
Currently at the start of his PhD
2009 / 2010 Scholarship from the
PhD thesis since 2011 at the
Music Studies and Cultural
thesis. Previously studied Theater
Internationale Ensemble Modern
Hochschule für Gestaltung
Management for a Magister
Studies and German Philology
Akademie (IEMA), 2011 Partici-
Offenbach (“Theatralisierung
degree at the Hochschule für
at Universität Wien. Thesis
pant in IEMA's International
des Alltagsraumes durch Infor-
Musik Franz Liszt in Weimar
about the multi-perspectives
Composition Seminar Soloist
mations- und Kommunikations-
and Economics at the Friedrich-
of stories and dramatizations
exam in composition under Prof.
technologien im Kontext von
Schiller-Universität in Jena.
of E.T.A. Hoffmann and J.
Wolfgang Rihm at the Hoch-
Ubiquität“). Projects: “Grid –
2010 internship under Claus
Offenbach. In addition to studies:
schule für Musik Karlsruhe.
Grosstadtoper” (Veroos / Hamer),
Guth for Wagner’s
picture direction (“Oper live am
Master of Arts in Music and
Berlin 2011, “A lovely Sunday
“Götterdämmerung” at the
Platz”, Staatsoper Wien, 2010 /
Computer Science under Prof.
for Creve Coeur”, Zurich 2008,
Hamburger Staatsoper. 2009
2011), internship as dramatic
Dr. Troge. Teaching assignment in
“Do Geography”, Zurich 2009,
Worked for the Young Singers
advisor (“Agrippina”, Staatsoper
instrumentation and Gregorian
Signaletik Elbphilharmonie
Project of the Salzburger
Unter den Linden, Berlin 2009 /
musicology. Collaboration with
the RIAS chamber choir, SWR's
Hamburg, Integral Zürich 2008 /
Festspiele with Michael Schade,
2010), Summer Academy for
2009. Internship at Staatsoper
Thomas Quasthoff, Marjana
Cultural Management (Institut für
experimental studio. SKM
Dresden, Schauspiel Frankfurt,
Lipovsek and Christa Ludwig.
Kulturkonzepte, Vienna 2009),
Karlsruhe and Deutsche Radio
Oper Mainz, Teatro Real Madrid.
2008 Worked for the Artistic
Director Assistantship / Props /
Philharmonie. Productions at the
Semifinalist for the Ring Award
Administration Office of the
Evening Stage Management
Darmstadt summer courses,
Graz, prize awarded by operare
Festival for Young Artists
(“Madame Pompadou”,
Acanthes Metz, Voix Nouvelles
– Zeitgenössische Oper Berlin
Bayreuth. 2008 – 2009 Managed
Herbsttage Blindenmarkt 2008),
Royaumont, Heidelberger
(2010), IF Award (2007), Red
the series of readings, called
internship as director (“Don
Frühling, Takefu Festival Japan,
Dot Award (2007), DDC Award
“Europas Literatur in Weimar”
Giovanni”, operklosterneuburg
Mouvement Saarbrücken, Tenso
(2006). Studied scenography at
including Ionna Karystiani and
2008), internships (vocal
Days Berlin and Davos Festival.
the Zürcher Hochschule der
Tuuve Aro. 2009 Collaborated
auditions and children’s opera,
Scholarship from the Hanne
Künste (MAS 2009) and Visual
in selecting the LJO NEW and
Wiener Staatsoper 2007),
Darboven Foundation 2009, Karl-
Communication at the Universität
the master class in flute for
collaboration at ImPulsTanz
Steinbuch-Scholarship 2006,
der Künste Berlin (graduated in
Jeunesse Musicales NRW. Born
Festival (Vienna 2007). Born in
Graduate School scholarship
2006). Born in 1979 in
in 1987 in Nürtingen, Germany.
1986 in Waidhofen / Ybbs,
from BW 2005. Born in 1979 in
Austria.
Maribor, Slovenia.
Mutlangen, Germany.
page 18
“ The opera is a huge box of tricks...”
Interview with Heike Scheele
by Aliénor Dauchez, fellow 2010 / 2012
This year, Heike Scheele was a member of the
jury for the category of stage design. In an
interview with fellowship recipient, Aliénor
Dauchez, she talks about how she got started
in her profession and how she works.
unravel and develop into something, and sometimes the idea
just fizzles out. This time spent searching is a very free and almost
sacred period of time, in which anything is possible.
During this time, the material isn't just a play and the music, but
also four or five people all contributing their own individual story.
What brought you to stage design?
HS _ It’s great, an incredibly exciting process. Because everything
HS _ My parents ran a cinema with a stage in a small town.
result of this long journey is an artistic production.
that’s happening around us affects our work. And optimally, the
Traveling theater groups used to perform there. As children, we’d
secretly play on the stage amongst the scenery. The incredible
How do you understand the connection between stage and music?
world of the theater has fascinated me ever since. Later, I studied
stage design under Erich Wonder in Vienna. I spent four years
HS _ We’ve just been in Bayreuth with our fourth staging of
there, completing my degree and was awarded the Kolo-Moser
“Parsifal”. The director, Stefan Herheim, makes considerable use
prize. Afterwards, I went to Berlin. I worked as an assistant at the
of musical elements in his work. His musicality has a great effect
Schillertheater for a year, followed by two years at the Freie
on the setting of the stage. The scenes I design for the stage are
Volkbühne under Hans Neuenfels. As a freelance stage designer,
capable of going through a number of different transformations.
I spent some time as an assistant to Gottfried Pilz working on his
The moments when this happens are almost magical or film-like.
operas. At the same time, I started going my own way and began to
When you’re sitting in the audience, the music strikes up and a
collaborate with the director, Gabriele Gysi, putting on productions
small inner space unfolds, completely transforming itself. You don’t
in a number of smaller theaters; my main foothold, financially
see how it happens. It’s as if the music made it change!
speaking during this period, was my assistantship to Gottfried Pilz.
All in all I spent a long time working on productions switching
Could you say that music is a mix of different tonal colors and you
between bigger and smaller theaters.
respond by making spatial changes happen on the stage?
What do you like about opera the most?
HS _ They happen automatically. There are intense emotional
moments in the music and in the story, and you want to project
HS _ The music – the music and the scenery. And the fact that
them onto the stage. It’s important to avoid clutter, but to have
you use all of your senses to take it in: You listen, look and feel.
dynamic elements on the stage you can use to tell a story. Of
Opera has turned into one of my passions! I've become more and
course, we have to make sure that the design of the stage doesn’t
more involved in this area ever since the mid-90s.
dominate the music. Sometimes stage, music and performers
become rivals on stage…
How do you start designing a scene?
HS _ It would be a lie if I said that I started designing a scene on
my own. We think in dialogue, which means that the team sits
Photo: State opera choir and Tatiana Monogarova in “Rusalka” at
down at a table; we listen to the music and go through the project
the Semperoper Dresden, 2010/2011 season; Heike Scheele was
again and again. Sometimes we find a thread we think we can
responsible for the stage design
page 19
You’re well known for your illusory stage designs. Is illusion the
right term?
HS _ Illusory stage design is not quite correct, because it’s not an
illusion. It’s not imaginary, but has been constructed. I like the old
tools of the theater trade: a piece of scenery transforms and you think
you have an inkling about how it happened. Even though you think
you know how it was done, the magic of the illusion remains. A
combination of tools is also something I like about my work: Space,
costumes, music and of course the director, who is the engine
behind everything. The potential inherent in traditional theater
business enables new transformations to keep evolving. Baroque
theater, with its amazing machines... that particularly fascinated
Heike Scheele completed her studies in Stage and Costume Design under
me. Which brings us back to illusion. I like the illusion we can
Erich Wonder in 1985 with the “Kolo-Moser Prize”. Since 1989 she has worked
create on the stage.
as a freelance designer in countries such as Germany, Sweden and Norway.
Since 1999 she has worked in close collaboration with Stefan Herheim: Her most
Would you call yourself a magician? Have you ever conjured up
rabbits on stage?
current projects include "Parsifal" in Bayreuth, "Rusalka" in Brussels, Graz and
Dresden, “Tannhäuser“ in Oslo and “Lulu“ in Copenhagen and Oslo.
HS _ We did have a magic dove once! Opera is a huge box of
the stage forms a boundary. Here, we don’t want to break up
tricks!
space, but enable one space to follow the next.
What role does opera play for you today?
You asked new fellows to create two stage designs for the same
play. One design is supposed to be for a large opera house, and the
HS _ Opera is part of our idea of central European culture. The stage
other for a theater with a small budget...
is the place where the individuals in the audience have to decide what
they want to look at, which of the characters they want to follow
HS _ I think it is important to be able to create the same impression,
and which situations they find interesting. Television and other
follow the same purpose, with different means and budgets.
forms of media only ever show us a particular section, suggesting
When I was working with Gabriele Gysi in Zimmertheater Tübingen,
that we have been party to the whole. I think it’s important for
we staged a very successful production of “Faust”. She said it
everyone to decide themselves about how they want to see the
can’t be right if certain topics can only be addressed when you
whole. Opera and theater have a lot more to offer in this regard
have a specific budget to work with. The stage design involved a
compared to other new media.
piano and a moveable cupboard. In the background, we ripped
What are your strategies to attract younger audiences? Is it necessary
integrated the outside world. 25 square meters and four actors.
to break with traditional concepts?
That’s all! That was how we interpreted “Faust“. It was great.
HS _ I don’t think in terms of modern or traditional productions,
What projects are you currently working on?
out the wall paneling and by installing a window looking out, we
but in terms of good and bad ones. If a five-hour opera, such as
“Parsifal”, appears to have gone by in a flash and you don’t want
HS _ In a team together with Stefan Herheim we’re currently
it to stop, then it was a good production.
working on a production of “La Bohème” for the opera house in
How do you work with the relation between space and body?
and “Xerxes“ for Komische Oper Berlin.
HS _ Staging is movement within a space. How the performers
Have you got a tip for us, fellowship holders?
Oslo, “Manon Lescaut” for opera houses in Graz and Dresden
move describes this space, since the audience experiences this
space with the performers. It is the real people on the stage that
When you’re at university, you often don’t get to know what the
enable the audience to experience this space. The universe also
job really involves. You have to be able to lug things around a lot,
represents space. An infinite existence is just as difficult to imagine
you have to be extremely well organized in terms of logistics, and
as a finite one. Because what is in the space beyond the boundary?
you need nerves of steel...
These are philosophical questions that I can’t and don’t want to
answer. The stage concerns things you can imagine. In our reality,
Thank you for the conversation! ///
page 20
Great times Alumni 2001– 2011
Ten years, over 130 alumni,
and 30 current fellows
Werner, Martin Wolter, Lena-Lisa Wüstendörfer
“Academy Opera Today” has developed into a lively network and
Cultural Management
is an important initiator for young managers in musical theater.
Dorka Batizi, Christof Belka, Dr. Stefan Brandt, Michael Dühn,
Peter Tilling, Constantin Trinks, Wolfgang Wengenroth, Witolf
Through joint workshops and an annually-held meeting, the academy
Thomas Eisenträger, Thomas Ellenberger, Dr. Christoph Gaiser,
offers both current and former fellows a platform for a lively dialog
Heribert Germeshausen, Dr. Julia Glesner, Maren Hofmeister
surpassing both age and disciplines. It has often been the spark
Dowd, Alexander Hollensteiner, Peter Krause, Daniel Kunz, Katharina
that ignites the development and creation of new projects and
Mohr, Katja Nawka, Ulrike Niehoff, Maria-Christina Plieschke,
cooperation. One of the main concerns of “Academy Opera Today”
Christoph Helge Rehders, Benjamin Sahler, Gerda Strobl, Verena
is to promote networking and dialog between already established
Thole, Ronny Unganz, Klaus Stefan Vogel, Tillmann Wiegand,
artists and those still at the start of their career. The website
Martin Witkowski, Kristina Wuss, Sarah Zalfen
www.musiktheater-heute.org provides more information on the
alumni and what people are currently doing, while the event
Dramatic Advisors
calendar also informs about projects in which current and former
Minou Arjomand, Max-Philipp Aschenbrenner, Christin Bahnert,
fellows are involved.
Rose Bartmer, Hannah Dübgen, Nicola Gess, Dr. Swantje Gostomzyk,
Directing
Katharina Kost, Malte Krasting, Dr. Bernhard F. Loges, Ann-Christine
Patrick Hahn, Dorothea Hartmann, Dr. Tina Hartmann, Iris Kannen,
Jörg Behr, Johannes Bergmann, Andreas Bode, Anisha Bondy,
Mecke, Janina Moelle, Dr. Matthias Nöther, Katharina Ortmann,
Reyna Bruns, Christian Carsten, Alexander Charim, Nelly Danker,
Lucas Reuter, Olaf A. Schmitt, Robert Sollich, Martina Stütz
Cordula Däuper, Johannes Erath, Alexander Fahima, Marcelo
Cardoso Gama, Kristina Gerhard, Annika Haller, Eva-Maria Höckmayr,
Composing
Pavel B. Jiracek, Raik Knorscheidt, Liis Kolle, Tobias Kratzer,
Leo Dick, Evan Gardner, Eunsun Lee, Mark Moebius, Karola
Andreas Leisner, Florian Lutz, Anna Malunat, Kami Manns,
Obermüller, Michael Pelzel, PRASQUAL, Calogero Scanio, Anno
Hendrik Müller, Vera Nemirova, Susanne Gjesdal Øglænd, Isabel
Schreier
Ostermann, Alexander Radulescu, Mathilde Reichler, Veronica
Rignall, Rebecca Rosenthal, Juliane Scherf, Sophia Simitzis, Elisabeth
Stage Design
Stöppler, Ester Szabó (†), Elena Tzavara, Karsten Wiegand, Brigitte
Alexandre Corazzola, Agnes Fabich, Nikolaus Frinke, Sebastian
Witzenhause, Jonas Zipf
Hannak, Evelyn Hriberšek, Anja Kerschkewicz, Julia Schnittger
Conducting
Alexander G. Adiarte, Brett Alan Austad, Masayuki Carvalho,
Lennart Dohms, Kevin John Edusei, Maria Fitzgerald, Ferenc Gábor,
Simon Gaudenz, Askan Geisler, Andreas Hotz, Yordan Kamdzhalov,
Vladislav Karklin, Barbara Kler, Timo Kreuser, Judith Kubitz, David
Maiwald, Cornelius Meister, Tilman Michael, Daniel Montané,
Markus Neumeyer, Carolin Nordmeyer, Volker Perplies, Premil
Petrovic, Alessandro Ratti, Dr. Barbara Rucha, Anna Shefelbine,
Photo: The official ceremony 2010 – “Academy Opera Today” celebrates the fellowships awarded for the tenth year
page 21
Board of trustees / jury
The commitment of
the outstanding board
of trustees behind
“Academy Opera
Today” has provided a
significant contribution
towards the success
of the program:
Sebastian Baumgarten
Director
Titus Engel
Conductor, musical and artistic
director of ensemble courage
in Dresden
Prof. Heiner Goebbels
Composer, director, professor
for Applied Theater Studies at
Sergio Morabito
Darstellende Kunst Frankfurt
Opera director, chief dramatic
am Main
advisor for Staatsoper Stuttgart
Enno Poppe
Category: Conducting
Composer, conductor, director
Conductor, musical director
of ensemble mosaik in Berlin
of the Orchestre National
Viktor Schoner
Johannes Harneit
Composer, conductor,
pianist, chief conductor for
the Sinfonietta Leipzig
Bordeaux Aquitaine
Artistic administrations director
Prof. Dr. Carl Hegemann
at the Bayerische Staatsoper
Category: Dramatic Advisor
München
Dramatic advisor, author,
Eva Wagner-Pasquier
Artistic director and general
manager for the Bayreuther
Festspiele
Prof. Klaus Zehelein
President of Bayerische
Theaterakademie August
Everding
professor for Dramaturgy at
the Hochschule für Musik und
Theater “Felix Mendelssohn
Fellowship recipients
are selected by an
annually changing jury
of experts. The jury in
2011 is composed of:
Bernd Loebe
Stage designer
Christine Fischer
Manager for Musik der
Jahrhunderte in Stuttgart;
Manager of Neue Vocalsolisten
Theater manager for Oper
Frankfurt
Photo: Before the debut
performance of “Innenleben”,
at the official ceremony in
October 2010 in Bockenheimer
Depot
Barrie Kosky
Category: Directing
Director, designated theater
manager for Komische Oper
Berlin
Prof. Beat Furrer
Category: Composing
Composer, conductor, guest
professor for Composition at
the Hochschule für Musik und
Editorial
Viola Mannel
Solveig Schartl
Dr. Susanne Gilles
Translation
Heather Fyson
Layout
Weigand Design und
Kommunikation GmbH
Printing
Druckerei Imbescheidt
GmbH & o. KG
Heike Scheele
Category: Stage Design
Christian Jost
Composer and conductor
Deutsche Bank Foundation
December 2011
Bartholdy” Leipzig
Category: Cultural Management
the Justus-Liebig-Universität
Gießen
Kwamé Ryan
Imprint
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. If only the
male form is used in the context of
groups of people, no specific gender
is intended; the decision was made
solely on the grounds of improving
readability. We would like to thank
all parties involved in producing this
publication for their support.
Photo credits
Cover Page: © Deutsche Bank
Foundation / Philipp Ottendörfer
Page 2 above © Deutsche Bank
Foundation / Philipp Ottendörfer
Page 3 © Evelyn Hriberšek
Page 4 / 5 © Staatsschauspiel Dresden /
David Baltzer
Page 6 / 7 © Bayreuther Festspiele /
Enrico Nawrath
Page 8 © Aliénor Dauchez
Page 9 © Evelyn Hriberšek, Evelyn
Hriberšek, Aliénor Dauchez
Page 18 © Semperoper Dresden /
Matthias Creutziger
Page 19 © Aliénor Dauchez
Page 20 © Deutsche Bank Foundation /
Philipp Ottendörfer
Page 21 © Deutsche Bank Foundation /
Philipp Ottendörfer
Photos of fellows
Aurélien Bello, © Ernst Fesseler
Judith Pielsticker, © Matthias Baus
Photos of authors
Dr. Kai Luehrs-Kaiser, © Oliver Ziebe
Prof. Dr. Carl Hegemann, © Helene
Isemeyer