Academy Opera Today 10/11

Academy Opera Today
2010 / 2011
Interview
with Titus Engel and
Viktor Schoner
Composers are
lonely people
The development of Innenleben
The truth
is on the field
Ten years of observing, speaking,
observing, doing
page 2
Deutsche Bank Stiftung’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
A visit to a famous international opera festival, such as the
Salzburg Festival or the Festival of Aix-en-Provence, is highlight of
the programme. The fellows attend many performances during the
festival, get a look behind the scenes and participate in workshops
This is the aim of the Academy Opera Today, founded by Deutsche
which enable them to confront the challenges of modern opera.
Bank Stiftung in 2001: We offer young, talented directors, dramatic
advisors, conductors, culture managers, stage designers and
Conducting conversations with personalities of the opera
composers an opportunity for cross-area interchange and jointly
world
confront the challenges of today's musical theatre. The emphasis
Discussions behind the scenes with administrators, conductors,
lies on networking – six years after the Academy's founding, many
musical directors, stage designers and stage directors give the
of its fellows and alumni now work for renowned houses and
fellows insights into the working life of artists and management of
there are many interconnections among their artistic projects.
opera houses and shed light on the background of the productions
they have seen. By bringing the fellows together with famous
The opera Innenleben – the final production of the 2008– 2010
artists and enabling communication amongst them, the programme
class of Academy fellows – premiered with great success at the
assists in the creation of a broad network.
Bockenheimer Depot in Frankfurt.
Participating in important competitions
Under the working title “F.U.N. – Führe uns nicht” the 2009 –
Fellows are also expected to perform in public – participation in
2011 group of fellows are developing a music theatre based on
competitions is important for their artistic growth. The Academy
the novel “La Temptation de Saint Antoine“ by Gustav Flaubert.
helps to finance their participation in public performances.
In autumn 2011 the public will gain some insights into “F.U.N.”
during the ceremonial act 2011 of Academy Opera Today at the
Participating in working residencies
Holzfoyer of Oper Frankfurt.
All the fellows are invited to reflect and debate current issues of
operatic life and their own artistic work. To this end, the Academy
supports the organisation of colloquia and workshops.
What we offer
Participating actively in the fellows’ own artistic projects
Insights into the projects, discussions and networks form the
The Academy presents its fellows’ own innovative productions
pillars of our fellowship programme.
to encourage their practical experience and co-operation – for
example, on the occasion of the ceremony welcoming new fellows,
Attending outstanding productions
which takes place once a year and includes world premieres.
The Academy class will attend exceptional, innovative productions
by major opera houses up to three times a year. Post-performance
discussions with the artistic teams and management of the opera
houses will provide insights into the production. Individual visits to
the Academy fellows’ productions are also supported. A network
of artists and managers will gradually grow and facilitate mutual
Photo above: Exhibition by Roman Signer at “Photo España“,
exchange of experiences, along with helpful contacts.
Madrid 2010
page 3
Current information
Programme 2010– 2011
How to apply
December:
2011– 2013 Fellowship for the Academy Opera Today
Workshop in Erfurt and Weimar
You may apply for a fellowship if you are nearing the end of your
January:
Workshop in Brussels and Liège
April:
Workshop at Oper Köln
studies in an opera-related field beginning your career as a
stage director, stage designer, dramatic advisor, cultural manager,
conductor or composer; you should speak German and not be
older than about 32 years. Career changers are also welcome but
May:
Gathering of the alumni in Dresden at
should also fulfill the requirements regarding language ability and
Staatsschauspiel Dresden
age.
Workshop IV: Place and time tbc
Period of application: each year from January until May.
July:
Festival d'Aix en Provence (tbc)
For further information please visit our website
October:
Ceremonial act at Oper Frankfurt, “F.U.N”
www.musiktheater-heute.org
(preview)
Contact
Academy Opera Today
c /o Deutsche Bank Stiftung
60262 Frankfurt am Main, Germany
E-mail: [email protected]
www.musiktheater-heute.org
General Manager Michael Münch
Programme Managers Viola Mannel, Catherine Sondermann,
Kirsten Uttendorf
Programme Assistant Solveig Schartl
Photo above: “And all the questionmarks started to sing“ by
Verdensteatret at “Theater der Welt“ festival, July 2010
page 4
Interview with
Titus Engel and Viktor Schoner
The “Academy Opera Today” is based on
an initiative that you established at the end of
the 1990s at the Humboldt University in
collaboration with Gérard Mortier, who at the
time was the director of the Salzburg Festspiele.
What prompted you to start this initiative?
And what was your goal?
Apparently, he was very impressed and took over the program in
what you could call a “friendly acquisition.”
Certainly you have followed the Academy and its development in
recent years. How do you see it positioned today?
VS / TE _ Ideally positioned. In fact, one has the feeling today that
an application for a job in the opera can hardly happen without the
Academy. Or the other way around: Every young person interested
VS / TE _ At the time, both of us were collecting some of our
in a career in music or theater in Germany at least entertains the
first experiences as trainees at various institutions. Together we
idea of applying with the Academy.
launched a project at the Humboldt University that was all about
intensively analyzing music and establishing contact with living
Have your initial expectations been met?
composers. All of these concrete experiences quickly resulted in a
clear view of the exchange that was absolutely missing between
VS / TE _ The initial catchwords were “unconventional,” “anti-
the contemporary music scene on the one side and the opera
establishment,” “pro art – anti-system,” “contemporary,” “free-
world on the other and – what was even more evident – the
thinking” and “borderless.” The board of trustees and the jury are
missing contact of the individually interesting forces within opera
comprised largely of established representatives within the system.
institutions. Due to their structure and history, these institutions
The applications come mostly from courses that affirm rather than
run the risk of becoming an opera administration rather than
question the genre. In addition, we were worried that a number
a place of lively opera interpretation. Put another way, we saw a
of applicants would be more interested in advancing within
need to cooperate with like-minded people of our generation, who
the system rather than in questioning or even blasting it. Actually,
had similar ideals and who also noticed how these had vanished
this is essential for the artistic survival of opera operations, as we
within the institutions. So it was only an organizational step to
continuously observe in our daily work. Very many projects continue
bring together directors, composers, stage designers, dramatic
to fail due to the rigid structures and lack of courage of German
advisors, organizers, composers and bizarre hybrids whom we
city and state theaters or due to the limited financial possibilities
thought should debate the world of opera.
of independent institutions. The task of the Academy is to counter
this development.
What brought you to the Deutsche Bank Stiftung as a new
Academy sponsor?
From your perspective, are there any important aspects that weren’t
considered?
VS / TE _ We invited Walter Homolka, who was chairman of
the Deutsche Bank Stiftung at the time, to a presentation in
VS / TE _ We still like the fundamental focus of the Academy. The
our academy at Humboldt University. He then came to Salzburg
dialog between the various artistic areas in an early phase cannot
where we had our summer camp together with Gérard Mortier.
be valued enough as we observe again and again how important
the insight of “specialist artists” is for the respective other genre
in opera operations. What we particularly like within the Academy,
structurally speaking, is the re-democratization of its substantive
Photo above: Academy co-founders Titus Engel and Viktor Schoner
work. It is important that each Academy generation formulates
page 5
If you could do things over, what would be your most important
concern?
VS / TE _ To understand opera not as an end in itself but ALWAYS
as an expression of a personal, political, social or private aim. This
may sound impassioned but opera is so prone to self-indulgence.
And, unfortunately, opera institutions as well as the press, the public
and, to an extent, the leadership levels always feel so comfortable
that you can’t underpin this concern emotionally enough, even
in your understanding of and own experience in coping with the
temptations that can always bushwhack you in this scene.
Is there some advice that you would like to give the Academy for
the future?
VS / TE _ We would like to wish a new generation of young artists
it needs. Equally important is a contemporary focus. This involves
in the academy all the best in their endeavors to stimulate the opera
support for talented composers such as text artists since many
world in a new and radical way. ///
opera projects fail because of a poor libretto. But even more
important than the contact with established opera people is,
of course, the opportunity for every artist to be able to produce
within a team. It would be highly appreciated if the Deutsche
Bank Stiftung could establish still more financial leeway.
Where do you see the Academy in the future?
VS / TE _ We are convinced that a subversive spirit will again
need to accompany the academy in the medium term. After a
successful 10 years, a new academy generation must question
the scene anew and reform its program. Art – including the so
highly representative opera – thrives on continuous renewal and,
in particular, on questioning what exists. If we are constantly
preoccupied with works that are hundreds of years old, we need
to constantly ask ourselves what this is actually all about. True
artists are not always people who knew at the age of 19 where
the journey would take them – to know which course to study
or which internship to take, and then to establish and maintain
the right connections with the Academy and to pursue a perfect
career within state-funded city theaters. The true virtuosos were –
and still are – the free spirits who are preoccupied with the opera
because it reflects their own degree of complexity and trust
themselves to counter the complex genre and succeed. Finding
and supporting these people is what our idea is all about and
the ongoing demanding task of the Academy.
Photo above: Gérard Mortier, artistic director of Teatro Real in
Madrid and AMH co-founder
page 6
Composers are lonely people
By Anno Schreier, fellow from 2008 to 2010
Escape, asylum and expulsion are words
that play only a marginal role in our everyday
lives and experiences. The 2008–2010 class
of fellows selected this complex theme for an
opera composition. In a very personal report,
the fellow and composer Anno Schreier
describes the challenges harboring in a
production undertaken by 16 creative minds.
The “working world of a composer,” which I have already
described, is exaggerated, of course. For an opera production, the
composer must leave his or her private sphere to enter into a
collaboration, with all the compromises and difficulties it entails.
One of the first big challenges is finding a theme.
To clarify something from the start: this is a very one-sided, totally
personal report based on my own experience. I could do precious
little with the initial idea that was on the table at our first work
meeting in the beginning of 2009. Not so much because I didn’t
Composers are lonely people, from a work perspective. They
view the theme as important or worthy of attention but rather
typically sit alone at a desk and make decisions, with the results
because I couldn’t find an impulse inside myself to create a music
ideally concurring with their own highly moody intuition. The
theatrical work with any current political relevance. Expulsion,
need to communicate and justify is a hopeless dilemma for many
escape, asylum, people on the edge of society, people in war or in
of them. For this reason, they try to avoid as much external
war-torn area, genocide – I have a feeling of inadequacy with all
interference as possible. Everything that evolves is a two-way
these topics. How can I do justice to the fate of these people in
conversation between the composition and the author.
any way? What can I contribute from my own, comparably placid
personal experience? I don’t want to say that political themes
How do you stumble onto the idea of creating a joint piece with
should be kept out of art. Theater and opera take place in a public
15 others?
environment and must tackle themes in this space – all large opera
and theatrical pieces do this. Otherwise, everything becomes too
Typically, you do such joint projects during your studies where the
personal, with intellectually tinkered concepts or self-reflection
focus is not on advancing your own career but on trying out things,
depicted on stage.
becoming familiar with processes and venturing into new terrain.
You enter into a compromise, seize the opportunity, obediently
But even after I saw the two films “Voices in Transit” and “La
follow the guidance of your instructor (whom you assume has an
Forteresse,” which deal with refugees and captures their highly
educational concept or at least some intentions) and stand in the
distressed faces, my personal feeling was confirmed that music
shadow of the results.
can have only one mission given all the misery in today’s world:
It should never illustrate or visualize everything as television does
Now we – the 2008 – 2010 class of Academy fellows – are no
but remain silent.
longer students for the most part but underway in our careers.
We have learned about life outside the university and have long
Finally, I asked myself whether or not I could find some sort of
departed with student ways of working. How can 16 more or less
compromise and a way to get my head around this topic – in my
“randomly” selected people be thrown into a pot and expected
own way and, at the same time, in a way that would fit into the
to collaborate on a joint production?
dramaturgical scope of our work.
So I sought a text that could be linked in a literary and poetic way
Photo above: Innenleben concept discussion of the 2008 – 2010
to the refugee theme. There are a few authors who can always
class of fellows and singers in the Frankfurt opera studio
help you in such areas. For me particularly, one of them is Franz
page 7
Kafka. His text “Heimkehr” (Homecoming) condenses the feeling
of someone returning after being away for a while and discovering
that everything that once meant home is now foreign. The many
things familiar to home have lost their aura of “being so and not
otherwise” and become junk without a purpose. The good for Kafka,
in this case, is that all of this is fully removed from a comprehensible
context – Kafka creates his sentences in a populated imaginative
sphere of spatial associations and sound metaphors. I have given
some of his sentences a spatial musical sound: A mute actor
embodies the person who has returned home while the text – his
“inner voice” – is put into the mouths of two female voices.
As such, the piece forms one of many objects in our opera
performance. The form that we found for our work enables
a coexistence of highly heterogeneous approaches and ways of
working, involving theater, music, documentation, film and dance.
The audience should be able to move in any order through this
“inner life,” which we create in the Bockenheimer Depot theater.
The result – to appear free and open – is extremely complicated to
organize and requires minute planning. For instance, everything
must be adapted to the working ways and conditions of an opera’s
operations and, once again, 16 people have to work together. And
that typically means 17 different opinions. ///
Photo above: Michael Münch welcomes the crew to the
beginning of trials for Innenleben
Photo below: Stage set model for Innenleben created by Agnes
Fabich and Anja Kerschkewicz
page 8
The truth is on the field
Ten years of observing, speaking,
observing, doing
By Holger Noltze
The project “Academy Opera Today,” which
has been running for 10 years, actually targets
the future. Executives in music and theater
face some challenges. Among them: to satisfy
the needs of the theater-going public to see
and hear, on the one hand, what it always likes
to see and hear – “the most beautiful operas
of all times” – and, on the other, not only to
experience something new but also to make it
visual and audible.
It is nice to know that the idea of creating the Academy originated
from a course analyzing the “latest music” at the Humboldt
University, which brought students and composers together. When
the idea was hatched to turn the dialog into something regular
and lasting, Gérard Mortier entered into the picture, a person with
numerous contacts in the world of opera who, at the time, was
head of the Salzburger Festspiele, a person who understood how
to allow innovation to flourish from within this realm of business,
which leans toward convention. Just look at the Salzburger
Festspiele.
In 1998, a new company was born under the name “Academy
Opera Today – Berlin-Salzburg.” In 2001, Deutsche Bank Stiftung
The photos say a lot. Over the years, the photos of the young
contributed the idea of sustainability – as an attempt to enable
fellows have changed and become more professional. From the
creative processes, using opera as a concrete example, and to seek
very beginning, they have shown young, intelligent people, in some
new thoughts about the future of traditional opera. Think about it:
cases slightly eccentric and often a bit posing. But that doesn’t
The foundation of a large bank provides money to aspiring young
matter because posing is part of the business, particularly the arts
business leaders in a genre that views the abolishment of banks as
that they need to learn. We are in a business that deals with culture.
a necessary measure to improving the world. In Niebelungen Ring,
It is all about finding exceptional talent for the opera of tomorrow.
Wagner, notoriously in debt, failed to recognize that the opera –
It is amusing to look at the photos and guess into which category
not only because of the time and effort it requires – has been
you should put the person – stage designer or conductor? These
engaged with the powerful from the very beginning and that this
are the people you recognize most easily. But what about director,
symbol for representation and even affirmation didn’t damage the
theater manager, dramatic advisor or composer?
possibility of subversion. When Traviata dies and breathes her last
breadth of a meaningless life, in the bourgeois sense, into beautiful
There is a fine differentiation, and why not? After all, you should
music, a guard of honor forms for the “Liebestod”: The prostitute
know what you want and what you want to become. But the point
becomes a saint – a scandalous act. But she is elegantly disposed
is just the opposite: people view the most complicated art forms
of, to put it simply. The piece ends with hard knocks, the audience
across categories and careers. Take opera, for instance, where so
cheers and the world is once more morally saved. Yet a sensitive
many hands and minds are involved and where, when everything
nerve is pinched all the same.
goes right, so many people are involved even though the talk is
always centered on the director, the great voices and conductor.
Maybe the opera is not alone in offering this but it does so most
Their egos aren’t big enough. The individualist, or someone who
completely. Its special interpretations, however, can be costly,
wants to become one, should keep his or her fingers away from
rendering – apart from beautiful voices – a significant part of
such career thoughts and probably hasn’t seriously pursued any.
But despite all the egomania, a person can humbly learn practical
things from the professionalism of others like making music,
Photo above: The world premier of John Cales “Dydiau Du –
composing, writing, creating scenes and artistically organizing,
Dunkle Tage” at the “Theater der Welt” festival in Essen in July
and learn that opera is about collaboration.
2010.
page 9
mankind’s history of enjoyment and serving as an archeologist
Holger Noltze, professor for music and media at
of buried emotions: a message of emotions from the 17th, 18th
Dortmund Technical University, which will introduce
a “music journalism” course in the 2010 winter
and 19th centuries that has arrived in a bottle washed up on our
semester. Editor at WDR from 1990 to 2000 and at
untidy shore. And now?
Deutschlandfunk from 2000 to 2005, a contributor
to the newspaper Frankfurter Allgemeine Zeitung and
“Opera Today” means fetching this bottle of emotions and taking a
moderator of the culture show “WestArt am Sonntag”
new look at it. Above all, it means continuing to write the history
in WDR television since 2001. Publication in 2010 of
of opera, even if in the form of a radical breach. Even if this is
“The Easiness Like: About Music, Media and
Complexity” (“Die Leichtigkeitslüge: Über Musik,
easy to write, it is still very difficult. After all, the audience that has
Media und Komplexität”).
selected “La Traviata” as “the most beautiful opera of all times“
struggles with music from Enno Poppe and Brain Ferneyhough.
It also struggles even more with the radical deconstructions of
Photos upper line, from left to right: Daisuke Miura’s “Yume
“director theater.” The public wants stories and nice music. How
no shiro” (Castle of Dreams), social analysis without words,
“Opera Today,” as a contemporary art response to a desolate
“Theater der Welt” in Essen in July 2010 // Dance performance
presence, positions itself at this critical nerve point is the big
“Urbandirfting“ by Willi Dorner in Essen, July 2010 // Lunch with
question. It is all about communication. How are the delivered
the artists of “Brave New Worlds“ at “Theater der Welt“ festival
sounds, texts and pictures received? The truth is on the field.
in Essen, July 2010.
What to do?
“Academy Opera Today” does what is best and absolutely
necessary: observe, speak, observe, act. The list of the jointly
visited performances is impressive and how speaking follows
observing – the exchange between the most important players of
today and possibly the most important of tomorrow. This can be
unsettling for both sides – and it should be, since the issue with
the audience is a question of its openness and ability to embrace
something new. It involves uncertainty, even if everyone prefers to
speak about art. This is understandable but it would also be fatal
when what follows observing, speaking and observing is doing –
namely the joint projects aimed particularly at impressing elders.
The opera of tomorrow undoubtedly needs networkers and
communicators and, above all, clever, subversive and free spirits.
Look at the photos. Can we hope? We already are! ///
Photos lower line, from left to right: “I am not me, the horse is
not mine” from William Kentridge at the “Theater der Welt” in
Essen in 2010 // Working stations of the artist group “Brave New
Worlds,” 2010 // Artistic exchange in Ringlokschuppen in
Mülheim an der Ruhr, July 2010.
page 10
Fellows
2010 – 2012
Aurélien Bello
Aliénor Dauchez
Bettina Geyer
Christian Grammel
Category: Conducting
Category: Stage Design
Category: Directing
Category: Directing
Since summer 2010 freelance
Freelance stage designer and
Freelance director. Own
Freelance director and dramatic
conductor. In July 2010 two
fine arts artist. In 2010 stage
productions: conception, libretto
advisor. Masters degree in
performances of “Tosca” at the
design for “Remembering the
and direction for “Zauberberg.
drama. Most recent projects
Opernfestpielen Heidenheim. In
Future” (choreographer:
Eine Hotel Oper” (UA) at the
include “an meiner statt” (ZKM
October 2010 musical direction
P. Bergmann) at Muffathalle,
Davos Young Artists Festival
Karlsruhe 2009 and AdK Berlin
of Valtinoni’s “Schneekönigen”
Munich. In 2010 design and
2010 as well as numerous
2010), “The Phantom Piper
(The Snow Queen) at the
production of “Verstehen Sie
productions, including “Die
of Corrieyairrack” (HAU Berlin
Komische Oper Berlin. For the
Bahnhof?” (composer: K. König)
Zauberflöte” (2009), “Hansel
and Kampnagel Hamburg
2010 – 2011 season, assistant to
in ohrenstrand mobil, in the
und Gretel” (2008) and “Das
2010), “The Seven Songs of
the general managing director of
main train station, Berlin, and
Tagebuch der Anne Frank”
Hercules” (prize winner at 100°
the Theater Kiel. Regular concert
“HARDCORE 2” with the
(2007) (Diary of Anne Frank)
Festival Berlin 2009).
performances with, among
Solistenensemble Kaleidoskop
at Staatstheater Darmstadt. In
Cooperation with the Ensemble
other, the Junge Philharmonie
(SK) in Radialsystem V, Berlin. In
addition, numerous works in
musikFabrik, Cologne (including
Brandenburg and the Konzert-
2009 stage design for “LENZ –
the Kinder- und Jugendtheater,
“Tripclubbing” 2010), Ensemble
hausorchester. From 2004 –
eine Deutschlandreise” based
including “Noah und die Flut,”
Modern (“Codice Ovvio” 2005)
2009 conductor studies at the
on the work of the author Georg
“Der kleine Schornsteinfeger”
and the Internationale
Hochschule für Musik (HfM)
Büchner (director: A. Charim)
and “Cinderella.” Assistant
Ensemble Modern Akademie
Hanns Eisler Berlin (Hanns
in Radialsystem V. In 2009
director at the Theater Freiburg,
(including “Inverted Space”
Eisler Music Academy). Since
assistant director in “Dialoge
the Staatstheater Darmstadt
2009). Assistant director at the
2007 fellow in the conductor
09 – Neues Museum” for Sasha
and Salzburg Festspiele
Schauspiel Frankfurt and the
forum of the Deutscher Musikrat
Waltz & Guests. In 2010 winner
(among others, with B. Sher,
Staatstheater Wiesbaden. From
(German Music Council). From
of the operare 10 award,
J. Simons, P. Stölzl and J. Drew).
2004 – 2008 fine arts studies at
1998 – 2003 harp and music
Zeitgenössische Oper Berlin.
Deutsches Volk fellowship.
the Justus-Liebig-Universität
studies at the Conservatoire
Since 2009 fine arts studies at
From 1997 – 2003 studies in
Giessen and from 2001 – 2003
National Supérieur Musique et
the UdK Berlin. From 2002 –
school music and musicology
drama studies at the Mozarteum
Danse de Lyon. Born in 1980
2008 engineering studies in city
at the Johannes Gutenberg-
Salzburg. Born in 1981 in
in Colmar, France.
systems, UTC (France). Born
Universität Mainz. Born in 1978
Wiesbaden.
in 1984 in Annecy, France.
in Freiburg.
page 11
Fellows
2010 – 2012
Martin Grütter
Johannes Keller
Michael E. Kleine
Michael Langemann
Category: Composing
Category: Conducting
Category: Directing
Category: Composing
From 2004 – 2009 studied
Freelance cembalist and
In 2010 set design and
Most recent compositions
composing at the HfM Berlin
specialist for baroque music.
production of premier concerts
were in 2010 for, among others,
with Hanspeter Kyburz, since
Assistant to Andrea Marcon for
at the ZKM Karlsruhe and at
the BBC Symphony Orchestra,
2010 electronic music with
the production of Monteverdi’s
the Musikhochschule Lübeck
NDR and Cheltenham Festival.
Wolfgang Heiniger. Master
“L’Orfeo” (2008) and Cavalli’s
as well as a performer at the
Composer and conductor
courses with Brian Ferneyhough
“Bajazet” (2010) at Theater
Kampnagel Hamburg and the
of premier concerts and other
and Stefano Gervason. Prizes
Heidelberg. Musical direction
Sophiensälen as part of the
concerts at Carnegie Hall,
and awards include the Mahler
A. Scarlatti’s “Penelope la Casta”
Ultraschall Festival in Berlin.
Lincoln Center and festivals
Composer Award Wien (2010),
(2009) in Basel. Co-founder
In 2007 production of “One-
at home and abroad. Studied
the International Composer
of the Ensemble II Profondo.
Woman-Opera” from Charlotte
composition under George
Award of MusikTriennale
Studies with honors for cembalo
Seither at the Theater
Benjamin at King’s College
Cologne (2010), the Composer
(J.-A. Bötticher), basso continuo
Osnabrück. From 2007 – 2008
London, Tristan Murail at the
Award In Memory of György
(J. Christensen) and “Maestro
own opera production at the
Columbia University New
Ligeti (2007) and the Hanns-
al Cimbalo” (A. Marcon) at the
Opera Stabile of the
York and Manfred Trojahn at
Eisler Award for Composing
Schola Cantorum Basiliensis.
Hamburgische Staatsoper and
Robert-Schumann-Hochschule
and Interpreting Contemporary
Collaboration, among others,
the set design for the play
Düsseldorf. Numerous
Music (2007). In 2008 finalist
with the Venice Baroque
“Salomé” from Oscar Wilde at
fellowships, among others,
in the Tremplin Project of the
Orchestra, La Cetra (Basel) and
the Theater an der Sihl Zurich.
with Studienstiftung des
Ensemble Intercontemporain,
Les Siècles (Paris). Participation
In 2011 actor in the opera
Deutschen Volkes, DAAD
Paris. Composition of solo,
in recordings for Deutsche
production “Neunzehnhundert”
Forberg Schneider-Stiftung and
ensemble and vocal music,
Grammophon Gesellschaft
at the Opera stabile, Hamburg.
Royal Philharmonic Society
opera and electronic music in
and France 2. Own research
Opera direction studies
Composition Prize 2009, and
addition to improviser activities.
projects include microtonal
from 2002 – 2009 at the
awards including one from
Born in 1983 in Trostberg.
baroque music. Born in 1984
Theaterakademie Hamburg.
the German state North-Rhine
in Winterthur, Switzerland.
Born in 1981 in Lahr.
Westphalia 2010. Born in
1983 in Moscow, Russia.
page 12
Fellows
2010 – 2012
Claudia Isabel Martin
Janine Ortiz
Judith Pielsticker
Category: Cultural Management
Category: Dramatic Advisor
Category: Dramatic Advisor
Doctorial candidate at the
Earning a doctorate degree
Since the 2009 – 2010 season,
Johannes Gutenberg-Universität
since 2007 on the operas of
dramatic advisor and assistant
Mainz (Thesis: Opera as a
Franz Schrekers. Freelance
to opera management at the
transcription medium of cultural
dramatic advisor for, among
Theater Koblenz. Dramatic
memory: Imagined femininity
others, Sebastian Baumgarten
advisor on, among others,
in the first half of the 19th
(“Die Banditen,” Neumarkt
Berg’s “Wozzeck”, Mozart’s
century). Since 2010 fellowship
Theater Zürich, 2010) and
“Don Giovanni” (director:
from the Konrad-Adenauer-
Ansgar Weigner (“Der Schmied
G. Wiesmüller), “BeGLÜCKe
Stiftung. From 2009 / 2010
von Gent,” Oper Chemnitz, 2010).
mich!!!” (director: C. Gassen)
intern at the Staatstheater Mainz
Assistant dramatic advisor
and “Bordellballade” (world
(“Madama Butterfly,” “Die
for Christoph Schlingensief
premiere, music: M. Eggert;
verkaufte Braut”), following
(“Sterben lernen!” Neumarkt
text: Franzobel; director:
an internship at 3sat (sub-
Theater Zürich, 2009) and
R. Lehmeier). Studying music
coordination music Mainz),
Sebastian Baumgarten
education, rehabilitation
Laaber-Musikverlag. In 2006
(“Tannhäuser,” Bayreuther
counseling and music
assistant director at the
Festspiele, 2011), among
journalism at the Universität
Hessisches Staatstheater
others. Numerous published
Dortmund through 2011.
Wiesbaden (“Das Land des
works and speeches with a
Tutoring and teaching assign-
Lächelns”). Previous internships
focus on contemporary and
ments as, among others, as
with “Götterdammerung,” in
modern opera. In 2008
Big Band director, facilitator of
media relations and at the KBB.
published the book “Feuer
a hear-canon and co-founder
From 2005 – 2007 freelanced
muss fressen was Flamme
and moderator of “Terz Werk –
in the cultural section of the
gebar – Franz Schrekers Oper
fordert neues Hören” with
newspaper Mainzer
‘Irrelohe.’” From 2004 – 2010
the university radio program.
Rheinzeitung. From 2003 –
fellowship with Studienstiftung
Internships at, among others,
2009 music and drama studies
des Deutschen Volkes. Studied
the Komische Oper Berlin, the
and business studies in Mainz.
musicology and German
RuhrTriennale and the Oper
Born 1984 in Wiesbaden.
literature in Frankfurt am Main,
Dortmund and in the editorial
Yale and Princeton. Born in
department of “Hör-Zeichen”
1980 in Hanau.
at WDR. Born in 1982 in Werl.
page 13
Fellows
2010 – 2012
Julia Rommel
Jonathan Spindler
Alexander Stockinger
Vito Žuraj
Category: Stage Design
Category: Cultural Management
Category: Dramatic Advisor
Category: Composing
Freelance scenographer. Earning
Studying since 2006 for
Currently earning a masters
From 2009 – 2010 fellow at the
a doctorate degree since 2010
a masters in musicology and
in drama studies and German
Internationale Ensemble
at the Universität Wien and
cultural management at the
literature at the Universität
Modern Akademie, earning a
the Züricher Hochschule der
HfM Franz Liszt in Weimar and
Wien. Master’s thesis on
doctorate in music informatics
Künste (Thesis: Dramatization
economics at the Friedrich-
poly-perspective narration
with Prof. Thomas Troge at
of everyday space through
Schiller-Universität in Jena.
and production strategies with
the HfM Karlsruhe. From 2007
information and communications
In 2010 internship with Claus
E.T.A. Hoffmann and their
soloist exam composition with
technologies in the context of
Guth for Wagner’s
production reception through
Prof. Wolfgang Rihm and since
ubiquity). Projects: “A lovely
“Götterdammerung” at the
J. Offenbach. In addition to
then teacher for instrumentology
Sunday for Creve Coeur,” Zurich
Hamburgische Saatsoper. In
current studies since 2006
and Gregorian music.
2008, “Do Geography,” Zurich
2009 member of the Young
scene editing (Oper für alle,
Collaboration with the RIAS
2009, Signaletik Elbphilharmonie
Singers Project of the Salzburger
Wiener Staatsoper, 2010),
Kammerchor, SWR experimental
Hamburg, Integral Zürich 2008 /
Festspiele with Michael Schade,
dramatic advisor trainee
studio, SKM Karlsruhe and
2009. Internship with the
Thomas Quasthoff, Marjana
(Staatsoper Unter den Linden,
Deutsche Radio Philharmonie,
Staatsoper Dresden, Schauspiel
Lipovsek and Christ Ludwig.
Berlin, 2010), summer academy
among others. Performances
Frankfurt, Oper Mainz, Teatro
In 2008 member of the artist
for cultural management
with the Darmstädter
Real Madrid. Recipient of the
management office of
(Institut für Kulturkonzepte,
Sommerkursen, Acanthes
operare award from the
the Festival Junger Künstler
Vienna, 2009), assistant
Metz, Heidelberger Frühling,
Zeitgenössische Oper Berlin
Bayreuth. From 2008 – 2009
director, requisite management,
Takefu Festival Japan,
(2010), IF Award (2007), DDC
managed the reading series
production management
Mouvement Saarbrücken,
Award (2006). Area of focus:
“Europas Literatur in Weimar,”
(Herbsttage Blindenmarkt,
Tenso Days Berlin and Davos
augmented reality, orientation,
including Ioanna Karystiani and
2008), internship (Vorsingen
Festival, among others.
notation of space. Scenography
Tuuve Aro. In 2009 participated
und Kinderoper, Wiener
Fellowship with the Hanne
studies in Zurich (ZHdK,
in the selection process of LJO
Staatsoper, 2007), exhibition
Darboven Foundation in 2009,
MAS 2009) and visual
NRW and the master course
management (ImPulsTanz-
Karl-Steinbuch-Fellowship in
communications in Berlin
German flute of Jeunesses
Festival, Vienna, 2007). Stays
2006, graduate scholarship
(UdK, masters 2006). Born
Musicales NRW. Born in 1987
in Berlin and Turku. Born in
from the German state Baden-
in 1979 in Mutlangen.
in Nürtingen.
1986 in Waidhofen, Austria.
Württemberg in 2005. Born in
1979 in Maribor, Slovenia.
page 14
Fellows
2009 – 2011
Anisha Bondy
Reyna Bruns
Alexander Fahima
Evan Gardner
Category: Directing
Category: Directing
Category: Directing
Category: Composing
In 2010 she made her debut with
Since 2007 assistant director
Produced Verdi’s “Otello” in
Freelance composer.
the production of Valtinoni’s
and on the production staff at
the 2010 / 2011 season at the
Commissioned works for the
“Die Schneekönigen” (UA) at
the Staatstheater Braunschweig.
Oper Heidelberg. Own directing
string orchestra of the Ensemble
the Komische Oper. In 2011 will
Since then, she has worked on
work, including Maderna’s
“Kaleidoskop” (2011), the
take over as assistant director
two productions and two plays
“Satyricon,” Hochschule für
Bergen Filharmoniske Orkester
on Wagner’s “Tannhäuser”
(text, direction) in the “off”
Musik und Theater Hamburg
(2010) and the Arditti Quartett
(director: S. Baumgarten) at the
area. In 2009 worked on “Die
(2009); “Maritim 3” (2009),
as part of the Ultima New Music
Bayreuther Festspiele. Since
Meistersinger von Nürnberg,”
HAW Hamburg; Lortzing’s
Festival Oslo (2009), among
2006 assistant director at the
Bayreuther Festspiele. Studies
“Der Waffenschmied,”
others. Wrote the music for the
Komische Oper producing
included text and directing for
St. Pauli Theater Hamburg
short film “Sniffer” (winner of
Gluck’s “Armida” (director: C.
two premiers (in cooperation
and Deutsches Schauspielhaus
the Palme d’Or at the Cannes
Bieito, 2009), Mozart’s “Requiem”
with Komische Oper, HfM and
Hamburg; and Crumb’s
Film Festival 2006). Numerous
(director: S. Baumgarten, 2008),
UdK Berlin), commissioned play
“Songs, Drones and Refrains
fellowships and prizes, including
Cole Porter’s “Kiss me Kate”
“HIERGEBLIEBEN!” (R. Bruns,
of Death,” Oper Kiel (2008).
being selected in 2008 for the
(director: B. Kosky, 2008), among
M. Grazewicz, D. Laucke) by
Numerous assistant director’s
“Tremplin Reading Panel” of the
others. From 2004 – 2006 assis-
the GRIPS-Theater. In 2004
positions with Christian Pade,
Ensemble Intercontemporain
tant director at the Theater Basel
assistant at the Festival Junger
Calixto Bieito, Achim Freyer
(commissioned work 2008),
producing Verdi’s “Rigoletto”
Künstler, Bayreuth. In 2003
and Christoph Loy, among
finalist in the International
(director: M. Thalheimer, 2005),
guest assistant to Achim
others. Personal assistant to
Gaudeamus Composition
among others. Productions with
Freyer, Deutsche Oper Berlin.
Reinhard von der Thannen at
Competition in Amsterdam in
her directing team, including
From 2002 – 2007 studied
the Bayreuther Festspiele 2010
2006 and fellow with the
Orff’s “Die Kluge,” Martinus’
opera direction at the Hanns
(set design “Lohengrin”; director:
RWE Norway Music Foundation
“Comedy on the Bridge” in
Eisler Academy of Music
Hans Neuenfels). Studied opera
in 2006. Masters study with
Vienna. From 2002–2006 studied
Berlin. Fellowship with the
direction from 2005 – 2009 at the
Prof. Matthias Pintscher at the
opera direction at the Universität
Studienstiftung des deutschen
Theaterakademie in Hamburg.
Hochschule für Musik und
für Musik und darstellende Kunst
Volkes. Born in 1977 in
Born in 1980 in Marburg.
Theater München (University of
Wien (University of Music and
Filderstadt.
Music and Theater Munich).
Performing Arts in Vienna). Born
Born in 1978 in Lawrence,
in 1981 in London, Great Britain.
Massachusetts, USA.
page 15
Fellows
2009 – 2011
Patrick Hahn
Evelyn Hriberšek
Yordan Kamdzhalov
Barbara Kler
Category: Dramatic Advisor
Category: Stage Design
Category: Conducting
Category: Conducting
For the 2011 – 2012 season,
Freelance director, stage
Since 2006 he has been artistic
Since 2009 assistant to the choir
dramatic advisor at the
designer and media artist. At
director and conductor of
master, Bayreuther Festspiele.
Staatsoper Stuttgart. In 2010
the interface between theater
the International Ensemble
Since 2008 assistant to the
dramatic advisor at the
music, film and multimedia,
Innorelatio Berlin. Numerous
choir master, Komische Oper
“Zukunftsmusik” festival. Since
she develops experimental and
international awards, including
Berlin. From 2006 – 2008 deputy
2009 earning a doctorate
boundless theatrical works
first prize of the “Jorma Panula”
choir director at the Deutsches
degree in narrative structures
with a radical and sensually
and third prize of the “Gustav
Nationaltheater Weimar. From
in the mediation of music. In
suggestive aesthetic. From
Mahler” conducting competition.
2004 – 2005, choir coach and
2009 weblog of in the music
2010 – 2011, involved in the
Appearances with Tonhalle-
pianist with the opera studio “Les
newspaper Neue Musikzeitung.
conception and production of
Orchester Zürich, Berlin
Jeunes Voix du Rhin” Opéra
In 2008 curator of the
“O.R.PHEUS – Eine musikalisch-
Symphony Orchestra, Orquestra
National du Rhin, Straßburg.
exhibition “Der Kammerton der
theatrale Rauminstallation,”
Nacional do Porto, Orchestre
Participated in master classes
Gegenwart – 40 Jahre Wittener
Munich. In 2011, working in
National d`Île-de-France,
for choral conducting with,
Tage für neue Kammermusik.”
the areas of stage design and
Deutsches Symphonie-Orchester
among others, Erwin Ortner
In 2007 assistant director, later
video on “Vom Meer” at the Oper
Berlin. From 2007 – 2009 tutor
and Sylvain Cambreling as well
tour manager on Georges
Heidelberg. In 2009 designed the
and Kapellmeister of the
as master classes for orchestral
Aperghis’ “Zeugen,” including
stage and costumes for “Stalker,”
Schlosstheater Rheinsberg. In
conducting with Konrad von
performances at the Biennale
Staatstheater Stuttgart (director:
2005 co-production with the
Abel, Zsolt Nagy and others.
di Venezia. Initiator and advisor
H. Weber). From 2007 – 2010,
Komische Oper Berlin. Guest
In 2005 fellowship with the
on “Labor Witten,” a mediation
concept and production of the
conductor at the Staatstheater
Richard-Wagner-Verband. From
program for the “Wittener
performance series “SCHOCK-
Magdeburg (“Carmen,”
1998 – 2003 studied conducting
Tagen für neue Kammermusik.”
GEFROREN I – ll,” Munich. In
“Turandot”) and Darmstadt
at the Mozarteum Salzburg. In
In 2005 dramatic advisor and
2008 and 2010, among others,
(“Maria Stuarda”). Highlights in
2007 completed a masters at
actor on Manos Tsangaris’
debut and sponsorship for the
2011 are his U.S. debuts with
the University for Music and the
“Labor.” Since 2004 working
field of independent theater from
the Los Angeles Philharmonic
Performing Arts, Vienna. Born
as a journalist for WDR with
the Landeshauptstadt München.
Orchestra and his U.K. debut
in 1978 in Nowy Sacz, Poland.
a focus on contemporary
In 2007 “Gudrun-Wassermann-
with the Philharmonic Orchestra
music. Born in 1980 in Zurich,
Buschan-Preis,” fellowship
London in the Royal Festival
Switzerland.
with the 14th Internationalen
Hall. Born in 1980 in Targoviste,
Schillertage Mannheim. Born
Bulgaria.
in 1979 in Stuttgart.
page 16
Fellows
2009 – 2011
Ulrich Kreppein
Katharina Mohr
Michael Pelzel
Category: Composing
Category: Cultural Management
Category: Composing
Since 2006, earning a doctorate
Since 2010 – 2011 directing and
He studied piano, composition
from Harvard University,
production management of
and organ at the Lucerne
Cambridge. Teaching assistant
“Schwarzwaldmädel reloaded,”
Musikhochschule. From
for musical theory at Harvard
dramatic advisor on “Cinderella.”
2003 – 2007 studies in theory
University. Cooperation with
Since 2009 teaching assistant
and composition with Georg
ROC-Berlin, ECCE Ensemble
for cultural management at the
Friedrich Haas and Detlev
and Britten Sinfonia, among
Musikschule Hamburg. Since
Müller-Siemens as well as
others. Numerous scholarships
2008 opera and concert peda-
organ studies with Guy Bovet
and awards: from 2006 –
gogue with the Jungen Theater
at the Musikhochschule Basel.
2011 Ashford Fellowship from
Freiburg, including dramatic
Further organ studies followed
Harvard University; in 2008
advisor on Weber’s “Der Frei-
with Ludger Lohmann at the
Gordon / Hunter and Paine
schütz für Kinder”(The Marksman),
Musikhochschule Stuttgart.
Fellowship from Harvard
Aperghis’ “Rotkäppchen” (Little
Further composing courses
University; from 2001 – 2005
Red Riding Hood) and Kassie’
with Hanspeter Kyburz, Klaus
fellowship with the
“Schaf.” Project manager on
Huber and György Kurtág. He
Studienstiftung des deutschen
“Der Rap des Nibelungen,” the
received several scholarships
Volkes. In 2009 finalist in the
school music festival “KLONG”
and won various prizes in
international Isang Yun prize,
and three concert series. In
composition competitions
won an award at the Stuttgart
2008 music assistant with
including Ensemblia Mönchen-
Orchesterwerkstatt, won the
Zukunft@ BPhil of the Berliner
gladbach, BMW Musica Viva
Blodgett prize from Harvard
Philharmoniker. From 2007 –
München and the “Christoph
University; in 2008 finalist in
2008 freelancer at “Klingendes
Delz” composition competition,
the Tactus competition. From
Museum Hamburg.” From
Basle. Born in 1978 in
1999 – 2005 studied composition
2002 – 2007 fellowship with the
Rapperswil, Switzerland.
at the Robert-Schumann-
Studienstiftung des deutschen
Hochschule Düsseldorf. Born
Volkes. From 2001– 2007 studied
in 1979 in Leverkusen.
cultural studies in Lüneburg,
Budapest and Macerata. Born
in 1981 in Hamburg.
page 17
Fellows
2009 – 2011
Julia Schnittger
Gerda Strobl
Martina Stütz
Tillmann Wiegand
Category: Stage Design
Category: Cultural Management
Category: Dramatic Advisor
Category: Cultural Management
Freelance stage and costume
Since 2007, artistic assistant
In 2009 dramatic advisor on
Since 2008 employed in the
designer assistant. In 2010
to the director and assistant
“Mond.Finsternis.Asphalt”
artistic administration department
costume design assistant for
dramatic advisor of the
(composer: M. Hiendl, HFMDK
of the Ruhrtriennale, in charge
“Tannhäuser” at the Opera
steirischer herbst festival in
Frankfurt). Assisted in directing
of casting singers, managing
Oslo and “Lulu” at the Royal
Graz. Member of the Theater-
“Amozonas – Opera in Three
artist contracts and coordinating
Opera Copenhagen (stage
kombinat Rabtaldirndln.
Parts” (composers: K. Schedl
schedules, among other
design: H. Scheele; director:
Studied electrical engineering
and T. Taborda) at the Münchener
responsibilities. From 2005 –
S. Herheim). Winner of the
and sound engineering at the
Biennale; project manager “Intrigo
2008 studied social economics
Gudrun-Wassermann-Buschan
Technical University Graz and
Internationale (KV 492)” at
at the University of Hamburg
Award for young stage and
the University for Music and
the Müncher Opernfestspiele.
with a focus on business
costume designers. In 2009
Performing Arts in the same city.
In 2009 dramatic advisor for
administration. From 2002 –
custom design for the children’s
From 2006 – 2006 completed
“Oreste” in Besigheim, intern-
2005 producer and booker
opera “Das Geheimnis der
a research project at the
ship with the dramatic advisor
at the Landestheater
schwarzen Spinne” at the
Universita Verona on the subject
of the Bayerische Staatsoper
Niederbayern. From 2000 –
Staatsoper Hamburg and for
of sound texture analysis. In
München, assistant director on
2004 assistant director and
“Einst lebte ein Prinz,” based
2004 developer working on the
“Riech mal, wie das klingt”
staff producer on Verdi’s
on Shakespeare’s Hamlet,
“reactable,” a new electronic
(composer: G. Stäbler) at the
“Don Carlo” (director: J. Rose),
at the Folkwanghochschule
instrument, at the Music
Junge Oper Mannheim. In 2008
Tchaikovksy’s “Pique Dame”
Essen. From 2005 – 2008
Technology Group Barcelona.
assistant director and trainee to
(director: D. Alden) and Borlioz’s
assistant set designer at the
Recipient of numerous artistic
the dramatic advisor of “Marlene”
“Les Troyens” (director:
Schauspielhaus Bochum and
and scientific scholarships.
at the Nationaltheater Mannheim.
G. Vick) at the Bayerischen
guest at the Schauspielhaus
Developed live electronic and
In 2006 internship with the
Staatsoper. From 2000 – 2001
Salzburg. From 2000 – 2006
sound directing for the original
director on “Orest” (director:
worked in the office of the
studied stage and costume
performance of new music
S. Baumgarten) at the Komische
Munich Rundfunkorchester.
design at the Kunstuniversität
in Graz. In 2002 internship at
Oper Berlin, and production
Born in 1979 in Starnberg.
Mozarteum, Salzburg. Born in
IRCAM in Paris. Born in 1982
documentary on behalf of the
1979 in Coburg.
in Graz, Austria.
Akademie der Künste, Berlin.
Studied culture and musicology
at the HU Berlin and DCU Dublin.
Born in 1979 in Ludwigshafen.
page 18
Summer Workshop Report of the
Academy Opera Today in Edinburgh
By Alexander Fahima, fellow from 2009 – 2011
In August 30 fellows from the two Academy classes met in
theater “Do We look like Refugees?!” The piece, one of the most
Edinburgh, where no fewer than nine different festivals took place
exciting of the Fringe selection, focuses on the daily life of the
and the number of people in the Scottish city increased threefold.
Georgian people and the after-effects of the war in Caucasus after
Among the program’s highlights: the renowned Edinburgh
2008. This was an example, similar to the events of the following
International Festival, which has experienced an eventful history
days, of how Fringe lives from the fascination of the (frequently
since its launch in 1947; and the Fringe Festival, initially established
seemingly) “simplicity” of the resources. A slide handout and a
as an underground spin-off, which since enjoys a special reputation
table as well as a few costumes and props create a spacey area
as a hub for unthinkable theater creations. The city gave everyone
within a 3 x 5 meter space in which five people, each a
including those who previously knew little about Scotland apart
simultaneous translator at the same time, present original interview
from its whisky, kilts and golf a feeling of excitement that makes
texts played to them directly through headsets. These people,
even Cologne, at the peak of its carnival celebrations, look like
initially appearing as copies of real “actors” and mimicking children
a quiet village festival. It is seldom that a workshop can tap into
and the other sex, create a unique atmosphere of distance, yet
such a rich selection of events. For those of us not overloaded
compelling depth during the performance.
with the range and input of events already selected by Gerda
Stobl and Alexander Charim, we could tour the streets and daily
After a creative talk with guests of Edinburgh International
observe up to 200 people often in spectacular costumes eagerly
Festival’s own productions, we stayed in the HUB, a neo-gothic
trying to encourage bystanders to visit their performances.
church transformed into one of the festival’s central points, to
“Obama Mia – The New Musical” and “Hamlet” competed with
converse with its artistic director, Jonathan Mills. He introduced
school theater groups from England and numerous stand-up
the unique company. And while admitting that he has yet to realize
comedians. The event calendar read like the yellow pages of a big
everything he has in mind, he emphasized that with the annual
city. Everything was represented, reflecting the expressed wish of
Fringe event, his goal is not to host another European high-society
the organizer that anyone with a confirmed performance location
summer spectacle but rather to pursue the idea of a “festival,” to
could apply to participate in Fringe. In the course of our four-day
offer a bandwidth of events with and overlapping and fertilization
stay, we frequently met up with opera, dance, puppet theater and
of the genre and especially seeking a dialog with the public as the
New York acting groups and Georgian documentary performances.
top priority. He also pointed to the huge risk the event assumes,
which the purchase of existing productions doesn’t reduce.
Some seized the opportunity to meet in the morning to find a
space in the guest rooms of Pollock Hall on the former university
After this conversation, we looked at the works of the English
campus or to climb up to the nearby Arthur’s Seat. On the first
artist Martin Creed in the Fruit Market Gallery or rather test with
joint day, after a short meeting and program introduction, we
mediocre success, before heading to the evening’s performance
attended George Gershwin’s “Porgy and Bess.” The production
of “Tempest: Without a Body” by the Samoan dance group
of the French choreography team of Montalvo and Hervieu under
MAU. This production also provoked various reactions. Many in
the musical direction of William Eddins performed the seldom-
the audience were overwhelmed by the energetic presence of the
played long version of the piece, accompanied by contemporary,
performers, while others viewed everything as a neo-colonial
hip-hop and street-dance performances as well as the omnipresent
circus of sorts, exhibiting profane tribal rituals to the delight of
use of (what the critics called) a “state-of-the-art” video projection.
The visit led to intense discussions on the following morning and
into the night. Another event that led to equally intensive debate
Photo above: “Montezuma“ from Carl Heinrich Graun at the
for both its theme and theatrical interpretation was the documentary
Edinburgh International Festival, August 2010
page 19
the audience. In any case, this particular show underscored the
character of the Edinburgh International Festival. The next day,
we were served “Sightseeing a la Fringe.” The “Hidden Gardens
of the Royal Mile” tour led us through backyards and alleys along
the city’s medieval main street. After that, we were invited to a
common meal in HUB as a welcome and stress-free but still
informative stop. The meal included haggis, a Scottish specialty
made of sheep’s stomach. For those too squeamish to devour
the speciality or who had eaten it the day before, vegetarian food
was also served. A further Fringe experience came for dessert:
“The River People.” With children’s naiveté and theatrical charm,
the group performed “The Terrible Tales of the Midnight Chorous,”
using convertible stick figures in the style of the Cantastoria and
murder ballad of Nick Cave. It was an impressive production,
specially arranged for a travelling stage. And, above all, it was a
Fringe hallmark, living from the immediacy to the audience.
In the evening, we experienced the opposite, the sweeping
production of Hemingway’s debut “The sun also rises” (“Fiesta”),
a purchase of the American theater group “Elevator Repair Service.”
The performance unexpectedly divided our group, at least in the
follow-up and late night conversations. On the last day of
the joint program, we had the opportunity to visit the Scottish
National Gallery of Modern Art. Others ran up the hill again, while
some recovered from their pub visit or debated the New York
theater scene. The international character of Fringe was reflected
in the short performance “Poignant,” written by an Argentinean
author but which was largely booked as unfruitful.
The final big pull was Carl Heinrich Graun’s “Montezuma” with
a libretto from the Prussian king Friedrich II. Just seeing this
information printed on the ticket gave the feeling of an entire
Photo above: “The Terrible Tales of the Midnight Chorous” from
indigenous audience being part of a true royal performance of
The River People at the Fringe Festival in Edinburgh, August 2010
baroque theater. We thank them for contributing to the success
of this entertaining event with their three-act performance of
unwavering seriousness. We – with typical ironic distance to every
modern stage happening – had, in the end, huge fun together
with the Aztec Revenge directed at us western cultural imperialists.
We could join Thomas Bernhard in asking: Is it a comedy? Or
is it a tragedy? So the wish grew to allow this two-faced event,
settled somewhere between Fringe and high culture, to go
uncommented. ///
Photo below: The 2009 – 2011 class of scholarship holders in
Edinburgh, August 2010
page 20
Board of trustees / jury
An exceptional board
of trustees has contributed significantly to
the success of the
program:
Sebastian Baumgarten
Stage director
Prof. Dr. Heiner Goebbels
Composer, director, professor
Enno Poppe
Ingo Gerlach
Composer, conductor, director
Category: Dramatic Advisor
of the “ensemble mosaik” in
Dramatic advisor at the
Berlin
Komische Oper Berlin
Albrecht Puhlmann
Prof. Heiner Goebbels
Artistic director of Staatsoper
Category: Directing
Stuttgart
Composer, director, professor
Prof. Dr. Peter Ruzicka
Composer, conductor, artistic
director of Münchener Biennale
for applied drama at the
Juliane Votteler
Justus-Liebig-Universität
Director of Theater Augsburg
Giessen
for applied drama at the JustusLiebig-Universität Giessen
Johannes Harneit
Category: Composing
Composer, conductor, pianist,
chief conductor of the
Eva Wagner-Pasquier
Sinfonietta Leipzig and the
Andreas Homoki
Artistic director and general
Belgrad National Theater
Chief stage director and arti-
manager of Bayreuther
stic director of the Komische
Festspiele
Oper Berlin
Bernd Loebe
Category: Cultural Management
Prof. Klaus Zehelein
Theater manager of Oper
Christian Jost
President of Bayerische
Frankfurt
Composer and conductor
Theaterakademie August
Peter Konwitschny
Everding
Chief stage director at the
Theater manager at Oper
Frankfurt
Christine Mielitz
Opera director at Theater
Dortmund
Dr. Gérard Mortier
Director of the Teatro Real in
Madrid
designer and director
The scholarships are
selected by a jury
whose members
change annually.
Members of the 2010
jury include:
Titus Engel
Category: Conducting
Conductor, musical director of
“ensemble courage”
Photo above: „And all the questionmarks started to sing“ by
Verdensteatret at “Theater der
Welt“ festival, July 2010
Category: Stage Design
Stage designer, customer
Oper Leipzig
Bernd Loebe
Anna Viebrock
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.
Imprint
Deutsche Bank Stiftung
December 2010
Editorial
Viola Mannel
Solveig Schartl
Claudia Landmann
Translation
John Blau
Layout
Weigand Design und
Kommunikation GmbH
Printing
Druckerei Imbescheidt
GmbH & o. KG
Picture credits
Cover Page: © Deutsche Bank
Stiftung / Christoph Rau
Page 2: © Evelyn Hriberšek
Page 3: © Asle Nilsen
Page 4: © Sophie Bansac / Julia Schmitt
Page 5: © Javier del Real
Page 6: © Kirsten Uttendorf
Page 7, above: © Kirsten Uttendorf
below: © Agnes Fabich /
Anja Kerschkewicz
Page 8: © Klaus Lefebvre
Page 9, upper line, from left to right:
© Klaus Lefebvre, © Lisa Rastl,
© Evelyn Hriberšek
lower line, from left to right:
© William Kentridge, © Klaus Lefebvre,
© Klaus Lefebvre
below: © WDR / Herby Sachs
Page 18: © Herman Sorgeloos
Page 19, above: © Dorka Batizi
below: © Kirsten Uttendorf
Page 20: © Asle Nilsen
Photos of fellows
Aurélien Bello, Photo: © Ernst Fesseler
Judith Pielsticker, Photo: © Matthias Baus
Patrick Hahn, Photo: © WDR / Simin
Kianmehr
Ulrich Kreppein, Photo: © Raf Tienpont