Download Academy Opera Today 09_10 Ausdruck

Academy Opera Today
2009 / 2010
Fellowships for
the International
Opera World
Programme 2009 / 2010
Fellows 08 –10 and
09 –11, Jurors and
Curators 2009
Transformations
On blending subjects
and professions
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.
the Academy fellows’ productions are also supported. A network
of artists and managers will gradually grow and facilitate mutual
exchange of experiences, along with helpful contacts.
Attending international opera festivals
This is the aim of the Academy Opera Today, founded by Deutsche
A visit to a famous international opera festival, such as the
Bank in 2001: We offer young, talented directors, dramatic advisors,
Salzburg Festival or the Festival of Aix-en-Provence, is highlight of
conductors, culture managers, stage designers and composers
the programme. The fellows attend many performances during the
an opportunity for cross-area interchange and jointly confront the
festival, get a look behind the scenes and participate in workshops
challenges of today's musical theatre. The emphasis lies on net-
which enable them to confront the challenges of modern opera.
working – six years after the Academy's founding, many of its
fellows and alumni now work for renowned houses and there are
Conducting conversations with personalities of the opera
many interconnections among their artistic projects.
world
Discussions behind the scenes with administrators, conductors,
The opera “Helges Leben” is the Deutsche Bank Foundation’s
musical directors, stage designers and stage directors give the
first commissioned composition. In May 2009, the work by Karola
fellows insights into the working life of artists and management
Obermuller and Mark Moebius, both fellows of 2006 – 2008, pre-
of opera houses and shed light on the background of the produc-
miered at the Theater Bielefeld.
tions they have seen. By bringing the fellows together with famous
artists and enabling communication amongst them, the programme
Under the working title “InnenLeben” the 2008 – 2010 group
assists in the creation of a broad network.
of fellows are focussing on the issue of migration and immigration.
This cooperative project between the Oper Frankfurt and the
Participating in important competitions
Deutsche Bank Foundation will debut in 2010 at the Bockenheimer
Fellows are also expected to perform in public – participation in
Depot to mark the 10th anniversary of the Academy.
competitions is important for their artistic growth. The Academy
helps to finance their participation in public performances.
What we offer
Participating in working residencies
All the fellows are invited to reflect and debate current issues of
Insights into the projects, discussions and networks form the
operatic life and their own artistic work. To this end, the Academy
pillars of our fellowship programme.
supports the organisation of colloquia and workshops.
Attending outstanding productions
Participating actively in the fellows’ own artistic projects
The Academy class will attend exceptional, innovative productions
The Academy presents its fellows’ own innovative productions
by major opera houses up to three times a year. Post-performance
to encourage their practical experience and co-operation –
discussions with the artistic teams and management of the opera
for example, on the occasion of the ceremony welcoming new
houses will provide insights into the production. Individual visits to
fellows, which takes place once a year and includes world
premieres.
page 3
Current information
Programme 2009 / 2010 (tbc)
How to apply
December:
2010 – 2012 Fellowship for the Academy Opera Today
Workshop at Oper Leipzig
You may apply for a fellowship if you are nearing the end of your
February:
Workshops at the “Eclat” New Music Festival
studies in an opera-related field beginning your career as a stage
and “Zeitoper” Stuttgart
director, stage designer, dramatic advisor, cultural manager,
conductor or composer; you should speak German and not be
April:
Gathering of the alumni at the Munich
older than about 32 years.
Biennale
Period of application: each year from January until May.
June:
Workshop at “Musicadhoy / Operadhoy”
Madrid
For further information please visit our website
www.musiktheater-heute.org
July:
Workshops at “Theater der Welt”
and Aalto Theater Essen
August:
Summer Workshop Festival
Contact
October:
Ceremonial act at the Bockenheimer Depot,
Academy Opera Today
“Innenleben” (world premiere)
c /o Deutsche Bank Foundation
60262 Frankfurt am Main, Germany
Tel: + 49 (0)69 910 - 33414
Fax: + 49 (0)69 219 - 96136
E-mail: [email protected]
www.musiktheater-heute.org
General Manager Michael Münch
Programme Managers Viola Maurer, Catherine Sondermann,
Kirsten Uttendorf
Picture (above) and on page 14: “Vox Humana” at the
Oldenburg State Theater, Production and Composition by
Leo Dick, Dramaturgy Katharina Ortmann (Fellows 2007 – 09)
page 4
Transformations
On blending subjects and
professions
by Bernhard F. Loges, 2008 – 2010 fellow
In the lively interaction with other art forms, the opening up of
Picture (above): “Dialog Portrait Huges Dufourt” at the
inherited boundaries and the constant communication between all
Wittener Days for new chamber music, April 2009
sides, new forms become possible in music-based performance
art, creating new perspectives
the required work activities, these professions are characterised
“No! We know our work, we do what we find challenging, we are
by a great openness in their joint development.
just normal guys who want to make theatre.” This was the answer
from Valentina Carrasco of La Fura dels Baus when asked whether
Within the Dutch VocaalLAB ensemble under the artistic direction
the Catalan theatre group would still consider itself avant-garde
of Romain Bischoff there is a clear hierarchy, yet with changing
after 30 years. The elaborate staging of Ligeti’s “Le Grand Macabre”
singers it works like a type of family: all those involved have the
at the Brussels Opéra de la Monnaie (De Munt) was visually and
same desire to realise something and to champion the joint pro-
musically impressive. Yet the production confirmed the impression
duction. The cast is defined starting with the subject of the produc-
that truly innovative music theatre projects, particularly on the
tion – “Diamanten” (Diamonds); the subsequent choice of pieces
independent arts scene, are being enabled by the creative combi-
and the physicality that these few songs demand of the singer
nation of different art forms. The convergence and collaging of
provide the first starting points for the director which then develop
these has enabled new perspectives, which have, if nothing else,
further. With the works of the VocaalLAB there is no such thing
torn apart the concept of “post-dramatic theatre” which has
as a finished, reproducible evening: the Berlin performance of
become so established of late. In the productions of Christoph
“Diamanten”, for example, was put together within a week from
Marthaler, Sebastian Baumgarten and many others, and in (most
different individual pieces, some of which took up to two years
of) the creations presented at the Ruhrtriennale, the stage and
to develop. Due to their flexibility, the group is not restricted to
the (industrial) space itself become part of the score, into which
one type of venue; they perform not only in theatres and concert
the sounds and images, words and gestures flow to form a multi-
halls but also in churches, on the street and, at times, in forests.
media composition. Beyond such festival productions, a general
In the meantime, VocaalLAB has made an international name for
trend towards performances using music theatre materials has
itself and also participates in festivals like the Ruhrtriennale.
become a feature of the development of the independent theatre
scene. One could argue that the future of music theatre has
Other projects that connect this form of music performance art
already started in the reality of independent theatre. Whether in
with other art forms have led the established boundaries between
projects which deal openly with the opera materials (including
the individual professions to become even more indistinct. In
the works of David Marton) or performances, which are not
François Sarhan’s “Telegrams from the Nose”, a cooperation with
based on scores, but which instead, following free associations,
the visual artist, William Kentridge and members of the ICTUS
represent a discourse through the agency of music and theatre,
ensemble, the composer also takes on the role of performer and
which then becomes part of the score.
presents the integrated literary texts himself. Sarhan is trying out
certain things here, which he has not studied, such as speaking
In the workshops attended by our group (2008 –10), it was clear
on stage. He is interested in the origination of an artwork through
from many projects presented at the Berliner Ultraschall-Festival,
actual cooperation and not the usual, large-scale division of labour
the Wittener Tagen für neue Kammermusik or the Brüsseler Kuns-
style processes of the (music) theatre world. In “Liquid Room”,
tenfestival, that not only the boundaries between subject areas
a concert by ICTUS in the style of a rock festival, the music is per-
but also those between professions are becoming increasingly fluid.
formed without interruption on three stages; there are no breaks.
While the established differences between composer, musician,
The public comes and goes, those who want a drink can go and
singer, conductor and director do still exist, (mostly) in terms of
get a beer and come back. This creates a pleasant informal atmos-
page 5
phere, which at the same time offers room to focus on the music.
The motto of “Liquid Room” is that “music need not sound hide-
InnenLeben
ous in order to be beautiful!”, explains cellist François Deppe,
artistic advisor to ICTUS. Different and yet complementary pieces
InnenLeben is a music-based performance art exhibition deal-
form a colourful – but not arbitrary – program.
ing with “Flight, Asylum and Deportation in Europe”. As a
walk-in stage set with reception area, wall texts, partitions and
With contemporary music theatre, it always comes down to the
displays, the exhibition becomes, over the course of an evening,
public in the end. The audience community is small, one can
the setting for musical performances that transcend a purely
meet members of the Ultraschall-Festival audience at the Wittener
factual reflection.
Tagen für neue Kammermusik and vice-versa. There are central
places and festivals that are committed to contemporary music,
Integrated into the exhibition are minor alienations, which
even some opera houses are increasingly opening their doors
imperceptibly anticipate elements of the staging. The mobile
to contemporary composers – where a premiere appears easier
modules of the exhibition space are temporarily set up and
to arrange and occurs more often than the re-staging of existing
configured differently, opening up different spaces.
works. The opening of larger houses for new production forms
is rare and complicated, due to both established structures and
Our concept aims firstly to take the exhibition space seriously
the spaces as they exist. An evening such as the “Liquid Room”
as a space in which the visitor through his own movement
could hardly be staged in the Kölner Philharmonie, but such a
experiences a greater autonomy with respect to that which is
concert in an open informal style is perfectly suited to gaining a
staged, making possible a multi-perspective closeness to the
public that is open to new, contemporary music. For such pro-
theme.
jects, centres like the Brüssels Kaaitheater or the PACT-Zollverein
in Essen, which have a broad network of co-production partners
Secondly, the selected form references the “exhibition” cliché,
with whom they can enable larger productions, are an ideal space.
as used when a public institution prepares a statement of facts
and wants to make it accessible. The sub-title “Flight, Asylum
For all the content heterogeneity of the music theatre projects
and Deportation in Europe” may jar: while custody pending
presented, they share the common characteristic that their artistic
deportation and asylum politics feature strongly in daily news-
success is grounded in the successful communication between
papers, large, publicly-financed exhibitions about ongoing
the groups and with the relevant co-producers. This does not mean
infringements of human rights in our own society do not how-
that differences do not arise, on the contrary; ideally however with
ever exist. We are using an established form, which in the
an open mindset to one another and the will to create together,
context of a music theatre production provides a critical insight
this friction can give rise to new creativity. This aspect is both a
into how society deals with the content in hand and thus
challenge and an incentive for our class in the development of an
for the first time enables a unique artistic work focusing on
independent music theatre project. ///
this topic. ///
Fellows of the “Academy Opera
today“ 2008 – 2010
Picture (above): Workshop in Brussels, Performance by François
Sarhan and members of the ICTUS ensemble, April 2009
page 6
Fellows
2009 – 2011
Anisha Bondy
Eva Renate Bruns
Alexander Fahima
Evan Gardner
Subject: Directing
Subject: Directing
Subject: Directing
Subject: Composing
From 2006 director’s assistant
Sparte: From 2007 director’s
Own directing work, including
Freelance composer. Commis-
at the Komische Oper working
assistant and on the production
“Satyricon”, Hochschule für
sioned works for the string
on Gluck’s “Armida” (Director:
staff at the Staatstheater Braun-
Musik und Theater Hamburg
orchestra of the Kaleidoskop
C. Bieito, 2009) and Mozart’s
schweig. Since then, she has
(2009); “Maritim 3” (2009),
Ensemble (2011), for the Ber-
“Requiem” (Director: S. Baum-
worked on two productions
HAW Hamburg; Lortzing’s
gen Filharmoniske Orkester
garten, 2008), among others.
and two new plays (text, direc-
“Der Waffenschmied”, St. Pauli
(2010), for the Arditti Quartett
2004-2006, director’s assistant
tion) in the “Off” area. In 2009
Theater Hamburg and Deut-
as part of the Ultima New
at the Theater Basel, working
worked on “Die Meistersinger
sches Schauspielhaus Ham-
Music Festival Oslo (2009),
on Verdi’s “Rigoletto” (Director:
von Nürnberg”, Bayreuther
burg; Crumb’s “Songs, Drones
among others. Wrote the music
M. Thalheimer, 2005), among
Festspiele. Studies included
and Refrains of Death”, Oper
for the short film “Sniffer”
others. Productions with her
text and direction for two
Kiel (2008). Numerous direc-
(winner of the Palme d’Or at
directing team, including Orff’s
premieres (cooperation with
tor’s assistant positions, inclu-
the Cannes film festival 2006).
“Die Kluge”; Martinus’ “Come-
Komische Oper, HfM and UdK
ding on “Giulio Cesare”
Numerous fellowships and
dy on the Bridge” in Vienna. In
Berlin), commissioned play
(Director: Chr. Loy, 2007),
prizes, including being selected
2010, she and her team will
“HIERGEBLIEBEN!” (Bruns,
manager of the new produc-
in 2008 for the “Tremplin Read-
debut their production of Valti-
Grazewicz, Laucke) by the
tion of “Caligula” (Director:
ing Panel” of the “Ensemble
noni’s “Die Schneekönigin”
GRIPS-Theater. In 2004 assis-
Chr. Pade, 2006), Oper Frank-
Intercontemporain” (commis-
(The Snow Queen) (premiere)
tant at the Festival Junger
furt and Cologne; “Mathis
sioned work 2008), being a
at the Komische Oper. In 2011
Künstler, Bayreuth. 2003 guest
der Maler” (Director: Chr. Pade,
finalist in the International
she took over the position of
assistant to Achim Freyer,
2005), Oper Hamburg. Stud-
Gaudeamus Composition Com-
director’s assistant on Wagner’s
Deutsche Oper Berlin. 2002 –
ied opera direction from
petition in Amsterdam in 2006
“Tannhäuser” (Director: S.
2007 studied opera direction
2005 – 2009 at the Theater-
and a fellowship with the RWE
Baumgarten) at the Bayreuther
at the “Hanns Eisler” Academy
akademie in Hamburg. Born
Norway Music Foundation in
Festspielen. 2002 – 2006 studied
of Music Berlin. Fellow of the
in 1980 in Marburg / Lahn.
2006. Masters study with Prof.
opera direction at the Univer-
Studienstiftung des deutschen
Matthias Pintscher at the Hoch-
sity of Music and the Perfor-
Volkes. Born in 1977 in Filder-
schule für Musik und Theater
ming Arts, Vienna. Born in 1981
stadt.
Munich. Born in 1978 in Law-
in London.
rence, Massachusetts, USA.
page 7
Fellows
2009 – 2011
Patrick Hahn
Evelyn Hribersek
Yordan Kamdzhalov
Barbara Kler
Subject: Dramaturgy
Subject: Stage design
Subject: Conducting
Subject: Conducting
Since 2009 earning a PhD
In 2009, designed the stage
Since 2006 he has been artistic
Since 2009 assistant to the
on narrative structures in the
and costumes for “Stalker”,
director and conductor of the
choir master, Bayreuther
mediation of music. 2009
Staatstheater Stuttgart (Direc-
International Chamber Ensemble
Festspiele. Since 2008 assis-
weblog of NMZ. In 2008 cura-
tor: Hasko Weber). In 2008
Innorelatio Berlin, assistant
tant to the choir master,
tor of the exhibition “Der
honours degree from the AdBK
conductor to Prof. C. Alex, Uni-
Komische Oper Berlin. From
Kammerton der Gegenwart –
München – Bayerische Theater-
versity Music Director, Hum-
2006 – 2008 deputy choir direc-
40 Jahre Wittener Tage für
akademie. From 2004 has
boldt University Berlin. From
tor at the Deutsches National-
neue Kammermusik”. In 2007,
worked on her own projects in
2007 – 09 tutor and Kapellmeis-
theater Weimar. 2004 – 2005,
director’s assistant, later tour
the areas of directing, stage
ter of the Schlosstheater,
choir coach and pianist with
manager on Georges Aperghis’
and costume design, video, in-
Rheinsberg. From 2004 – 05
the opera studio, “Les Jeunes
“Zeugen”, including perfor-
stallation and photography,
conductor of the European
Voix du Rhin”, Opéra National
mances at the Biennale di
including 2007 and 2008 direc-
opera studio in Bulgaria.
du Rhin, Straßburg. Participated
Venezia. Initiator and advisor
ting, stage and costume design
Conducting experience with
in master classes for choral
on “Labor Witten”, a medi-
for “Schockgefroren”, “Schock-
more than 50 orchestras and
conducting with, for example,
ation program for the “Wittener
gefroren – Eine begehbare
choirs throughout Europe.
Erwin Ortner and Sylvain
Tagen für neue Kammermusik”.
theatrale Rauminstallation”,
Appearances with the Konzert-
Cambreling as well as master
In 2005 dramatic advisor
“Schockgefroren III – Ein be-
hausorchester Berlin, Lucerne
classes for orchestral conduc-
and actor on Manos Tsangaris’
gehbarer Alb-Raum”. In 2008
Festival Academy Orchestra,
ting with Konrad von Abel and
“Labor”. From 2004 worked
won the prize of the Akademie-
Orquestra Nacional do Porto,
Zsolt Nagy, to name but two.
for WDR as a journalist with a
vereins Munich for graduands,
among others. Won the special
2005 fellowship of the Richard-
focus on contemporary music.
debut sponsorship for the field
prize in the national “Young
Wagner-Verband. 1998 – 2003
Born in 1980 in Zürich.
of independent theatre from
Musical Talents” competition,
studied conducting at the
the Landeshauptstadt München.
Bulgaria 1998. Studied conduc-
Mozarteum Salzburg. 2007
In 2007 “Gudrun-Wassermann-
ting from 2003 – 09 with Prof.
completed a masters at the
Buschan-Preis”, fellow of the
Ehwald at the HfM Berlin. Born
University for Music and
14th Internationalen Schiller-
in 1980 in Bulgaria.
the Performing Arts, Vienna.
2
tage Mannheim. Born in 1979
Born in 1978 in Nowy Sacz,
in Stuttgart.
Poland.
page 8
Fellows
2009 – 2011
Ulrich Kreppein
Katharina Mohr
Michael Pelzel
Subject: Composing
Subject: Directorship and
Subject: Composing
Management
Since 2006, earning a doctorate
He studied piano, composition
from Harvard University, Cam-
Since season 08 / 09, opera and
and organ at the Lucerne
bridge, USA. Teaching Assistant
concert pedagogue with the
Musikhochschule. From 2003 –
for musical theory at Harvard
Jungen Theater Freiburg, inclu-
2007 there followed studies
University. Cooperation with
ding dramatic advisor on “Der
in theory and composition with
ROC-Berlin, ECCE Ensemble
Freischütz für Kinder” (The
Georg Friedrich Haas and
and Britten Sinfonia, for exam-
Marksman) (original story by
Detlev Müller-Siemens as well
ple. Numerous fellowships and
Weber), “Rotkäppchen” (Little
as organ studies with Guy
prizes: 2006 – 2011 Ashford
Red Riding Hood) (Aperghis),
Bovet at the Basle Musikhoch-
Fellowship from Harvard Uni-
“Dornröschen” (Sleeping
schule. Further organ studies
versity; 2008 Gordon / Hunter
Beauty) (Tarkmann). Directing,
followed with Ludger Lohmann
and Paine Fellowship from
dramaturgy and production
at the Musikhochschule Stutt-
Harvard University; 2001– 2005
management of the “Sitzkissen”
gart, as did further composing
Fellowship from the Studien-
concert series, “Die Samstags-
courses with Hanspeter Kyburz,
stiftung des deutschen Volkes.
sitzer”. 2008 musical assistant
Klaus Huber and György
2009 finalist in the international
on Zukunft@BPhil of the Berli-
Kurtág. He received several
Isang Yun prize, won an award
ner Philharmoniker. 2007– 2008
fellowships and won various
at the Stuttgart Orchesterwerk-
freelancer at “Klingendes
prizes in composition com-
statt, won the Blodgett prize
Museum Hamburg”. 2006 / 07
petitions including Ensemblia
from Harvard University; in
dramatic advisor, project mana-
Mönchengladbach, BMW
2008 he was a finalist in the
ger, HR work at the festival
Musica Viva, Munich and the
Tactus competition. From
“AUGENBLICK:MUSIK!” and
“Christoph Delz” composition
1999 – 2005 he studied compo-
“Zeitreich”. 2002 – 2007 fellow
competition, Basle. Born in
sition at the Robert-Schumann-
of the Studienstiftung des
1978 in Rapperswil.
Hochschule Düsseldorf.
deutschen Volkes. 2001– 2007
Born in 1979 in Leverkusen.
studied cultural studies in Lüneburg, Budapest and Macerata.
Born in 1981 in Hamburg.
page 9
Fellows
2009 – 2011
Julia Schnittger
Gerda Strobl
Martina Stütz
Tillmann Wiegand
Subject: Stage design
Subject: Directorship and
Subject: Dramaturgy
Subject: Directorship and
Management
Freelance stage and costume
Management
2009 dramatic advisor on
designer and stage and cos-
Since 2007, artistic assistant to
“Oreste” (R: M. Goeth) in
Since 2008 employed in the
tume design assistant. 2009
the director of the steirischer
Besigheim. Traineeships with
artistic administration depart-
costume design for the chil-
herbst festival in Graz. Attended
the Dramatic Advisor of the
ment of the Ruhrtriennale.
dren’s opera “Das Geheimnis
the Freischwimmerfestival
Bayerischen Staatsoper Munich
2005 – 2008, studied social
der schwarzen Spinne”, at the
2009, with “Aufplatzen” by the
(2009) and the Opernhaus
economics at the University of
Staatsoper Hamburg and for
Theaterkombinat-Rabtaldirndln.
des Nationaltheater, Mannheim
Hamburg. From 2002 – 2005
“Einst lebte ein Prinz”, Folk-
From 2005-2006 completed a
(2008). Was assistant director
worked on the production staff
wanghochschule Essen. Stage
research project at the Univer-
there on “Marlene” (2008).
and as a booker at the Landes-
design assistant on “Lohengrin”
sita Verona on the subject of
2009 director’s assistant on
theater Niederbayern. 2000 –
(Stage design: Heike Scheele,
sound texture analysis. In 2004
“Riech mal, wie das klingt”,
2004 director’s assistant and
Director: Stefan Herheim),
she was a developer working
Junge Oper Mannheim. 2006
staff producer on Verdi’s “Don
Staatsoper unter den Linden,
on the “reactable”, a new elec-
guest assistant director on
Carlo” (Director: Jürgen Rose),
Berlin. Winner of the Gudrun-
tronic instrument, at MTG
“Orest” (Director: S. Baum-
Tchaikovksy’s “Pique Dame”
Wassermann-Buschan prize.
Barcelona. She has received
garten), Komische Oper Berlin
(Director: Davis Alden) and
From 05 / 06 to 07/ 08 assistant
numerous fellowships, inclu-
and production documentary
Borlioz’ “Les Troyens” (Director:
set designer at the Schauspiel-
ding, several times, an artistic /
on behalf of the Akademie der
Graham Vick) at the Bayeri-
haus Bochum. During this
scientific foreign exchange
Künste, Berlin. 2004 – 2006
schen Staatsoper. 2000 – 2001
time, first independent work as
fellowship at the Kunstuniver-
employee then Curator Feature
employed in the office of
a stage and costume designer
sität Graz for research visits.
Film at britspotting – british
the Munich Rundfunkorchester.
on productions such as “Girls-
Live electronic and sound
and irish film festival berlin.
Born in 1979 in Starnberg.
nightout” and “Der Zauberflöte
directing for the original per-
Erasmus fellowship 2003 / 04 at
Part 2”. 2000 – 06 studied stage
formance of new music in
DCU Dublin. Studied musicolo-
and costume design, Kunst-
Graz. 2002 work placement at
gy and culture at the HU Berlin.
universität Mozarteum, Salz-
IRCAM. From 2000 – 2007
Born in 1979 in Ludwigshafen.
burg. Born in 1979 in Coburg.
studied electrical engineering /
sound engineering in Graz.
Born in 1982 in Graz.
page 10
Fellows
2008 – 2010
Minou Arjomand
Dorka Batizi
Alexander Charim
Nelly Danker
Subject: Dramaturgy
Subject: Directorship and
Subject: Directing
Subject: Directing
Management
Since 2007 earning a doctorate
Freelance director. Selection
Freelance director. Latest pro-
at Columbia University. Since
Since 2009 project manager at
of own works: ”Orfeo / Erste
ductions: “Ai En” by Minoru
2006, positions as guest assis-
the Landesmusikrat Hamburg
Liebe” by Monteverdi / Beckett
Miki at the Theater Heidelberg
tant dramatic advisor at
e.V., since 2007 freelancer at
(Herrenhausen Festival Weeks
(2010), “Didone Abbandonata”
the Komische Oper and the
the Staatsoper Hamburg in the
2010), ”Lenz – Eine Deutsch-
by N. Jommelli at Schloß
Deutsche Oper in Berlin, inclu-
field of dramaturgy. In 2008
landreise”, a production based
Solitude (2009), “La Bohème”
ding “Der Traumgörge” by
orchestra manager of the
on the writings of Georg
by R. Leoncavallo (2009) and
Alexander Zemlinsky (Director:
Young Euro Classic festival
Büchner (Radialsystem Berlin
"Die Schnecke” by M. Eggert
J. Schlömer), Deutsche Oper,
ensemble China – Germany.
2009), “Die Mountainbiker” by
(2007) at Theater Luzern,
Berlin. Positions as guest
2006 – 2008 temporary student
Volker Schmidt at the Schau-
“Lonely House” at the Opera
assistant director including on
work at Deutsche Grammo-
spielhaus Vienna and “Romeo
Stabile of the Staatsoper
the premiere of Hans Werner
phon including in the editorial
and Juliet” by Shakespeare at
Hamburg (2008), “Ich weiß
Henze’s “Phaedra” (Director: P.
office and in International
the Staatstheater Karlsruhe
nicht, was soll es bedeuten” at
Mussbach), Staatsoper Berlin,
Marketing. 2005 – 2006 direc-
(2008 / 09), “Strudlhofstiege”
the Konzerthaus Berlin (2006).
2006 – 2009 assistant to the
tor’s assistant on the pro-
by Heimito von Doderer at the
2003 – 2007 employed on the
composer, Christian Jost. In
duction of the opera, “Don
Schauspielhaus Vienna (2008),
directing team of Hans Neuen-
addition to other fellowship
Giovanni” at Kampnagel
“Liebe 1968” at the BAT Berlin,
fels (including working on
awards: 2009 fellow of the
(Director: A. Bode); work place-
invited to festivals in Paris,
“Fidelio” in Hamburg,
“Council for European Studies”,
ment in the production offices
Hamburg and Novi Sad, to
“Idomeneo”, “Lady Macbeth
2007 fellow as part of the
of the Theaterakademie Ham-
name but a few. Finalist in the
von Mzensk” and “Die Zauber-
Mannheim Mozart Summer,
burg in the fields of press and
Ring Award 2008. 2003 – 2007
flöte” in Berlin). 1999 – 2004
2006 / 07 Fulbright scholarship.
public relations and sponsor-
studied drama direction at the
studied opera direction at the
Since 2007, research and
ship (2005). 2003 completed
“Ernst Busch” Hochschule für
“Hanns Eisler” Academy of
teaching at Columbia Universi-
a work placement at the
Schauspielkunst, Berlin. Born in
Music Berlin. Fellow of the
ty, New York. Born in 1984 in
Goethe Institut Budapest in the
1981 in Vienna.
Schloß Solitude Academy
Princeton, USA.
area of Organisation and
(2009). Born in 1978 in Karls-
Public Relations. Born in 1980
ruhe.
in Prague.
page 11
Fellows
2008 – 2010
Lennart Dohms
Thomas Eisenträger
Agnes Fabich
Anja Kerschkewicz
Subject: Conducting
Subject: Directorship and
Subject: Stage Design
Subject: Stage Design
Management
Post-graduate course in con-
2004 – 2008 studied cultural
Since 2009 assistant stage
ducting in Dresden. Managed
Since July 2009 legal advisor
studies at Viadrina in Frankfurt
designer at the Schauspielhaus
opera and concert produc-
to the Ruhrtriennale. From
an der Oder and product design
Zürich. Studied stage and
tions, including in 2009 with
September 2007 to July 2008
at UdK Berlin. Since 2009
costume design at the Kunst-
the International Ensemble
head of HR at the Volksbühne
studying for a masters in
hochschule Berlin-Weißensee.
Modern Academy (master
am Rosa-Luxemburg-Platz.
“Applied Theatre Studies” in
Diploma in scenography in
class, Peter Eötvös), 2008 with
2006 – 2007 employed at the
Gießen. Working with con-
2009 from the Hochschule für
the Ensemble Resonanz
Ballhaus Ost, Berlin. Since July
ceptual stage designers, model
Gestaltung, Karlsruhe with the
(German directors’ forum) and
2006 reviewer for klassik.com.
work as an independent form
audio walk, RÄUMEN. Assis-
2008 the premiere of the opera
2005 – 2007 internship in Berlin,
of staging and spatiality in
tant for theatre and film produc-
“Vorfall in Kwangju” by
including at the Stiftung Oper
reference to intermediality.
tions, including “Death Strip”
Eunsun Lee at the kleine szene
in Berlin and the Berliner
Projects, including the concept
(cooperation between UCLA
of the Semperoper. Since 2006
Senatsverwaltung, in the Stage,
for “Mad Forest” (JMK Award,
and HFF Potsdam). Stage and
portrait concert series in
Orchestra and Dance depart-
London, 2008) and participa-
costume design for “Glas-
Dresden in cooperation with
ment. Assistant to the Director
tion at the Internationales
menagerie” (directed by K.
Bernhard Lang and others
of the Festival Junger Künstler,
Szenographiefestival in Basel
Minkowski) and set design for
(2009). 2006 – 2008 assistant
Bayreuth (2005). Guest assis-
(2008). Since 2007 assistant to
“Herr G. löst ein Problem”
at the Singakademie Dresden.
tant director on Massenet’s
Riccardo Hernandez (“Lost
(directed by Mia Grau). Focus
2006 / 07 fellowship at the
“Manon” and guest assistant
Highway”, ENO / Young Vic
on shifts in perception brought
Conservatoire National
dramatic advisor on Verdi’s
Theatre), Es Devlin (“Carmen”,
about by artistic interventions
Supérieur de Musique et de
“La forza del destino” at the
ENO, “Salome”, Royal Opera
or staged processes. Coopera-
Danse Paris (Prof. Zsolt Nagy).
Landestheater Coburg (2000
House, “I Puritani”, Neder-
tion with multimedia artist
2001 studied dramatics and
and 2005), among others.
landse Opera) and Penelope
Florian Kühnle (location-specif-
theology in Cologne. 2002 stud-
2000 – 2005 studied law with
Wehrli among others. Multi-
ic sound installations). Since
ied music in Salzburg. Born in
further training in business
award winner at the Deutscher
2008 Klangtheater Lunalyon.
1981 in Bonn.
administration at the University
Jugendfotopreis. Born in 1984
Born in 1983 in Berlin.
of Bayreuth. Born in 1979 in
in Erding.
Coburg.
page 12
Fellows
2008 – 2010
Eunsun Lee
Bernhard F. Loges
Subject: Composing
Subject: Dramaturgy
Kami Wilhelmina
Manns
Volker Perplies
Subject: Conducting
Subject: Directing
Studied composition at HfM
Employed from the 2009 /10
Karlsruhe in the soloist class of
season as dramatic advisor at
Directing / choreography on
at the Aalto-Musiktheater
Wolfgang Rihm. Masters stu-
the Deutsche Oper am Rhein,
Medea, Radialsystem Berlin
Essen. Since 2006, in addition
dent studying under W. Krätz-
where he had already been a
(2010); Odyssee, a pedagog-
to children and youth concerts,
schmar. Composition graduate
guest in 2006. He studied
ical music-based performance
conductor of “Aufstieg und
recital at the HfM Dresden
dramatics, comparative litera-
art project, Unboxed e.V.
Fall der Stadt Mahagonny”
with J. Herchet. Premiere of
ture and history in Bochum.
Berlin, borough of Charlotten-
(Weill / Brecht), “Die arabische
her opera “Vorfall in Kwangju”
Since 2007 has worked as an
burg-Wilmersdorf, Marie-Curie-
Nacht” (Christian Jost), “Die
at the kleine szene of the
assistant lecturer at the Institut
Oberschule (2009 – 2011); co-
Zauberflöte” (Mozart) and
Semperoper (2008). Fellow of,
für Theaterwissenschaft in
founder of Unboxed e.V. in
“Fürst Igor” (Borodin). 2000 –
among others, the Schwä-
Bochum, where he completed
Berlin (2009); director’s assis-
2006 studied conducting at
bischen Kunstsommers Irsee
his doctorate in June 2009.
tant on the premiere of “Lady
the Hochschule für Musik und
(2009), the Kulturstiftung des
He writes for the theatre year-
Sarashina” (Comp.: Peter
Theater Hamburg under
Freistaates Sachsen and the
book “Schauplatz Ruhr”. From
Eötvös, Director: Ushio Ama-
Christof Prick. Guest assistant-
Europäischen Zentrums der
1997 to 2005 he completed
gatsu) at the Opéra National
ships at the Semperoper in
Künste Hellerau (2008), com-
various positions as guest
de Lyon (2008), Opéra Comique
Dresden, 2003 assistant to
position prizes from the Seoul
assistant director and guest
Paris (2009), Polish National
Christof Prick at the Charlotte
Music Festival for New Music
assistant dramatic advisor
Opera, Warsaw (2010). 2002 –
Symphony Orchestra, 2006
(2009), the Hanna Johannes
in addition to other assistant-
2007 studied directing at the
coach, as a temporary posi-
Arras Stiftung (2008), the
ship roles, and worked as a
“Ernst Busch” Hochschule für
tion, at the Theater Kiel.
Wiener Sommerseminar für
freelance director in Aachen,
Schauspielkunst, Berlin and
2004 – 2007 fellow of the Diri-
Musik (2006) and the Inter-
Bochum and Dortmund. From
the Ecole Nationale Supérieure
gentenforum des Deutschen
nationale Kompositionswettbe-
2007 to 2009 he was a PhD
des Arts et Techniques du
Musikrats. 2000 – 2004 fellow
werb des Dresdner Kammer-
fellow of the Studienstiftung
Théâtre Lyon. Born in 1977 in
of the Bayerischen Begabten-
chores (2006). Born in 1976 in
des dt. Volkes and of the
Berlin.
förderung (Bavarian scholar-
Seoul, South Korea.
Richard-Wagner-Stipendien-
ship for highly gifted students).
stiftung. Born in 1980 in
Born in 1979 in Fürth.
Simmerath.
Kapellmeister and soloist coach
page 13
Fellows
2008 – 2010
Calogero Scanio
Anno Schreier
Sophia Simitzis
Subject: Composing
Subject: Composing
Subject: Directing
Lena-Lisa
Wüstendörfer
Subject: Conducting
Sicilian composer. Spring 2010
Freelance composer.
Freelance director, including
premiere of the theatre piece
"Wunderhorn”, scenic song
“Dido’s death. Zuschaun wie
Conductor. Artistic Director
“Abdul R.” for light, 3 pain-
cycle (premiere Mainfranken
einer stirbt”, Ballhaus Ost and
of the Jungen Orchester Basel,
tings, dancers and 10 instru-
Theater Würzburg, 2008),
“6 Arien der Cleopatra”, Ball-
which she herself founded,
mentalists (Libr.: C. Scanio,
“Kein Ort. Nirgends” opera
haus Ost /HAU 2, Berlin, as well
and of the Messias-Chors
Bremen), 2009 children’s opera
based on the work of Christa
as cooperating on the direction
Zürich-Oerlikon. 2007/ 08
“Pulcinella und Pinocchio”
Wolf (premiere Staatstheater
of “Eine Kirche der Angst vor
musical assistant to Claudio
(Libr.: C.Scanio, premiere ANM
Mainz, 2006). From 2008
dem Fremden in mir”, Ruhr-
Abbado at the Orchestra
ensemble, Bremen). 2008
teacher of music theory at the
triennale / Theatertreffen 09.
Mozart in Bologna. From 2000,
“Die unsichtbare Hand” (Libr.:
Hochschule für Musik in
Lecturer at the Studienstiftung
she participated in numerous
Bernhard Glocksin, Text: Al-
Karlsruhe. 2005 – 2007 studied
des Deutschen Volkes Sommer-
master classes in Lucerne,
Jubouri / Goethe, TA ANM
in the master class of Hans-
akademie in Görlitz 2009.
Schwäbisch Gmünd, Mann-
ensemble, Bremen), 2006
Jürgen von Bose at the Hoch-
2004 – 2007 director’s assistant
heim and Zug, among others,
“Puppenspieler” (Libr.: Angela
schule für Musik und Theater
on, among others, “Parsifal”
in conducting and the violin.
Delissen, premiere at the
in Munich. 1999 – 2005 studied
(Director: Christoph Schlingen-
From 2002 she has been spon-
Theater Bremen), 2003 “Pulci” –
composition with Manfred
sief), Bayreuther Festspiele,
sored by the Swiss Studien-
a fairytale for narrator and
Trojahn at the Robert-Schu-
and at the Volksbühne am
stiftung. 2004 – 2007 studied
ensemble (Text: Gianni Rodari,
mann-Hochschule Düsseldorf.
Rosa-Luxemburg-Platz, Berlin.
conducting at the University of
premiere by Monopoli). From
Numerous fellowships and pri-
1998 – 2004 studied music,
Music, Basel. In 2009 joined
2005 studied composition with
zes, including the 2002 – 2006
theatre and literature at the
the academic staff with a teach-
Y. Pagh-Paan at the Hochschule
fellowship with the Studien-
Ludwig-Maximilians-Universität
er’s post at the Musikwissen-
für Künste Bremen, 2000 – 2005
stiftung des deutschen Volkes,
München, the Sorbonne
schaftlichen Institut of the Uni-
with G. Tedde in Piacenza
2009 winner of the “Teatro
Nouvelle Paris and the Freie
versity of Basel, where she is
and 1995 – 2000 with E. Sollima
minimo” competition at the
Universität Berlin. Born in
currently earning her doctorate.
in Palermo. Born in 1980 in
Zurich Opera House, 2010
1978 in Munich.
Born in 1983 in Zürich.
Frankfurt am Main.
fellowship at the Villa Massimo
in Rome. Born in 1979 in
Aachen.
page 14
Curators and
Jurors
The tireless commitment of the top-class
board of trustees at
the “Academy Opera
Today” is a primary
factor in the programme’s success:
Enno Poppe
Composer, Conductor, Director
of the “ensemble mosaik” in
Berlin
Albrecht Puhlmann
Artistic director of the
Stuttgart State Opera House
Prof. Dr. Peter Ruzicka
Sebastian Baumgarten
Composer, conductor, artistic
Stage Director
director of the Munich Biennale
Fellows are selected
by a jury whose
members change
annually. Members of
the 2009 jury:
Imprint
Claus Guth
Layout
Weigand Design und
Kommunikation GmbH
Stage Director
Johannes Harneit
Composer, conductor and
pianist
Prof. Dr. Heiner Goebbels
Juliane Votteler
Composer, stage director,
Director of the Theater
professor for applied theatrics
Augsburg
at the Justus Liebig University,
Eva Wagner-Pasquier
Gießen
Artistic director and
Andreas Homoki
general manager of the
Chief stage director and
Bayreuth Festival
artistic director of the
Klaus Zehelein
Komische Oper Berlin
President of the
Juliane Votteler
Christian Jost
Bavarian Theatre Academy
Director of the Theater
Composer and conductor
“August Everding”
Augsburg
Peter Konwitschny
Chief stage director at the
Leipzig Opera
Bernd Loebe
Artistic director of the
Frankfurt am Main Opera
Christine Mielitz
Opera director at
Theatre Dortmund
Dr. Gérard Mortier
Director of the
Teatro Real in Madrid
Deutsche Bank Foundation
October 2009
Oliver Brandt
Viola Maurer
Christian Jost
Composer and conductor
Sergio Morabito
Dramatic advisor
Picture credits
Cover Page:
© Philipp Ottendorfer
Page 2: © Claus Langer
Page 3: © Andreas J. Etter
Page 4: © Agnes Fabich
Page 5: © Agnes Fabich
Page 14: © Andreas J. Etter
Christian Schmidt
Stage and costume designer
Photos of fellows
Patrick Hahn
Photo: © WDR / Simin
Kianmehr
Ulrich Kreppein
Photo: © Raf Tienpont