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Academy Opera Today
2012 / 2013
Baden-Baden –
a new
collaboration
is born
The art is in
the details
Orlando –
a production
diary
page 2
Deutsche Bank Foundation’s fellowships
for the international opera world
People who can give opera as an art form fresh
impetus and inspiration are needed to help this form
of musical expression survive and grow in the 21st
century.
of artists and managers will gradually grow and facilitate mutual
exchange of experiences, along with helpful contacts.
Attending international opera festivals
A visit to a famous international opera festival, such as the
This is the aim of the Academy Opera Today, founded by Deutsche
Edinburgh Festival Fringe or the Festival of Aix-en-Provence, is a
Bank Foundation in 2001: we offer young, talented composers,
highlight of the programme. The fellows attend many performances
conductors, cultural managers, directors, dramatic advisors, and
during the festival, get a look behind the scenes and participate in
stage designers an opportunity for cross-area interchange and
workshops which enable them to confront the challenges of
to jointly confront the challenges of today’s music theater. The
modern opera.
emphasis lies on networking – more than ten years after the
Academy’s founding, many of its fellows and alumni now work for
Conducting conversations with personalities from the opera
renowned houses and there are many interconnections among
world
their artistic projects.
Discussions behind the scenes with administrators, conductors,
musical directors, stage designers and stage directors give the
The preview of the opera “Orlando” – the final production of the
fellows insights into the working life of artists and management of
2010-2012 class of Academy fellows – was presented with great
opera houses and shed light on the background of the productions
success at the Oper Frankfurt in October.
they have seen. By bringing the fellows together with famous artists
Under the working title “Loveaffairs” the 2011 – 2013 group of
assists in the creation of a broad network.
and enabling communication amongst them, the programme
fellows is developing the next music theater event. In autumn
2013 the public will gain some insights into “Loveaffairs” during
Participating in important competitions
the 2013 Ceremonial Act of Academy Opera Today at the
The Academy also helps to finance the fellows’ participation in
Holzfoyer of Oper Frankfurt.
competitions, as it is important for their artistic growth.
What we offer
Participating actively in the fellows’ own artistic projects
The Academy presents its fellows’ own innovative productions
Insights into the projects, discussions and networks form the
to encourage their practical experience and co-operation – for
pillars of our fellowship programme.
example, on the occasion of the Ceremonial Act which takes place
once a year.
Attending outstanding productions
The Academy class will attend exceptional, innovative productions
by major opera houses up to four times a year. Post-performance
discussions with the artistic teams and management of the opera
Photo cover: Scene from “Die Versuchung des heiligen Antonius“,
Oldenburgisches Staatstheater, May 2012
houses will provide insights into the production. Individual visits to
Photo above: Fellows at the summer workshop in Edinburgh,
the Academy fellows’ productions are also supported. A network
August 2012
page 3
Current information
Programme 2012 / 2013
November:
Workshop in Munich
How to apply
2013 – 2015 Fellowship of the Academy Opera Today
You may apply for a fellowship if you are nearing the end of
February:
Workshop in Hanover and Bremen
your studies in an opera-related field beginning your career as a
April:
Workshop in Zurich
conductor or composer; you should speak German and be no
May:
Workshop in Ghent and Brussels
also fulfil the requirements regarding language ability and age.
June:
Gathering of the Academy in Bielefeld
Period of application: each year from January until May.
July:
Workshop in Aix-en-Provence
For further information please visit our website
October /
Ceremonial Act at Oper Frankfurt
stage director, stage designer, dramatic advisor, cultural manager,
older than about 32. Career changers are also welcome but should
www.deutsche-bank-stiftung.de
November:
Contact
Academy Opera Today
of Deutsche Bank Stiftung
60262 Frankfurt am Main, Germany
Tel: +49 (0)69 247 52 59-33
Fax: +49 (0)69 247 52 29-96
E-mail: [email protected]
General Manager: Michael Münch
Programme Managers: Solveig Schartl, Viola Mannel,
Catherine Sondermann, Kirsten Uttendorf
Programme Assistant: Dr. Susanne Gilles
Photo: Scene from “Die Versuchung des heiligen Antonius“,
Ceremonial Act 2011 at the Holzfoyer of Oper Frankfurt
page 4
Baden-Baden –
a new collaboration is born
“
I found it a particularly great pleasure, in my work as a jury
member, to be able to support the development of the most interesting
concepts through the rounds. We enjoyed some wonderful, controversial
and very enriching discussions both within the jury and with the teams.
Now we can look forward to the realisation of these projects with great
excitement .
I wish you the very best of
luck and every success!
„
Isabel Ostermann,
Fellow 2002 – 2004
Facts and figures:
Partners:
Festspielhaus Baden-Baden,
Berlin Philharmonic,
Academy Opera Today,
Theater Baden-Baden
Framework:
The 2013 Easter Festival at
Festspielhaus Baden-Baden
with the Berlin Philharmonic
Objective:
The development of young
talent and innovative concepts
for two music theater
productions
Photos top: Julia Rommel,
Photos bottom: Aurélien Bello
Bettina Geyer and Maximilian
and Nikolaus Frinke
von Mayenburg
Process:
Internal call for proposals from
the more than 160 alumni and
fellows of Academy Opera
Today
page 5
A Festival
for the Future
Why the collaboration with
Academy Opera Today is so
important for the new Easter
Festival in Baden-Baden.
we are making an important statement at
the beginning of a new festival era:
music theater is still about play – a playful
approach to understanding our lives. The
other proposals from the Academy were
also captivating, and demonstrated to
When the decision was made to launch a
me that a new generation of directors
new Easter Festival in Baden-Baden, the
considers younger audiences to be just as
Festspielhaus Baden-Baden and the Berlin
challenging as grown-ups when it comes
Philharmonic were unanimous in their view
to developing concepts – almost all the
that it should reflect not only the opera of
submissions would have been great fun
today, but also of tomorrow.
for open-minded grown-ups as well as
This original statement of intent is becoming
house of the future to follow up on these
a reality thanks to the collaboration with
creative ideas and produce opera for the
Deutsche Bank Foundation’s Academy Opera
whole family without making it childish.
children. This is a chance for the opera
Today. I have faith in the creativity and
curiosity of the fellows, who are invited to
Equally, the first children’s opera of the
compete for appealing commissions at the
collaboration between Festspielhaus
new festival. Alongside the “salon opera“
Baden-Baden and the Berlin Philharmonic
devised by the Festival partners at Theater
poses a particular challenge: there are
Baden-Baden, the fellows’ to-do list includes
already several children’s productions of
the annual development of a new children’s
“The Magic Flute”. So how do we find a
opera. These two future projects form the
new angle?
framework of the new festival’s education
programme – both works are to be staged
It’s not a case of obsessively updating
by young directorial teams and young
material. That isn’t what I aspire to anyway.
singers.
For me this is about the power of the music
The theme of the children’s opera is driven
So having an orchestra at the centre of a
by the festival’s adult opera program. There
festival became almost inevitable.
and about taking the audience seriously.
“The Magic Flute for
Children“ at the
Festspielhaus BadenBaden
Winning proposal:
Bettina Geyer
(Directing, Fellow 2010 – 2012),
Julia Rommel
(Stage Design, Fellow 2010 –
2012)
Jury:
Andreas Mölich-Zebhauser
(General Manager and Artistic
Director, Festspielhaus),
Rüdiger Beermann (Director
of Media and Communications,
Festspielhaus), Prof. Andrea
Tober (Head of Education, Berlin
Philharmonic), Michael Hasel
(Production Music Director and
flautist, Berlin Philharmonic),
Isabel Ostermann (Artistic
Production Director, Staatsoper
Unter den Linden)
Dates:
26 and 30 March 2013
(Easter Festival)
is great scope in approaching a children’s
version of the material. The direction and
“The Magic Flute for Children”, like “The
stage design proposals for “The Magic
Magic Flute” for adults, is accompanied
Flute for Children“ convinced me that the
by the Berlin Philharmonic. The orchestra
and vocal cords of those who may be the
collaboration with Academy Opera Today
education program is also emerging,
creators of tomorrow’s operatic landscape.
is hugely enriching for the festival.
working with its sister program at the
This children’s opera is being made for
Festspielhaus to support the concept and
tomorrow’s potential opera-goers, and they
the team.
deserve the highest quality today, too. ///
Bettina Geyer and Julia Rommel have big
plans for the little ones: for their concept,
our opera house auditorium and stage
The soloists are singing students from
will be viewed holistically and transformed
Baden-Wuerttemberg’s academies of music.
into a playground – both literally and
They intensify the notion that shaping this
metaphorically. And it seems to me that
kind of production rests largely in the hands
Andreas Mölich-Zebhauser
General Manager and Artistic Director,
Festspielhaus Baden-Baden
page 6
Cendrillon
150 years of Theater Baden-Baden –
13 concepts
I’ve long had the idea of staging one of
for us today. As fresh as the opera house
Pauline Viardot’s chamber operas at Theater
was when Pauline Viardot was living here.
Baden-Baden. When the Festspielhaus
Baden-Baden and the Berlin Philharmonic
I usually get together with dramaturgy to
asked if I could see an event being staged
discuss which director is right for which
at the Theater Baden-Baden as part of the
piece. Choosing from several concepts is a
first Easter Festival in 2013, I suggested a
new experience. In the case of “Cendrillon“
Pauline Viardot project and was all the more
the Festspielhaus, the Berlin Philharmonic,
delighted when the Berlin Philharmonic
the Academy and myself were faced with
decided on “Cendrillon“. This chamber opera
thirteen. Thirteen different arguments for a
will now open in the season that marks the
special version, thirteen fantasy scenarios,
theater’s 150th anniversary celebrations,
thirteen stories not only of the French
premiering at the Easter Festival with later
Cinderella but also of the artists behind it.
follow-on performances as part of the
We worked intensively on the individual
theater’s repertoire.
concepts and there was a great deal of
discussion – not really surprising among
The singer, singing teacher and composer
four partners whose ambition is to begin
recently re-discovered by researchers and
their collaboration with a unanimous vote.
musicians moved to Baden-Baden – at
We have taken the first step. The concept
that time the “summer capital“ of Europe –
from Maximilian von Mayenburg and
with her family in 1863. That was one year
Nikolaus Frinke which finally won us over
after the theater celebrated its opening
is simple and playful. With a light touch
with a specially composed opera by Hector
it translates the dream of Cinderella, who
Berlioz. I can imagine how Madame Viardot
becomes a princess, into a version for
must have smelt the fresh mortar and
today. The visual devices serve the playful
seen the then brand-new golden THEATER
fantasy of the director and performers
inscription glinting in the sunlight as she
well, even establishing a tongue-in-cheek
strolled along Lichtentaler Allee with her
connection to the creation of the work in
husband or (perhaps preferably) her friend
fashionable fin de siècle society.
Ivan Turgenev. There are chamber pieces
that Pauline Viardot wrote for her school
We look forward to rehearsals with the
pupils, originally intended just for perfor-
young team and performers who are
mance-lovers in her drawing room. They
coming together from academies all over
bring a quite singular charm to the theater
Baden-Wuerttemberg. And of course to
stage, but in their (for us today) slightly
the premiere in March 2013. Welcome
old-fashioned or harmless pettiness, they
to Theater Baden-Baden. ///
are also present many challenges. So I’m
very happy that Academy Opera Today
found this Easter Festival project inspiring.
This is about developing young talent and
at the same time, examining older material
from a modern point of view so that Pauline
Viardot’s old Cinderella fairytale rings fresh
Nicola May
Director, Theater Baden-Baden
Pauline Viardot’s salon
opera “Cendrillon“ at
Theater Baden-Baden
Winning proposal:
Maximilian von Mayenburg
(Direction), Nikolaus Frinke
(Stage Design, Fellow
2007 –2009), Aurélien Bello
(Music Direction, follow-on
performances; Fellow 2010 –
2012)
Jury:
Andreas Mölich-Zebhauser
(General Manager and Artistic
Director, Festspielhaus),
Nicola May (General Manager,
Theater Baden-Baden), Stanley
Dodds (Production Music
Director and 2nd chair violin,
Berlin Philharmonic), Isabel
Ostermann (Artistic Production
Director, Staatsoper Unter den
Linden)
Dates:
27, 31 March (Easter Festival),
12, 13, 14, 19, 20, 21 April 2013
(follow-on performances)
page 7
Fellows
2012 – 2014
Verena Billinger
Saskia Bladt
Koen Bollen
Christoph Breidler
Category: Dramaturgy
Category: Composing
Category: Dramaturgy
Category: Conducting
Freelance dramatic advisor,
World premieres (concerts,
Since 2010 / 2011 season,
Conductor and composer.
choreographer, performer. Colla-
operas, plays) incl. Hamburger
working on dramaturgy team of
Since 2011, soloist coach
borates with Sebastian Schulz
Ostertöne 2012, Maerzmusik
Junge Oper of Oper Stuttgart.
with conducting duties at
and Gudrun Lange amongst
Berlin 2010, Tage für neue
Dramaturgy for “Schaf“ by
Stadttheater Aachen. 2010 –
others. 2011 “ROMANTIC
Musik Zürich, Ludwigshafener
Sophie Kassies (October 2012)
2011 fellow of the Dr. Robert
and Lina Thyll-Dürr Foundation.
AFTERNOON *“ (choreography
Festspiele, Usinesonore,
and “smiling doors“, a music
for six people who are kissing)
Theater Winterthur; collabora-
theater project also involving
Theodor Körner Prize 2010.
in “Freischwimmer. Neues aus
tions incl. Ensemble Resonanz,
young people suffering from
Heidelberger Frühling young
Theater, Performance und Live
Ensemble Ascolta, Zürcher
cancer. Co-dramaturgy for
composer prize 2010. Led
Art – Rückzug ins Öffentliche“
Barock-Orchester. 2011 work
“Die Taktik“ by Jennifer Walshe.
closing concert at Kyoto
plus performances in Frankfurt,
on excerpts from the “Ring des
October 2009 – July 2010
International Music Students
Mülheim, Stockholm and at
Nibelungen” for “Wagner für
dramaturgy assistant at Vlaamse
Festival 2010. 2008–2009
the Wunder der Prärie Festival:
Kinder“, Bayreuther Festspiele.
Opera Antwerp / Ghent. 2009
studied composition at
Visionäres, Favoriten 2012 and
Pfalzpreis für Musik 2010
internship at Opéra national
Shanghai Conservatory.
West Off; also received the prize
for her opera, “Lilofee“. 2009
de Paris for “Le Roi Roger“
Co-founder and from 2006 to
“Auftrittsnetzwerk FAVORITEN“
fellow of Aribert Reimann
(dir: Krzysztof Warlikowski) and
2008, secretary of “Platypus –
in Dortmund for Germany-wide
Foundation and composition
at Muziektheater Transparant
Verein für Neue Musik“. Since
and international touring. 2005
diploma with Isabel Mundry at
in Antwerp for “Een nieuw
2004, studying composition with
work placement, “Einstein on the
Zürcher Hochschule der Künste
Requiem“. 2010 completed
Michael Jarrell and conducting
beach“, staatsbankberlin / opera-
following recorder studies at
Masters of Theater Studies at
with Mark Stringer at
works. 2004 – 2012 studied
Hochschule für Musik und
University of Antwerp. 2009
Universität für Musik und
Dramatic Arts in Hildesheim
darstellende Künste Frankfurt.
Masters in Art History, Free
darstellende Kunst Wien. Music
and Applied Theater Studies in
2004–2007 director’s assistant
University of Brussels and
direction of over 40 world
Giessen. MA project, “Form und
at Oper Frankfurt, in-house
University of Leiden. Born
premieres, incl. at Wien Modern,
Gefühl: Theater als melancho-
production: “Die drei Rätsel“ by
1984 in Mortsel.
IGNM-Musikfest and Biennale
lisches Verfahren“; BA project,
Detlev Glanert. 1998 – 2000
“Organizität und Organisches in
Chetham’s School of Music in
den Arbeiten von Joseph Beuys“.
Manchester. Born 1981 in
Born 1983 in Düsseldorf.
Bensheim.
Bern. Born 1986 in Graz, Austria.
page 8
Fellows
2012 – 2014
Matiss Druvins
Sarah Grahneis
Torsten Herrmann
Tobias Heyder
Category: Cultural Management
Category: Cultural Management
Category: Composing
Category: Directing
Currently studying on the
Since 2012 / 2013 season,
Freelance composer. 2012
Since 2009, on production staff
international Masters programme
dramaturgy assistant for music
Franz Liszt scholarship at
at Oper Frankfurt. Also involved
in Media and Culture
theater and concerts at
the Hochschule für Musik
in referral of directing concepts
Management, and working with
Staatstheater Braunschweig.
Weimar. 2011 took part in the
at workshops, plus scenic work,
the “Rı̄gas Doma kora skolas
2012 Masters programme in
IEMA international composition
with Opernstudio Frankfurt.
atbalsta biedrı̄ba“ foundation
Theater and Orchestra
seminar. 2005 – 2011
Previously director’s assistant
(organising workshops and
Management at Hochschule
Composition Studies at the
at the Deutsche Oper am
masterclasses in music) in Riga.
für Musik und darstellende
Hanns Eisler Musikhochschule
Rhein and Theater Heidelberg.
2011 / 2012 and 2009, worked
Künste Frankfurt. During studies,
Berlin with Hanspeter Kyburz,
2006 – 2009 studied Arts
at the orchestra office at the
assisted at the Institute for
and electronic composition
Administration at University of
WDR Sinfonieorchester Köln
Contemporary Music, and
with Wolfgang Heiniger. 2008
Zürich, thesis on fundraising in
(placement). Work placements in
undertook work placements
Erasmus residency at the
Germany’s cultural industries.
directing at the Latvian National
as a dramatic advisor at
Paris Conservatoire National
2000 – 2005 studied Music
Opera (“Lucia di Lammermoor“
Staatstheater Mainz and
Supérieur. Numerous fellowships
Theater Directing at Hochschule
2012, “Götterdämmerung“
Staatsoper Berlin. 2007 – 2010
and prizes, incl. fellow of the
für Musik und Theater Hamburg.
2011, “Rusalka“ 2008) and the
Bachelors degree in Theater,
Studienstiftung des Deutschen
During studies, worked on
Aalto Musiktheater Essen
Media & Music Studies at
Volkes and scholarship
independent productions in
(“Fürst Igor“ 2009). Internship
Universität Bayreuth, 2009 –
to the Ferienkurse für Neue
Hamburg; co-founder of
with Gürzenich Orchestra Köln
2010 worked on research
Musik Darmstadt. Concerts
Kammeroper Rostock, staging
(orchestral conducting, public
project “OPERA – Spektrum des
and workshops with various
“Cox and Box“ (Arthur Sullivan)
relations and dramaturgy) and
europäiscen Musiktheaters“,
performers incl. RSO Stuttgart,
and “Der Apotheker“ (Joseph
at the Latvian National Opera
2009 Head of Production at
Ensemble Modern and
Haydn). Fellow of the German
(production management).
BF Medien GmbH for “Wagner
Ensemble Intercontemporain,
Academic Exchange Service
2004 – 2011 studied Musicology,
für Kinder – Der fliegende
plus directors Johannes Kalitzke,
and the Richard Wagner
Scandinavian Studies and
Holländer“ and conceptual work
Susanna Mälkki, Matthias
Association, Frankfurt. Born
Phonetics at Universität Köln,
on the programme for the
Pintscher and Lucas Vis. Born
1980 in Hamburg.
exchange semester at Uppsala
Bayreuther Festspiele (dir: Stefan
1981 in Jülich.
University. Born 1984 in
Herheim). Born 1988 in
Cologne.
Göttingen.
page 9
Fellows
2012 – 2014
Clemens Jüngling
Dimana Lateva
Catherine Leiter
Category: Conducting
Category: Stage Design
Category: Cultural Management
Since 2012, freelance conductor
Stage and costume designer.
From 2008, developing and
and pianist. Projects incl.
Since 2011, Assistant to Heike
managing Jugend an der Wien,
Musikfabrik Köln. Previously,
Scheele. Currently preparing
mediation of music theater to
from 2008, Music Director and
for the Salzburger Festspiele in
young people, at Theater an der
coach at Musiktheater im Revier
2013. 2102 “Xerxes“, Komische
Wien – Das neue Opernhaus,
(MiR) Gelsenkirchen, numerous
Oper Berlin (dir: Stefan Herheim).
in Vienna. Concepted and
in-house productions and
2011 stage and costume design
staged youth operas “The
performances, including several
“Bonnie and Clyde“, Stadttheater
Voice of Hoffmann“ based on
German premieres and world
Gießen (dir: Abdul M. Kunze).
Offenbach’s “Les Contes
premieres. Founder of an opera
2011 concept and design for
d’Hoffmann“ (2012), “Rodelinda –
youth orchestra at MiR and
children’s arts activities at the
Barock meets E-Bass“ based on
winner of “Theaterpreis 2010”.
Berlin Parochialkirche. 2009 –
Händel’s “Rodelinda“ (2011)
Regular concert work and
2012 involved with various
and “Der Jugend-Freischütz“
assistantships with orchestras
productions by Stefan Heyne
based on Weber’s “Der
at home and internationally, incl.
and Marsha Ginsberg in
Freischütz“ (2010). 2006 –
Neue Philharmonie Westfalen
Germany, Switzerland and New
2008 assistant in press office
and Staatsphilharmonie
York, incl. the Watermill Center
of Theater an der Wien,
Breslau. Radio broadcasts for
New York. 2010 took part in
postgraduate course in
Mitteldeutscher Rundfunk
exhibitions “Sprungbrett
Journalism at Danube University,
(MDR). Song and chamber
2010“ and “Meisterszenen“,
Krems. 2001 – 2006 studied
music evenings incl. at the
Bühnenbild_Szenischer Raum
Music Therapy at Universität
Wiener Staatsoper and Kurhaus
at Technical University (TU) of
für Musik und Darstellende
Baden-Baden. 2001 – 2008
Berlin. 2008–2010 Masters at
Kunst Wien; activities as a music
studied conducting, piano,
Bühnenbild_Szenischer Raum
therapist. Music and Theater
song and law in Leipzig and at
at TU Berlin. Architectural
Studies in Berlin and Vienna.
Universität für Musik Wien,
Studies at HafenCity University
Theater experience began at
courses with Fabio Luisi, Bernard
Hamburg (class of 2008). Born
youth theater. Born 1980 in
Haitink, Seiji Ozawa, Kurt Masur.
1982 in Haskovo, Bulgaria.
Bozen, Italy.
Born 1981 in Ravensburg.
page 10
Fellows
2012 – 2014
Martha Teresa Münder
Daniel Pfluger
Fabian Schäfer
Category: Directing
Category: Directing
Category: Dramaturgy
From 2012 / 2013 season, on
Freelance director of music,
From 2012, studying for Masters
Sammy Van den
Heuvel
Category: Stage Design
production staff at Bayerische
speech and dance theater. Has
in Music Journalism at Technical
Staatsoper. 2009 – 2012 studies
worked at municipal theaters
University of Dortmund.
architect. 2011– 2012 internship
in Music Theater at Universität
and on independent productions,
Spring 2012 director’s assistant
with Jan Pappelbaum for “Ein
Bayreuth. During studies, was
most recently “Alice“ by Tom
on the new staging of Anton
Volksfeind“ at the Schaubühne
assistant director on Andreas
Waits and Robert Wilson at the
Schweitzer’s “Rosamunde“
at Lehniner Platz in Berlin
Kreigenburg’s “Walküre“ and
Badisches Staatstheater
(prod: Jens-Daniel Herzog) at
and with Jan Strobbe for “The
children’s opera “Sigurd der
Karlsruhe in September 2012.
the Schwetzinger SWR
Elephant's Journey“ at the
Drachentöter“ at Bayerische
Co-founder of ADAPT artistic
Festspiele. Published journalistic
youth theater Het Paleis in
Staatsoper, plus work
collective (incl. “M & The Acid
articles incl. in “Fono Forum“ and
Antwerp, Belgium. From 2010,
placements at Hamburger
Monks“ – a theatrical concert
“Hörbar“. Artist interviews as
Stage Design Studies at the
Abendblatt, Deutsches
based on E.T.A. Hoffmann’s
part of the “Junge Wilde“ series
Royal Academy of Fine Arts,
Schauspielhaus Hamburg and
“Die Elixiere des Teufels“). In
for Konzerthaus Dortmund.
Antwerp (graduation 2014)
Oper Frankfurt. 2010 – 2011
2010, with the work on Vivaldi’s
2011 / 2012 season, dramaturgy
combined with full-time work at
responsible for publicising
“Il Bajazet“as part of the Winter in
work at Theater Dortmund,
the architecture office “design
writing consultancy at
Schwetzingen switch to music
incl. Wagner’s “Der fliegende
and architecture studio” in
Universität Bayreuth. In
theater projects. 2005 – 2010
Holländer“ (Jens-Daniel Herzog),
Leuven, Belgium. 2007 – 2009
sixth form, studied voice under
Masters in Directing at Zürcher
Cavalli’s “L‘Eliogabalo“ (Katharina
internships with various firms
the “Junge Akademie für
Hochschule der Künste. Winner
Thoma) and the musical “The
of architects. 2008 Masters
Popularmusik“ study programme
of Körber Studio Junge Regie
Full Monty“ (Gil Mehmert).
in Architecture at University
at Jugendmusikschule
2009 with “Unvollkommen –
From 2010, Managing Editor of
College Antwerp, Henry van de
Hamburg. 2008 and 2009 lead
Bewegungstheater nach den
radio broadcast “Terzwerk“ and
Velde Instituut. 2006 exchange
roles in the musical “Verliebt in
Metamorphosen von Ovid“.
work at the Institute for Music
semester at Carnegie Mellon
Babylon“ at Kampnagel,
2001 – 2005 work placements
at the Technical University
University in Pittsburgh, USA.
Hamburg. Born 1989 in
and assistantships at Mannheim
of Dortmund. Published opera
Born 1985 in Antwerp, Belgium.
Hamburg.
National Theater. Born 1980 in
reviews in “Operapoint“
Böblingen.
magazine. Born 1983 in Unna.
Freelance Stage Designer and
page 11
Fellows
2011 – 2013
Hauke Jasper
Berheide
Birke Jasmin
Bertelsmeier
Category: Composing
Category: Composing
Katinka Deecke
Nina Dudek
Category: Dramaturgy
Category: Directing
Dramatic advisor for music
Production manager/stage
Freelance composer. World
Composer, pianist. Fellowships
and advisor to the Director of
director at the Hungarian State
premieres with Ensemble
and prizes incl. Villa Massimo
Theater Bremen. Previously
Opera incl. co-directing Verdi’s
Modern, Düsseldorf Symphony
Rome 2013, Schneider-Schott-
freelance production manager,
“Simon Boccanegra“ 2011 / 2012
Orchestra, Hamburg Philhar-
Musikpreis 2012, Herrenhaus
dramatic advisor and
and directing / staging Gounod’s
monic, Duisburg Philharmonic,
Edenkoben 2012, Ensemble
translator for various projects,
“Mireille“ 2012 / 2013. Also
the Freiburg Philharmonic
Modern Akademie 2011 / 2012
individuals and institutions incl.
directed Krása’s “Brundibár“
Orchestra, NDR Hamburg
and Mikhashoff NY Composition
Internationales Kunstprojekt
as an intercultural project.
Symphony Orchestra, the Auryn
Prize 2010. Soloist exams 2011
80*81, director Benedikt von
Previously production manager
Quartett, the Sonarquartett,
and diploma 2008 with Wolfgang
Peter and the Hebbel am Ufer
at Salzburger Landestheater,
Dresdner Chamber Choir and at
Rihm (Karlsruhe), Masters in
Theater in Berlin. 2010 Masters
introductory performances at
Semperoper, the Sala Santa
Musicology 2009, piano diploma
program in Dramaturgy,
Salzburger Festspiele and
Cecilia in Rome, with the Young
2005 with Pavel Gililov (Cologne).
Frankfurt am Main. 2002 – 2006,
production management for
Euro Classic in Berlin, at the
Teaching activities in composition/
French Literature and Theater
“Allessandro“ at the Händel-
Schönberg House in Vienna,
improvisation at the Hochschule
Studies in Paris. During studies,
festspiele in Karlsruhe. Directed
with the Kasseler Musiktage
für Musik, Theater und Medien
numerous dramaturgy and
Frid’s “Das Tagebuch der Anne
and with the song cycle of the
Hannover. World premieres incl.
directorial assistantships plus
Frank“, Menotti’s “The Telephone“
Hamburg Symphony Orchestra.
Impuls Festival, Heidelberger
production management, incl.
and Ullmann’s “Der Kaiser von
2012, fellow of Deutsche
Frühling, Acanthes-Metz, Davos
at Schauspielhaus Hamburg,
Atlantis“, amongst others. 2006 –
Akademie Villa Massimo in
Festival, Akademie der Künste
Schauspiel Frankfurt and Theater
2008 developed and managed
Rome, working on a full-length
(Hamburg), Kasseler Musiktage,
Heidelberg. Prior to studies,
theater for children and young
opera for the Deutsche Oper
Darmstädter Ferienkurse (with
volunteered in a kibbutz
people at Grenzlandtheater
am Rhein. Prizewinner in various
the Arditti Quartet), Royaumont
and dance education centre
Aachen. Studying for PhD in
composition competitions,
Paris, Young Euro Classic,
in Hamburg. Born 1980 in
Vienna since 2011. Studied
Förderpreis des Landes
AlpenKlassik Festival, Ensemble
Hamburg.
Music Theater Directing in
Nordrhein-Westfalen 2008.
Europa (WDR), Klavierfieber
Vienna, Music Studies and Voice
Studied 2001–2009 initially with
Berlin and Movimentos
in Münster and further study in
Manfred Trojahn, later with José
Festwochen. Born 1981 in
Drama Therapy. Born 1982 in
Maria Sanchez Verdú. Born
Hilden.
Essen.
1980 in Duisburg.
page 12
Fellows
2011 – 2013
Tilman Hecker
Irène Kaiser
Alexander Keil
Martin Nagashima Toft
Category: Directing
Category: Cultural Management
Category: Cultural Management
Category: Conducting
2013, amongst other projects
From 2011, communications
Since 2012 / 2013, responsible
Since 2010, freelance conductor.
staged Sciarrino’s “Lohengrin“
representative and press
for guest productions and special
2011 / 2012 season Resident
at Landestheater Coburg.
spokesman for the Verbier
events at Schauspielhaus Zürich.
Artist at the Nationale Reisopera,
Other projects: 2012 Cage’s
Festival (Switzerland). Previously
2011 and 2012 seasons, worked
Netherlands. 2008 fellowship
“Songbooks“ at state opera
communications representative
at the artistic administration
of the Léonie Sonning Music
workshop at the Schillertheater,
for the European Music
office of the Bayreuther
Fund. From 2007, assistant,
Thomas Arne’s “Alfred“ at Pocket
Academy of the Aix-en-Provence
Festspiele. 2011 Artistic manager
Music Director, Chorus Master
Opera Company Nuremberg,
Festival and the European
and co-initiator of the “Seekult“
and responsible for stage music
Mozart’s “La Finta Giardiniera“
Network of Opera Academies
Festival, Lake Constance.
at the Royal Danish Opera,
at Opernhaus Wuppertal and
(ENOA). 2010 / 2011 Worked in
2009 – 2012 Masters programme
Hedeland Opera and the Danish
2011 Jay Schwartz’s “Narcissus
the Sponsoring / Development
in Communication and Cultural
National Opera. From 2007,
und Echo“ at Salzburger
division of the Aix-en-Provence
Management at Zeppelin
guest director of the Danish
Landestheater, at Festival
Festival. 2009 six-month
University Friedrichshafen.
Regional Orchestra. 2007, first
musicadhoy Madrid and at the
work placement at the Press
2009 / 2010 season, director’s
engagement in Italy with Veneta
Salzburg Biennale. 2009 direction,
Office of the Royal Opera
assistant at Staatsschauspiel
Philharmonic Orchestra. From
stage design and concepting of
House, Covent Garden. Previous
Dresden, assisting Barbara Bürk,
2006, Artistic Director of
Mozart’s opera “Mandys Baby“
internships and work placements
Friederike Heller and Roger
Camerata Chamber Choir. 2006
at Radialsystem V Berlin. 2011
with Radio France Internationale,
Vontobel amongst others. Own
music direction for the German
Berlin fellowship of Akademie
the Berliner Ensemble and
directorial work incl. Festival
premiere of Manos Tsangari’s
der Künste Berlin. 2007 – 2010
Hessisches Staatstheater
Seekult, Münchener Biennale für
“Ich bin nur scheintot“ at the
Associate Director to Achim
Wiesbaden. 2003 – 2009 Political
neue Musik, St. Pauli Theater
Berliner Festspiele. 2005 – 2010
Freyer for “Der Ring des
Studies and Culture and Media
Hamburg, Landestheater
studied conducting at the Royal
Nibelungen“ at Los Angeles
Management Studies at the
Tübingen. Studied Music
Danish Academy of Music. Born
Opera. Since 2004, directing
Institut d’Études Politiques
Theater Direction from 2004 –
1982 in Copenhagen, Denmark.
with Achim Freyer and Robert
(Sciences Po) in Paris and at
2009 at Theaterakademie in
Wilson at international opera
Freie Universität Berlin. Born
Hamburg. Born 1982 in Meissen.
houses. Born 1980 in Karlsburg.
1984 in Bad Kreuznach.
page 13
Fellows
2011 – 2013
Magnus Piontek
Dariusz Przybylski
Felix Seiler
Category: Conducting
Category: Composing
Category: Directing
Studies singing with Prof.
Composer of operas, symphonic
Since 2011 / 2012 season, on
Rudolf Piernay. October 2012
and vocal works, and chamber
production staff at Komische
opera debut as Billy Jackrabbit
music. 2012 / 2013 fellow of
Oper Berlin. Recent direction
in Puccini’s “La fanciulla del
the Internationale Ensemble
assistance to Barrie Kosky, Ingo
West“ at the Nationaltheater
Modern Akademie. 2010, solo
Kerkhof and Calixto Bieito at
Mannheim. 2012 as Donkey in
composition exams with
English National Opera London,
the world premiere of Helmer’s /
Prof. Wolfgang Rihm and PhD
the Prinzregententheater
Iliopoulos’s “Echt?“ and as
at Chopin University, Warsaw,
München and the Junge Oper
Stimme in the world premiere
teaching there since 2008.
of Staatsoper Stuttgart amongst
of Ronchetti’s “New Moon“.
2003 – 2008 studied composition
others. 2011 semi-finalist for
2010 / 2011 assistant on
and organ at Chopin University,
the Ring Award. Previously
“Das Werk / Im Bus / Ein Sturz“
Warsaw, composition with
staged Mauricio Kagel’s “Die
at Schauspiel Köln. 2011
Prof. Marcin Blazewicz. 2006 /
Himmelsmechanik“ at the
Director of double performance
2007 studied composition
Herrenhausen Festival 2010,
“Death knocks“ (Christian
with Prof. York Höller and
“Allemonde“ at the Opera
Jost) and “Kein Wille geschehe“
Prof. Krzysztof Meyer. Several
Stabile at Hamburgische
(Andreas Winkler, world
fellowships incl. with the Polish
Staatsoper 2009 and “Furcht“
premiere). Conductors’ 2011
Ministry of Culture and the
at the Münchener Biennale für
graduation concert, with Prof.
German Academic Exchange
neue Musik 2008, plus directing
Marcus Creed. Founder of
Service. 2007 – 2010 scholarship
work at Staatsoper Hannover
Ensemble Solstitialis. 2008 – 2011
from Krzysztof Penderecki, Euro-
and in Hamburg. Studied Music
conductor of VHS Chamber
pean Music Centre. Prizewinner
Theater Directing from 2004 –
Orchestra, Cologne. Concert
of numerous competitions.
2009 at the Theaterakademie
activities as an oratorio singer
From 2008, chairperson of the
Hamburg. Born 1983 in
as well as with ChorWerk Ruhr
Youth section of the Polish
Stuttgart.
and Schola Heidelberg amongst
Composers’ Association. Born
others. Studied School Music at
1984 in Konin, Poland.
Hochschule für Musik und Tanz
Köln. Born 1985 in Bonn.
page 14
Fellows
2011 – 2013
Amy Stebbins
Category: Dramaturgy
Nele Kathlen
Tippelmann
Lars Unger
Margo Zālı̄te
Category: Stage Design
Category: Directing
Currently studying on the Masters
Director, media artist, writer.
Category: Cultural Management
Since 2010, studying for PhD in
German Studies, Film and Media
Director. 2012 / 2013,
programme at Hochschule für
2013 music theater project
Studies at Chicago University.
“Die musikalische Hölle“
bildende Künste Hamburg
“valkyrjar.inzestheer“ at Berlin
Numerous productions as a
(puppet theater) and “Pit und
and building course no. 4 of a
Academy of the Arts, “ODA“
freelance dramatic advisor, video
Paula – frisch versalzen“
temporary mini-golf course in
artist and producer incl. in Berlin,
(children’s opera); 2011 / 2012
Groningen (NL). Recently stage
for Transmediale and the Skan,u
Mežs-Festival (Riga) and
London and New York. Published
Händel’s “Radamisto“ and
designed “Argenore“ at
“Argonautica” – an opera on
texts, reviews, translations
“Die Zauberflöte oder Murkels
Schlosstheater Rheinsberg and
the Baltic Sea. Also preparing
for “Opera Quarterly”, “The
Mutter muss sterben“ in Kiel.
worked on “Narziss und die
a baroque opera and a Russian
Berkshire Review” and “Western
2007 – 2011 director’s assistant,
Revolution“ (David Chotjewitz /
fairytale opera for Riga State
European Stages”. Prizes and
fixed engagement for the
Kampnagel). 2011 lighting
Opera. 2000 – 2012 in-house
awards incl. Logan Center
staging of “Der Leuchtturm“,
installation for the “Into The
music theater productions in
Arts-Science Grant (Logan Arts
“Cinderella“, “Der Blonde
Great Wide Open“ Festival, 2010
Riga. Work placements in
Center), Intellectual Architecture
Eckbert“, “Der Bär“, “König
stage design for “Micromorfose“
directing at the Latvian State
Award (Harvard University),
Keks“. Semifinalist in the Ring
by Collectief KG. Previously stage
Opera and Staatsoper Berlin.
Fulbright Fellowship at the
Award 11. Currently studying
design and lighting assistant
Studied on the masters
Berliner Volksbühne and at the
Cultural Studies (Hagen) and
at Opera Spanga. 2009 dance
programme in Music Theater
Maxim Gorki Theater (including
Cultural Management (Zürich).
project with choreographer
Directing at the Hochschule für
productions by René Pollesch,
Previously studied Law, English,
Manuela Raurich in Barcelona.
Musik Hanns Eisler in Berlin,
Sebastian Baumgarten, Stefan
and Literature, Media and
2008 founded artistic duo BOS-
German Academic Exchange
Pucher). 2011 Masters in
Music Studies in Kiel. Work
MOS (space-sound productions),
Service fellowship to study
German Studies, Chicago
placements and assistantships
which has appeared at Paradiso
visual anthropology at Freie
University. 2007 Bachelors in
at Salzburger Festspiele and
Amsterdam, at the Noorderzon
Universität Berlin, and
History and Literary Studies
in Hamburg (Thalia Theater /
Performing Arts Festival and
Scandinavian Cultural Studies
from Harvard University. Born
Kampnagel). Early directing
150 % Made in Hamburg
in Latvia. Trained in singing
1985 in New Hampshire, USA.
work and stage experience in
amongst others. 2004 – 2008
while practicing performance
student theater. Born 1982 in
studied Stage Design at
art. Born 1980 in Riga, Latvia.
Munich.
Akademie Minerva Groningen.
Born 1980 in Oldenburg (Oldb).
page 15
Photos from top left to bottom right: Workshop in Berlin, January
2012 // Scene from “Der Freischütz“ as staged by Calixto Bieito at
the Komische Oper Berlin // Fellows in discussion with Bernd Loebe
at the Workshop in Frankfurt and Stuttgart, June 2012 // Scene from
“Nixon in China“ at Théâtre du Châtelet, April 2012 // Johannes
Keller at the harpsichord with two keyboards, Musée d'Unterlinden,
November 2011
The art is
in the details
by Bettina Geyer, Fellow 2010 – 2012
Over the course of a year
at Academy Opera Today, we
fellows are bombarded with
the most diverse impressions.
Exciting theater experiences,
interesting encounters,
stimulating exhibitions, heated
discussions and the divisions
and bonds of group dynamics
produce a rollercoaster of
emotions from enthralled
fascination to helpless silence.
How do you pull it all together?
How do you stay objective in
the midst of such profound
emotional reactions?
of little exhibition rooms. We're listening to
I'm really in the forest
Johannes Keller, who is sharing with us his
At the premiere of “Der Freischütz“ at the
fascination for the oldest surviving original
Komische Oper a perfect performance is
two-keyboard harpsichord. He plays and plays
unfolding before us, but immersing yourself
and plays, while we listen and browse and
in Bieito's world just isn't easy. The throat
wander around. Hardly a word is spoken.
clearing and rustling of the city audience
Now and again a museum visitor looks in,
around me suggests they are feeling the same.
but quickly disappears again, back to the
And suddenly there are quiet chuckles mixed
ground floor and the Grunewald altarpiece.
in – the domestic pig on the stage is just
too comical. At first people comment under
their breath, then out loud. But suddenly
the atmosphere is relaxed and friendly – we
can laugh. The “good vibrations“ seem to
carry to the stage and suddenly all trace of
first night nerves disappears, leaving the
performers and their audience to enjoy the
rest of the evening.
The discovery of slowness
“Lo stimolatore cardiaco“, Marthaler's latest
stage creation at Basel Theater. During the
So looking back over an eventful time,
what emerges is less a common theme and
The new masters
course of the afternoon we've already had
much more a hidden object in a collage of
We're at the Ultraschall Festival in Berlin.
a lengthy discussion on the implications of
countless snapshots.
Outside, snow falls silently on the frozen
the title. Now the almost narcotic slowdown
River Spree. Inside, we're coming to the end
effect of this "minute by minute density of
So here's my personal Top 10 of the most
of a concert marathon: three concerts one
events" is transporting some to a hypnotic
memorable scenes from workshop year
after the other, with a cross-section of style
attention level that magnifies every new
2011– 2012:
and casting. There are signs of fatigue. But
stimulus, while others are experiencing the
just before eleven thirty we are bewitched
increased heart rate of bad-temperedness.
The old masters
by a single clarinet, in conversation with
Discussing it with the management team
We are standing in Colmar in the Musée
itself, playing Boulez’s “Dialogue de l'ombre
the next day confirms that all of our hearts
d'Unterlinden, somewhere in a small attic
double“. It was worth staying the course!
room that can only be reached via the maze
beat for music theater, but everyone's
rhythm is different.
page 16
Photos from top left to bottom right: Fellows in front of the Musée
d'Unterlinden, November 2011 // William Nadylam and Nonhlanhla
Kheswa in “The Suit / Le Costume“ at Théâtre des Bouffes du Nord,
Paris // Exhibition visit to the Museum Tinguely at the workshop in
Basel and Colmar, November 2011 // Internal follow-up discussion
at the Frankfurt and Stuttgart workshop, June 2012 // Scene from
Schönberg‘s “Glückliche Hand“ at Stuttgart State Opera
The discovery of speed
is defined by the interactions between the
All beauty must die
The international workshop in Paris was
individual and the environment, between
Staatsoper Stuttgart, Schönberg’s “Glückliche
the most intensive programme we‘ve ever
artist and institution, and between art and
Hand“. On the stage is a monumental
experienced! Just the huge diversity of genres,
science in general.
institutions, comments and personalities that
inflatable female figure. While we're still
focused on clarifying the technicalities of the
we encountered that weekend speaks for
The right to remain silent
material, the figure slowly inflates. I sense
itself. Three theater visits, museums, IRCAM,
From discovering one‘s voice to losing it: the
the palpitations of the stage designer sitting
French cuisine ... we set a cracking pace that
paradox of a mute lead role in an opera
beside me as her breathing speeds up. The
would make any group of Japanese tourists
awaits us at the Opéra Comique in “La muette
singer throws himself on the slumped form –
proud! It isn't an easy choice and there are
de Portici“. What is it about a work like this
and suddenly the figure begins to come
further heated discussions, but our antennae
that thrilled the souls of its time the way it did?
alive, to move and rise up. We first see her
are set on “receive“ around the clock. We
But the performance raises more questions
potential in this single moment of performance
can always work later.
than it answers: have many pieces rightly
which also marks her end. Could there be
disappeared from programs, or is it just that
a better closing point for our workshop
Pure emotion: the Kitsch factor
we no longer understand them? These are
year?
When the lights come back up in the Bouffes
questions that can‘t be explained exhaustively
du Nord, one or two fellows are most
even in discussion with the performers. And
definitely misty-eyed. Whether it's the magic
so we are left – appropriately enough for
of the place, or the directness of Brook's
the piece – dumb.
theater, something holds us enthralled, and
the last ones out of the auditorium drag
Music theater as democracy in practice
their heels. Manipulation? Without a doubt,
A workshop isn‘t just about individual
but delivered in such a way that some even
experience. It‘s also primarily about interacting
return for the evening performance.
with the group. So at Frankfurt LAB we're
trying out a new form of discussion. All over
Introspection, or “What do I sound like?“
the rehearsal stage, fellows are sitting,
Listening to music under laboratory
standing and lying around in small groups
conditions: what does my voice sound like
discussing last night's performance of Arnulf
Without a doubt, many of us fellows will
without the influence of the space around
Herrmann‘s “Wasser“. Laughter and snippets
carry these and countless other impressions
me? This is the question we're asking
of conversation fly around the room before
of our time with Academy Opera Today into
ourselves in the “chambre anéchoïque“ in
we come back together as one big group
the future, and it's an exciting prospect to
the catacombs of IRCAM, deep beneath the
and share experiences from our discussions.
think how our experiences will be woven
Place Igor Stravinsky. This stimulating visit
Seldom has an internal follow-up discussion
together, transformed and re-worked. ///
been so stimulating and harmonious.
page 17
Orlando –
a production diary
by Martin Grütter, Fellow 2010 – 2012
There's really nothing to it. Our grandparents
eventually learned to swim by being thrown in
at the deep end. That's where we find ourselves
in February 2011 in a conference room at the
Komische Oper Berlin, fifteen fellows from the
2010 – 2012 cohort, with the simple instruction –
get on with it.
And so the battle lines are drawn. It's a start anyway! So, we may
not be united but at least we‘re clear. No one wants to play theater
politics, so that's something else at least. We also soon agree that
we want to divide the evening into three parts. But it should still
hang together meaningfully. Obviously. Think big! After all this is
not a directing class production. We are – if I may say so – young
pros at the start of our careers. Everyone agrees. Ah, unanimity is
a beautiful thing.
Well, there‘s nothing simpler. Because we all already know exactly
So we're still missing the overall framework that holds the
how our final project, to be performed in a German theater
performance together but still permits the three groups their
sometime in Spring 2013, is going to look. Specifically: every one
preferred modus operandi. Suggestions come in by the minute. We
of us knows it – in great detail. And we announce it to the others
run the gamut of world literature, the best of film and television,
with shining eyes – while they reciprocate with black looks. Yes.
the big topics in popular culture, history, tabloid culture, myth
Pretty silly that our respective ideas have little or nothing to do
and philosophy. Arno Schmidt. Visions of the future. Murakami.
with each other; that we're fifteen people with completely different
The Legend of Vineta. Orlando Furioso. Kieślowski‘s Film “Blind
aesthetics, interests and ways of working; that our being picked
Chance“. Rolf Dieter Brinkmann. Edwin Abbott Abbott's short story
for Academy Opera Today, rather than our own targeted search
“Flatland“. Paul Auster's New York Trilogy. Virginia Woolf’s „The
for collaborators, should be the reason we've come together for
Waves“.
this project; and that we are three composers, three directors, three
dramatic advisors, two conductors, two stage designer and two
Ah – Virginia Woolf. Didn't she write an “Orlando“ too? Yes, that's
production managers. Clearly, this many cooks is going to make
right – “Orlando – a Biography“. And there were we, having just
quite a broth!
been talking about Ariost's “Orlando Furioso“. Suddenly the idea is
in the room: why not simply ORLANDO? A piece of music theater
So we sit in the Komische Oper and talk over each other excitedly.
simply about a name that has left multiple tracks on intellectual
Two factions quickly emerge: one is for a plot, the other is against.
history? Orlando, Ariost's galloping, crazy globetrotting hero who
One wants to tell stories on stage – moving, shattering, fascinating
loses his wits to the moon, combined with Virginia Woolf's Orlando
stories that can be used as a starting point for venturing into new
who travels through three hundred years of history while changing
territory, collage, mashups. The other wants to work specifically
from man to woman – as a template for a mythical experimental
with people on stage – with bodies, voices, emotions – people who
post-modern ramble through all the magic, chasms and absurdities
are nothing but themselves and therefore have precisely the potential
that our world is made of here and now, today and always?
for telling stories of a very different kind.
A search for identity: Who is Orlando? And who are we? Suddenly
euphoria spreads. Orlando – it works with and without a plot. We
Picture: A journey in time and identity
can all start something from Orlando. And the winner is ... Orlando!
page 18
And so the production gradually takes shape. The three main
parts, each a good half hour, are to be linked by two entr'actes.
With this device we've not only achieved meaningful transitions,
Pictures:
Transformation to
stage design precept
but also kept all fifteen fellows on board. And every part and
particle, every fellow in his or her own way is on the hunt for the
identity of this Orlando with whom we are gradually beginning to
meld. We even start addressing our emails “Dear Orlandi“, and
quite as a matter of course, a sixteenth Orlando – the embodiment
of our collaboration – joins the fifteen Dropbox folders, marked
with our first names, in which we presented our work during the
kick-off phase.
Now Orlando just needs a theater. Meanwhile, it's already June
2011, the summer break is approaching, time is pressing and
we're hurrying to get the concept written. The groups have found
their feet quickly and are now fumbling to write about a work
that largely still lies ahead of them. But as we know, one can learn
to swim ... – see above. So we write, and compare, revise and
harmonise our fifteen cooking styles. And then we wait. Finally
the answer comes from Bielefeld – they're interested! A delegation
travels to “the town that doesn’t exist“ (the Bielefeld Conspiracy
is a running gag in Germany based on the fact that when asked,
no one ever seems to have been there or know anyone from
there!) but meantime, the joke is wearing thin. Meantime, it's
already November. Two weeks later we get the green light: they
like the concept. ORLANDO will have its world premiere on
15 June 2013 at Theater Bielefeld.
And then it gets serious. The groups begin developing their parts.
The two plot groups write their librettos. The no plot and entr'acte
groups discuss and draft. The composers start creating their
scores. The work processes are now very different, both between
and within groups. The most important thing is for the directors,
devil should I know which music software I need when I haven't
composers, dramatic advisors and stage designers to first find a
even thought up the concept for the electronic part of the
common language. Sometimes we talk at cross purposes for
composition? Here too, faking confident swimming skills is required.
months, end up yelling at each other, and all along we were saying
But that also applies to the theater, having opened its doors to a
the same thing in different terms. But then there are other stages
heterogeneous mob of young artists with completely different
where the work just seems to take care of itself. One thing leads
degrees of experience. But somehow, it all goes OK. It's an oft used
to another and out of the joint efforts of two or three different
phrase. And somehow, everything always goes OK. “Somehow“
artists emerges something that none of them could have achieved
means “after the inevitable quota of aberrations, misunderstandings
on their own. This moment makes up for all the angry emails. It's
and communications disasters“. But the goodwill is there. On all
an emotional rollercoaster. But we'll do anything for Orlando!
sides. Without a doubt.
At the same time, we have to agree things with the venue in
And now here we are in July 2012, and the “con moto“ copy
Bielefeld. For those of us who were previously in independent
deadline has come around. A year from now the final performances
production, it's something of a challenge. An infrastructure of
of “Orlando“ will just be running. Right now it still seems very far
giant proportions operates there – some would call it cumbersome,
away. But time is a deceiver – you lay down for a nap and suddenly
others, highly efficient. From time to time we hit stumbling blocks
300 years have gone by. Insanity. That's another thing Orlando can
in the form of months and years of forward planning. How the
teach us. ///
page 19
Board of trustees / jury
The involvement of
Academy Opera
Today's eminent board
of trustees is key to
the success of the
programme:
Sergio Morabito
Viktor Schoner
Opera Director, Principal
Category: Dramaturgy
Dramatic Advisor of
Artistic Director at Bayerische
Staatsoper Stuttgart
Staatsoper in Munich
Enno Poppe
Isabel Mundry
Composer, Conductor, Leader
Category: Composing
of “ensemble mosaik“ in Berlin
Composer, Professor of
Composition at Zürcher
Sebastian Baumgarten
Director
Titus Engel
Viktor Schoner
Hochschule der Künste and
Artistic Director at the
the Hochschule für Musik
Bavarian State Opera in Munich
und Theater München
Conductor, Music and Artistic
Director of “ensemble courage“
Eva Wagner-Pasquier
Dr. Ulrike Hessler †
in Dresden
Artistic Director and General
Category: Cultural Management
Manager, Bayreuther Festspiele
General Manager of the
Semperoper, Dresden
Prof. Heiner Goebbels
Director of the Ruhrtriennale,
Prof. Klaus Zehelein
Composer, Stage Director,
President of Bayerische
Benedikt von Peter
Professor of Applied Theater
Theaterakademie August
Category: Directing
Studies at Justus-Liebig-
Everding at the Prinzregenten-
Stage Director, management
Universität Gießen
theater München
team member and leading
Director of Music Theater at
Johannes Harneit
Composer, Conductor,
Principal Conductor of the
Sinfonietta Leipzig and the
Landesjugendensemble für
The fellows are
selected by a jury that
changes annually. The
jury for 2012 includes:
Theater Bremen
Neue Musik Schleswig-Holstein
Imprint
Deutsche Bank Foundation
November 2012
Editorial
Solveig Schartl
Catherine Sondermann
Dr. Susanne Gilles
Layout
Weigand Design und
Kommunikation GmbH
Photo credits
Cover Page: © Hans Jörg Michel
Page 2: © Nele Tippelmann
Page 3: © Deutsche Bank Stiftung /
Philipp Ottendörfer
Page 4: from left to right descending
row to row © Festspielhaus BadenBaden, © Eva Orthuber, © Yves Petit,
© Martin Shepers
Page 5: © Festspielhaus Baden-Baden
Page 6: © Jochen Klenk
Page 15: from top left to bottom right
© Julia Rommel, © Wolfgang Silveri,
© Anliénor Dauchez, © Marie-Noëlle
Robert, © Dariusz Przybylski
Page 16: from top left to bottom right
© Dariusz Przybylski, © Johan Persson,
© Birke Bertelsmeier, © Aliénor
Dauchez, © A.T. Schaefer
Page 17 / 18: © Aliénor Dauchez and
Julia Rommel
Page 19: © Deutsche Bank Stiftung /
Philipp Ottendörfer
Annette Kurz
Christian Jost
Category: Stage Design
Composer and Conductor
Szenographer
Photo: Scene from
Bernd Loebe
Peter Rundel
“Die Versuchung des heiligen
General Manager,
Category: Conducting
Antonius“, Ceremonial Act
Frankfurt Opera
Conductor, Music Director of
2011 at the Holzfoyer of Oper
the “Remix Ensemble“, Porto
Frankfurt
All information in this brochure is
made in good faith and with care and
prudence from the different sources
collected. The publisher assumes no
liability for the accuracy or completeness
of the information. We would like to
thank all parties involved in producing
this publication for their support.