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News … Home News Compositions from female hands: Kick-off for the Erika Frieser Chamber Music Days Compositions from female hands: Kick-off for the Erika Frieser Chamber Music Days 06.05.2021 Press release Sandra Steindl She was the first female professor of piano chamber music in the history of the Mozarteum University, a long-time duo partner of Gerhard Mantel and a member of the Beethoven Trio. in 2021, she will be the namesake of a festival format dedicated for the first time to the compositional work of women through the centuries in three top-class concerts on May 15 and 16: Erika Frieser. Among the participants in the Chamber Music Days: Juliane Banse, Andreas Martin Hofmeir, Klara Flieder, Enrico Bronzi, Christine Hoock, Pietro De Maria, and others, as well as students - the concerts will be broadcast live! "One of the first formative experiences for me - at that time still a student at the Mozarteum - was a graduate concert of the piano chamber music class of Erika Frieser. This gave rise to the idea of paying tribute to the first female professor of piano chamber music in the history of the Mozarteum," says Biliana Tzinlikova, initiator of the first Erika Frieser Chamber Music Days and head of a piano chamber music class at the Mozarteum University. The mission: to give women's compositional work a bigger stage. "Many works by women have not (yet) been given the place they deserve. Habits and entrenched role models are responsible for this; an unbiased view is therefore called for and is probably the most important prerequisite for a dialogue at eye level."  "Of light and shadow and abundant expressive palettes" tells the program of the first concert evening, which opens with Amy Beach's (1867-1944)  Suite for Two Pianos Founded upon Old Irish Melodies op. 104 (1924)  and plunges right at the beginning into a somber, melodically and harmonically strongly chromatically colored sound world. A highly successful concert pianist, Amy Beach was one of the first significant composers of serious music in the United States. The evening's song program follows a thread of insights into sensitive, searching artists' souls and their reflections on artistic activity, which are brought together in images of nature. The biographies also reveal remarkable parallels and connections: They all revolve around Paris in the broadest sense. The pianist, who was famous during her lifetime for her numerous bittersweet salon pieces and songs, and is known today primarily for her Concertino for flute and orchestra op. 107  pianist and composer Cécile Chaminade (1857-1944) was born and privately educated in Paris, as was Lili Boulanger (1893-1918), who was ill throughout her life and died at a very young age. In 1913, she became the first woman ever to win the Grand Prix de Rome of the French scholarly society Académie des Beaux-Arts in Paris, which was traditionally accompanied by a scholarship to study at the Académie de France in Rome.young (French) artists from this very academy in turn met Fanny Hensel (1805- 1847), who had studied privately in Paris for a short time and herself organized salons for artistic exchange in Rome during her trip to Italy in 1839/1840. Not only did the newly crowned Rome Prize winner Charles Gounod pay her the highest tribute as a composer and pianist, but a good acquaintance also did the honors: Pauline Viardot-Garcia (1821-1910), opera singer, pianist, composer, vocal pedagogue, editor, multitasking salonière (like Fanny Hensel) and, not to be forgotten, native Parisian. Paris is also the city in which the Finnish-born composer Kaija Saariaho (*1952), who has already received numerous prizes and awards, has lived since 1982 or since her studies at the Institut de Recherche et Coordination Acoustique/Musique. Henriëtte Bosmans' (1895-1952) opulent, highly expressive Sonata for Cello and Piano (1919) is still rooted in the late Romantic tradition and captivates with a wide range of expression and extreme cantabile of all themes. The  Lamento for tuba and piano  (1977) by Sofia Gubaidulina (*1931) represents a tonally dark, instrumental lament that combines the baroque tradition of the sigh motif with a strongly chromatic, post-tonal musical language. The piece, or rather its title, can certainly be seen as the composer's reaction to her situation in the repressive Soviet regime, which had defamed and banned her compositions.  Masterpieces from three generations of "modern" women composers will be heard in the second concert. Galina Ustvolskaya (1919-2006) studied composition with Dmitri Shostakovich at the Leningrad Conservatory from 1940 to 1947. Her T rio for clarinet, violin, and piano  was written shortly thereafter, in 1949, during her aspirations following her studies. Ustvolskaya's compositions are characterized by a distinctive tonal language of compositional radicalism and consistency in the elaboration of the musical material. Johanna Doderer (*1969) dedicated her  2nd Piano Trio (DWV 52)  of 2009 to the Austrian composer Franz Joseph Haydn (1732-1809), who had died a good 200 years earlier. Thoughtful musical architectonics and lightness establish references to the important innovator and pioneer of Viennese Classicism. Doderer's composition is a postmodern and post-tonal work. She does not shy away from tonal allusions and reminiscences. Her composition is refreshing, energetic, and in many places allows one to make connections to the lightness of music of the Viennese Classical period. Rebecca Clarke (1886-1979) composed her  Piano Trio in 1921 , which won her 2nd prize at the Coolidge International Prize in Berkshire in the USA. The tritone proves to be a central building block in this piece, both motivically and harmonically. Clarke's composition impresses with a consistent compositional working through of the musical material.  Under the motto "Wegbereiterinnen" is the program of the third concert. It begins with the  Quartet for 4 Violins  by  Grażyna Bacewicz  (1909-1969), probably one of the most important Polish women composers of the first half of the 20th century. She was the first to gain international reputation and to assert herself in a patriarchal and conservative Polish musical world, breaking the lance for the recognition of women composers. Forced by the cultural-political doctrine of Socialist Realism to find more or less recalcitrant ways of composing, she produced, among other things, a synthesis of elegant, technically refined, strongly neoclassical-tinged musical language and Polish folk music themes. The following  String Quartet in C major, op. 58  by Dora Pejačević (1885-1923), with its late-Romantic extended, partly impressionistic, expressionistic and atonal harmonies, identifies the composer as the "boldest personality of the harmony sphere" in Croatia in the first decades of the 20th century, where she opened the door to new developments. The French composer Louise Farrenc (1804-1875), on the other hand, with her  Piano Quintet No. 1 in A minor, Op. 30  (1840), pioneered the establishment of intellectually challenging chamber music in opera-drunk 19th-century Paris.the program for the Erika Frieser Chamber Music Days was developed in exchange with all participants. "It is a pleasure for me that so many excellent musicians, teachers and students of our house are taking part. My special thanks also go to the Institute for Equality and Gender Studies, especially to Michaela Schwarzbauer and Iris Mangeng for their support and tireless enthusiasm in making this project happen," says Biliana Tzinlikova. An accompanying program booklet with comprehensive texts on the concerts as well as detailed biographies of the participants and Erika Frieser was produced under the direction of Iris Mangeng. 

News … Home News Per Artistic Research through the Galaxy Per Artistic Research through the Galaxy 03.06.2021 Interview Sandra Steindl The Italian musician, graphic designer and video artist Lucia D'Errico took up one of the first two professorships for Artistic Research at the Mozarteum University in April. A conversation about the happiness that artistic research brings her. Lucia D'Errico, you studied classical guitar at the Conservatorio Benedetto Marcello and English literature at the Università Ca' Foscari in Venice. When did you start to get interested in artistic research? Lucia D'Errico: In fact, my immersion in the world of artistic research was accidental. In 2014, while looking for a permanent position, I came across a call for applications at the Orpheus Institute in Geneva, which immediately excited me. Because it looked very much like the position and the institute, one of the leading centers for artistic research in Europe, could bring together and catalyze a wide range of interests that had no place in my life as a musician. Also because this life was strongly regulated by the market and by expectations that I personally found restrictive. Then, in Geneva, I quickly realized that Artistic Research was a field where I could redefine myself as an artist because there were different rules. This job changed my life and was like a kind of enlightenment. When you arrived at the Orpheus Institute, was it immediately clear to you where your journey was going? I was lucky because my dissertation was part of the "MusicExperiment21" project and I benefited from a strong community of researchers, but also from an enormous creative energy that the project exuded. It offered an overwhelming fireworks of new ideas and possibilities - and it felt natural. What definitely took a while was figuring out what Artistic Research actually is, as the field itself refuses to give a clear definition. That's irritating at first, and can also be frustrating. But what I liked right away is that Artistic Research is a verb, not a noun*. You have to do it and it takes time, you have to stick with it. And that's a good thing, too. Because that's exactly where the opportunity lies to lead artistic attention away from the end result. The power of Artistic Research lies in its focus on the process. So everyone who enters this world has both the chance and the responsibility to redefine it. I find that absolutely exciting and also revolutionary. Both for art and for science. In your dissertation "Powers of Divergence. An experimental approach to written music," you pose the question of whether one can abandon the faithful reproduction of a score without abandoning the heritage of Western notated art music. Can one? The answer to the question depends on what we mean by this heritage. If we start from the premise that it is a heritage in the sense of a closed reservoir of museum objects that must be preserved in their original state, then this notion closes off access and the works will forever remain what they are. But if we assume that these works are not something, but do something, and that they have the ability to affect us or communicate with other times because of their location in a particular historical period, then we can indeed do something with them and experiment with different possibilities. The book and the project wanted to show one of these possibilities. The most important thing, in my opinion, is a change of perspective - away from closure to the possibility of opening up. And most importantly, to invest in something that is relevant to today. As a classical musician yourself, have you suffered from the "museumization" of music? It must be mentioned at this point that for a long time I was really very precise in reading scores. That's probably exactly what led to my outburst, or at least it contributed a significant part to it. But yes, I also suffered from a dissatisfaction that came with a contradiction. Namely, the contradiction of the supposedly free performer stuck in a supposedly open score and its information. There exists this illusion of communication between the two sides, which is paradoxical and at some point no longer worked for me personally. Which of your artistic research projects was particularly enriching for you? One project that I enjoyed the most, besides my dissertation on divergent perfomances, was "Rasch X." It was based on Robert Schumann's "Kreisleriana" op. 16 (1938) and Roland Barthes' essay "Rasch." Via further acoustic and visual elements as well as numerous texts, we generated a network of aesthetic-epistemic cross-references within the framework of this artistic research project, which were intended to open up additional levels of perception for the audience: that of the music, that of the projected and read texts, that of the images and the voices. Beyond interpretation and hermeneutics, "Rasch X" thus explored an experimental performance practice that departs from conventional, repetitive performance and transforms familiar artistic objects into objects of thought via an infinite galaxy of layers, things and objects - including manuscripts, editions, recordings, but also philosophical texts. And thus opened up the piece. In the end, we did play the piano piece, but it was only one element of many. The reactions of the audience, which usually has nothing to do with artistic research, were amazing. What significance can the two professorships have for the Mozarteum University? Artistic Research definitely holds an undreamt-of development potential for artists that should at least be seen and recognized. Most artistic personalities are researchers anyway, as they rarely work without context - whether social, political or cultural. Most of the time, they write about their work. Even if they are just program texts, that is already a start. This is also a form of verbalization that goes hand in hand with reflection and is thus a kind of research. For the Mozarteum University, I would like to see research become more visible, not as something that only a few do, but as a great opportunity from which we as musicians, as artists, can benefit enormously. Powers of Divergence. An Experimental Approach to Music Performance, Leuven University Press 2018 Artistic Research: Charting a Field in Expansion, forthcoming from Rowman & Littlefield International   (First published in Uni-Nachrichten / Salzburger Nachrichten on June 5, 2021)   More News In memoriam Andrej Hovrin 14.9.2026 In memoriam Andrej Hovrin  It is with great dismay and deep sorrow that we have learned of the far-too-early passing of our esteemed accompanist and colleague, Andrej Hovrin. In memoriam Funding & Calls for proposals (german only) 1.9.2026 Funding & Calls for proposals (german only)  Open Call Awards & achievements (german only) 1.9.2026 Awards & achievements (german only)  Awards & Successes Bella Musica Tour 2026: Concert for Radio Vaticana 21.8.2026 Bella Musica Tour 2026: Concert for Radio Vaticana  Two violins from Wolfgang Amadé Mozart’s personal collection will accompany this year’s Italian tour of the Bella Musica Pre-College Ensemble of the Mozarteum University in Salzburg, conducted by Stefan David Hummel. Mozart’s extraordinary childhood violin and his concert violin, both from the collection of the International Mozarteum Foundation in Salzburg, will be heard in Rome in September 2026. Press release More news

The rediscovery and revival of (choral) works of the Baroque are matters close to the heart of Jörn Hinnerk Andresen, who has been Professor of Choral Conducting at the Mozarteum University since fall 2019.

The game project "Black Day," which was created with young people from the NMS Lehen as part of the interdisciplinary artistic as well as cultural and media education research project schnitt # stellen, received a Prix Ars Electronica Award U14. After a Prix Ars Electronica last year and the European Youth Culture Award in the Science and Research category, this is the third major award for the research project.

The young officers Ferrando and Guilelmo* do not want to let their fatherly friend Don Alfonso get away with it - after all, he doubts the fidelity of their fiancée! But instead of the demanded duel, they accept his proposal of a wager and thus become handmaidens in the work of destroying their love relationships.

Directing graduate Ebru Tartıcı Borchers is nominated for the prestigious German theater award DER FAUST 2023! The award honors outstanding artistic achievements that reflect the diversity of the theater landscape in Germany.

Starting on December 7, the Department of Opera & Music Theater, together with the voice classes and students of Claudia Lehmann, will bring Engelbert Humperdinck's fairy tale play "Hansel and Gretel" to the stage of the Max Schlereth Hall at the Mozarteum University. Five questions to the musical director of the production, Kai Röhrig.

Nikita Buldyrski, actor and graduate of the Thomas Bernhard Institute, is honoured with the prestigious Alfred Kerr Actor Award. The prize is awarded annually for an outstanding performance by a young actor in one of the ten productions at the Berlin Theatre Meeting. It is endowed with 5,000 euros in prize money and is awarded by the Alfred Kerr Foundation with the support of the Berliner Festspiele.

Once again this year, the Thomas Bernhard Institute opened its doors & theatre for #summercamp24: 25 teenagers and young adults immersed themselves in the world of theatre, but above all in everyday life at drama school, under the direction of Renate Aichinger from 7 to 12 July 2024: What is it like to study at the Mozarteum? What exactly do you learn there? And most importantly for some: how do the entrance exams work?

At the beginning of 2025, Florentine Klepper and Kai Röhrig's opera class at the Mozarteum University will bring Christian Jost's ‘Dichterliebe’ to the stage. The two set designers Carla Schwering and Yvonne Schäfer talk about the ideas and realisation of their visions for the stage design.

News … Home News The Magic Flute Wolfgang Amadé Mozart: The Magic Flute 23.06.2021 Opera production © Christian Schneider Skip page navigation Overview About production Interview Livestream Dates & Cast Gallery Other productions Return to slider start What is real, what is fiction? In "The Magic Flute", glimpses are taken behind the scenes: "The backstage atmosphere makes it possible to be there live when the magic is created, but at the same time it also brings the arduous path there before our eyes" - the two directors Alexandra Szemerédy and Magdolna Parditka raise their production of "The Magic Flute" to a meta-level and allow two narratives to merge. Musical Director Kai Röhrig Production Magdolna Parditka and Alexandra Szemerédy Stage Design Michael Hofer-Lenz Costumes Magdolna Parditka and Jiale Zhu Dramaturgy Christian Arseni Music Orchestra of the Mozarteum University About production Young people face great challenges: Between powerful parental figures who influence them, they have to find their own way. Mozart's "The Magic Flute," one of the world's best-known and most frequently performed operas, addresses questions that many students also face at the beginning of their artistic careers: Who am I? Where do I want to go? Who do I want to be? The production of the University Mozarteum Salzburg with students of the Department of Opera and Music Theater opens a look behind the scenes by taking the audience on a rehearsal. Here, a director and a conductor work with young singers on the "Magic Flute." But aren't the pain and happiness, fears and hopes of Mozart's characters also those of their performers? The ordeal that the main characters of "The Magic Flute" take becomes a test in real life. Through the Magic Flute to oneself Alexandra Szemerédy & Magdolna Parditka talk about their production ( Interview: Christian Arseni) "Where am I?" In your production, the answer to the first spoken words that Schikaneder puts into Tamino's mouth in "The Magic Flute" is not: in the realm of the Queen of the Night, but: at a "Magic Flute" rehearsal. How did the decision come about to invent this new frame story and to largely dispense with the original dialogues? Alexandra Szemerédy: Where am I? Who am I? Where do I want to go? Who do I want to be? - These are questions of becoming self-aware, an awakening of one's own self. It is about determining one's own position in the coordinate system, about a kind of self-measurement. In order to be able to start an "inner journey", this self-questioning is indispensable: It marks the path that leads from the state of external determination to self-determination. In our interpretation, it is not only Tamino who is forced to ask himself these questions - the same is true for Pamina and, by extension, for everyone. Magdolna Parditka: Yes, we are rehearsing the "Magic Flute," and at the same time we are all, as participants, being put to the test. Our starting point was to focus the production not only on the work itself, but in particular on the work on the work, to bring the musical theater reality that we ourselves experience onto the stage. We show exactly what normally remains hidden behind the scenes, turn the seams inside out, so to speak, and thus allow the audience to gain an insight into the process of creating a production. The backstage atmosphere makes it possible to be there live when the "magic" happens, but at the same time it also demonstrates the arduous path to get there. AS: For our parallel narrative, we created new texts that correspond on different levels with Schikaneder's original. The situations we created are in constant interaction with the "Magic Flute" material: dialogues that seem as if they were created out of the moment are juxtaposed with deliberate quotations from the original. These two narrative levels are interdependent and intermingle, the boundaries between play and reality gradually disappear. The young main characters of "The Magic Flute" go through a process from which they emerge as more mature, mature people. Do the fictional performers who embody these roles in your production have comparable experiences? MP: Yes, here, too, it's a matter of interaction: we experience the performers working on a "Magic Flute" performance and observe how the work itself influences them and changes them. The question is: Am I shaping the role or am I being shaped by the role? AS: Our goal is to bring about a kind of fusion. The fictional performers are drawn more and more into the "Magic Flute" story, and at the same time the "Magic Flute" characters are confronted with situations that are motivated by the reality of the performers. These border crossings eventually lead to a new reality in which the plot of the opera and the parallel world of the performers mysteriously intermingle. The two powerful parental figures of "The Magic Flute," the Queen of the Night and Sarastro, appear as opposites, at least from each other's perspective. How important are these polarities, the night-light symbolism for you? What role does the older generation play, especially the added character of the director? MP: The opposites of perspectives appear in our production in the form of the forces of music and scene working against or with each other. In a certain sense, the performers become the playthings of these two powers. And indeed, musical theater is that art form which exists precisely out of the interaction of these polarities. Pamina's and Tamino's task is to use what they have learned for themselves, but then to free themselves from the "powerful parental figures" and find their own way - although it is not said that they will walk this path together forever. AS: The fictional director, Frau Stern, is another manifestation of the Queen of the Night, much like the conductor, Herr Sonnig, is a projection of Sarastro. Through these two figures, the duality of two principles inherent in the play becomes even more tangible. The figure of the director at the same time reflects our own examination of the work: she is the eye from the outside, she acts as a catalyst for the questioning of the self and the work. The men's association of the "initiates" shows misogynistic tendencies, and the fact that Pamina takes part in the final examinations, even becoming Tamino's guide, was certainly not intended by Sarastro. What significance does the character of Pamina have for you? AS: From a psychological point of view, Pamina is the most exciting character: she is caught in the crossfire of conflicting expectations, and at some point the pressure becomes unbearable for her and results in self-injurious behavior. The actress portraying Pamina gets caught in a dark in-between realm between reality and fiction, from which she has to find her way out: an extreme "test" that perhaps demands more inner strength from her than from anyone else. MP: It was very important to us to show all the performers and their roles as characterized by ambivalence - to make it clear that they all move between the abstract poles of "night" and "sun," and not to bend their character traits clichédly in a single direction. Especially in "The Magic Flute," it is necessary to rethink traditional gender role models as well, so that the focus is not on "man" and "woman" but on being human. Dates & Cast Performance dates 23. June 2021, 7 p.m. June 24 , 2021, 7 p.m. June 25, 2021, 7 p.m. June 26, 2021, 4 p.m . Max Schlereth Hall Cast Pamina: Karolina Bengtsson (06/23/25), Sophie Negoita (06/24/26) Queen of the Night: Regina Koncz (06/23/25), Seung-Hyun Kim (06/24/26.) First Lady: Donata Meyer-Kranixfeld Second Lady: Emelie Christensen Third Lady: Neelam Brader Papagena: Maria Augustina Calderón First Boy: Sophie Schneider Second boy: Thorhildur Steinnen Kristinsdottir Third boy: Alicia Feodora Grünwald Tamino: Dagur Þorgrímsson (23.06./25.06.), Niklas Mayer (24.06./26.06.) Monostatos: Konstantin Igl Papageno: Jakob Hoffmann (23.06./25.06.), Máté Herczeg (24.06./26.06.) Sarastro: Qi Wang Sprecher: Kuan-Ming Chen 1. Guardsman: Rodrigo Alegre Vargas 2nd Guardsman: Kuan-Ming Chen Mrs. Stern, Director: Ulrike Arp Mr. Sonnig, Conductor: Kai Röhrig President: Andreas Macco Iris: Ulrike Arp Voice: Volker Wahl Gallery Skip slider © Christian Schneider Are you linking? © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider © Christian Schneider Jump to slider start Other productions Giacomo Puccini: Suor Angelica & Gianni Schicchi 20.5.2026 Giacomo Puccini: Suor Angelica & Gianni Schicchi  Two one-act operas by Giacomo Puccini, based on libretti by Giovacchino Forzano – one tragic, the other comic – hold up a mirror to society through the lens of art. Together, they offer a multifaceted exploration of the interplay between social structures and individual choices. In their production of Puccini’s Suor Angelica and Gianni Schicchi, both premiered in New York in 1918, Florentine Klepper and Kai Röhrig’s opera class invited the audience to engage in a thought experiment: How does a society react when its values, norms, and boundaries are put to the test? Opera production Benjamin Britten: The Rape of Lucretia 2.2.2026 Benjamin Britten: The Rape of Lucretia  "Go back, Tarquinius!" – comes the warning from the opera's narrator to the son of the Etruscan king. But the tragedy is already unfolding at pace: Tarquinius falls upon Lucretia, the wife of his comrade Collatinus, and rapes her, in spite of her fierce reistance. The next day, Lucretia takes her own life in public. Benjamin Britten's dark chamber opera, premiered in 1946 at Glyndebourne, resounds with the traumatic experiences of fascism and war. Opera production Der Kaiser von Atlantis & L’Hirondelle inattendue 15.12.2025 Der Kaiser von Atlantis & L’Hirondelle inattendue  Through purgatory to paradise – two voices of resistance. Two works – two perspectives on the unimaginable. Even 80 years after the end of the war, they raise big questions about the value of life, the power of art and human resilience. An evening full of intensity, musical beauty and profound humanity. Opera production Vincenzo Bellini: I Capuleti e i Montecchi 15.12.2024 Vincenzo Bellini: I Capuleti e i Montecchi  The performance of Vincenzo Bellini's opera I Capuleti e i Montecchi delivered a powerful reinterpretation of the masterpiece. Directed by Alexander von Pfeil, the production centred on the relentless feud between two rival clans and the profound despair of its victims. This staging transcended specific eras, placing the story in a universal, timeless setting that brought Bellini's dark vision of love and war to the stage with harrowing clarity. Opera production More news

At the end of the summer semester 2021, students, teachers and external participants met at the Zistelalm on the Gaisberg to discuss the results and plans of the Spot On MozART project. We were there for you.

News … Home News Review ARCO 2021 That was ARCO 2021! 19.07.2021 News © Universität Mozarteum That was ARCO - Art, Research & Creation Opus 2021! The bi-national academy ARCO is dedicated to musical creation in the field of contemporary composition / interpretation and is a cooperation between the University Mozarteum Salzburg and gmem CNCM marseille as well as the French Ensemble Multilatérale, Les Métaboles and TANA Quartet. This second edition of the festival took place in Marseille from July 8 to 17, organized by G.M.E.M. - Centre National de Création Musicale. Twelve young composers* from all over the world participated, as well as two student string quartets and an assistant conductor. The coaches were Elisabeth Gutjahr, Johannes Maria Staud, Henry Fourès, Christian Sebille, Yann Robin and Eva Reiter.   Next year at the University Mozarteum Salzburg!  More about ARCO Skip slider © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum Jump to slider start

Regula Mühlemann, Thaddaeus Ropac, Gerfried Stocker and many, many more: On July 28 and 29, 2021, there was the first opportunity for all interested parties to gain insights into works that are being created or have already been created as part of Spot On MozART in a comprehensive project presentation with exhibition at Mirabellplatz 1.

News … Home News Benjamin Britten: Owen Wingrave Benjamin Britten: Owen Wingrave 20.01.2020 Opera production © Judith Buss Skip page navigation Overview About production Livestream Dates & Cast Other productions Return to slider start A family estate that seems to be cursed: a father killed his son in the heat of the moment... The family tried to cover up the murder, but the guilty man was found - also dead - in the very room of the estate where the atrocity had taken place. And this room also becomes the doom of Owen, the last of the Wingraves, a promising officer candidate. Plagued by scruples, he tries to oppose the militaristic spirit of his family and give up his officer's career - and dies a mysterious death in said room... Musical direction Gernot Sahler  Scenic direction Alexander von Pfeil Stage & Costumes Yvonne Schäfer & Michael Hofer-Lenz Dramaturgy Malte Krasting Music Chamber Orchestra of the Mozarteum University About production Libretto by Myfanwy Piper based on the short story of the same name by Henry James After the 1954 chamber opera "The Turn of the Screw," Benjamin Britten and his librettist Myfanwy Piper take up the haunting world of the great Victorian storyteller Henry James for a second time. The work is initially conceived as a "television opera," but after its first broadcast on May 16, 1971, on the BBC's 2nd program, Britten felt that this opera could achieve a much more intense effect in a theater. However, he was unable to attend the following first stage performance in May 1973 due to ill health. Dates & Cast Performance dates 20. January 2020, 19.00 21. January 2020, 19.00 22. January 2020, 19.00 23. January 2020, 7.00 p.m max Schlereth Hall   Cast OWEN WINGRAVE: Taesung Kim, Benjamin Sattlecker SPENCER COYLE: Xiaofei Liu, Qi Wang LECHMERE: Johannes Hubmer MISS WINGRAVE: Julia Heiler MRS. COYLE: Veronika Loy, Sophie Negoita MRS. JULIAN: Chelsea Kolic, Bryndis Gudjonsdottir KATE: Vera Maria Bitter GERNERAL WINGRAVE: Yu Hsuan Cheng NARRATOR: Richard Glöckner Other productions Giacomo Puccini: Suor Angelica & Gianni Schicchi 20.5.2026 Giacomo Puccini: Suor Angelica & Gianni Schicchi  Two one-act operas by Giacomo Puccini, based on libretti by Giovacchino Forzano – one tragic, the other comic – hold up a mirror to society through the lens of art. Together, they offer a multifaceted exploration of the interplay between social structures and individual choices. In their production of Puccini’s Suor Angelica and Gianni Schicchi, both premiered in New York in 1918, Florentine Klepper and Kai Röhrig’s opera class invited the audience to engage in a thought experiment: How does a society react when its values, norms, and boundaries are put to the test? Opera production Benjamin Britten: The Rape of Lucretia 2.2.2026 Benjamin Britten: The Rape of Lucretia  "Go back, Tarquinius!" – comes the warning from the opera's narrator to the son of the Etruscan king. But the tragedy is already unfolding at pace: Tarquinius falls upon Lucretia, the wife of his comrade Collatinus, and rapes her, in spite of her fierce reistance. The next day, Lucretia takes her own life in public. Benjamin Britten's dark chamber opera, premiered in 1946 at Glyndebourne, resounds with the traumatic experiences of fascism and war. Opera production Der Kaiser von Atlantis & L’Hirondelle inattendue 15.12.2025 Der Kaiser von Atlantis & L’Hirondelle inattendue  Through purgatory to paradise – two voices of resistance. Two works – two perspectives on the unimaginable. Even 80 years after the end of the war, they raise big questions about the value of life, the power of art and human resilience. An evening full of intensity, musical beauty and profound humanity. Opera production Vincenzo Bellini: I Capuleti e i Montecchi 15.12.2024 Vincenzo Bellini: I Capuleti e i Montecchi  The performance of Vincenzo Bellini's opera I Capuleti e i Montecchi delivered a powerful reinterpretation of the masterpiece. Directed by Alexander von Pfeil, the production centred on the relentless feud between two rival clans and the profound despair of its victims. This staging transcended specific eras, placing the story in a universal, timeless setting that brought Bellini's dark vision of love and war to the stage with harrowing clarity. Opera production More news

News … Home News 14. International Mozart Competition of the Mozarteum University 14. International Mozart Competition of the Mozarteum University 22.01.2020 Press release Sandra Steindl © Christian Schneider The Mozart Competition of the Mozarteum University Salzburg from February 1 to 15, 2020 is one of the most important international music competitions - for many young musicians it gave and gives a decisive impulse to an international career. Under the artistic direction and jury chairmanship of Benjamin Schmid, Pavel Gililov and Hansjörg Angerer and the overall direction of Hannfried Lucke, it will be held in 2020 in the violin and piano sections and, for the first time, in the horn section. Commissioned by the University Mozarteum Salzburg, Florian Willeitner (violin), Krzysztof Meyer (piano) as well as Michael Kapsner (horn) composed pieces that will be premiered during the 2nd competition rounds. Since its premiere in 1975, the International Mozart Competition of the Mozarteum University Salzburg has been one of the major music competitions worldwide. It takes place in a biennial rhythm - in 2016 the focus was on violin and piano, in 2018 on string quartet and voice. in 2020, in addition to violin and piano, a competition for horn will be held for the first time. "Mozart wrote four important horn concertos, so this year we have also included this instrument," says Hannfried Lucke, Vice Rector for Arts at the University Mozarteum Salzburg. Highly endowed prizes await the first-place winners in all three categories, as well as numerous special prizes - 1st place is awarded 10,000 euros, 2nd place 7000 euros and 3rd place 5000 euros. Of the 182 applicants from 37 countries, 81 participants from 23 countries have been admitted to the 2020 competition - they will each face a top-class jury of seven. "The International Mozart Competition has a long tradition and history and is a flagship for the Mozarteum University and for Salzburg as a location. It has been established over the years in order to make the Mozart genius loci visible to the outside world," explains Hannfried Lucke. "My special thanks go to Benjamin Schmid, Pavel Gililov and Hansjörg Angerer, who have made themselves available as jury chairmen for this most important and largest competition of the University Mozarteum Salzburg." Mozart's works are special touchstones of technical ability and stylistic quality for the young musicians. They are naturally the focus of the Mozart Competition. The commissioned works that the candidates will interpret in the 2nd round were composed by violinist, composer and arranger Florian Willeitner ("To be Mozart or not to be"), by Polish composer, pianist, music theorist and university teacher Krzysztof Meyer ("Bagatelle for piano" ), and by German composer, organist, conductor and music educator Michael Kapsner ("Fa(n)FaRe for horn and piano"). Schedule: Violin division: 1-5 February 2020 Artistic direction and jury chair: Benjamin Schmid Competition (solitaire): 1.2. 1st round 17.00-21.00 2.2. 1st round 10.00-14.00 4.2. 2. Round 10.00-14.00 and 16.00-20.00 5.2. Final Concert Violin (Great Hall), 19.00  With the Salzburg Orchestra Soloists / Conductor: Tibor Bogányi   Division Piano: 6.-11 February 2020  Artistic direction and jury chair: Pavel Gililov Competition (Solitaire): 6.2.  1st round 10.00-13.00 and 16.00-19.00 7.2.  1st round 10.00-13.00 and 16.00-19.00 8.2.  2nd round 10.00-14.00 and 16.00-20.00 a.m. 10.2. 3rd round 10.00 a.m.-1.00 p.m. 11.2. final concert piano (Great Hall), 7.00 p.m.  With the Salzburg Orchestra Soloists / Conductor: Tibor Bogányi   Horn Division: February 11-15, 2020 Artistic Director and Jury Chair: Hansjörg Angerer Competition (Solitaire): 11.2. 1st round horn 5.00 p.m.-2.00 p.m. 12.2. 1st Round Horn 10.00-14.00 and 16.00-20.00 13.2. 1st Round Horn 10.00-14.00 14.2. 2nd Round Horn 10.00-14.00 and 16.00-20.00 15.2. Final Concert Horn (Great Hall), 19.00  With the Salzburg Orchestra Soloists / Conductor: Tibor Bogányi   All competition rounds free admission.