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Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

No Person. Lisandro Abadie was born in Buenos Aires, where he began his vocal studies. He continued his training in Switzerland at the Schola Cantorum Basiliensis and the Lucerne School of Music and was awarded the Edwin Fischer Memorial Prize in 2006. He has performed under the direction of renowned conductors such as William Christie, Laurence Cummings, Václav Luks, Francesco Corti, Rubén Dubrovsky, Tōnu Kaljuste, Andreas Reize, Jordi Savall, Paul Agnew, Skip Sempé, Vincent Dumestre and Geoffroy Jourdain. Abadie regularly collaborates with leading ensembles including Les Arts Florissants, Collegium 1704, Orchestra of the Age of Enlightenment, Les Talens Lyriques, Le Poème Harmonique, La Tempête, Ensemble Inégal, La Risonanza and a nocte temporis. He has also worked closely with the lutenist Mónica Pustilnik, the pianist and composer Paul Suits, and the stage director Benjamin Lazar. His recent stage appearances include Charpentier's Médée’ Rossini's La Cenerentola, Vivaldi's Arsilda, Monteverdi's operatic trilogy, as well as  Alcione, Phaëton, L'Europe Galante and Les Fées du Rhin. His discography includes recordings of Handel's Siroe and Music for Queen Caroline, Lully's Phaeton and Cadmus et Hermione, Pasquini's L'ombra di Solimano (bass cantatas), and Monteverdi's madrigals, Vespro and L'incoronazione di Poppea. His work as a soloist is documented in around sixty CD and DVD recordings, as well as numerous television and online broadcasts. Alongside his performing career, Abadie engages in research and writing on the history of singing and vocal technique. He is active as a teacher and regularly gives masterclasses, including with William Christie in Thiré, at the Balthasar Neumann Academy in Fontainebleau and in Havana, as well as at conservatoires in France and Germany. He is also teaches at the Monteverdi Madrigal Week in Venice. In 2024, he made his debut at the Opéra de Paris and the Teatro Real in Madrid in Charpentier's Médée under the direction of William Christie. He has taught at the Schola Cantorum Basiliensis since 2019 and at Mozarteum University Salzburg since 2024.

Fine Arts & Design Salzburg … Home Study Departments Fine Arts & Design Salzburg Transforming Climate-Social Futures Transforming Climate-Social Futures Skip page navigation Overview About News Collaboration Team Practice partners Project details Get in touch! Return to slider start How do young people imagine their future? The answers vary widely. While many young climate activists emphasise the urgency of the climate crisis and campaign for change, others feel that the debate has little relevance to their lives. As a result, their perspectives on the future often go unheard, even though the consequences of climate change affect us all. Transforming Climate-Social Futures Contactfutures@moz.ac.at About Together with young people, NGOs, youth work organisations and the City of Salzburg, we are exploring what a climate-just and socially equitable future could look like – one that young people from different backgrounds and with different levels of knowledge and experience can identify with. Our aim is to bring together social justice and socio-ecological responsibility. We seek to develop new ideas for creating liveable futures and to explore how these can be embedded in the city's political structures. In doing so, we examine both the impacts of climate change in Salzburg and possible strategies for climate mitigation and adaptation. At the heart of the project is a key question: What kind of shared vision can bring together young people in Salzburg with diverse perspectives, experiences and interests, and inspire them to help shape sustainable and just futures? To answer this question, we draw on artistic and participatory methods. Artistic practice creates spaces for imagination, dialogue and active participation. It offers new ways of engaging with complex issues and encourages people to develop their own ideas for a better future. Together with young people, we question established assumptions, imagine alternative futures, and explore their possibilities and implications. Funded by the FWF through the #ConnectingMinds programme, the project combines local action with civic engagement and strengthens the voices of young people who have previously had little influence on political decision-making. In this way, it generates innovative approaches to building a diverse, supportive and sustainable urban community through education, art and participation. Because the future doesn't begin someday – it begins now. News Youth’s climate-social futures in Salzburg: an arts-based approach to critical participatory action research”, RC21 Conference on Urban and Regional Development Inequalities and the City, 20.–22. Juli 2026, Wien  Collaboration KICK-OFF meeting On 3 December 2025, the research team and project partners met in Salzburg for a joint project launch workshop. In addition to discussing project-related matters, the day provided an opportunity for participants to get to know one another and exchange ideas. A central focus of the workshop was to establish a shared framework for collaboration, explore individual and collective visions, and define common aspirations for the future. Arts-Based-Methods Workshop I On 3 March 2026, the first Arts-Based Methods workshop took place in collaboration with artist Marcel Kieslich. He introduced a range of methods drawn from his artistic research practice. The workshop focused on performative approaches that sharpen perception, encourage reflection on one’s own position in relation to the world, and stimulate the imagination. In small groups, participants then reflected on and evaluated the methods, adapting and further developing them for use in the project. Arts-Based-Methods Workshop II Arts-Based Methods Workshop II with Anna Laner on April 21, 2026  In April, the second Arts-Based Methods Workshop took place, co-led by dramaturg Anna Laner. Anna gave us insights into her work in theater and shared various performative approaches from her practice, which we explored together. Starting with visual stimuli from art history, we developed new narratives in small groups, which were then translated into dialogues and role-plays and further elaborated upon.  In the second part of the workshop, building on this foundation, we developed initial outlines for methods that will be applied in our collaborative research work with young people.  Arts-Based-Methods Workshop III Der dritte Arts-Based-Methods-Workshop am 14. Juli 2026 stand im Zeichen von bildenden künstlerischen Methoden. Dafür luden Eva und Lea die Teilnehmer*innen ein, Unbemerktes im Alltag fotografisch und grafisch festzuhalten. So wurden zum Beispiel Knöpfe, Spalten und Sicherungskästen zu Hauptmotiven von Bildserien. Die druck- und fotografischen Experimenten mit Strukturen, Oberflächen und Alltagsobjekten wurden im Anschluss als kurze Geschichten in Zines zusammengeführt. Auch dieses Mal stand im Mittelpunkt, wie die kennengelernten Ausdrucksmöglichkeiten für die weitere partizipative Forschungsarbeit weiterentwickelt werden können.  Research team Alexandra Kraler © Daniel Vietz University Assistant / PhD Candidate, Wissenschaft & Kunst Alexandra is a university assistant at the Mozarteum University Salzburg, a designer, and a doctoral candidate in the Wissenschaft & Kunst programme.Her artistic and academic research explores collaborative design processes between human and non-human actors. Her work focuses on speculative design practices and on developing methods that foster utopian competence – the ability to imagine and work towards desirable futures – while making relationships and interdependencies visible in design and educational contexts. Within the project, she supports organisation, communication, web content and visual design. Together with Iris, Eva and Lea, she contributes to the ongoing development of arts-based and speculative methods and to research on the co-creation of desirable futures. Iris Laner Coordinator and Principal Investigator Iris Laner is Professor of Fine Art and Art Education at the Mozarteum University Salzburg. Her research lies at the intersection of philosophical aesthetics, educational theory and art education. She explores how aesthetic experience, judgement and imagination can foster a sense of community and contribute to forms of education that emphasise shared responsibility and collective learning. In her work, she combines phenomenological and deconstructive approaches with qualitative, participatory and arts-based research methods. She investigates how people in educational and community contexts engage collectively with images, materials and aesthetic processes, and how such encounters give rise to responsibility, critical reflection and shared spaces for learning. As coordinator and principal investigator, she oversees the project's overall management. Her research within the project focuses on questions of aesthetic philosophy, ethics and art education, as well as on the application and further development of arts-based and participatory research methods. Lisa Lorenz Research Associate Lisa is a research assistant at the Institute of Development Studies at BOKU University. Her work takes an interdisciplinary and transdisciplinary approach to sustainable development and socio-ecological transformation. She also designs and facilitates events in the fields of sustainability and environmental education. As a doctoral researcher on the project, she works with Christina and Max to investigate how climate and social policies, participatory research processes, and transformation strategies can contribute to socio-ecological change in Salzburg. Monika Mayer Principal Investigator Monika Mayer is a Senior Scientist at the Institute of Meteorology and Climatology at BOKU University in Vienna. Her research focuses on the relationship between air pollution and climate. As a physicist, she primarily uses chemical transport models to investigate the interactions and feedback loops between various physical and chemical processes. In this project, she is focusing on two key areas: Using the climate computer game ‘Hotspot Earth’ to spark interest in climate issues and teach the scientific fundamentals of climate change. Translating the climate futures developed by young people into qualitative climate scenarios. Max Muhr Postdoctoral Researcher Max is a sustainability researcher at the Institute of Development Studies at BOKU University, where he specialises in urban climate change and the social participation of marginalised groups. His research interests include transdisciplinary processes, as well as participatory and arts-based methods. Together with Eva, he is responsible for designing and implementing the participatory action research process with the co-researchers. He also collaborates with Christina and Lisa on investigateing Salzburg’s climate and social policies. Christina Plank Principal Investigator Christina Plank is a Senior Scientist at the Institute of Development Studies at BOKU University in Vienna. Her work in political ecology takes an interdisciplinary and transdisciplinary approach to socio-ecological transformation and governance. Within the project, she focuses on the City of Salzburg’s climate and social policies and the opportunities for participation they create for young people. Her research also explores strategies for socio-ecological transformation within interdisciplinary and transdisciplinary collaborations. Eva-Maria Schitter Postdoctoral Researcher Eva is a researcher at Mozarteum University Salzburg and a visual artist. Her academic interests include collaborative aesthetic education, critical approaches to knowledge and power in educational contexts, and participatory and arts-based processes in transdisciplinary settings. Within the project, she works with Max to design and implement the arts-based and participatory research process with the co-researchers. Together with Iris, Lea and Alexandra, she also explores questions of collective imagination and the further development of arts-based methods. Jan Steinhauser Doctoral Researcher PhD student Jan is a research assistant at the Institute of Meteorology and Climatology at BOKU University in Vienna and in the Novel Data Ecosystems for Sustainability (NODES) research group at the International Institute for Applied Systems Analysis (IIASA). Jan’s research focuses on the development and evaluation of innovative methods for sustainability communication and education, as well as citizen science, with a particular focus on video games. Together with Monika, he uses the game Hotspot Earth to introduce young people to climate issues and examines the climate futures developed by the co-researchers. Lea Wiednig Former project members Julia Männle Project partners Erde brennt Salzburg Erde Brennt Salzburg is a partner organisation in the project. The organisation contributes its experience of youth-led climate activism, helping the research team better understand the motivations, perspectives and challenges associated with climate engagement. Stephanie Wolfgruber represents Erde Brennt Salzburg within the project. Fridays For Future Fridays for Future Salzburg supports the project as a practice partner, contributing its experience of climate activism – particularly activism by and with young people – as well as its expertise in facilitating workshops on the climate crisis. Anika Dafert represents Fridays for Future Salzburg within the project. fridaysforfuture.at/gruppen/salzburg Sindbad Salzburg Sindbad Salzburg supports young people in recognising and developing their potential as they transition into apprenticeships, further education or employment. Through a mentoring programme, young people are matched with volunteer mentors who support them over a period of eight to twelve months. In regular one-to-one meetings, mentoring teams work on topics such as career orientation, applications and decision-making. The programme aims to empower young people and support them in shaping their own educational pathways. Within the project, Sindbad Salzburg contributes practical expertise and advises on the development of the participatory research process. Südwind - Verein für Entwicklungspolitik und globale Gerechtigkeit Südwind – Association for Development Policy and Global Justice contributes to the strategic development of the project and supports the adaptation of content for different target groups. Its work focuses on creating initiatives that connect climate and social justice issues through arts-based approaches. A key priority is ensuring meaningful youth participation and addressing the realities of young people's everyday lives.  suedwind.at/salzburg Verein Spektrum Verein Spektrum engages children and young people in Salzburg through a wide range of socio-cultural projects throughout the year. Within the project, Verein Spektrum serves as an important bridge between the research team and younger generations. Vera Laner, Martina Hauser and Petra Burgstaller represent Verein Spektrum within the Futures project. spektrum.at  Wissensstadt Salzburg Wissensstadt Salzburg contributes the perspective of the City of Salzburg and supports the development of visions and strategies for responsible and sustainable coexistence through the intersection of art, education and civic engagement. Promoting collaboration between cultural and educational institutions, as well as fostering the creative potential of young people, is a central objective of the city's cultural strategy. wissensstadt-salzburg.at    Artists Anna Laner © Julian Baumann Anna is a dramaturg and director. From 2015 to 2019, she worked as a dramaturg at the Schauspielhaus Wien. Since 2019, she has been working freelance in collaboration with Elke Auer, Eva Jantschitsch, Thomas Köck and Matthias Köhler, and for theatres including the Schauspiel Stuttgart and the Landestheater Marburg. From 2020 to 2024, she co-curated the season programme at the Kosmos Theater Wien. She has taught at the Institute for Language Arts at the University of Applied Arts in Vienna, among others. Since 2024, she has been part of the dramaturgy team at the Münchner Kammerspiele.   Through her artistic work, she encourages young people to imagine and actively shape sustainable futures. Marcel Kieslich © Christian Schneider Marcel studied philosophy, theatre studies and media studies in Erlangen, Montréal and Vienna. After working as an assistant director at the Schaubühne in Berlin, he pursued a PhD at Mozarteum University Salzburg, focusing on questions of cultural and technological philosophy. He currently works as a dramaturg whilst continuing his artistic research.  His work in the project focuses on performative practices that heighten perception, encourage reflection and stimulate the imagination. Partners Katharina Anzengruber (Mozarteum University Salzburg) Thomas Schubatzky (University of Innsbruck) Academic Advisory Board Nicole Brown, Univ. College London Erich Fischer, ETH Zürich Karmen Franinovic, ZHdK Fridolin Krausmann, BOKU University Martina Neuburger, University Hamburg Markus Rieger-Ladich, University Tübingen Project details A collaboration between Mozarteum University Salzburg and the University of Natural Resources and Life Sciences, Vienna (BOKU University). Project partners: Erde brennt, Fridays For Future, Südwind – Association for Development Policy and Global Justice, Verein Spektrum, Wissensstadt SalzburgDisciplines: Educational Sciences (55%); Geosciences (10%); Human Geography, Regional Geography, Regional Planning (35%)Funding body: FWF – Austrian Science FundFunding programme: #ConnectingMinds ProjectsFunding amount: €1,218,318Project duration: 2025–2030 Press & Archive Press reviews Archive Lectures for Future28.4.2026 @ Universität Klagenfurt (online) Presentation of the Game "Hot Spot Earth" at the EGU26 on 6 May 2026 (Session Highlight) Link to the abstract: https://meetingorganizer.copernicus.org/EGU26/EGU26-11239.html Workshop with Artivistory and Applied Theatre, 11.-13.11.2025Link to the video: AfterMovie_Salzburg_Artivistory&Mozarteum_2025.mp4

No News. This year’s “Bella Musica” ensemble, the Mozarteum University’s touring group formed annually from specially selected musicians, has a special surprise in store for audiences on this year’s Italy tour, titled “Mozart meets Puccini.” Our long-standing partnership with the Mozarteum Foundation and exciting new collaborations with the Teatro del Giglio “Giacomo Puccini,” the Conservatorio “Luigi Boccherini,” and the Puccini Museum in Lucca mean that listeners will be treated to the sound of an original Mozart violin and Giacomo Puccini’s piano being played together in concert for the very first time. ContactIris Wagner Founded in 2017, the ensemble “Bella Musica” is made up of young musicians from the Mozarteum University and follows in the steps of Mozart by touring all over Europe. Musicians from Rome, Lucca, Vienna and Dresden come together to play music, working under the official title  “Ambassadors of the European Mozart Paths”. The initiative conveys a message of cultural exchange, dialogue and understanding that transcends national borders and shows impressively how the powerful music is as a force for forging connections in a time of social challenges. This attitude is also lived out through social responsibility – the ensemble has performed for patients at the Vatican’s hospital for children Bambin Gesù as well as in hospices and residential care homes, and given charity concerts in aid of  earthquake victims, those isolated as a result of the pandemic, and educational charities such as “Sanitansamble” in Nepal. This commitment to social causes was recognised in June 2025, when the ensemble was officially named by the Rotary District 1920 as a “Rotary Ambassador”– honouring their work in promoting humanity, friendship and understanding through music. The 2025 tour takes the ensemble to Italy, beginning in Lucca and moving on to the Chigiana Festival in Siena – where the Mozarteum University’s Baroque Summer Academy will be running concurrently – before they perform in Florence at the Basilica Santo Spirito, the favourite church of the new Pope Leo XIV. The next stop will be the Violin Museum in Cremona, followed by Milan (where the premiere of Mozart’s Exsultate Jubilate took place), and ending with the ensemble’s first appearance in Brixen, at the Emperor’s Hall at the Hofburg, where Mozart performed in 1771. Like their predecessors, the Ensemble of 2025 will also makes their mark on the musical and cultural scene. The young violinist Ida Gillesberger (Mozarteum University Salzburg’ Pre-college, Class: Anneliese-Clara Gahl) will perform together with Fabrizio Datteri, a graduate of the Conservatorio “Luigi Boccherini”, on 1st September 2025 at 11.30am in the Puccini Museum in Lucca, where the two of them will play Mozart’s own violin and Puccini’s piano. This momentous occasion, which builds a bridge between Salzburg and Lucca on the initiative of the mayor of Lucca Mario Pardini, will be documented by both Austrian and Italian national television.   Mozart’s ViolinDr. Johannes Honsig-Erlenburg, President of the International Mozart Foundation, and Linus Klumpner, Director of the Salzburg Mozart Museums, will make a special trip to Lucca to deliver in person not only Mozart’s Viola, a North Italian instrument built around 1700, but also the Klotz Violin, built in the famous workshop of the luthier family Klotz, from Mittenwald in southern Germany. The Klotz violin was Mozart’s preferred instrument during the period he spent at the Court of the Prince Archbishop in Salzburg. It was during this period, 1773-1775, that he composed not only his five violin concertos (KV 207, 211, 216, 218, 219) but also his famous Sinfonia Concertante KV 364, which will also be performed in Lucca.Students of the Mozarteum University such as Marinus Kreidt (Class: Thomas Riebl), Moritz Defregger (Class: Lukas Hagen) and Laura Sophia Hummel (Class: Hagai Shaham) will thus have the opportunity to play two instruments that belonged to Mozart. Puccini's PianoThe Puccini piano, housed at the Puccini Museum in Lucca, is a valuable exhibit at the birthplace of the world famous composer Giacomo Puccini. The instrument was built by Steinway & Sons and was an essential partner for Puccini in his composition process; parts of his last opera “Turandot” are known to have been composed using this piano. The museum is also home to furniture and numerous personal items that belonged to the composer, which helps to recreate and bring to life the atmosphere of his childhood and youth. The piano itself is a central symbol for Puccini’s musical work and the connection with his home town, Lucca. The piano (Model B-211, Serial number 98606) was purchased by Giacomo Puccini in the spring of 1901. “For Wolfgang Amadé Mozart, the grand tour through Italy was essential for him as a young man. It played a significant role in his journey from child prodigy to great master and made a lasting impact on his creative output. This is explained by the rich musical history of the country hailed as the birthplace of opera. It is against this background that the International Mozart Foundation will accompany the Ensemble Bella Musica at selected concerts in Italy. It is in the spirit of the young genius that, 250 years after Wolfgang Amadé’s own journey to this city, a handful of exceptionally talented young musicians will be making his instruments ring out once again. It is moments such as these, where Mozart’s music is performed in a highly charged atmosphere, that fulfil the mission of the Mozarteum Foundation to ensure that the magic of the composer lives on by reaching and touching audiences throughout the world. This year will include an unexpected highlight, as instruments belonging to Wolfgang Amadé Mozart and Giacomo Puccini sound together for the very first time. It is an extraordinary way to bring together two giants of the opera world posthumously."Linus Klumpner, Director of the Mozart Museums A further highlight of the tour will be the world premiere of a symphony by the composer Marianna Bottini (1802–1858), a musician from Lucca who was admitted to the Accademia Filarmonica di Bologna at the age of just 18 – 50 years after Mozart. The creative genius of Antonio Salieri, Mozart’s contemporary, will also be on display, in the year that marks the 200th anniversary of his death.“What I find so fascinating about Bella Musica is the level of enthusiasm with which young people are introduced to the music, life, influence and travels of Mozart. This grassroots cultural project at a European level truly mirrors the values of the Mozarteum University Salzburg. We are immensely grateful to all initiators, supporters and private sponsors for their valuable contribution and dedication to the cause.”Elisabeth Gutjahr, Rector of the Mozarteum University Salzburg The project “Bella Musica”, under the artistic direction of Stefan David Hummel, is a tribute to European cultural heritage that is based on respect, diversity and peace. In the current era of global tensions, the tour takes a stand for communication, solidarity, and a Europe that is built on dialogue and mutual appreciation.“Our mission, as Bella Musica, is to bring together people through music – across borders, cultures and generations. The spirit of Mozart inspires us to encourage young talent and to show them how music can give people strength and hope. We see our core values as respect, diversity and collaboration. By engaging in dialogue with others and using music as a common language, we are building bridges – for an open Europe and a vibrant community.”Stefan David Hummel, Initiator and Artistic Director Press conference: 1st September 2025, 11.30amPuccini Museum Lucca, Corte S. Lorenzo, 9, 55100 Lucca LU, ItalyPress representatives are kindly requested to register in advance by contacting: stefan_david.hummel@moz.ac.atTour dates:23.8.–4.9.2025: Rehearsal camp & concerts26.8.2025, 5.00pm, Charity Project: Hospiz Pia Casa, Lucca27.8.2025, 7.30pm, Charity Project: Villa Reale di Marlia, Lucca28.8.2025, 8.30pm, Charity Project: Basilica di Santo Spirito, Florence29.8.2025, 9.15pm, Chigiana International Festival, Teatro dei Rozzi, Siena31.8.2025, 11.00am, Basilica Santa Maria Forisportam, Lucca31.8.2025, 7.30pm, Villa Lucchese, Lucca1.9.2025, 8:30pm, Teatro di San Girolamo, Lucca2.9.2025, 9:00pm, Museo del Violino, Cremona3.9.2025, 9:0pm, Chiesa di Sant’Antonio Abate, Milan4.9.2025, 7:00pm, Kaisersaal Hofburg, Brixen Pressestimmen La Repubblica di Lucca, 5.3.2025:Collaborazione di eccellenza tra il Teatro del Giglio e l’Università Mozarteum di Salisburgo La Nazione (Lucca), 31.8.2025:Mozart incontra Puccini – Giovani talenti e grandi maestri La Nazione (Lucca), 2.9.2025:Puccini e Mozart, che magia – Concerto per Rai e tv austriaca con il pianoforte del Maestro e il violino di Amadeus La Nazione (Siena), 29.8.2025:Mozart e il concerto europeo – L’Ensemble in grande spolvero Il Tirreno (Lucca), 5.5.2025:Puccini e Mozart, gli immortali della musica capaci di unire la cultura di Lucca e Salisburgo Il Giornale, 2.9.2025:Mozart, Vivaldi, Salieri e la Bottini – Bella Musica in Sant’Antonio Abate Florence Daily News, 29.8.2025:Santo Spirito resonates with Mozart performed by young musicians Corriere Fiorentino, 31.8.2025:Mozart coi violini di Mozart(Ausführlicher Bericht über das Konzert und die historischen Instrumente) Lucca in Diretta, 5.5.2025:Protocollo d’intesa triennale fra Teatro del Giglio e Università Mozarteum di Salisburgo NoiTv, 5.5.2025:Puccini-Mozart: il Teatro del Giglio sigla l’intesa con la Mozarteum di Salisburgo Il Tempo / Cultura e Spettacolo (31.8.–1.9.2025):Un incontro tra Mozart e Puccini? Si può fare – Ed ecco che in scena arriva “La Bella Musica” Vivimilano.it, 3.9.2025:L’Ensemble "Bella Musica" in Sant’Antonio LA CITTA’ E GLI EVENTI (6.3.2025):Università „Mozarteum“ Gemellaggio musicale nel nome di Puccini LA NAZIONE (Lucca)Puccini e Mozart Concerto Magico Zu den Tourdaten 23.8.—4.9.2025 Mozart:Forum Bella Musica 2025  Young ambassadors of the European Mozart Routes on a concert tour in Italy, in the footsteps of W.A. Mozart. Concert Mediathek Skip slider Bella Musica 2025 Video Special 15.1.2026 Bella Musica 2025  Bella Musica 2024 Video Special 17.12.2024 Bella Musica 2024  Bella Musica 2023 Video Special 20.12.2023 Bella Musica 2023  Bella Musica 2022 Video Special 20.12.2022 Bella Musica 2022  Bella Musica 2021 Video Special 20.12.2021 Bella Musica 2021  Jump to slider start

A Celebration of Women's Music for Classical Guitar and Voice: For the second time, the new concert series Women's Voices is dedicated to works for classical guitar and voice by contemporary and historical female composers.

No News. The production of an "animal trilogy" including Camille Saint-Saëns' "Carnival of the Animals" is already the second major cooperation between the Mozarteum University and the Marionette Theatre. On the violin: Benjamin Schmid. The idea for this new production with three classics of literature and music had been in the back of the minds of the puppet theatre team around its artistic director Philippe Brunner for a long time. The famous "zoological fantasy" Carnival of the Animals by the French composer Camille Saint-Saëns in a poetic new interpretation formed its starting point. Expanded by the two pieces: The Story of Babar the Little Elephant by Jean de Brunhoff and Ferdinand the Bull by Munro Leaf. The story of Babar, who flees to a city and finds pleasure in the life of the people, is very well known in France, yet it is rarely brought to the stage - an added incentive. The two literary children's stories are not interwoven and yet both tell of growing up and gaining experience. In Ferdinand the bull, who doesn't like the fights of his peers and prefers to enjoy the scent of flowers, the message is added that being different is okay. The musical realisation is done in cooperation with students of the Mozarteum University under the direction of Andreas Groethuysen and Benjamin Schmid, who also plays the part of the solo violin. "Each piece is a work of art in itself. It was simply nice to combine these three different pieces musically as well, the rehearsals are a lot of fun," as Philippe Brunner reports. And it is not only meant to be fun for children: These are pieces for adults, families and children. The Carnival of the Animals is not based on a children's story, although Camille Saint-Saëns was considered a humorous French composer who cultivated an unusual and cheerful style of teaching. Play and seriousness were combined and he had his classes rehearse persiflage, among other things. In 1886, on the occasion of a carnival concert, he finally wrote Carnival of the Animals with some jocular musical elements, which was premiered on a small scale on 9 March. However, merely assessing the piece as a parody or caricature - Saint-Saëns not only imitated various animal sounds with instruments in his work, but also parodied his fellow composers - falls short. (Cf. Michael Stegemann, 1986 p. 219ff) "The Carnaval des animaux is not a malicious but an affectionate caricature" (Michael Stegemann, 1986 p. 226). Andreas Groethuysen, who as a professor at the Mozarteum University prepares the studying piano duos for this piece, knows that students love to perform it. "It is a prime example of humour in music," as Groethuysen explains, and yet it is quite demanding to play, not only because in this case it is performed four-handed on one piano. The duos - there are two of them, also to be prepared for failures - need four to six weeks to prepare. In any case, this performance is enriching for the students. They accompany a story and have to react to what happens on stage. It will be exciting to see to what extent the scenic events influence the play. However, it is not only the musicians who are challenged, the puppeteers have also internalised the scores, as Philippe Brunner reports. So the play and the music will influence each other. In addition to the piano duo, students with flute, clarinet, percussion, violoncello and double bass under the direction of Benjamin Schmid (violin) will also be involved in the Carnival of the Animals. The story of Babar, as part of a series of children's books, was written in 1931 and set to music by Francis Poulenc in a version for narrator and piano between 1940 and 1945. At the Marionette Theatre Salzburg, the original version with piano is used. Because, as Brunner points out, it is precisely this version that has a transparency and brilliance that is difficult to achieve with orchestra. Ferdinand the Bull was published as a children's book in 1936. In 1971 it was set to music for solo violin by Alan Ridout. Until now, puppet theatre pieces have only been accompanied by live music in co-productions with the Mozart Week. The live musical accompaniment by artists from the Mozarteum University is therefore a novelty and offers the chance to expand the repertoire. The musical accompaniment to the stories is not insignificant. Music is created to generate emotions and, especially in this case, images. "Every music has its character and its expression, mostly states of mind or emotions. Music therefore lends itself very well to telling stories. There is no other art that moves so deeply," Groethuysen is convinced. The production is special in many ways. It consists of three different plays with three different directing teams. The preparation and realisation time is just under two years. The plays are short, and yet a story needs to be told - not an easy undertaking for the director. The puppet theatre team went above and beyond with more than 30 new puppets, most of which, including their costumes, were made in-house, with numerous set elements, including a large glass house with furniture, props, crochet work and even wool they dyed themselves. Large animals such as elephants and a bull are not everyday work even for the experienced puppet makers and puppeteers (the performers combine both professions) of the puppet theatre. The animals have to be easy to move, which in some cases requires several puppeteers. Most of the figures are moved from a height of two metres on strings - whereby the puppeteers assume an extremely challenging posture. The strings make it impossible to change the figures, which means that a separate puppet had to be made for each costume! Moreover, the special skin given to the animal figures in The Story of Babar involved many "crochet evenings", as Susanne Tiefenbacher, Managing Director of the Salzburg Marionette Theatre, recalls with a smile. Anyone who thinks that figures today come from 3-D printers and that much can be done with plastic is mistaken. The core of the figures is made of wood, to which are added foams, textiles and wool. The trades involved in this production are carpentry, tailoring, costume design, locksmithery, sculpture, technology for lighting and sound, among others. The performance team, including live music and the narrator, comprises a total of 23 people. However, all these challenges are rewarded. The production will be included in the standard repertoire of the Salzburg Marionette Theatre and can hopefully inspire young and old for many years to come! About the production: BABAR: Director: Lisa Stumpfögger; Stage design and figurines: Herbert Kapplmüller; figure construction: Max Kiener-Laubenbacher, Vladimir Fediakov; narrator: Hanna Schygulla FERDINAND: Director: Philippe Brunner; Figurine and puppet construction: Vladimir Fediakov; Illustrations: Clemens Birsak; Narrator: Matthias Bundschuh  KARNEVAL DER TIERE: Director and stage design: Matthias Bundschuh; Figurines and puppet construction: Barbara and Günter Weinhold (First published in the Uni-Nachrichten / Salzburger Nachrichten on 10 June 2023) Tickets (Opens in new tab) Skip slider The story of Babar, the little elephant Video Special 15.6.2023 The story of Babar, the little elephant  Ferdinand the Bull Video Special 15.6.2023 Ferdinand the Bull  Carnival of the Animals Video Special 15.6.2023 Carnival of the Animals  Jump to slider start More News 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 International Summer Academy Delights Artists and Audiences Alike 12.8.2026 International Summer Academy Delights Artists and Audiences Alike  For four intensive weeks, Salzburg once again became an international hub for talented young musicians. Around 500 participants from all over the world took part in the Mozarteum International Summer Academy, working across 50 masterclasses, Young Excellence classes and numerous other programmes under the artistic direction of Hannfried Lucke. Alongside the tuition, public concerts by teaching staff and matinees featuring the prize-winners ensured packed houses throughout. Press release Funding & Calls for proposals (german only) 1.8.2026 Funding & Calls for proposals (german only)  Open Call Spotlight on Female Authors & Composers: Festival Academy 2026 31.7.2026 Spotlight on Female Authors & Composers: Festival Academy 2026  From August 15 to 16, 2026, the 2026 Festival Academy, under the title FRAUEN.FESTSPIEL.PRÄSENZ*, will focus on the visibility, history, and future of female playwrights and composers at the Salzburg Festival. The two-day symposium will place pressing questions about representation, power structures, and the formation of the canon at the center of the debate. News

No News. Reflections on the mountain on inter- and transdisciplinary collaboration: A one-day workshop at Erentrudis Alm discussed ways for (new) transformative collaboration, provided a framework for exchange between researchers and stakeholders on ongoing and future projects at the interface of STEM and ART. A beautiful and inviting place, the right mix of science, art, city and country, and plenty of time to talk and do things together: Interdisciplinarity in Unexpected Places 2023 was all this and more.The research management had gathered 20 people from different disciplines represented at the house for a joint day with selected external participants on the Erentrudis Alm. Among them were Doris Fuschlberger, the digitisation officer of the Salzburg State Museums, Eva Kraxberger from Wissens:Stadt Sbg, Carmen Wageneder-Schmid from the MINT coordination office, Andre Zogholy from KU Linz, Stefan Gindl and Markus Tauber from RSA. The concerns and the future of Salzburg firmly in view and yet far enough away from it to get into joint thinking: Co-creation, inter- and transdisciplinarity, art and research, current cross-cutting issues but also research funding calls and strategies wanted to be shared, developed and possible future projects initiated across disciplinary boundaries. Driven by a great sense of community, and a genuine generosity to share one's expertise and experience, and with a desire to learn from each other, the day was enriching for all participants. There was a special focus on STEAM, culture tech and the digitisation agendas of a music and arts university - made possible by a mix of formats including short impulses (on interdisciplinary and cross-sectoral funding streams and the city's digitisation offensive, European funding lines and the SDGs as a cross-cutting issue of interdisciplinary collaboration), group work and cabin talks on current good-practice examples from the university. The richness and depth of the exchange was an expression of the good cooperation, the willingness to learn from and for each other and thus also representative of basic interdisciplinary qualities. In conclusion, all this became a "HOWTO?" - what does it take to get into interdisciplinary work? - To engage with other positions, to listen and ask questions, to find a common language in the process and to agree on (few but binding) rules of the game, and: to acknowledge the processual character and to give it enough time and space.  May the seriousness of the approach, but also the shared fun and lightness that characterised the time together at Erentrudisalm lead to many a deepened joint artistic and/or research collaboration! More about Research at Mozarteum University

Vice-Rector for Academic Affairs

Univ.-Prof. of Piano and Piano Didactics / Deputy Chair of the Senate

Waxmann, Münster | Innsbrucker Perspektiven zur Musikpädagogik 1

Waxmann, Münster | Innsbrucker Perspektiven zur Musikpädagogik 2

Publications … Home Publications CD: Open It Up - Jazz/Pop Workshop Open It Up 17.10.2020 Music, Music Education Music education Salzburg © Musikpädagogik Innsbruck The Jazz/Pop Workshop is a course offered by Romed Hopfgartner as part of the music education teaching degree program at the University Mozarteum, Innsbruck location. The course is a practice-oriented "workshop" that offers students the opportunity to gain experience in the areas of composition, arrangement, improvisation, performance, studio, etc. Experience. In the summer semester of 2019, participants composed songs and recorded them professionally in a studio. Song productions by students of the Jazz/Pop Workshop CD release December 21, 2020 Treibhaus Innsbruck

Waxmann, Münster | Innsbrucker Perspektiven zur Musikpädagogik 1

Waxmann, Münster | Innsbrucker Perspektiven zur Musikpädagogik 5

Waxmann, Münster| Innsbrucker Perspektiven zur Musikpädagogik 3