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Maria Wengler Eva Lechner - Aunt Martha "After Aunt Martha's passing, all her textile treasures went to meSpecial fascination for me were the dirndl fabrics she had hoarded in her flat. she had hoarded in herAunt Martha also left me two needlework textbooks from 1971 and a needlework book from the library.

These subjects are of central importance to me.What defines me as a person? What is my social interaction ability, my expression?I was lucky enough to be able to take a lot with me.For me, it is a great playing field to live out my own creativity and enthusiasm.

I studied in Salzburg with Michael Kofler and he wasn't much older than me.He, however, a few years before me.The two years in Berlin under Claudio Abbado were a paradise for me.Today, sports are an important balance for me. Sports make me more efficient and resilient.

An applicant in a wheelchair, with physical and speech impairments, wishes to study acting. Doubts among the teaching staff, uncertainty about how to interact with him, organisational hurdles – and yet the commitment not to judge too hastily, but to look more closely: at his enthusiasm for acting, his spontaneity, his ability to work in a group, and his sense of humour.

Christian Thielemann will kick off his teaching career as a university professor of orchestral conducting at the Mozarteum University in Salzburg with an inaugural concert on 10 October in Salzburg Cathedral. A conversation about passing on experience, serenity – and why young musicians should take their time.

The flutist and instrumental music teacher Sofiia Musina came to Salzburg to study at the Mozarteum University in April 2022. From 2017 to 2022, she studied at the Borys Grinchenko Kyiv University in Ukraine and obtained a Master's degree in ‘Master of Musical Art. Educational and Professional Programme: Musical Art’. She wrote her master's thesis on the Ukrainian composer Myroslav Skoryk.

I have found that it is good for me to focus on several things, as it keeps me mentally agile.Constantly stepping outside my own comfort zone is very important to me.All the influences, for example from jazz and pop, enrich me in my musical work.What was new for me was the creation of a work during rehearsals.

In this respect, this idea also fascinates me, yes.Yes, and then there's me.In any case, it suits me very well to tell a given story that on the one hand is understood by the peopleWagner or Mozart and try to explore their worlds and stay with them, even if they are filtered through me

But fortunately, a small agency has already heard me in the university productions at the Mozarteum.My teachers Horiana Brănișteanu and Wolfgang Holzmair prepared me well, taught me inner strength andFor me it was a very good time at the Mozarteum University.It already gave me a starting advantage over others.

Artistically, not much has changed for me.So pure loneliness has not yet overtaken me, but neither has overcreativity.was very missing and the compensation in nature or in the studio became all the more important for meHere and there stories are also inspirations for me - I am a collector.

For me it was a very important time because I learned a lot.Maestro Thielemann once said to me that as often as he looked at the stage, he always saw me (laughs)No, with me it was the other way around.For me personally, everything is still up in the air.

Judith Valerie Engel is an Austrian pianist, musicologist & feminist. After years of study in Salzburg, Helsinki and Vancouver, she is currently completing a PhD in Historical Musicology at Oxford University. She is a recipient of the Stone-Mallabar Doctoral Scholarship awarded by Oxford College Christ Church. She is also one of the ‘Public Scholars’ in the Public Scholars Initiative of the University of British Columbia. Both academically and artistically, her focus is on historical and contemporary women composers.

On 23 June, the Opera Studies Department at the Mozarteum University Salzburg will celebrate the world premiere of Agamemnon (Musical Director: Gernot Sahler; Director: Alexander von Pfeil). The commissioned work was created by the young Slovenian composer Vid Ožbolt, who is currently studying composition with Sarah Nemtsov. In a conversation with the composer and with set and costume designer Laura Trilsam, a student in the Department of Scenography, we take a look behind the scenes and at the creative process behind the production.

That carried me through a lot. There were deadlines, I worked, of course I earned money.Teaching has carried me through this time.It helped me to accept the situation then. But it took quite a long time.For me, streaming and all the online concerts are not an alternative.

Through my geography studies, excursions were always very important to me.I noticed that this work gives me a lot of pleasure and I "tasted blood", so to speak.It was and is always important to me to show and establish my art internationally.For this purpose I constructed a light system for the harp, which enables me to play in the dark.

For me, the political repression became a splendid isolation with love.Art for art's sake interests me at most as a consumer.This led me to my most successful cycle of work, KLONES.This helps me to allow my innermost self to emerge.