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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

News … Home News The Last Works: Mozart's Requiem & Minuets from 1791 The Last Works: Mozart's Requiem & Minuets from 1791 04.10.2021 Press release © Universität Mozarteum The Mozartforum of the Mozarteum University, recently awarded the Salzburg Cultural Poster Prize 2021 for "1791", dedicates itself in 2021 to a reconsideration of those works that W. A. Mozart composed in 1791, the last year of his life. Two world premieres are on the program in October. Mozart Forum 1791: A discussion with direct bridging: The University Mozarteum's responsibility for Wolfgang Amadé Mozart gave rise to the founding of a forum committed to networking and stimulating Mozart-related activities of all institutes and departments of the university. The motto 2021: 1791 -  Mozart's year of death, which this year marks the 230th anniversary. All works composed by W. A. Mozart in the last year of his life were to be performed. After a large part of the events in the summer semester 2021 could not take place due to covid, the Mozartforum starts a new attempt with the beginning of the winter semester. Right at the beginning, two world premieres are on the program, which close the circle between yesterday and today and are to be understood as a bridge into the year 2021. Luft und Fleisch (world premiere) October 8 & 9, 2021, 8 p.m., Theater im Kunstquartier, Paris-Lodron-Strasse 2a Is there something timeless to be found in the structures of Mozart's dances, which are now 230 years old, that still moves us today? Mirjam Klebel (concept and choreography), Alexander Bauer and Oscar Jockel (composition & conception) together with students of the Thomas Bernhard Institute create a cross-disciplinary scenic theater evening with new music for chamber orchestra and electronics as well as Mozart's minuets from 1791. "Air and Flesh" is an experiential space in which archetypal sound forms collide and unexpected lines of connection between music and dance culture of the past and present are explored. Conductor: Ruben Hawer, Historical Dance: Margit Legler, Equipment: Thorben Schumüller Requiem in D minor (KV 626), Ave Verum Corpus (KV 618) Sunday, October 10, 2021 at 6:00 p.m., Mülln Parish Church, Augustinergasse 4 With the Requiem with Ave Verum Corpus, the choral concert in the baroque Mülln Parish Church is dedicated to the last work of W. A. Mozart, over whose writing he died on December 5, 1791. Conducted by Jörn Hinnerk Andresen and students of his class, the concert is a reflection of the work, which not only understands the Requiem as Mozart's proverbial final chord that has remained incomplete, but also opens up entirely new perspectives with original instruments and a bridge to the year 2021. With: Mozarteum vocalEnsemble, Mozarteum Chamber Choir and Chamber Orchestra, vocal soloists, musical rehearsal and overall direction: Jörn Hinnerk Andresen The Mozart Forum offers a variety of starting points and points of departure for reflection. Due to the participation of students, mainly young musicians are on stage - a special feature and motivating factor. A manifestation of this idea can be found in the design of a poster (concept: Gernot Sahler, design: Gerhard Andraschko-Sorgo / Studio Linie 3), which was published to accompany a bibliophile yearbook. This poster for the Mozartforum 2021, which features a unique look with a mirrored surface and "1791" sprayed in magenta, won this year's Salzburg Cultural Poster Award.   The further program of the Mozartforum 2021: November 9, 2021 at 7:00 pm, Solitär Piano Recital With Piano Variations, Works for Mechanical Organ and Adagio for Glass Harmonica   November 19 & 20, 2021, Mozarteum University 2-Day Symposium on 1791 In cooperation with the Department of Musicology and the Institute for the History of Musical Interpretation and Reception   November 19. November 2021 at 7 p.m., SolitärConcert: New Music Opening event in the framework of DIALOGE 2021 with 5 world premieres Under reservation: November 19, 2021 at 9 p.m., Foyer Costume ball Minuets and contredanse dances from 1791 in historical choreography and costumes

News … Home News Boundless musical Thomas Reif: Boundless musical 09.10.2021 Interview Sandra Steindl © Andrej Grilc At the age of 26 he is concertmaster of the Bavarian Radio Symphony Orchestra, at the same time on a "Misión Tango" with his Cuarteto SolTango. Now the native of Rosenheim Thomas Reif (30) takes a professorship for violin at the Mozarteum University. MO: At 26, concertmaster of the BR Symphony Orchestra. What was that like for you? Thomas Reif: I always wanted to become concertmaster, so I worked towards it and it was great when it worked out, of course - but also intense. We were on tour with Cuarteto SolTango at the time and had to postpone a concert by one day so that I could play the audition in Munich. After three tango concert evenings I had the hearing - and the next day we played a tango concert at the Bayrischer Rundfunk. (laughs) That was a funny coincidence and of course super, but also stressful. mO: Where we are already in the middle of the topic. You are at home in classical music, yet you overcome musical genre boundaries effortlessly. How do you manage that? Thomas Reif: Playfully. (laughs) Actually, it started in my childhood. I never did only classical music, because I've always had an interest in a wide variety of music. I didn't know the Argentine tango of the Golden Era, that is, the one that predates Astor Piazzolla, when Cuarteto SolTango approached me in 2016. But Martin Klett (piano), Karel Bredenhorst (cello) and Andreas Rokseth (bandoneon) are great musicians, so I had to give it a try - and so far I'm enjoying the tango insanely, because it's great music. But I'm also very interested in baroque music and I'm learning this repertoire piece by piece. Anyway, I'm not a violinist who plays only one or the other. I am a violinist, and I make music. mO: Would you like to see a more liberal approach to music in general? Thomas Reif: Well, I too have traditionally done all my studies what many others do and aspire to do. The fact that my path has worked out is, of course, fortunate. But it's not particularly alternative, even if I do break out a few with SolTango. In any case, I would like to teach my students to take their liberties. You don't have to do a competition every year during your studies, and then either be a soloist or join an orchestra. You can also devote yourself to other things. Basically, it's about thinking about other, new concepts in the art of classical music, including interdisciplinary and interdisciplinary approaches. But this "breaking open" already begins where a competition allows you to play something other than Bach, or where the intermediate examination allows something else, or where the professor does not insist on playing only Bach. Tango is a good example.   MO: What are your plans for your own professorship? Thomas Reif: Of course I want to be a good teacher - with everything that goes with it. Getting to know the students and building a good relationship with them so that I can help them in the best possible way to achieve their personal goals, recognize weaknesses and work on them. If someone wants to join an orchestra, the ideal preparation for auditions is the goal. If someone wants to work on new repertoire and remain a soloist or simply freelance and be creative, I find that exciting as well. My way is certainly not the only right and possible one. The important thing is to stay with yourself and do the things that bring you joy. mO: You came to the Pre-College of the Mozarteum University at the age of 12, studied here with Bruno Steinschaden and Harald Herzl, before going to Hamburg for your bachelor's degree and then to Berlin for your master's degree. What is it like for you to return here? Thomas Reif: Entering the building and also Harald Herzl's room for the first time to teach here myself was already something special and an intense déjà vu - it even still smells here like it did back then. In any case, the Mozarteum is not just any university for me. I commuted here for seven years, lived here for a year, played my first solo concert with orchestra here, I still know some of the porters from my studies, was awarded the "Sir Ian Stoutzker Prize". That was already a very formative time. mO: Speaking of the prize - how did you feel about your musical career itself? Were there particular highlights or, conversely, did you also have crises? Thomas Reif: Yes and yes. In any case, it was always exciting. And new things came along little by little, like this professorship now. In the context of competitions, the Queen Elisabeth Competition in Brussels was definitely a highlight. Together with 11 others, I made it to the finals at that time, for which we prepared for eight days in a "chapel" with no contact to the outside world, no cell phone and no computer. That was a unique experience. This competition was also very important for the time afterwards, as I was able to network well there on an international level. At the same time, however, I finished my bachelor's degree and started my master's in Berlin - and that was then a time of crises of meaning and play, because there I felt like a wimp who was being given another good wringing. I was just practicing and at the same time had the feeling that I couldn't play anymore. To get from here to there, you have to go through this valley. You have to break everything down and analyze it, and it gets worse at first, while at the same time your hearing becomes more sensitive. That's terribly exhausting, but enormously important because it's worth it. I learned that in my master's degree - and I'm still benefiting from it today. mO: What do you wish for the future of classical music, including your own concerts? Thomas Reif: Classical music should first of all be about breaking down conservative pigeonholes and labels. For example, if the audience claps between movements, then I'm happy - because that's the most honest and quickest reaction I can get. Historically, that's how it's always been done, too. People who sit in concert and "shush" declare the last 100 years to be the one truth. But in the time before that, the mood at classical concerts was similar to the mood at a jazz concert today. Anyway, these are rules that my friends shy away from - they feel uncomfortable all evening long, even though they actually find the music beautiful. Is it okay to take pictures? Is it okay to stand up and move around? Is it okay to clap when you feel the impulse? I would argue that many young people find classical concerts boring only because they are put off by the setting in which they take place. I think we need to loosen up about these things. You don't have to change the content of the music for that, because it's good.   Cuarteto SolTango Misión Tango CAvi, April 2021   The text originally appeared in the October 2, 2021 Uni-News of the Salzburger Nachrichten. More News Dreamy, gestural, interwoven, humorous - or a chaotic hustle and bustle 14.4.2025 Dreamy, gestural, interwoven, humorous - or a chaotic hustle and bustle  Tina Geroldinger, a young Austrian composer, and Maurycy Hartman, clarinettist and founding member of the Ensemble for Contemporary Music, in conversation about the new ensemble, opportunities and possibilities for contemporary music in the current music world and about special moments that arise when people engage intensively with each other musically. Interview Braver than before - Mariia Tkachenko 8.4.2025 Braver than before - Mariia Tkachenko  Mariia Tkachenko lived in Kyiv until March 2022, where she received singing and violin lessons as a child and has already appeared in several TV productions. Her acting studies at the I. K. Karpenko-Karyi Kyiv National University of Theatre, Cinema and Television were interrupted by the war in Ukraine. Alumnae & Alumni Stories Ö1 Talent Exchange: Composition Prize 2025 28.2.2025 Ö1 Talent Exchange: Composition Prize 2025  The Ö1 Talentebörse Composition Prize in the amount of 10,000 euros is awarded by Ö1 and the Oesterreichische Nationalbank (OeNB) and will be announced for the tenth time in 2025. The composition prize is a composition commission for a chamber music work, which may also include electronics. Open Call Arieta Liatsi receives the Paul Roczek Award 2024 23.1.2025 Arieta Liatsi receives the Paul Roczek Award 2024  Every year, the Mozarteum University honours students majoring in violin who have shown particular talent and achievement with the Paul Roczek Award, which is endowed with 10,000 euros. The winner of the Paul Roczek Award 2024 is Arieta Liatsi. Awards & Successes

News … Home News Georg Philipp Telemann: Don Quixote Georg Philipp Telemann: Don Quixote at the wedding of Comacho 19.01.2019 Opera production © Christian Schneider Skip page navigation Overview About production Dates & Cast Other productions Return to slider start Don Quixote is the story of someone who cannot bear the monotony and small cruelties of everyday life. Therefore, he flees to a fantasy world much larger and more exciting than his reality could ever be. The novel by Miguel de Cervantes, whose life has many parallels with the adventures of his hero, is world literature. In the anarchic epic is also found the episode of the participation of the knight Don Quixote and his squire Sancho Panza in the wedding of the Comacho.  Musical Director Kai Röhrig Scenic Director Diana Merkel Stage Anna Schöttl Costumes Anna Wunderskirchner, Sebastian Helminger & Department for Scenography Dramaturgy Yvonne Gebauer Music Chamber Choir & Choir Ensemble of the University Mozarteum About production The then 20-year-old Hamburg poet Daniel Schiebeler liked this scene so much that he worked it into an opera one-act together with Georg Philipp Telemann, who was sixty years older. At an age when others had long since retired, the eighty-year-old Telemann began a second creative springtime. He enthusiastically took up the genre of the Singspiel, which was just coming into vogue, and created a brilliantly comic late work with Spanish color and full of ravishing arias and ensembles. Dates & Cast Performance dates 19. January 2019, 17.00 21. January 2019, 19.00 max Schlereth Hall   Cast DON QUICHOTTE: Felix Mischitz SANCHO PANSA: Di Guan COMACHO: Tolga Siner PEDRILLO - GRISOSTOMO: Zsofia Mozer QUITERIA: Dares Hutawattana BASILIO: Sascha Zarrabi Other productions 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 Giuseppe Verdi: Falstaff 20.5.2024 Giuseppe Verdi: Falstaff  Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly. Opera production Elegy for young lovers 31.1.2024 Elegy for young lovers  "What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?" Opera production Wolfgang Amadé Mozart: Così fan tutte 21.5.2023 Wolfgang Amadé Mozart: Così fan tutte  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. Opera production More news

News … Home News Jacques Offenbach: Les Contes D'Hoffmann Jacques Offenbach: Les contes d'Hoffmann 10.05.2019 Opera production © Judith Buss Skip page navigation Overview About production Dates & Cast Other productions Return to slider start Les amours fous - with the doll, the terminally ill girl who is not allowed to sing, and finally with the courtesan Giulietta in the shallows of the Venetian demimonde - pervade the narrative that begins when the punch is lit..  Musical direction Gernot Sahler (10.5. / 11.5. / 13.5.) Shun Oi (14.5.,1st and 2nd act) Giulio Cilona (14.5., 3rd act) Ruben Hawer (14.5., 4th and 5th act) Stage direction Alexander von Pfeil Stage & Costumes Lisa Behensky, Theresa Staindl Dramaturgy Malte Krasting Chorus direction Stefan Müller About production Opera fantastique by Jacques Offenbach - Libretto by Jules Barbier after the drama by Jules Barbier and Michel Carré Jacques Offenbach - given the honorable title "Mozart of the Champs-Elysées" by Rossini - worked intensively on "Les Contes d'Hoffmann", marked by illness and in a race against death. When he died on October 5, 1880, he left behind an enormous torso of various versions and sketches. The attempts of his contemporaries to reconstruct the work and bring it to performance turn into something adventurous themselves: a theater burns down, parts of Offenbach's autograph fall victim to the flames, decades later versions thought to be lost reappear, even an entire finale that ends the Giulietta act completely differently than previously assumed. Thus, a kaleidoscope of possibilities opens up for each reinterpretation. The subject is actually based on tales by E.T.A. Hoffmann. "Here, place and hour are themselves ghosts and spirits. People live locked in them until they suffocate. " (Theodor W. Adorno) The opera class of Alexander von Pfeil and Gernot Sahler brings the work to the stage of the Mozarteum in a condensed and pointed version, concentrated on material that has been safely handed down. Dates & Cast Performance dates 10. May 2019, 19.00 11. May 2019, 17.00 13. May 2019, 19.00 14. May 2019. 7.00 p.m max Schlereth Hall   Cast Hoffmann: Nutthaporn Thammathi (10.5. / 13.5.) Gabriel Arce (11.5. / 14.5.) Lindorf/Coppélius/Miracle/Dapertutto: Daniel Weiler (10.5. / 13.5.) Konstantin Riedl (11.5. / 14.5.) Nathanae¨l/Spalanzani/Schlémil: Benjamin Sattlecker (10.5. / 13.5.) Kristjan-Jaanek Mölder (11.5. / 14.5.) Crespel: Clemens Joswig (10.5. / 13.5.) Oscar Marin-Reyes (11.5. / 14.5.) Andrès/Cochenille/Frantz/Pitichinaccio: Johannes Hubmer (10.5. / 11.5. / 13.5. / 5/14) Olympia: Ornella de Luca (5/10 / 5/13) Marie-Dominique Ryckmanns (5/11 / 5/14) Antonia: Sejin Park (5/10 / 5/13) Anne Reich (5/11 / 5/14.) Giulietta: Ays¸e S¸enogul (10.5. / 13.5.) Bryndís Guðjónsdóttir (11.5. / 14.5.) La Muse/Nicklausse: Maria Hegele (10.5. / 13.5.) Vera Maria Bitter (11.5. / 14.5.) La Voix de la Mère: Ekaterina Bocharova (10.5. / 13.5.) Inês Constantino (11.5. / 14.5.) Chorus: Delia Bachler, Solitaire Bachhuber, Anna Baumgartner, Valentin Bedrich, Ines Rocha Constantino, Alicia Grünwald, Lala Hajili, Marianna Herzig, Donata MeyerKranixfeld, Margarita Polonskaia, Mats Hendrik Roolvink, Sandra Šarikovait, Dominik Wolfgang Schumertl, Serafina Starke, Laura Thaller, Emil Ugrinov, Dariel Ugrinov, Juan Villanueva Other productions 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 Giuseppe Verdi: Falstaff 20.5.2024 Giuseppe Verdi: Falstaff  Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly. Opera production Elegy for young lovers 31.1.2024 Elegy for young lovers  "What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?" Opera production Wolfgang Amadé Mozart: Così fan tutte 21.5.2023 Wolfgang Amadé Mozart: Così fan tutte  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. Opera production More news

News … Home News Joseph Haydn: Il Mondo Della Luna Joseph Haydn: Il mondo della luna 21.06.2019 Opera production © Christian Schneider Skip page navigation Overview About production Dates & Cast Other productions Return to slider start Even though the genre designation "science fiction" only began to establish itself from 1929 onwards, it is fair to say that Joseph Haydn had already dared to take a look into space, or more precisely at the moon, 150 years earlier with his comic opera "Il mondo della luna"... Musical direction kai Röhrig Scenic direction karoline Gruber Stage & Costumes marion Käfer & Egon Stocchi Dramaturgy ronny Dietrich Music chamber Orchestra of the Mozarteum University About production Haydn's fantasies about life on the distant planet with beguiling birdsong, divinely dancing nymphs and, above all, women deeply devoted to their husbands may be far removed from the reality explored in 1969 with the first moon landing, but the longings projected into that distant world are decisive. In Haydn's opera, Buonafede, widowed and plagued by two nubile daughters, dreams of being able to cast off all earthly heaviness and lead a different life in an ideal world that corresponds to his dreams. The fact that in the end his flight to the moon turns out to be a fiction created by humans, which only served to satisfy their own interests, opens up dimensions worth considering. Dates & Cast Performance dates 21. June 2019, 19.00 22. June 2019, 17.00 24. June 2019, 19.00 25. June 2019, 7.00 p.m max Schlereth Hall   Cast ECCLITICO: Sascha Zarrabi BONAFEDE: Felix Mischitz CLARICE: Wendy Krikken , Hyun-jung Hwang LISETTA: Zsofia Mozer FLAMINIA: Mariya Taniguchi, Dares Hutawattana ERNESTO: Tolga Siner, Hyunsik Ko CECCO: Niklas Matthias Mayer Other productions 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 Giuseppe Verdi: Falstaff 20.5.2024 Giuseppe Verdi: Falstaff  Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly. Opera production Elegy for young lovers 31.1.2024 Elegy for young lovers  "What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?" Opera production Wolfgang Amadé Mozart: Così fan tutte 21.5.2023 Wolfgang Amadé Mozart: Così fan tutte  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. Opera production More news

The management of the Mozarteum University has succeeded in acquiring an endowed professorship for the first time. This is an entirely externally financed university professorship in violin awarded to an internationally outstanding artistic personality. Maxim Vengerov, one of the world's most celebrated violinists, is coming to Salzburg to work at the Mozarteum University for three years from the beginning of the winter semester 2019/20. The public is invited to experience his masterclasses on October 14, 2019 in the Solitär and on December 9, 2019 in the Great Hall of the Mozarteum Foundation.

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 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 Giuseppe Verdi: Falstaff 20.5.2024 Giuseppe Verdi: Falstaff  Sir John Falstaff is a natural phenomenon: his appearance is imposing, his demeanour commanding, his manner possessive. And most fascinating of all: the event does not care about rules, conventions or decorum, it simply exists for its own sake, in a sense for nothing but its belly. Opera production Elegy for young lovers 31.1.2024 Elegy for young lovers  "What qualities must a person possess in order to dominate both dramaturgically and vocally in an opera?" and "What must a man of mature age look like who is in close relationships with a crazy old lady, a young girl and a doctor at the same time?" Opera production Wolfgang Amadé Mozart: Così fan tutte 21.5.2023 Wolfgang Amadé Mozart: Così fan tutte  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. 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.  

The 1st prize in the piano division (Bösendorfer Prize), the "Audiodata Audience Award" and the special prize for the best interpretation of a work by Wolfgang A. Mozart went to the Austrian Elisabeth Waglechner, who studies with Stefan Vladar at the University of Music and Performing Arts in Vienna, where she was accepted into the highly gifted course with Alma Sauer at the age of 12 and studied with Christopher Hinterhuber.

News … Home News "Opera Out Of Opera" as a guest at Europark Salzburg Opera Out Of Opera as a guest at Europark Salzburg 17.02.2020 Press release What do Fiumicino Airport in Rome, the beach of Paralía Palaiou Falhrou Mpatis in Athens, the Spanish city of Pamplona and Europark Salzburg have in common? They form the backdrops of "Opera out of Opera" - a Europe-wide, interactive live concert format that puts opera right in the middle of people's colorful everyday lives. Opera out of Opera Where Europark Salzburg When March 7, 2020, 3:30 p.m. Artistic Director Mario Díaz Orchestra : Symphony Orchestra of the University Mozarteum Salzburg With Ayse Senogul (soprano), Nutthaporn Thammathi (tenor) and guests Mozart or Rossini instead? With an app accompanying the concert, the audience can vote en passant live on the program and find out about composers and their works. On Saturday, March 7 at 3:30 p.m., the young musicians from five countries will make a stop at Europark Salzburg. Audience development 2.0 for opera Dusty and elitist - opera away from the classical cultural scene sometimes has to contend with these prejudices, especially among younger generations. "Opera out of Opera," a transnational project of five European music institutes funded by Creative Europe, tackles precisely this issue: With an innovative concept - a mix of unusual performance venues, concert-accompanying interactive app, video wall as well as work abridgements through simplifications and medleys also in non-original language - it aims to inspire a new, young audience for opera. The first samples of the concept have already been seen at Fiumicino Airport in Rome, on the beach at Paralía Palaiou Falhrou Mpatis in Athens and in Pamplona. "The success was phenomenal, people were enthusiastic," said Mario Diaz of the University Mozarteum Salzburg. "We even managed to attract the attention of stressed travelers at the airport in Rome - not really terrain for opera at all - and make people linger and marvel. A busy airport hall was suddenly filled with great sounds, the atmosphere was unique." Accompanying voting app with background info To involve the audience in the performances and share knowledge about the composers, the works and the musicians, an "Opera out of Opera" app was specially developed for IOS and Android in German, English, Italian, Greek and Spanish. With this app, spectators can have a say in which pieces are performed via live voting. If the concert has already started, the app provides information in a live ticker about which piece of music is currently being performed. "In Rome, we first announced the project in a short speech and pointed out to also download the app and vote. It didn't take long before the spontaneous listeners were interactively in the middle of the concert action. And they stayed - listening, fascinated, spellbound, carried away from everyday life into another fantastic world full of sounding emotions, presented by young musicians for young people, but also across generations, of course, for everyone who enjoyed listening," says Mario Diaz. Project partners, musicians from five countries For the planning, coordination and implementation of "Opera out of Opera" five European music institutions have networked with each other: Under the leadership of Mario Diaz, the University Mozarteum Salzburg takes care of the overall artistic direction, the Conservatorio Santa Cecilia Rome acts as the main coordinator, the Chamber Opera Association of Navarra in Pamplona is responsible for the virtual design, live electronics and visuals, the Athens-based Art-On Petite Opera du Monde for the dramaturgy and the European Association of Conservatoires (EAC) in Brussels for marketing and communication. The musicians, students and alumni of the respective music institutes, also come from all five countries in a changing cast, while the opera singers are part of the fixed ensemble in each of the venues: Ayse Senogul (soprano) and Nutthaporn Thammathi (tenor) from the Mozarteum University in Salzburg, Désirée Giove (soprano), Giacomo Nanni (baritone), Chihiro Hachiya and Sang Jin Jang (bass) from the Conservatorio Santa Cecilia in Rome and from the Art-On Petite Opera du Monde in Athens Marita Paparizou (mezzo-soprano) and Antonis Koroneos (tenor). A project with a future After the end of the first project tour in Salzburg, all acquired data and reactions will be evaluated and analyzed by an external partner before the project "continues to go out into the world to inspire young people for classical music and opera through a new way and to enter unconventional spaces," says Diaz. A social contribution on an international, European level, with comrades-in-arms from all over the world, from different cultures and religions, burning for the one thing: music, a language that needs no words and that has the power to unite peoples and connect generations.

This year's Opus Klassik in the category "Instrumentalist of the Year" goes to Mozarteum professor Dorothee Oberlinger - for her recording "Night Music" with the Sonatori de la Gioiosa Marca (dhm/Sony Music). The OPUS KLASSIK is the successor prize to the ECHO, which the recorder virtuoso has already won three times since 2008.

Matthias Bartolomey has been professor of concert violoncello at the Mozarteum University since October - and he has a lot planned for the future, starting with a course on progressive playing techniques in addition to repertoire teaching, which combines his diverse chamber music and soloist experience with new, intuitive improvisational approaches.

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.

Mozart's „Le nozze di Figaro“ will celebrate its premiere on 18 June in the Max Schlereth Saal at Mozarteum University. The director of the production, Alexander von Pfeil, and set designer Thorben Schumüller talk about the creation process, inspirations and the opera's major themes: hierarchies, power relations, gender roles...

Senior Lecturer for Trumpet