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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

Oscar Jockel, a master's student in orchestral conducting at the Mozarteum University, has won first prize in the competition for the assistant conducting position with the Berliner Philharmoniker. Jockel will serve as assistant conductor to the Berliner Philharmoniker and principal conductor Kyrill Petrenko for one year beginning in the fall of 2022. In addition, he will spend two years as an academician at the Karajan Academy and present his own portrait concert.

News … Home News The Mystical Reality of Rosamund Gilmore The Mystical Reality of Rosamund Gilmore 11.12.2021 Interview Sandra Steindl On December 15, the operetta "Orpheus in the Underworld" will be recorded at the Mozarteum University. A conversation with the renowned director Rosamund Gilmore about Jaques Offenbach, her first production at the house and her very own "style". MO: In 1858, Jaques Offenbach wrote to his librettist Ludovic Halévy that the idea of making Olympus like our own Earth had always fascinated him. You too? Rosamund Gilmore: Offenbach certainly implemented this idea very lovingly and with great knowledge of human nature! Since the gods are an invention of man anyway, it naturally seems obvious that they have very human traits. The contrast between arrogance, perfection, status and what often goes on behind the scenes in families at the same time forms a delightful material. And that's what this play is about, in which people and their gods intermingle. In this respect, this idea also fascinates me, yes. (laughs) MO: "Orpheus in the Underworld" is your first opera production at the Mozarteum University. How did you set up the piece? Gilmore: The gods are in the middle of the action almost from the beginning to the end, even if they don't play a role in a scene at the moment - they observe and comment. The space is very open, you can see the orchestra and the gods are sitting in the audience. That is, we used the stage as a picture - great job by Jiale Zhu, by the way - but only to show situations and venues. The world of the gods is white and clean and heaven-like. Hades, on the other hand, shows up colorful, crazy, fantastic. As soon as the gods descend into the underworld, they naturally find pleasure in it, because in reality they are bored to death in heaven. And therein lies the Offenbachian persiflage. In general, everything seems very funny and ambiguous, which is probably a sign of the time in which Offenbach was writing. Sexuality is not really explicitly expressed, but certain words and expressions are so specifically placed that you know exactly what you are talking about. MO: How would you describe your work or your style? Gilmore : In general, there are really only two ways for directors* to direct: realistically and supposedly naturalistically, which often means simply placing characters in a "realistic" setting that the audience will recognize. Then there is a style of directing that works very conceptually and likes to turn the plot on its head to play with the psychology of the characters. It is mostly used by theater directors and is called director's theater. Yes, and then there's me. (laughs) Of course I have a style too, but I'm not a Bob Wilson who puts "Bob Wilson" on everything, even though he does beautiful, great things and that doesn't mean that every play is the same at all - his style, however, is always the same. In contrast, I don't project my style onto a piece. I rather use it on my way - of course coupled with that world view I just have. In any case, it suits me very well to tell a given story that on the one hand is understood by the people sitting in the auditorium, but at the same time lets them confront and reflect on themselves. In that sense, I take a little bit of everything and call it "Mystical Reality." There is always a realism in my productions and also the people are clearly recognizable, you can see their emotion. Nevertheless, this realism is usually on the brink and seems a bit skewed. The reality on stage has to fit the psychology of the characters. Something like that. (laughs) Anyway, I worked as a dance theater writer for 14 years. I know Gilmore - and therefore prefer to devote myself to others. I want to get to know Wagner or Mozart and try to explore their worlds and stay with them, even if they are filtered through me. It remains their works. MO: You trained in classical ballet and in 1979, together with composer Franz Hummel, founded the "Laokoon Dance Group," which you established with pieces such as "Egmont Trilogy," "B Minor Mass" and "Bluebeard." When did you first become interested in opera? Gilmore: Basically, I came to opera through well-known contemporary composers who kept asking me to direct for them. So one thing led to another and suddenly it was classical opera. In any case, whether in dance or opera, I always want people in my pictures who use their whole body. How does a person feel when he mourns a lost love? How does he stand, how does he walk, how does he sit? How is his expression … I think that is essential. Because the audience immediately feels authenticity and can read it. Also in my choreographic career, inspired by Pina Bausch, it was always about how far you can lower the dance to express the emotion in the dancer. Dance for me has never been decorative or athletic, although at the same time it is always athletic because dancers have to do incredibly strenuous things. To develop the same principle with opera singers I found immensely appealing. And this approach has often helped the singers a lot. MO: You are considered one of the most distinguished directors for the classical opera repertoire, especially for contemporary music theater. What distinguishes working at a university from working at repertory houses? Or in other words, what makes working with students appealing? Gilmore: The discipline and concentration among the students is fantastic, the enthusiasm high. They are eager to play, very open to my work and don't come with role models of how they want to be. Offenbach, of course, contributes to the great atmosphere we've had this semester. It is an operetta, a joyful piece with joyful voices. Anyway, I am thrilled with the class - they are reaching professional levels, no question! And grateful that they were able to go through the learning process of how a professional opera production goes from A-Z, despite Corona. Yes, and I also experience the collaboration with Kai Röhrig as great. He really works for the students. You just have to remember that singers are often under enormous pressure in a repertory house because they sometimes have to learn up to six roles in a season. Stage rehearsals are often done on the back burner, which I fully understand. It's great to work with fantastic singers who know their roles inside out, who have specialized - because you find real partners in them, and I enjoy that. Nevertheless, I enjoy having a little more leeway. And I need to be needed. Discovering a work together with students is something wonderful. (First published in the Uni-Nachrichten / Salzburger Nachrichten on December 11, 2021) Jaques Offenbach: Orpheus in the Underworld 19.12.2021 Jaques Offenbach: Orpheus in the Underworld  Opera production 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 New ORIGO folk music festival 10.4.2025 New ORIGO folk music festival  Three days of singing, dancing and making music: From 24 to 26 April, the new ORIGO festival celebrates folk music in its lively and constantly changing form at the Mozarteum University and in the city of Salzburg - and thus sees itself as a platform that not only preserves folk music, but also makes it possible to experience it in all its dynamism and creativity. Press release 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 Awards & achievements (german only) 1.4.2025 Awards & achievements (german only)  Awards & Successes More news

The latest volume in the publication series "klang-reden" by the Institute for the History of Musical Reception and Interpretation is a plea for empirical repertoire research - and opens up new perspectives on Mozart.

Laure M. Hiendl has been an assistant professor* of composition at the Mozarteum University since 2021, and her new piece is a harbinger of a festival to be held in Nuremberg in July 2022.

A portrait of the legendary composer Helmut Lachenmann and a conversation with Johannes Maria Staud about the planned Helmut Lachenmann Days at the Mozarteum University.

Our students Vivi Vassileva and Richard Putz are the winners of this year's Prix Iannis Xenakis. The prize, established by the Schleswig-Holstein Musik Festival in cooperation with the percussion class on the initiative of Martin Grubinger, promotes young percussion soloists and is intended to pave the way to the major concert halls and international music festivals. The participants had to conceive an extensive solo recital concert and present it in front of a 6-person jury.

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.