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First Vice-Chair of the Students’ Union

Chair of the Students‘ Union / Second Vice-Chair of the Senate

Addresses and contact details of the Mozarteum University at the Salzburg and Innsbruck locations as well as the most important contact persons of the service departments.

About us … Home About us X-Reality-Lab X-Reality-Lab Skip page navigation Overview About us Projects Funding organizations People Return to slider start The X-Reality Lab is a unique infrastructure that opens up opportunities for students, researchers and developers to experiment with projection-based virtual reality and a new scope for interactive X-Reality. ContactBernhard Winkler Funded by the FFG. Co-financed by the ERFE programme of the European Union. The X-Reality-Lab has a hexagonal floor plan with a floor area of 165 square metres and a room height of 8 metres. Five of the six walls and the floor are fully equipped with state-of-the-art 3D projectors to create impressive visual effects. Behind the projection surface is a sophisticated speaker system with loudspeakers and subwoofers, which creates an immersive audio-visual experience by combining real-time 3D images and 3D surround sound. The room is equipped with combinable optical sensors and tracking systems to follow and identify people, objects and robots, creating a highly interactive environment.  Significant parts of the X-Reality Lab's equipment are funded by the FFG and co-financed by the European Union in the EFRE programme. Further information on the IBW/EFRE- & JTF programme can be found at www.efre.gv.at  Projects The X-Reality-Lab is currently being built at a new location of the Mozarteum University at the Kurgarten. Numerous projects are already being planned ahead of the planned opening at the end of 2025, which are being prepared and applied for together with regional and international partners from research and industry. If you are interested in a collaboration in the field of X-Reality or Artificial Intelligence in Art, please contact us (christopher.lindinger@moz.ac.at or bernhard.winkler@moz.ac.at). Funding organizations Skip slider Jump to slider start People Skip slider Christopher Lindinger Christopher Lindinger Univ.-Prof. for Digital Humanities in the Arts Deputy Head of Institute Faculty Claudia Lehmann Claudia Lehmann Univ.-Prof. for Film Art & Visual Communication Head of Institute Faculty Curriculum Committee Bernhard Winkler Projektleitung Employee Agnes Maria Ilona Czernin-Kinsky XR Engineer Employee Jump to slider start

Here you will find all official notices and announcements of the Mozarteum University.

Contact to fellow students and teachers, information about events and university life, further education and service offers - all these are the advantages of a membership in the alumni network of the Mozarteum University.

News … Home News David Steffens David Steffens - bass 01.08.2019 Alumnae & Alumni Stories Iris Wagner © Matthias Baus Skip page navigation Overview Conversation More portraits Alumnae & Alumni Network Return to slider start The path to becoming an opera singer: Bass David Steffens was awarded the Lilli Lehmann Medal of the International Mozarteum Foundation in 2011 at the end of his vocal studies at the Mozarteum University. in 2010 he made his debut at the Salzburg Landestheater, and in 2018 at the Salzburg Festival. He talks about the love for his profession and the beginnings of a career as an artist. David Steffens: bass Germany     You performed in three productions at the Salzburg Festival this summer. How did it feel to be a "Festival artist"? When you study at the Mozarteum University in Salzburg, it's naturally a big dream to move to the other side of the Salzach one day. After the Young Singers Project 2012, last year I was invited for the first time by the Salzburg Festival to take on the role of the Fifth Jew in the Strauss opera "Salome." That obviously pleased them, and this year I was allowed to participate in George Enescu's "Œdipe," in the revival of "Salome," and at short notice also in Mozart's "Idomeneo." Was this short notice stressful? Well, I found out about an hour before the performance that I could sing, and I received the sheet music ten minutes beforehand. Of course there's stress involved. But the adrenaline is high at such a moment and it was very nice. Above all, it was great to get to know musical director Teodor Currentzis in this way. You have been a member of the ensemble at the Stuttgart State Opera since the 2015/16 season. Your first impressions? I was fortunate in Stuttgart in that the singers are continuously built up. I started with relatively manageable roles and was approached for a first leading role after the premiere season with "Figaro." You can learn new roles at a large theater like Stuttgart and have perfect working conditions, a wonderful orchestra and a great choir. Nevertheless, as an ensemble singer you are protected and can also try things out. And what was the path there like? After graduating from the Mozarteum, I first went to the Zurich Opera Studio, then moved to the Stadttheater Klagenfurt am Wörthersee for two wonderful years. There, too, I was lucky enough not to be "sold out" as a young singer. Often, up-and-coming singers have to master big roles that they are not yet up to, but in Klagefurt I had enough time to develop in peace. You have to get to know yourself in the first few years, in order to realize where your voice hangs out, what your voice can do, and in what repertoire you feel comfortable. Of course, you want to work as much as possible from the beginning and be universally applicable, but you also have to know your strengths - and those can often only be found out on stage. Did you plan and organize your career yourself, or do you need an agency? I took part in several auditions while I was still a student and traveled halfway across the country to northern Germany without things working out right away. That can be a pretty frustrating time and you ask yourself: is this really the right thing I'm doing? But fortunately, a small agency has already heard me in the university productions at the Mozarteum. Usually the way it works is that an agent proposes you to ten, twenty houses and you get invited by some of them to audition. Without anyone in the background, it's incredibly difficult to get into the large and small theaters - they have hundreds of blind applications on the table. What specific advice would you give to young graduates? I think the best way to get started these days is to join an opera studio at a good theater. There you have the opportunity to audition for agencies, get to know conductors and build up a network. You also have to have the courage to introduce yourself to as many people as possible, to write to people and approach them. What could be worse than not getting a response? Conversely, an invitation to an audition is already the first step. And often, after five or six years, someone does remember you. In your home country of Germany, there is even support from a public agency, the ZAV Artist Placement Office of the Federal Employment Agency… Yes, the ZAV helped me a lot. At that time, they also came regularly to audition at the Mozarteum University and got me my first engagement in Klagenfurt. The advantage is that you don't have to pay any agency commissions. That's essential, because the fees are low at the beginning. How did you actually prepare for such auditions? For the audition, you should have a fixed repertoire of common arias, no exotic and new arias. You know you can do more, but you also have to establish comparability. The important thing is to feel comfortable in the roles. How fit did the Mozarteum studies make you feel for the "job market"? My teachers Horiana Brănișteanu and Wolfgang Holzmair prepared me well, taught me inner strength and how to deal with criticism. For me it was a very good time at the Mozarteum University. You could work with great pianists and do real orchestra rehearsals. It was also very helpful to experience the stress of an opera production. I benefited from that in the opera studio in Zurich - 70 evenings with small parts and chronically too little time to rehearse. It already gave me a starting advantage over others. And in which area could you have done a bit more during your studies? One should always have the view "outside" in the back of one's mind. I'm the last person who would say that training should be geared to the market, because at university we first have to concentrate on the technology and on the personal profile. Only then can you market yourself. But it would be helpful to do a little more in the direction of contacts and agencies. That way, you could make the first step a little easier. As a singer, how have you experienced the job market so far? The German-speaking market is one of the most interesting for singers worldwide. That's because we still have the large ensembles. But it's also an incredibly tight market. You're not only competing with former fellow students, but also with incredibly well-trained colleagues from all over the world who are auditioning for the same position: from the U.S., from Russia and all of Eastern Europe, from China, Korea and Japan - everyone is here and wants to get into this small market. We have a few hundred stages in Germany, but compared to the supply of singers, it's still very small. As a bass, I'm still lucky in that I'm not exposed to quite the same competition as a soprano or a lyric baritone. There are ten times as many who apply for a position. Still, what's great about your profession? First, it was the total love of music. Coming from the piano, growing up I was able to convey everything through music. What's also wonderful, of course, is the encouragement you get from others. As a young person, you realize that you can do something that others can't do. You realize the talent. But when you start studying at university, it quickly becomes clear that it's not just talent that gets you ahead. You also have to focus the great joy and learn things that may not be so much fun at the moment - just like in any profession. www.davidsteffens.com More portraits 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 A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories From Kiev to Salzburg - Sofiia Musina 20.11.2024 From Kiev to Salzburg - Sofiia Musina  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. Alumnae & Alumni Stories Art will always be there, even in the most difficult times - Meral Guneyman 5.11.2024 Art will always be there, even in the most difficult times - Meral Guneyman  Meral Guneyman is a versatile classical musician, with numerous releases, who is comfortable in both pop and jazz music, has transcribed many original works and is also an enthusiastic arranger and improviser. Her ability to move between classical and jazz with lightning speed and conviction is a rarity. In 2021, her arrangements of classic David Bowie songs were presented for the first time on ‘Steinway-Spirio’ - a high-resolution self-playing system of the highest quality. Alumnae & Alumni Stories Breaking down boundaries and barriers - Judith Valerie Engel 29.9.2024 Breaking down boundaries and barriers - Judith Valerie Engel  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. Alumnae & Alumni Stories Who I will always be - Augustin Groz 2.6.2024 Who I will always be - Augustin Groz  The actor Augustin Groz, who has Austrian-French roots, studied acting at the Mozarteum University and then completed a Master of Fine Arts at The New School in New York. In 2023, he received the Max Ophüls Prize for best young actor in Özgür Anil's feature film "Wer wir einmal sein wollten", which can be seen in Austrian cinemas in May and June. Alumnae & Alumni Stories More news

News … Home News Domenica Radlmaier Domenica Radlmaier - Soprano 27.04.2020 Alumnae & Alumni Stories Iris Wagner © Privat Skip page navigation Overview Conversation More portraits Alumnae & Alumni Network Return to slider start "Solo program as an alternative" — Domenica Radlmaier: Soprano, Germany & Austria How did you experience the Corona period as an artist? For me it was from one hundred to zero within one day. I had a four-week rehearsal period until mid-March for an opera project near Karlsruhe, where I would have sung Rosalinde in Die Fledermaus. That meant lots of people, full days, wonderful music, great experiences and very creative work. We then had to skip the last day of rehearsals, because the public buildings were closed and so we couldn't go into our rehearsal hall anymore. So we met in front of the building on what was supposed to be the last day of rehearsals. The announcement, you are not allowed to enter anymore, came only in the morning. We were only able to have a short closing meeting outside. We said goodbye to each other and were all a little irritated. Most of us were already looking for trains home because we were afraid we wouldn't get home. We were an international team. But none of us really thought at that point that this festival couldn't happen. The rehearsals stopped in March and in May it was communicated that the festival cannot take place in the form it did. Instead, there will be smaller concerts. In what period would the festival have taken place without Corona? T he festival was planned with several productions from July to August. One production would have been the "Fledermaus" with 20 performances. Are there already new perspectives for you now? I was invited this week for four concerts. The program is not quite fixed yet, because the staff tried to save the festival until the very end. Not least for the audience, as it is a very established and popular open-air festival. Fortunately, the productions will be made up next year. But the four concerts are a first step and they probably wanted to stay present for the audience and not leave us artists out in the rain. It's nice to hear that other formats, forced smaller formats, are being implemented. I can already hear a sense of optimism. But what was the first time like after you stopped rehearsals? The first time I was still very committed to the project, because I couldn't imagine or didn't want the phase to last so long. I was still totally in work mode and worked off things that had been left lying around, got my apartment in shape and structured every day. Then the phase got longer and longer and at some point it was no longer foreseeable. From that point on, it became really difficult for me. When there is no real goal point. Especially since it is difficult to sing in my apartment. We have thin walls and I was also aware that many people are now at home. And then, when it was also foreseeable that I wouldn't be able to go on stage for a while, I didn't want to exhaust that and then also be a noise nuisance. Do you have to practice less as a singer than a violinist or a pianist? You notice it very much as a singer if you can't practice much. Especially the condition suffers. In Austria, support programs for artists, for example through the Artists' Social Insurance Fund, were also an issue relatively soon. What was that like in Germany? I didn't deal with it so intensively at first, because I thought the festival was taking place in the summer. I also thought, maybe others need this help more urgently than I do. In addition, the whole system was very opaque and keeps changing until today. Only yesterday I received new information. For a long time it looked like that solo self-employed people who don't have liquidity problems don't get any help. So, that private costs like rent don't count. I have no studio, no rehearsal room, no machine to pay for. For this reason, I fell out of the "aid projects" for the time being. Now it's being adapted and refined little by little, and I have high hopes that the system will improve for us artists. I've signed up for some things and filled out some forms but I guess you still have to be patient. It's not easy, but I'm trying not to lose heart and hope that some kind of "normality" will return soon. I am afraid that many people do not realize that the situation will drag on for a long time. This is not over with the end of the pandemic, but many things simply cannot be done now because they are not profitable for theaters. Without a financially functioning theater, artists can't be hired either. Therefore, the aftermath will be felt for much longer. As a young professional, it is therefore difficult to regain a foothold. Many auditions were canceled, programs and operas were canceled completely. I was lucky now that this festival tries to implement small projects instead of the planned program. But a lot of things have been canceled without replacement, so the loss of earnings is 100 percent. I can hear that as an artist you have to be creative in a different way at the moment. What can you actually do under the existing conditions? In Austria, events with 100 people have been allowed to take place since the end of May - an opera production is thus not profitable… It was very nice that some approached me and asked for online lessons. That was also a lot of fun and of course I was happy that they thought of me during that time. I also try to offer solo programs, have done some cabaret as well. The small programs include only two people on stage: the singer and the pianist. With them I want to bring the audience a little bit of cheerfulness, looseness and laughter in the difficult time for everyone. Is there anything you wish for your work environment? What has always stung me personally is that the soccer club has been in the media a lot, and very often there have been discussions about when the players will now be allowed back on the pitch, and other areas have been given less thought. There are very many people in the arts and many who are dependent on this industry. I was lucky that I was always well informed about the state of affairs by "my festival". However, I know of other organizers who to this day have given no indication of how things will continue, even though there are existing contracts. Being "stand-by" was also the hardest part of the Corona period for me. Not knowing when to be ready for the stage or whether to try for other things, the uncertainty. Of course, no one could know how long the situation would last. But I hope that soon we will be able to put aside this caution and have great events. We artists are all hungry to be able to make more art again. I realized during the Corona period that listening to music or seeing productions through a screen is not the real thing. The experience of the stage and concert hall is different. I miss that contact with my colleagues and the audience. www.domenicaradlmaier.com More portraits 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 A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories From Kiev to Salzburg - Sofiia Musina 20.11.2024 From Kiev to Salzburg - Sofiia Musina  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. Alumnae & Alumni Stories Art will always be there, even in the most difficult times - Meral Guneyman 5.11.2024 Art will always be there, even in the most difficult times - Meral Guneyman  Meral Guneyman is a versatile classical musician, with numerous releases, who is comfortable in both pop and jazz music, has transcribed many original works and is also an enthusiastic arranger and improviser. Her ability to move between classical and jazz with lightning speed and conviction is a rarity. In 2021, her arrangements of classic David Bowie songs were presented for the first time on ‘Steinway-Spirio’ - a high-resolution self-playing system of the highest quality. Alumnae & Alumni Stories Breaking down boundaries and barriers - Judith Valerie Engel 29.9.2024 Breaking down boundaries and barriers - Judith Valerie Engel  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. Alumnae & Alumni Stories Who I will always be - Augustin Groz 2.6.2024 Who I will always be - Augustin Groz  The actor Augustin Groz, who has Austrian-French roots, studied acting at the Mozarteum University and then completed a Master of Fine Arts at The New School in New York. In 2023, he received the Max Ophüls Prize for best young actor in Özgür Anil's feature film "Wer wir einmal sein wollten", which can be seen in Austrian cinemas in May and June. Alumnae & Alumni Stories More news

News … Home News Petra Polli Petra Polli - visual artist 26.05.2020 Alumnae & Alumni Stories Iris Wagner © Privat Skip page navigation Overview Conversation More portraits Alumnae & Alumni Network Return to slider start Extremely Productive Corona Times Petra Polli: visual artist Bolzano & Leipzig     How did you experience the Corona period as an artist in Bolzano? The Corona period was an extremely productive one for me right from the start. I made two small ink works a day for the TRACKS series, where nature/the forest is the central motif. In the beginning, the works were black and white as in the Tracks series. As the Corona period progressed, the color and mood in my paintings changed. With the tightened restrictions and the duration of the quarantine, the colors became warmer, more intense and the images more sensual. The longing to go outdoors, into the forest became stronger and stronger. I have the impression that the measures in South Tyrol and Italy were stricter than here in Austria... Exactly. In Bolzano, at the beginning, it was the case that you were only allowed to go 200 meters away from where you lived. That was the case for about three weeks. You could only go out for shopping and to take short walks. Sports were not allowed. We were given new rules and packages of measures every week. At first these were very strict, then the movement radius was extended from 200 to 400 meters. At some point we were allowed to do some sports again, at least running. Cycling was not yet allowed. Friends and family were also not allowed to visit. After two months, the relaxation was that you were allowed to walk as far as you could. Only now, at the end of May, one is allowed to move freely again in South Tyrol, even to drive a car and meet one's friends and family. Masks are still compulsory as soon as you leave the apartment. I know you have a small studio in the apartment. Was that a stroke of luck? Yes. It so happened that I had to give up my studio because, as an artist, I was not allowed to go into my studio for the first two weeks. Wisely, I set up a space at home to work. The good thing was that there was always nice weather. That made the Corona time easier. Especially for those who had a balcony. How can you imagine the "Corona productivity increase" compared to a normal creative period? I've done the workload of a normal year now in two months. So you made good use of the Corona time and were productive. Do you already have plans where you will show the pictures? There are already planned exhibitions that will take place soon - although it is not yet clear how and whether there will be a vernissage and whether contact with the public will be possible. When are exhibitions allowed to take place again in South Tyrol? The museums may open to the public on May 29. In June I will show works in the Museion in Bolzano. The second exhibition in June, in which I will show works from the TRACKS series, will take place at the Palais Mamming Museum in Merano. In this exhibition there will be an artist talk, unfortunately without an audience. The talk will be recorded and put on the web. What were the biggest challenges during the Corona quarantine? The biggest challenge for me was the social distance. Not being allowed to meet anyone, no family, no friends. But there was also a positive development with the increasing video calls. Some contacts were intensified again as a result. I experienced this as a very intense time, but also as a time in which, unfortunately, many exhibitions had to be canceled. What conditions do you need as an artist to be able to work "normally" again? Basically, the framework conditions are now in place again. However, as an artist you have to think about how an alternative exhibition mode can take place. Maybe it would be a possibility to bring the works more into the net and to do virtual tours and artist talks, as some museums are already doing now. Nevertheless, the interaction and contact with the public are the most important. Are there any support programs for artists in Italy? In South Tyrol, an initiative was started by the Artists' Association and the South Tyrolean provincial government to support artists during this period. There was emergency aid of 600 euros, which worked well. As proof of activity, a work of art, which was offered for sale, was put online on a separate platform. A second initiative was created by the state for freelancers and entrepreneurs. This help was dependent on the income of the same month in the last year. However, artists do not earn regularly. So if the income was bad in April 2019, it will affect the help in 2020. How do you see the next weeks and months? Now is a good time for me to take initiative, be active and initiate projects. I feel in a mood of optimism. www.petrapolli.com More portraits 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 A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories From Kiev to Salzburg - Sofiia Musina 20.11.2024 From Kiev to Salzburg - Sofiia Musina  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. Alumnae & Alumni Stories Art will always be there, even in the most difficult times - Meral Guneyman 5.11.2024 Art will always be there, even in the most difficult times - Meral Guneyman  Meral Guneyman is a versatile classical musician, with numerous releases, who is comfortable in both pop and jazz music, has transcribed many original works and is also an enthusiastic arranger and improviser. Her ability to move between classical and jazz with lightning speed and conviction is a rarity. In 2021, her arrangements of classic David Bowie songs were presented for the first time on ‘Steinway-Spirio’ - a high-resolution self-playing system of the highest quality. Alumnae & Alumni Stories Breaking down boundaries and barriers - Judith Valerie Engel 29.9.2024 Breaking down boundaries and barriers - Judith Valerie Engel  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. Alumnae & Alumni Stories Who I will always be - Augustin Groz 2.6.2024 Who I will always be - Augustin Groz  The actor Augustin Groz, who has Austrian-French roots, studied acting at the Mozarteum University and then completed a Master of Fine Arts at The New School in New York. In 2023, he received the Max Ophüls Prize for best young actor in Özgür Anil's feature film "Wer wir einmal sein wollten", which can be seen in Austrian cinemas in May and June. Alumnae & Alumni Stories More news

News … Home News Ulli Gollesch Ulli Gollesch - visual artist & art educator 30.05.2020 Alumnae & Alumni Stories Iris Wagner © Privat Skip page navigation Overview Conversation More portraits Alumnae & Alumni Network Return to slider start "A collection of experiences and adventures" — Ulli Gollesch: visual artist & art educator, Austria How did you experience the Corona period as an artist? Artistically, not much has changed for me. I am in an intensive preparation phase for a solo exhibition that is planned for the fall. I feel the same as always, because the fact that I retreat to work is nothing new. Neither are the issues that come up because of the crisis. For example, I have often dealt with isolation in my art. Maybe because I am a melancholic person. So pure loneliness has not yet overtaken me, but neither has overcreativity. I work always and everywhere - even in public spaces or in my small print workshop. Mostly a bit unstructured and yes, I would say I don't feel the crisis at all from that point of view. Of course, my exhibitions could be canceled in September, but then the world won't collapse for me either. I am also an art teacher and therefore not so dependent. In homeschooling (visual education), great discussions arose with my students about contemporary art, about the understanding of art and the interpretation of works of art. A project with artists from the Forum Stadtpark could also be implemented online, including an online exhibition. From a pedagogical point of view, homeschooling was already a burden. I have a certain demand as an art teacher, the personal contact in the school was very missing and the compensation in nature or in the studio became all the more important for me. My own gallery, the "Kunst off-space Narrenkastl" continues as normal. It is a shop window and the concept is based on the fact that people can look at the art as they pass by or sit down for a moment around the clock. So that's not a problem, the distance can be maintained optimally, and I don't hold any vernissages. In addition, I am engaged in a meeting zone in my home community Frohnleiten. Since Easter, there are 2 advertising columns on which passers-by can leave artwork, news, sundries - this will be a temporary story until the end of May. The action is well received, a special Grätzel has emerged - a neighborhood creativity - and I hope that the project will continue to develop. Planned are game meetings from the end of June with table tennis or other joint actions. When and where will you show your work? Will there be a vernissage and an artist talk? From September 12 to October 24, 2020, I will be showing my work at the Galerie Marenzi in Leibnitz with the exhibition "Geschichten aus der Schublade" (Stories from the Drawer). The opening will take place on September 11 at 7 pm. With mask and spacing rules of course. The gallery has about 150 square meters, so it will not be too crowded. The exhibition opening will make Heidrun Primas (Forum Stadtpark). Text about the exhibition: "Doesn't everyone have that drawer full of old things from the past, a small fantastic archive of memories and quotes that can't simply be cleared out without diving into it and intensively connecting even the smallest or most bizarre object with images of thoughts?" A conglomerate of stories - an accumulation full of inspirati¬ons, found or explored, captured moments. Remnants brought to light again - an archaeology of one's own biography - staged and reflected. What is the importance of interacting with the audience for you? I am a passionate networker and love to interact with people. Here and there stories are also inspirations for me - I am a collector. Everyone carries stories, memories or experiences around with them - isn't it the most beautiful thing to reflect or philosophize about them together? Is there anything else you would like to share with us from an artist's point of view? I think it is important to always believe in yourself and your own projects and to stand behind them. To create is something so meaningful - to have an expression and turn it into something. Art and culture is an important essence of life. www.ulligollesch.com More portraits 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 A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories From Kiev to Salzburg - Sofiia Musina 20.11.2024 From Kiev to Salzburg - Sofiia Musina  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. Alumnae & Alumni Stories Art will always be there, even in the most difficult times - Meral Guneyman 5.11.2024 Art will always be there, even in the most difficult times - Meral Guneyman  Meral Guneyman is a versatile classical musician, with numerous releases, who is comfortable in both pop and jazz music, has transcribed many original works and is also an enthusiastic arranger and improviser. Her ability to move between classical and jazz with lightning speed and conviction is a rarity. In 2021, her arrangements of classic David Bowie songs were presented for the first time on ‘Steinway-Spirio’ - a high-resolution self-playing system of the highest quality. Alumnae & Alumni Stories Breaking down boundaries and barriers - Judith Valerie Engel 29.9.2024 Breaking down boundaries and barriers - Judith Valerie Engel  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. Alumnae & Alumni Stories Who I will always be - Augustin Groz 2.6.2024 Who I will always be - Augustin Groz  The actor Augustin Groz, who has Austrian-French roots, studied acting at the Mozarteum University and then completed a Master of Fine Arts at The New School in New York. In 2023, he received the Max Ophüls Prize for best young actor in Özgür Anil's feature film "Wer wir einmal sein wollten", which can be seen in Austrian cinemas in May and June. Alumnae & Alumni Stories More news

News … Home News Julia Rinderle Julia Rinderle - pianist 08.06.2020 Alumnae & Alumni Stories Iris Wagner © Neda Navaee Skip page navigation Overview Conversation More portraits Alumnae & Alumni Network Return to slider start "Culture is systemic!" — Julia Rinderle: Pianist, Germany How did you experience the Corona period as an artist? It was difficult because all the bans came so quickly and suddenly and you couldn't adjust to them at all. You were suddenly in the situation that you were no longer allowed to perform, that it was difficult at first to continue teaching your students. I have a teaching position at the Hanover University of Music, and there the semester also started later. You had to switch to online teaching very quickly. But I thought that was actually a pretty good thing, because at least it went on a little bit and there wasn't a complete hole. I did quite a bit of online teaching, private students and also the students in Hannover. That carried me through a lot. There were deadlines, I worked, of course I earned money. For freelance artists, of course, a lot has broken away and that will probably continue for quite a while. You have to fight quite a bit and who knows when concerts can take place again in a relatively normal form, so that it is bearable for organizers and artists. The lack of goals and concrete projects has been difficult in recent weeks. One was so used to working and preparing from concert to concert, from project to project. I was totally in the rhythm and then all that wasn't there anymore. But it was also nice to have some real time to work intensively on a piece. I also exchanged ideas with chamber music partners via Skype, since we couldn't rehearse. We analyzed pieces and went through them together. That was definitely profitable. Things continued, albeit in a more difficult form. Are there already perspectives again?  Do you already know whether the planned concerts in the summer, for example your China tour, will take place? I have been in contact with the organizer in China, but he could not yet tell me exactly whether it can take place or not. I have received a very vague answer. In China everything is already running relatively normal again, but until a few weeks ago no concerts were allowed to take place and the complete classes at the universities were also running online. I don't know yet how fast this will change and I'm still a bit skeptical. Of course I hope that it will take place, but I also don't know yet whether I would be allowed to enter. It is also the case that students from Asia could not take advantage of the semester in Austria and Germany because they were not allowed to come here. Are there other small projects or does it need more lead time for artists and organizers? The lead time is probably needed by the organizers. I would love to play again next week….(laughs). I am in contact with the cultural office of my hometown. I was allowed to look behind the scenes a bit and was informed about what it would mean to organize an open-air concert, for example. I thought that could be a nice solution. But you also need a place that is suitable for a piano concert. The place must be able to be cordoned off, there must be enough people who controlled the hygiene and distance rules. That involves a lot of effort. Indoor concerts quickly shrink the audience and then it's a question of whether it's worth it for the organizer. However, I am planning to play a concert in my home country this summer. There is also a very nice platform, "CouponConcert", created by young German musicians. There, private individuals can book house concerts. The concept is "pay now, play later". So you get paid now and make dates for the end of 2020 or for 2021. I think that's quite a nice idea, because you get help now and you can redeem the coupon later. There are already some creative concepts and a house concert has already come about as a result, I think I can already play that in the summer. Everything else then from autumn, there are then again projects planned. Probably also in compliance with the hygiene and distance rules. But that means that it was very important for you to have a second, pedagogical "mainstay"? Absolutely. That became very clear to me now. I was so happy to be able to teach. I've always enjoyed doing it. I don't do it now because I think I have to, but because I really enjoy it. But of course I was very grateful for the teaching job and for other students I was able to attract. Teaching has carried me through this time. What was the most difficult part of this situation for you? For me personally, adjusting to the new daily rhythm and accepting that it just wasn't possible. In the beginning I thought you could do it this way or that way and then at some point you have to accept that it's not possible. Now there are the small glimmers of hope that you can perform with a reduced audience, which is very nice. It helped me to accept the situation then. But it took quite a long time. And I also found it very difficult to see that art had to justify itself to politics. That art is very much system-relevant (this unword), that one had to fight for it in such a way. And it also became clear that we artists perhaps lack a representation of interests. It's difficult because we are so many individuals and we have no one to stand up for us. And that, unfortunately, one was often unwise and concluded concerts without a contract and thus also had difficulties with the funding programs. That happened to many of my colleagues. It's also common to set concert dates and receive a fee, but not sign a contract. We can certainly learn from that. How did you deal with the aid programs in Germany? Of course, I kept myself informed and also had to realize that I was falling through the cracks. One of the emergency aid programs would only have covered operating costs, and what does a freelance artist have for operating costs? It's more about living expenses. It was also the case that it varied from state to state. Because of federalism, everything was very complicated. I checked with the state of Bavaria, and there is now a support program that doesn't just cover operating costs like the emergency aid, but also includes loss of fees and the like. You can apply for the program from May to September. I also know from colleagues that the help was very different. Sometimes it went very quickly and other times it took a very long time. How did you get on with the practice? Did you have to be considerate of neighbors? Thank God that here in my home I can theoretically practice day and night. Did Corona also bring out positive things? I realized that I appreciate small things much more now. I see how precious the freedom we had before was. I recently had another trio rehearsal and I so enjoyed the exchange with others and feeling the sound, it was so nice to make music with others again. Before, it was routine. The things that were taken for granted, one appreciates more now. I hope one can preserve that. Is there anything you wish for your work? That's a difficult question. Well, the interim solution with the small concerts and the hygiene rules is good for the moment, but it's not the same in the long run. I don't know how much concertgoers enjoy it. I recently saw a picture from the Musikverein with all the empty seats. That was quite strange. That's why I would like to see a vaccine or a drug so that the restrictions can be eased. Otherwise, I don't have any concrete ideas either. For me, streaming and all the online concerts are not an alternative. It's not comparable to a real cultural or concert experience. The alternatives, which were certainly good for bridging the gap, are not a solution in the long run. But this realization is also positive. People miss art and long for it. That's what I've always hoped. Is there anything else you would like to leave us with? On December 4, I may play the fourth Beethoven piano concert still in the Beethoven Year! In the Herkulessaal in Munich. I am particularly looking forward to this concert and very much hope that we will still be able to pay tribute to Beethoven in 2020. If it really takes place, I would like to invite everyone to it! On the way I would like to give everyone a lot of patience, understanding for each other, the different handling of the situation, everyone reacts differently, and that you still try to support each other. juliarinderle.com More portraits 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 A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories From Kiev to Salzburg - Sofiia Musina 20.11.2024 From Kiev to Salzburg - Sofiia Musina  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. Alumnae & Alumni Stories Art will always be there, even in the most difficult times - Meral Guneyman 5.11.2024 Art will always be there, even in the most difficult times - Meral Guneyman  Meral Guneyman is a versatile classical musician, with numerous releases, who is comfortable in both pop and jazz music, has transcribed many original works and is also an enthusiastic arranger and improviser. Her ability to move between classical and jazz with lightning speed and conviction is a rarity. In 2021, her arrangements of classic David Bowie songs were presented for the first time on ‘Steinway-Spirio’ - a high-resolution self-playing system of the highest quality. Alumnae & Alumni Stories Breaking down boundaries and barriers - Judith Valerie Engel 29.9.2024 Breaking down boundaries and barriers - Judith Valerie Engel  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. Alumnae & Alumni Stories Who I will always be - Augustin Groz 2.6.2024 Who I will always be - Augustin Groz  The actor Augustin Groz, who has Austrian-French roots, studied acting at the Mozarteum University and then completed a Master of Fine Arts at The New School in New York. In 2023, he received the Max Ophüls Prize for best young actor in Özgür Anil's feature film "Wer wir einmal sein wollten", which can be seen in Austrian cinemas in May and June. Alumnae & Alumni Stories More news

News … Home News Anne-Suse Enßle Anne-Suse Enßle - recorder player 15.06.2020 Alumnae & Alumni Stories Iris Wagner © André Hinderlich Skip page navigation Overview Conversation More portraits Alumnae & Alumni Network Return to slider start "Cultural diversity as a tremendous achievement" — Anne-Suse Enßle: recorder player, Germany & Austria How did you experience the Corona period as an artist? I experienced the time very ambivalently. It was a shock at first, and perhaps I was naive at first. I never thought that cultural life would collapse so quickly. I played a project shortly before the restrictions came into effect and I never thought that it would be the last concert for a long time. It was in Innsbruck and it started in Tyrol. I was on the road with my baby and we thought of course we have to be careful and always wash our hands etc.. But I never thought that just one week later the borders would be closed and you can no longer teach. That caught me cold as ice. It was a shock. Then came the question, how do you go on in that situation? On the other hand, I also have to say that when you're thrown back on yourself with your instrument - you can't rehearse with chamber music either - that opens a lot of doors again. Then I knew again why I took up this as a profession and why I love it so much. Because I was once forced to deal with my instrument all by myself. Without all the hustle and bustle, without organizational activities and coordination. At work, it is often the case that you have to do a lot of things relatively quickly. That was suddenly no longer necessary. You could occupy yourself with a certain piece for a while or develop yourself here and there. I thought that was great. Although I already noticed that I really miss the interaction with other musicians. I do a lot of chamber music and I really miss the exchange. But it's also really nice to think about why I actually enjoy it so much. Why do I like to pick up a recorder every day? You couldn't imagine that before. But that was the positive thing about it. So the biggest problem was the lack of interaction? I was lucky enough to have taken up the position as a teacher in Innsbruck in January. I didn't have the existential worries, although I also lost many projects. But I was also lucky to have the other income. That made me privileged, of course. But still, I kept thinking: I just want to sit in a rehearsal again and just talk about music with other musicians or work on something together. I missed that terribly. So the second, pedagogical pillar was very valuable? Yes, absolutely. It's also a really great place in Innsbruck. There are IGP students and quite a few enthusiastic people in the preparatory course, who are also very hard-working. That was also very interesting for me to see. Due to the fact that I had just started and was in the process of familiarizing myself, it was of course also a bit of a balancing act when everything was cut off immediately. You've just gotten to know each other and placed the things that are important to you, and then suddenly that doesn't work anymore in personal contact. But my students were so great about it, committed and disciplined. It worked out wonderfully. It also got me through the time well, because I was in exchange with the students. On the one hand with video telephony, on the other hand we worked with recordings that they sent me. There are also things that don't have as much room in the normal classroom but absolutely belong in the artistic subject. That's background information, research, etc., and that's what we got into. There was one assignment per week that you could also work on in writing, and so we just worked ahead a little bit for the pieces that were coming up in the near future. Did you have to cancel concerts as well? Yes, of course. I'm at a point now where next year's concerts are being cancelled because the concerts from this year are being moved there. It's kind of the second wave of cancellations coming now. But there will be some concerts in the fall, if the situation stays like this. What makes me very happy is that we can do a summer course in Ossiach, that is fixed. That is a ray of hope. Do you already know how the concerts in Germany will continue? Yes, through my parents, who are church musicians with their own concert series. They are at a very large church with about 1000 seats. If they follow all the rules about 180 people can attend. I was in a concert just now on Saturday and it looked spooky. You just can't solve it any other way at the moment, I don't think. It's a very difficult balancing act. The specifications are different in Germany in every state as well. The most difficult circumstance is that the restrictions are not linked to a time limit. If someone tells me that it won't be possible for a year, then that's just the way it is and I can adjust to that, too, economically. But I find the situation that you don't even know what the time frame is, and that's exactly how it is for organizers, really totally difficult. In the ensembles in which I work a lot, we have of course tried to work out concepts and programs at a distance. There are things you can do in advance, but we've all noticed that it's not so easy to motivate people if you don't know when you'll be able to play the concerts. What conditions would you wish for, what do you need to be able to work normally again? My wish is that a lot is invested in the form of the concert to save it. I have a little concern in watching the streaming services. I can't really get comfortable with that. A concert is more than listening to music. It has atmosphere, it's tied to a specific time, and you can't listen to it over and over again. That makes it something very special. The art takes place in a given window of time and then it's gone. That's also what makes it so appealing. I wish that the concerts would remain in this variety as we have had them until now. We were in a wonderful situation in that we had not only a few large concert organizers, but many small cultural organizer initiatives. I see that as particularly important! That has had an incredible impact on our cultural life. Cultural diversity is an enormous achievement. That's how it should be again. Unfortunately, things are often only noticed when they no longer exist. The big houses are just as much a part of that as the small promoters and festivals, because they bring music to places where people might not have the opportunity to drive three hours to get to a big concert hall. So people have the opportunity to experience good and great music locally. www.blockfloetistin.com More portraits 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 A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories From Kiev to Salzburg - Sofiia Musina 20.11.2024 From Kiev to Salzburg - Sofiia Musina  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. Alumnae & Alumni Stories Art will always be there, even in the most difficult times - Meral Guneyman 5.11.2024 Art will always be there, even in the most difficult times - Meral Guneyman  Meral Guneyman is a versatile classical musician, with numerous releases, who is comfortable in both pop and jazz music, has transcribed many original works and is also an enthusiastic arranger and improviser. Her ability to move between classical and jazz with lightning speed and conviction is a rarity. In 2021, her arrangements of classic David Bowie songs were presented for the first time on ‘Steinway-Spirio’ - a high-resolution self-playing system of the highest quality. Alumnae & Alumni Stories Breaking down boundaries and barriers - Judith Valerie Engel 29.9.2024 Breaking down boundaries and barriers - Judith Valerie Engel  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. Alumnae & Alumni Stories Who I will always be - Augustin Groz 2.6.2024 Who I will always be - Augustin Groz  The actor Augustin Groz, who has Austrian-French roots, studied acting at the Mozarteum University and then completed a Master of Fine Arts at The New School in New York. In 2023, he received the Max Ophüls Prize for best young actor in Özgür Anil's feature film "Wer wir einmal sein wollten", which can be seen in Austrian cinemas in May and June. Alumnae & Alumni Stories More news

Senior Scientist in the field of Musical Ethnology, Innsbruck location

Wagner University Press, Innsbruck 2013

The Department of Musical Ethnology was founded in 1988 on the initiative of the music educator Josef Sulz at the University Mozarteum, Innsbruck location. It is the first and only university research institution in Western Austria and the EU region Tyrol-South Tyrol-Trentino that deals primarily with ethnomusicology / folk music research.

A.o. Univ.-Prof. for Folk Music Research