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The Department of Opera and Musical Theatre is a beacon with special charisma and appeal. Every year, two opera classes consisting of up to 15 highly talented students are prepared by renowned theatre makers for the high demands of an international opera career.

What is the sound and rhythm of a city? How do people meet in this or another place? Where do they feel free? How does urban architecture inscribe itself into our bodies? How do we walk in the city? What does the climate of a city feel like? How does the memory of a city work? And what happens when we relate our experiences with these questions in places as different as Hong Kong and Salzburg?

of works by Puccini, for example his ' Turandot ' or ' Madama Butterfly ' , both of which are also set

La clemenza di Tito," a libretto by Pietro Metastasio, who was trained on Jean Racine, that has been set

Goethe also speculated that his somber work, set in a "manifold, yet banal setting," would be "much clearer

The question of how the new comes into the world is a fascinating and equally complex one. The second panel discussion of the Salzburg University Development Impulses in cooperation with the Knowledge Transfer Centre West attempted to shed light on the creative processes that precede the emergence of the new with experts from various disciplines and fields.

Five finalists competed for the coveted 20,000 euro The Sir Ian Stoutzker Prize 2022 (made up from 2021) at the Solitaire of the Mozarteum University yesterday (14 April). The evening's double winner was pianist Robert Bily, who enchanted both the high-calibre jury and the audience with a breathtaking interpretation of Ludwig van Beethoven's Waldstein Sonata (Piano Sonata No. 21 in C major op. 53), Claude Debussy's Images I and Siegfried Thiele's Perpetuum Mobile.

The University Mozarteum lives a culture of sustainability and is guided by the 17 Sustainable Development Goals of the United Nations.

Vincenzo Bellini's highly romantic bel canto opera I Capuleti e i Montecchi celebrates its premiere in the Max Schlereth Saal on 10 December under the direction of Alexander von Pfeil and musical direction of Gernot Sahler. A conversation with maestro Gernot Sahler about Bellini's inventiveness and the challenge of dealing with special stage situations.