Meet Our Team

CD „early music bird. early new music“

Wolfgang Mitterer

Composition & Electronic

lives in Vienna.
Mitterer studied organ, composition and electroacoustics in Vienna and Stockholm. He is not only one of the Austrian specialists for electronics as well as being equally brilliant on the keyboard and on the slide controls, but is also one of the most innovative composers. His work oscillates between composition and open form. Apart from music for organ and orchestra, a piano concerto and an opera he has produced electronic pieces, conceptualized sound installations, and engaged in collective improvisation with diverse groups, developing a language of extremes, tension and complexity. The pleasure he takes in experimenting leads him to combine contrasting elements in the creation of unpredictable musical events. In one major composition, for instance, he juxtaposes musical bands and children’s choirs with specialized instrumentalists and singers, while filling the hall with surround sound created by live electronics. But his work transcends the merely spectacular, precisely because of his musical presence and the high – deeply moving – intensity and complexity of his compositions. Listening intensely to low sounds has its place just as much as the “installing” of exploding sound fragments in the listeners’ minds. Far from being smoothly pleasurable, Mitterer’s music is still uncannily beautiful at times.

M. Meller for “Tirol multimedial”

Luca Pianca

Lute

lute player, conductor-born in Lugano, he studied with Nikolaus Harnoncourt at Mozarteum Salzburg before starting a 30 years long collaboration with Concentus Musicus Wien. Co-founder of “Il Giardino Armonico” leading ensemble in the field of ancient music. Over 80 cd recorded including complete lute works by Bach and Vivaldi. Worldwide concert activity, recitals in all major european and american venues. Since 2008, he’s conducting the Bach-Zyklus at Vienna’s Konzerthaus. 100 cantatas already performed, plus John’s Passion and Christmas Oratorio. He is awarded with the Swiss Music Prize 2018, from the Swiss Federal Departement of Culture.

Maria Weiss

Mezzosoprano & CEO

“Her voice is tremendous, and the continued suspense of her stage presence is breathtaking“, “a marvelous mezzo-soprano with organ-like depths” or “a vocal and acting synthesis of arts” are excerpts of reviews about the Austrian mezzo-soprano Maria Weiss.
With a repertory focusing on early and contemporary music, she is dedicated in particular to premiering (forgotten) early music and contemporary compositions.
Maria studied voice at the national conservatory “Luigi Cherubini” in Florence and concluded her studies at the University of Music and Performing Arts Graz. Furthermore she studied acting at the Lee Strasberg Theatre & Film Institute of New York.
With an emphasis on Baroque repertoire, she has sung, amongst others, the roles of Bradamante or Gismonda (Händel), Megalce (Vivaldi), Lisinga (Gluck), contemporary music as the opera by W. Rihms ”Jakob Lenz” (Voice) or Baiana in the European premiere of the Brasilian opera “Pedro Malazarte” of Mozart C. Guarnieri. Examples of premieres of rediscovered works in the Baroque repertoire are Palante in the Austrian premiere of “La Guerra de los Gigantes”, Júpiter in “El imposible mayor en amor le vence Amor” (S. Durón) or Aurora in the European premiere of “L’Oracolo del Fato” (F. Gasparini).
Her opera spectrum includes not only the most important Mozart pieces, and extends from the rarely performed Renaissance and Baroque repertoire until Jacques Offenbach’s operettas. She has worked with stage directors such as Frank Castorf, Philippe Arlaud, Seollyeon Konwitschny, John Lloyd Davies or the Baroque-Gesture- Specialist Sigrid T’Hooft.
Musical cooperation with directors and musicians such as Stefan Asbury, Michi Gaigg, Domingo Hindoyan, David Levi, Rubén Dubrovsky, Luca Pianca, Gérard Korsten, Rogério Gonçalves, Jörg Zwicker, Thomas Platzgummer, Wolfgang Mitterer, James Pearson or Franco Pavan and musical partners such as Bach Consort Wien, Klangforum Wien, L’Orfeo Baroque Orchestra, Ensemble Claudiana, Harmony of Nations Baroque Orchestra, Il Concerto Tivoli, Camerata Argentea, A Corte Musical, Capella Leopoldina, Grazer Symphonikern or Vorarlberger Symphonieorchester.
Further engagements saw Maria Weiss perform, amongst others, at Wiener Festwochen, Konzerthaus Wien, Theater an der Rott, Opernhaus Graz, “trigonale. festival für alte musik”, Bregenzer Festspielhaus, Feldkirch Festival, Festspielhaus Dornbirn, Kammeroper Graz, Klagenfurter Konzerthaus, Donaufestwochen im Strudengau, BOV Opera Festival to the Teatru Manoel in Valetta (Malta) or Ateneu Barcelonés in Spain.

Zsófia Breda

Baroque Violin

was born in 1998, and started her music education in Gödöllő (Hungary). She has a degree from the Bartók Béla Conservatory Budapest in the class of Erika Petőfi. Early music has always been something special to her and in 2016 she began to study it more closely with Monika Toth and Soma Dinyes at the Miszla Baroque Academy. Since 2018 she has been studying baroque violin with Ulrike Engel at the Musik und Kunst Privatuniversität der Stadt Wien. Zsofia is a member of the Miszla Baroque Orchestra, Bacchus Consort, and the Bach Consort Budapest. She regularly performs throughout Europe with different instrumentations. She also attended master classes with Monika Toth, Enrico Onofri, Soma Dinyes, Balazs Mate, Dirk Börner, Rachel Podger, Davide Monti and Veronika Skuplik.

Hanne Eisenhut

Baroque Viola

lives with her family in Carinthia and teaches a violin class at the Gustav Mahler Music School there. Born/grown up in Stuttgart. violin studies in Aachen/Cologne and Klagenfurt with Prof. P. Rosemberg and Prof. H. Fister, baroque violin with Mag. Th. Fheodoroff, master classes with Y. Kless, Igor Ozim, Andreas Pilger, John Holloway, Rachel Podger and others State teaching qualification 1999, artist. Diploma 2001, each with distinction. Teacher for violin/viola at the music school in Klagenfurt, active musical activities in Austria and abroad with the baroque ensemble Arco-Baleno and the ensemble for old music "La Follietta" (performances during the music weeks Millstatt, Trigonale, Innsbruck Festival of Old Music and others).

Monika Toth

Baroque Violin

In 1997 she obtained her diploma in instrumental pedagogy violin Cum Laude at the Conservatory of the Franz Liszt Academy of Music in Hungary. In 2000 she won the 2. In 2001 he won 3rd place at the International Competition for Chamber Music Premio Bonporti Rovereto and 3rd place at the International Competition for Chamber Music Premio Bonporti Rovereto. Place at the Magdeburg Telemann competition. She obtained her master's degree in baroque violin in 2007 as a student of Enrico Onofri at the Vincenzo Bellini Conservatory in Palermo. Monika has a busy concert schedule with leading baroque ensembles and chamber music groups such as I Barocchisti, L'Eclisse, Zefiro, Europa Galante, Il Giardino Armonico, Dolce e Tempesta, Brixia Musicalis, Barucco Wien, Capella Leopoldina Graz, Neue Hofkapelle Graz and Musica Perduta. She teaches baroque violin and chamber music at summer academies in Miszla (Hungary) and Naples.

Anne Enßle

Flute

Anne-Suse Enßle was born in Backnang (Germany) in 1988.

She started playing the recorder at the age of 8 and has not lost her fascination with this instrument since.

From 2007 to 2014, Anne-Suse Enßle studied recorder with professor Dorothee Oberlinger at University Mozarteum in Salzburg, specialising in both instrumental pedagogics and solo performance. From 2012 until 2015, she also studied at the University of Music and Performing Arts Vienna (mdw) with professor Carsten Eckert. She graduated with honours from both these courses of study and received an honorary prize awarded by the University of Music and Performing Arts Vienna for her achievements in 2015.

In addition, she studied Baroque bassoon for a number of semesters with professor Jennifer Harris (The Music and Arts University of the City of Vienna, MUK).

Apart from her solo career, Anne-Suse Enßle is a passionate chamber music player. With her “Duo Enßle-Lamprecht (recorder & percussion), which has been in existence for 10 years, she dedicates herself to music from the Middle Ages as well as contemporary music. Intensive collaborations with composers, communication-of-art projects, workshops for students of composition, and the large “Mönch von Salzburg” (Monk of Salzburg) project are but a few areas of activity of this multifaceted and unique duo. Another ensemble that Anne-Suse Enßle is part of, “windcraft-quartet”, is made up solely of recorder players.

In 2013, she won first place at the Moeck/SRP Competition in London and was furthermore a finalist for the “Casinos Austria Rising Star Award”.

Scholarships that she held range from the Roychi Sasakawa Young Leaders Fellowship Fund and University Mozarteum Salzburg (merit-based scholarship) to the PE society for the promotion of music, Mannheim.

In 2018, she received a Start Scholarship from the Austrian Ministry of Art and Culture.

Both as a soloist and as an ensemble member, Anne-Suse Enßle performed at renowned festivals, such as Bachfest Leipzig, ERPS Biennale, PODIUM festival, Innsbruck Barock, Klangspuren Festival Tyrol, Greenwich Early Music Festival the European Church Music Festival Schwäbisch Gmünd, Baroque Festival Bad Arols, Tonlage Festival Hellerau, the Dalheim Summer Festival and the.

As a Baroque bassoon player, she is in great demand as an orchestra player and has played in this function at Mozartwoche Salzburg as well as a number of operas (“La scuola de’ gelosi” at Kammeroper Vienna with Bach-Consort Vienna; “Beloved Adonis” at Donaufestwochen im Strudengau), among other performances.

Being a member of prize juries and an instructor round off Anne-Suse Enßle’s professional tasks: Among other things, she was a judge at the young talent competition of the ERPS (European Recorder Players Society) in Graz (2016) and Bolzano (2019) and an instructor at “Tage der Schulmusik” (School Music Days) in Halle an der Saale (2017), the 2017 ERTA congress, and the Austrian Arts Sessions (2018). Since 2018, she has been holding the post of vice president of ERPS and chairwoman of ERTA Austria.

From 2015—2019, Anne Suse-Enßle gained experience in university teaching in her function as assistant for artistic education in Carsten Eckert’s recorder class (University of Music and Performing Arts Vienna). In the summer term of 2019, she lead the recorder class at the Carinthian National Conservatoire, Klagenfurt as a temporary replacement.

Igor Bobovich

Baroque Cello

was born in Belarus in 1976 and received his first cello lessons at the age of six. From 1990-1993 he attended the special school for gifted children in Kharkov, before he began his studies at the state "P. I. Tchaikovsky" Conservatory in Moscow, which he successfully completed in 1999. From 1999-2005 he studied at the University of Music and Drama Hanover in the following courses: artistic education, chamber music, orchestra solo literature, solo classes.
Igor Bobovich has won numerous prizes and awards at international competitions, including the International "J. S. Bach" Competition in Leipzig, the International "Maria Canals" Competition in Barcelona, the International Chamber Music Competition in Caltanissetta and many others. Igor Bobovich was solo cellist in the orchestra "MusicAeterna", has participated in "Concerto Köln", "La poeme harmonique", "Ensemble 1700". He regularly gives concerts in Europe and Russia, teaches at the Moscow Conservatory, conducts dаs Ensemble "Moscow Chamber Music Academy", is a permanent member of the ensemble "La voce strumentale".

Annemarie Podesser

Flute

Recorder, transverse flute

Her musical life began when she got hold of her sister's recorder. Some years later she studied IGP/recorder at the Carinthian State Conservatory, concert recorder at the Zurich University of the Arts, and traverse flute in Lyon/France and at the MUK Vienna. All studies with distinction.
She performs as a soloist and chamber musician with various ensembles and orchestras throughout Europe and has been principal flautist of the Capella Leopoldina Baroque Orchestra since 2015. She gave concerts, among other things. with the Vienna Symphony Orchestra, with the orchestra Camerata Athens, as a soloist in the New Opera Athens, at the Theater an der Wien, the Royal Palace Stockholm, the Radio Kulturhaus Vienna, the Baroque Festival St. Pölten, the Vienna Musikverein, the International Baroque Festival Bodrum/Turkey, the Vienna Konzerthaus, and many more Radio recordings and cd productions of Radio Ö1 and film music recordings are as much a part of her activities as her many years of teaching. In addition to early music, Annemarie Podesser is intensively engaged in the interpretation of contemporary music. She has already premiered several works composed for her. Since 2018 she is professor for recorder and early music at the Gustav Mahler Private University of Music Klagenfurt. www.
diefloetenspielerin.at

NN

Cembalo

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

N.N.

Horn

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

N.N.

Horn

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Christian Moritz-Bauer

Musicologist

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Doris Weberberger

Musicologist

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Alexander Moore

Musicologist

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Theresa Pewal

Photography

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Marko Deisinger

Musicologist

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Jeannette Mokosch

Calligraphy | Logo

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Cosimo Strawiarski

Musical Transcriptions

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Antonie Schlegel

Musical Transcriptions

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Georg Burdicek

Sound Master

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Meet Our Team

CD „favola in musica. early new music“

Rosario Conte

Theorbo

Rosario Contewas born 1966 in Taranto (Italy). He studied baroque guitar, lute, theorbo and basso continuo at the N. Piccinni Conservatoire in Bari and received his diplomas in guitar and lute with the highest distinction. From 2002 to 2004, he studied with Hopkinson Smith at the Schola Cantorum Basiliensis (CH) and has since lived in Basel. In addition to an active career as a solo musician, he also participates in a number of different ensembles and orchestras which specialize in performance using period instruments, such as the Orchestern La Lyra di Amphione, La Confraternita de Musici, Accademia Bizantina, Kammerorchester Basel barock, Freiburger Barockorchester, dem Zürcher Barockorchster Musica Inaudita, L’Amoroso, dem Baltasar Neumann Ensemble und mit dem Ensemble La Tempesta. He also regularly performs at a number of Early Music Festivals. Rosario Conte has recorded for various major record labels, including as Deutsche Grammophon and Sony, as well as for numerous radio stations. He released a Baroque solo guitar album titled ‘Une Larme’ or the solo-arch lute album Piccini with the label, Carpe Diem. Since 2007 he has been lute, theorbo, baroque guitar and basso continuo teacher at the N. Piccinni Conservatoire in Bari. He began his musical education by studying the violin and guitar and before later turning his attention to plucked period instruments and historically informed performance. He performs with directors and musicians such as Stefano Montanari, Giuliano Carmignola, Ottavio Dantone, Cecilia Bartoli, Guido Balestracci und Thomas Hengelbrock.

Maria Weiss

Mezzosoprano & CEO

“Her voice is tremendous, and the continued suspense of her stage presence is breathtaking“, “a marvelous mezzo-soprano with organ-like depths” or“a vocal and acting synthesis of arts” are excerpts of reviews about the Austrian mezzo-soprano Maria Weiss. With a repertory focusing on early and contemporary music, she is dedicated in particular to premiering (forgotten) early music and contemporary compositions.
After receiving a diploma in cultural history studies at the University of Sorbonne (Paris), she studied voice at the national conservatory “Luigi Cherubini” in Florence and concluded her studies at the University of Music and Performing Arts Graz under the guidance of Kammersängerin Joanna Borowska. Master Classes with Angelika Kirchschlager, Teresa Berganza und Jorge Sirena followed. Since then, Maria Weiss has worked and studied with the mezzo-soprano Glenys Linos.
With an emphasis on Baroque repertoire, she has sung, amongst others, the roles of Bradamante or Gismonda Händel), Megalce (Vivaldi), Lisinga (Gluck), contemporary music as the opera by W. Rihms ”Jakob Lenz” (Voice) or Baiana in the European premiere of the Brasilian opera “Pedro Malazarte” of Mozart C. Guarnieri. Examples of premieres of rediscovered works in the Baroque repertoire are Palante in the Austrian premiere of “La Guerra de los Gigantes”, Júpiter in “El imposible mayor en amor le vence Amor” (S. Durón) or Aurora in the European premiere of “L’Oracolo del Fato” (F. Gasparini).
Her opera spectrum includes not only the most important Mozart pieces, and extends from the rarely performed Renaissance and Baroque repertoire until Jacques Offenbach’s operettas.
She has worked with stage directors such as Frank Castorf, Philippe Arlaud, John Lloyd Davies or the Baroque-Gesture-Specialist Sigrid T’Hooft. Musical cooperation with directors and musicians such as Stefan Asbury, Domingo Hindoyan, David Levi, Rubén Dubrovsky, Luca Pianca, Gérard Korsten, Rogério Gonçalves, Jörg Zwicker, Thomas Platzgummer, Wolfgang Mitterer, James Pearson or Franco Pavan and musical partners such as Bach Consort Wien, Klangforum Wien, Ensemble Claudiana, Harmony of Nations Baroque Orchestra, Il Concerto Tivoli, Camerata Argentea, A Corte Musical, Capella Leopoldina, Grazer Symphonikern or Vorarlberger Symphonieorchester.
Further engagements saw Maria Weiss perform, amongst others, at Wiener Festwochen, Konzerthaus Wien, Opernhaus Graz, “trigonale. festival für alte musik”, Bregenzer Festspielhaus, Feldkirch Festival, Festspielhaus Dornbirn, Kammeroper Graz, Klagenfurter Konzerthaus, Donaufestwochen im Strudengau, BOV Opera Festival to the Teatru Manoel in Valetta (Malta) or Ateneu Barcelonés in Spain.
With regard to her lied repertoire, Maria Weiss, under the guidance of Teresa Berganza and Isabel Aragón, has specialized on Spanish and Latin American repertoire (especially songs of De Falla, Granados, Guridi, Montsalvatge, Rodrigo, Leon und Villa-Lobos).
Her stage presence has been described, amongst others, as that of a “gifted singer-actress” (in a review by the Kritisches Journal für Alte Musik). Maria Weiss also studied acting at the Lee Strasberg Film & Theatre Institute in New York (US). She can frequently bee seen in short films and feature films. Her most recent feature film “Spanien” by Anja Salomonitz was premiered at the Berlinale 2012. Her most recent award-winning CD, the first recording of the Baroque opera “La Guerra de los Gigantes” b S. Durón (Label Panclassics) with ensemble “A Corte Musical”, has received excellent reviews.

Marco Frezzato

Baroque Cello

Marco Frezzato studied with Mario Brunello, with Antonio Meneses and with Amedeo Baldovino.
He owes his chamber music training to the Trio di Trieste, with whom he did his postgraduate work at the Fiesole Music School, the Chigiana Academy in Siena and the Duino International School of Music. At a very early age, he was drawn to performance practice on original instruments, delving deeper into the study of ancient music with ever increasing interest under the guidance of Gaetano Nasillo at the Milan’s Civic School of Music, obtaining his diploma cum laude in 2003. Marco collaborates with numerous ensembles – Accademia Bizantina, Europa Galante, Orchestra of the Age of Enlightenment, Il Giardino Armonico, Le Concert d’Astrèe, Les Ambassadeurs, Il Sonar Parlante, Ensemble Pygmalion, Orquestra Barroca de Sevilla, Il Pomo d’Oro, Ensemble Accordone, Divino Sospiro, Ensemble Claudiana – and with artists like Fabio Biondi, Ottavio Dantone, Giovanni Antonini, Enrico Onofri, Christophe Coin, Vittorio Ghielmi, Emmanuelle Haim.
He has participated in numerous recordings on labels such as Archiv, Deutsche Grammphon, Decca, L’Oiseau-Lyre, EMI, Virgin Classics, Harmonia Mundi, Naive, Claves, Arts, Carus, Stradivarius, Amadeus, as well as radio and television broadcasts like Arte, Mezzo, Radio France, BBC, Rai RadioTre, RSI, NDR, WDR and SWR.
!In 2002, he co-founded AleaEnsemble along with violinists Fiorenza de Donatis and Andrea Rognoni and violist Stefano Marcocchi, with the aim of exploring string quartet repertory from the Classical and Romantic periods on original instruments. With AleaEnsemble, Marco recorded Mozart’s Divertimento for string trio in E-flat Major, KV 563 for the Italian label MVC, Luigi Boccherini’s six quartets op. II for Stradivarius (Choc de la Musique 2008, Diapason d’Or 2008) and a CD on Stradivarius dedicated to the final Haydn quartets from op. 77.

Wolfgang Mitterer

Composition & Electronics

Wolfgang Mitterer was born in Lienz in East Tyrol in 1958 and grew up in an ambiance of down-to-earth church music and traditional Tyrolean brass bands. In 1977 his interest in the organ led him to study the instrument in the orderly environment of a course of studies in Graz. One year later he moved to the Vienna University of Music, where he studied organ with Herbert Tachezi and composing with Heinrich Gattermeyer. In 1983 he went to the EMS in Stockholm to explore electroacoustics. In 1988 he spent a year in Rome on a scholarship awarded by the Ministry of Education.By this time Wolfgang Mitterer was already undertaking an exciting musical journey through the regions of experimentalism and was a member of collective bands in various stylistic quarters on the fringe between jazz, folk music, New Wave and noise music. He played with bands like “Hirn mit Ei” (brains with egg), “Call Boys Inc.”, “Pat Brothers”, “Dirty Tones”, “Matador” and with musicians like Linda Sharrock, Gunter Schneider, Wolfgang Reisinger, Klaus Dickbauer, Hozan Yamamoto, Tscho Theissing and Tom Cora. Wolfgang Mitterer’s music is characterized by the unpredictable, the unexpected as the starting point of the musical process. He creates a network of instrumental and vocal live ensembles and electronic surround sound; he juxtaposes sawmills and old church organs in a new movement of sounds and engages thousands of choir singers and several traditional brass bands for his compositional events. Improvisation is superimposed on fixed notation. He regularly gives performances as a soloist and in collective groups at international festivals and in concert halls, and he receives compositional contracts from important cultural events and institutions like Wiener Festwochen, Steirischer Herbst, Wien modern, the Wiener Konzerthaus, the festival in Erl, Tyrol, the Klangspuren Schwaz, the ORF, WDR and SRG.For his work as a musician and composer, he has received among others the Prize of the German Recording Critics, a state scholarship from the Republic of Austria, the Prize of the Ars Electronica, the Max Brand Prize, the Prix Futura Berlin, the Emil-Berlanda Prize, the Music Prize of the City of Vienna,… Wolfgang Mitterer’s oeuvre now includes several hundred works for a great variety of musical ensembles, from “Amusie” for six musicians, loudspeaker and a broken church organ to “und träumte seltsam” (“had strange dreams”) for soprano, small choir and ensemble, “Ka und der Pavian” (“Ka and the Pavian”) for choir, 13 musicians and surround sound, “Net-Words 1-5” for eleven musicians and an eight-channel tape to “Fisis” for symphony orchestra, and the opera “Massacre” (first performance at Wiener Festwochen). In the mean time Wolfgang Mitterer is working on another order for musical theatre: In March 2005 the Theatre in Basle will produce “Crushrooms”. He is currently writing “String Quartet 1.3” for the string quartet of Klangforum Wien, which will be given its first performance in the Konzerthaus in Vienna on June 19, 2004 in the framework of the “generator” series. He is also writing a “Brachialsinfonie” (“Brute Force Symphony”) for a large ensemble of Klangforum Wien. Its first performance is planned for autumn 2005. Wolfgang Mitterer taught “Music and Computer” at the University of Music in Vienna.

Published in occasion of the first performance of “Sunrise” (2004), the soundtrack to Murnau’s film with the same title.By Rainer Lepuschitz

"1607. ensemble for early & new music" cast for

"favola in musica. early new music"

FOUNDED by Maria Weiss the ensemble plays music on original instruments together with longlasting musical friends and colleagues.

Intention: to fulfil the highest artistic demands exploring the existential layers of works in search for a distinctive musical language.

Gyöngy Erödi

Baroque Cello

Hungarian-born Gyöngy Erödi appears regularly as cellist/ principal/ continuo player throughout Europe, the British Isles and the United States with ensembles such as I Fagiolini, The English Concert, Gabrieli Consort&Players, Dresdner Barockorchester, Concerto Cologne, L’Arpa Festante Munich, Orchestra Solamente Naturale Bratislava, Ensemble Inegal Prague, Concerto Palatino, Hofkapelle München, American Opera Theater, Les Recreations Paris, the European Union Baroque Orchestra, Moderntimes_1800, Seraphic Fire Miami, Orchestra of New Spain, Dallas Bach Society et al. She is heard on recordings of the Bavarian Radio, the ORF Austria, and on labels such as Challenge Classics, Virgin Classics, OHMS Classics and Raumklang. She has performed in concert halls of both continents including Carnegie Hall New York, Concertgebouw Amsterdam, Musikverein Vienna, Salle Gaveau Paris, Waldstein Palace Prague, Grande Auditorio Lisboa, Spitalfields London, Alte Oper Frankfurt and the National Gallery Washington DC, among others.
Gyongy won several prizes on competitions, a. o. for the best continuo playing and chamber music at the Telemann International Competition Magdeburg, the York Early Music Festival, 1st prize at the International Graun Competition, and 2nd prize on the prestigious Musica Antiqua Vlaanderen International Competition in Bruges. She is founding member of many chamber music ensembles, playing repertoire ranging from the sixteenth- until the nineteenth-century. Among these is the Harmony of Nations Baroque Orchestra, which first CD release in 2008 (under the artistic direction master oboist Alfredo Bernardini) received much praise in the press.
A versatile musician, Gyongy was trained in choir conducting, music theory and piano at the acclaimed Ferenc Liszt Conservatory in Budapest and moved to Germany to study modern violoncello with Annemarie Spengler, baroque cello with Jaap ter Linden and harpsichord with Glen Wilson at the Hochschule für Musik Würzburg. In 2005, she moved to the USA, to attain a double master degree in cello performance and musicology. She also plays the viol and her thesis introduces the sixteenth-century bass violin, the direct ancestor of the violoncello.
She gives workshops and master classes on performance practice, continuo playing and the history of the basse de violon at venues such as Innsbruck Summer Early Music Festival, the International Masterclasses for Early Music in Gmunden Austria, and institutions such as the Royal Academy of Music and the Guildhall School of Music in London. Between 2005 and 2010, Gyongy has held an Adjunct Faculty position at University of North Texas as an instructor for baroque violoncello with collegues such as Richard Croft and Jennifer Lane. Since 2010 she lives in Germany.

Antonio Martín Moreno

Musicologist

(Granada, Spain, born 1948) Professor of music history, Director of the Department of Music History and Musicology, as well as course leader of the Máster de Patrimonio Musical (master’s programme for musical heritage) at the University of Granada. Antonio Martín Moreno has won the Premio Extraordinario de Doctorado, the Primer Premio Nacional de Investigación Musical of the Ministry of Education and Science in Spain (1975) and Director of the Festival Internacional de y Danza de Granada (1984-1987) and Director of the Cursos Internacionales Manuel de Falla of the same festival (1985-1995). He is Corresponding Member of the Royal Academy of Fine Arts San Fernando (Madrid) and the Academy of Fine Arts Sant Jordi (Barcelona). As well as scientific articles about Spanish music and musicians, he has also written numerous books, in particular: El Padre Feijoo y las Ideologías Musicales del XVIII en España (1976) ; La Música del Barroco (1977); Monografía de Hilarión Eslava (1978); Sebastián Durón, José de Cañizares: Salir el Amor del Mundo, zarzuela en dos jornadas del siglo XVII (1979); Historia de la Música andaluza (1985); La Música en Granada (1993); La Música Española del Renacimiento (1999); Catálogo del Archivo de Música de la Catedral de Málaga (2003); Sebastián Durón – F. de Bances Candamo: El Imposible mayor en amor, le vence Amor (2005); La catedral de Granada y la Música (2005); Historia de la Música Española: Siglo XVIII (1985); Sebastián Durón: Ópera deducida de la Guerra de los Gigantes (2007); Sebastián Durón (1660-1716) y la música de su tiempo (2011). His interest in the Spanish composer Sebastián Durón dates back to the 1970s. At this time, Durón was mentioned only in critical references by the Benedictine monk Benito Jerónimo Feijoo y Montenegro (1676-1764) in his work „Teatro crítico universal o discursos vario en todo género de materias para desengaño de errores comunes“ (1726, vol. I, Discourse XIV ‚Música de los Templos’) as the person responsible for introducing the Italian style into Spanish sacred music.

Marko Deisinger

Musicologist

Marko Deisinger, born in Vienna in 1971, studied history at the University of Klagenfurt and musicology at the University of Vienna. He earned his PhD from the University of Vienna in 2004 with a dissertation on the Viennese court Kapellmeister Giuseppe Tricarico (1623–1697). Concurrent to pursuing his doctorate, Deisinger also completed the two-year course on Schenkerian analysis offered at the University of Music and Performing Arts Vienna.
After completing his doctorate, Deisinger received two grants from the Austrian Ministry of Education, Science and Culture in 2005 and 2006 to do research at the Historical Institute at the Austrian Cultural Forum in Rome, Italy. This research in Italy tied into his dissertation study, enabling him to contribute substantially to the body of research on the music historical relationship between Italy and the Habsburg courts in Vienna in the Baroque period.
Since 2007, Deisinger has been a member of the research project team publishing an annotated edition of Heinrich Schenker‘s 1918–1935 diaries at the Institute for Music Analysis, Theory and History at the University of Music and Performing Arts Vienna, where he also received a teaching appointment in 2010.

Alexander Moore

Musicologist

Alexander Moore is the editor and dramaturg for the Tonkünstler Orchestra and the Grafenegg Festival. In this capacity he presents concerts and pre-concert talks at the Musikverein Vienna, the Festspielhaus St. Pölten and in Grafenegg.
Born in Vienna into a music-loving family with Austrian and US-American roots, he studied musicology for two semesters before studying classical guitar, piano and voice at the University of Music and Performing Arts in Vienna. In 1998, Alexander was a co-founder of Radio Stephansdom, Vienna‘s first private classical radio station, where he worked as music editor and presenter.

In 2001 he moved to Graz and was the head of communications at the Opera House and the theatre for young audiences „Next Liberty“. After completing his studies in 2006, he worked at the Playhouse in Derry (Northern Ireland), where he directed a play by Wolf Mankowitz. Alexander returned to Austria, where he was a member of the artistic administration at the Brucknerhaus Linz: he planned and organized concerts with classical and chamber music, Lied recitals, programs with music and literature as well as the Linzer Klangwolke „Six Tales of Time“. In 2007 he joined the wonderful Tonkünstler Orchestra and the Grafenegg Festival – he has been fortunate to work for this landmark of Austrian culture for seven years now.

Moritz Schell

Photography

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Silent Tapes | Stephanie & Francis Lane

Music Video

silent tapes are husband and wife duo Stephanie and Francis Lane, who combine their passion for art and philanthropy to make an impact on the lives of those who need it most, and give hope through their art. Their 50 Kids 50 Cameras project, which provided a five-week photography workshop to children living in the favelas of Brazil, was featured on MTV Brazil, and silent tapes‘ work has previously been featured in various magazines and news publications worldwide. They have also directed music videos for several different artists, and will release their first documentary for the 50 Kids 50 Cameras project in Fall 2014.

Doris Weberberger

Musicologist

Doris Weberberger studied Musicology at Vienna University where she became interested in contemporary music and wrote her thesis on Wolfgang Mitterer’s work, in particular “Das Tapfere Schneiderlein”.

At that time she also started work as a freelance music journalist. Between 2011 and 2014, she was editor of the Austrian Music Magazine (“Österreichischen Musikzeitschrift”) and since 2012 she has supervised the contemporary music section at mica – music austria.

Further professional engagements include press and public relations work, as well as that of assistant director of opera productions.

Antonie Schlegel

Musical Transcriptions

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Esther Jo Steiner

Translations English German

Geboren in Klagenfurt. Lebt und arbeitet in Wien und Kärnten. Bilingual aufgewachsen (englische Mutter, österreichischer Vater). Arbeitet als Filmemacherin, Schnittmeisterin, Übersetzerin (Deutsch, Englisch, Italienisch) und Dramaturgin. Mitarbeit an zahlreichen Film- und Fernsehprojekten im In- und Ausland. Hat eine 11-jährige Tochter.
Langer Studienaufenthalt in London. Besuch der AFECT Filmschule (Patron Mike Leigh). 1997, BA (hons) Communications & Audio-Visual Production Studies, London Guildhall University. 2001, MA Feature Film Screenwriting und 2011 PhD Feature Film Screenwriting an der Royal Holloway, University of London. Aufenthalt in Rom (2015 – 2019).
Buch, Regie, Schnitt (Auswahl)
2007 Chocolate Girl (Kurzfilm, 8 min), BMUKK und Land Kärnten. Festivals/TV: Cannes SFC, CAN Leicester FF, MiniMovie Channel, OktoTV)
2011 Vier Mädchen (Unterrichts-DVD, 28 min), Land Kärnten und Frauenreferat Kärnten
2001 Sageln (Avantgardefilm), Teilnahme am Bildhauersymposium Maria Saal
1998 Zinc (Kurzfilm), Aufführung im ORF-Theater im Rahmen des Musikforums Viktring
Schnittarbeiten (Auswahl)
Redaktionsbuero Ost: Viennafair (Blogbeiträge), Life is short, art is long, architecture endless (Dokumentarfilm über Friedrich Kiesler), Tomorrow Is (MAK), EFASI (ERSTE Foundation), Designtage Salzburg (Teaser), Stadtmacherei (Neues Musem Nürnberg), Erste Bank (Imagefilme), Show Off (MAK), Die Liebe zum Leder (Dokumentarfilm für das Museum Vorchdorf, Crossing Europe Festival), etc.
Pubbles Film: Mobilitas (ORF) und Autofocus (ORF) etc.
Molise Cinema Festival (Kurzfilmprogramme, Trailer)
KGP (Trailer für Home is Here)

Übersetzerin und Untertitel (Auswahl)
KGP (mehrere Spiel- und Dokumentarfilme), Gruppoditerlizzi (verschiedene Kunden), Mediapiù (verschiedene Kunden u. a. Sky Arte), Austrian Institute for Validation, Lufthansa, Swissair etc.
Publikationen
2011 Girls on the Borderline: Rewriting the Rite of Passage Film (Doktorarbeit). Praxisbezogenes Forschungsprojekt mit den Schwerpunkten Psychoanalyse und Gender Studies. Supervision: Mandy Merck und Sue Clayton („The Disappearance of Finbar“).
2011 Beyond the Crush: Defining and Writing Love in a Post-Patriarchal, Post- Pubescent World; Working through Psychoanalysis, Freud’s Legacy in Art, Cinema, Literature & Popular Culture, An Interdisciplinary conference at the University of Leeds
Mehr Infos und Beispiele gibt es auf
www.ejsteiner.net

Jonas Niederstadt

Sound Master

Jonas Niederstadt (*1981) is a music producer, balance engineer (Dipl.-Tonmeister) and record label director. He studied musicology in Oldenburg (Germany), Tonmeister/Balance Engineer in Detmold and some lute playing at the HfK Bremen.
In 2008 he started his own company by taking over the label Carpe Diem from his professor T. Görne. Since then he is recording and producing diverse styles of music throughout Europe and beyond for his own label as well as for other labels and musicians.

elfenkleid

Design Clothing | Caldara

Designers Sandra Thaler and Annette Prechtl met at the Vienna College of Fashion and Clothing Design and have been working successfully together as a team for twelve years. After completion of their training in 2001, they made the decision to start the elfenkleid label, going on to win the Pierre Lang Fashion Award for their first ever collection “Tyrol”. In 2003, they opened their first shop near the Naschmarkt in Vienna. In 2007, they courageously stepped onto the international market.
elfenkleid is known for its elegant and simple collections and the use of highest quality materials.
In 2009, the time was ripe to make the wish for a couture line come true – the “black & white edition”. The designers’ vision was a collection of modern interpretations of classic bridal and evening gowns.
The goal was to overcome the division between modernity and tradition, thus creating a new unity through their designs: it is not traditional romance but rather timeless elegance and modern sensuality that is the hallmark of this collection. The models are hand-tailored for each customer. In December 2010, a new series of softly flowing wedding and evening gowns was added to the “black & white edition”. These dresses, offered in ready-made sizes, melt the borders between prêt-a-porter and haute couture.
In November 2013, the wish to open an elfenkleid boutique and workshop in Munich came true.
In this new location, Sandra Thaler & Annette Prechtl present the „black & white edition“, the ready-to-wear collection, and accessories from Viennese design labels. The white edition designs are personally fitted for customers in Munich, tailored in-store. „White series“ dresses can also be ordered in ready-to-wear sizes.

Philipp Steiner

Camera | Music Video

After school and military service in 2001, I got involved straight away in the Carinthian TV business. I had no clue what I wanted or where I wanted to go, but I knew it should be something to do with film. Philipp Steiner DP
So, I started at the ORF Carinthia and became a production assistant on the folk music show "Wenn die Musi spielt". The way this show was shot was very straightforward and traditional. My work included operating the camera dolly and assisting with the light setup. There, I learned a lot about lighting and the process of TV production. The years went by and in 2005, I knew what I wanted to do: camerawork.

So, I moved to Vienna and attained the SAE "Digital Film Class", doing work on the side with a Canon XL-H1 (borrowed from my father, a retired ORF cameraman ). To finance my eduction and living expenses, I filmed events and worked for the Austrian music channel "GOTV", as well as for a home shopping programme on Sat1 called "EP Home Shopping". In this period I shot about 20 music videos and did various SAE projects and short films. In 2008, I succesfully finished my education and started work as a freelance cameraman.

At my side, whenever a sound recordist is required, I have my friend the sound engineer Thomas Andreas Werginz. If you desire new furniture: he is also a gifted carpenter. My main client is Pubbles Films and I work as a cameraman on their motorshow "Go! Das Motormagazin" on Kabel1. This is why there are so many car ads in my clips section.

I also do a lot of work for Cinetop Film, and should a client require more than just a cameraman, Cinetop Film is the place to go. They can assemble a whole team and oversee the project from start to finish. Also, I am their cameraman of choice, which is nice. If you would like to contact Cinetop, please go to their website: www.cinetop.at.

Jonas Niederstadt

Sound Master

Jonas Niederstadt (*1981) is a music producer, balance engineer (Dipl.-Tonmeister) and record label director. He studied musicology in Oldenburg (Germany), Tonmeister/Balance Engineer in Detmold and some lute playing at the HfK Bremen.
In 2008 he started his own company by taking over the label Carpe Diem from his professor T. Görne. Since then he is recording and producing diverse styles of music throughout Europe and beyond for his own label as well as for other labels and musicians.

Johann Beurer

Haus Infrarot

https://haus-infrarotheizungen.com

Romina Mereu

Hair & Make Up Music Video "Foy Porter"

After school and military service in 2001, I got involved straight away in the Carinthian TV business. I had no clue what I wanted or where I wanted to go, but I knew it should be something to do with film. Philipp Steiner DP
So, I started at the ORF Carinthia and became a production assistant on the folk music show "Wenn die Musi spielt". The way this show was shot was very straightforward and traditional. My work included operating the camera dolly and assisting with the light setup. There, I learned a lot about lighting and the process of TV production. The years went by and in 2005, I knew what I wanted to do: camerawork.

So, I moved to Vienna and attained the SAE "Digital Film Class", doing work on the side with a Canon XL-H1 (borrowed from my father, a retired ORF cameraman ). To finance my eduction and living expenses, I filmed events and worked for the Austrian music channel "GOTV", as well as for a home shopping programme on Sat1 called "EP Home Shopping". In this period I shot about 20 music videos and did various SAE projects and short films. In 2008, I succesfully finished my education and started work as a freelance cameraman.

At my side, whenever a sound recordist is required, I have my friend the sound engineer Thomas Andreas Werginz. If you desire new furniture: he is also a gifted carpenter. My main client is Pubbles Films and I work as a cameraman on their motorshow "Go! Das Motormagazin" on Kabel1. This is why there are so many car ads in my clips section.

I also do a lot of work for Cinetop Film, and should a client require more than just a cameraman, Cinetop Film is the place to go. They can assemble a whole team and oversee the project from start to finish. Also, I am their cameraman of choice, which is nice. If you would like to contact Cinetop, please go to their website: www.cinetop.at.

Iris Blumauer

Presse

Jonas Niederstadt (*1981) is a music producer, balance engineer (Dipl.-Tonmeister) and record label director. He studied musicology in Oldenburg (Germany), Tonmeister/Balance Engineer in Detmold and some lute playing at the HfK Bremen.
In 2008 he started his own company by taking over the label Carpe Diem from his professor T. Görne. Since then he is recording and producing diverse styles of music throughout Europe and beyond for his own label as well as for other labels and musicians.

James Pearson

Musical Advice

Professor James E. Pearson wurde 1948 in Minneapolis (USA) geboren und erhielt seit seinem neunten Lebensjahr Klavierunterricht.
Von 1967 bis 1971 studierte er an der Columbia University in New York, wo er mit dem Titel "Bachelor of Arts" abschloss. Zwischen 1971 und 1974 folgte ein weiterführendes Studium in London am Royal College of Music sowie am London Opera Centre.
Erste Engagements führten James E. Pearson ab 1974 an das Landestheater Coburg, in weiterer Folge nach Heidelberg, Mannheim, Frankfurt am Main und ans Théatre de la Monnaie nach Brüssel.
Seit September 1993 ist James E. Pearson als Solorepetitor an der Wiener Staatsoper engagiert. Darüber hinaus war er 1987 musikalischer Assistent einer Walküre-Produktion in Nizza, 2003 musikalischer Assistent einer Meistersinger-Produktion an der Bastille-Oper in Paris, sowie --- zwischen 2007 und 2010 --- musikalischer Assistent mehrerer Neuproduktionen (Tannhäuser, Lohengrin, Walküre, Götterdämmerung) an der Los Angeles Opera. James E. Pearson, der auch ein international gefragter Liedbegleiter ist, besitzt seit 2004 die österreichische Staatsbürgerschaft. Im März 2015 wurde ihm von der österreichischen Regierung der Berufstitel Professor verliehen.

Glenys Linos

Musical & Vocal Advice

Glenys Linos (* 29. September 1937 in Kairo; † 30. Januar 2020 in Wien) war eine britisch-griechische Opernsängerin (Mezzosopran).
Glenys Linos, Tochter eines Engländers und einer Griechin, wurde als Glenys Birch in Kairo geboren. Sie wuchs in Großbritannien auf, wo sie auch die Schule besuchte. Linos absolvierte ein Musikstudium am Konservatorium von Athen; zunächst lernte sie Querflöte, wechselte jedoch dann zum Gesang. Gesangsunterricht erhielt sie von der berühmten Opernsängerin Elvira de Hidalgo in Mailand; später ließ sie sich stimmtechnisch von Dennis Hall in Bern beraten. Bis 1974 trat sie unter dem Namen Glenys Loulis auf. Linos sang zunächst in Deutschland. Sie hatte Festengagements am Stadttheater Mainz (1968–1969), am Stadttheater Ulm (1969–1973) und am Staatstheater Wiesbaden (1973–1977). Seit 1977 trat Linos regelmäßig am Opernhaus Zürich auf. Bis 1982 war sie dort festes Ensemblemitglied; danach war sie mit einem festen Gastvertrag weiterhin an das Haus gebunden.

In Zürich sang sie unter anderem die Messagera in L’Orfeo (1978; Musikalische Leitung: Nikolaus Harnoncourt, Inszenierung: Jean-Pierre Ponnelle), die Gräfin Geschwitz in Lulu (1979; in der Schweizer Erstaufführung der von Friedrich Cerha ergänzten Fassung, Regie: Götz Friedrich), die Charlotte in Werther[1] (1979, gemeinsam mit Peter Dvorsky), die Brangäne[2] in Tristan und Isolde (1980, Premiere: Juni 1980 im Rahmen der Internationalen Juni-Festwochen), die Giulietta in Hoffmanns Erzählungen (Premiere: September 1980, Regie: Hans Neugebauer, mit Alfredo Kraus als Partner) und die Titelrolle in Penthesilea (1984/1985). Die Gräfin Geschwitz sang sie „mit sattem Mezzosopran“ auch in der Zürcher Lulu-Wiederaufnahme in der Spielzeit 1980/81 (ab Mai 1981).[3] Im April 1981 war sie am Opernhaus Zürich die „stimmschöne“ Brangäne in Wagners Musikdrama Tristan und Isolde, als Partnerin von Janis Martin, die in dieser Vorstellung ihr Rollendebüt als Isolde gab.[4]

In Zürich trat sie in mehreren Spielzeiten auch als Bizets „Carmen“ auf (in Jean-Pierre Ponnelles Inszenierung). Diese Partie sang sie im Verlaufe ihrer Karriere über 200 Mal an verschiedenen Bühnen, darunter auch an der Opéra de Paris in einer Aufführungsserie im Palais des Sports, an der Bayerischen Staatsoper, der Deutschen Oper Berlin, in Bern, Cardiff sowie an weiteren französischen Häusern wie Toulouse (unter Michel Plasson), Nancy (unter Marc Soustrot), Orléans und mit dem Ensemble der Pariser Oper (unter Pierre Dervaux, mit Guy Chauvet als José) in einer speziellen Aufführung in der Stierkampfarena von Bayonne.

1971 trat sie bei den Bayreuther Festspielen in der Rolle der Schwertleite in der Oper Die Walküre auf. 1978 sang sie bei den Münchner Opernfestspielen die Amme in der Oper Die Frau ohne Schatten.[5] 1979 gastierte sie am Staatstheater Wiesbaden als Adriano in Richard Wagners Frühwerk Rienzi.[6] In der Spielzeit 1981/82 trat sie am Stadttheater Bern als Santuzza in einer Neuinszenierung von Cavalleria rusticana auf. 1982 trat sie beim Maggio Musicale Fiorentino in Ken Russells Inszenierung von Strawinskys Rake's Progress auf; im Dezember desselben Jahres sang sie in zwei konzertanten Aufführungen im Casino-Saal Bern „mit beachtlichem Stimmpotential“ die Brangäne in Wagners Musikdrama Tristan und Isolde.[7] Von 1984 bis 1986 sang sie bei den Salzburger Festspielen die Mutterrolle der Storge in einer szenischen Umsetzung des Oratoriums Jephtha.[8] 1985 trat sie an der Opéra National de Paris als Laura in der Oper Der steinerne Gast von Alexander Sergejewitsch Dargomyschski auf.[9] 1986 übernahm sie an der Mailänder Scala mit großem Erfolg die Geneviève in der Oper Pelléas et Mélisande.[10] Von diesen Aufführungen unter der musikalischen Leitung von Claudio Abbado existiert auch ein Live-Mitschnitt, der später auf CD veröffentlicht wurde.[11] In der Spielzeit 1987/88 gastierte sie am Theater Basel als Mrs. Quickly in Falstaff. In der Spielzeit 1988/89 übernahm sie am Opernhaus Zürich die Rolle der Auntie in einer Neuinszenierung der Oper Peter Grimes; diese Rolle sang sie auch in der Wiederaufnahme in der Spielzeit 1989/90 (ab September 1989).

Sie trat auch an der Royal Opera Covent Garden in London (Februar 1981 als Gräfin Geschwitz in Lulu), am Opernhaus von Monte Carlo (1981 als Annina in Der Rosenkavalier, 1984 als Charlotte), an der Opéra Royal de Wallonie in Lüttich (1982/83), am Opernhaus von Nizza (1984 als Preziosilla in Die Macht des Schicksals), an der Vlaamse Opera in Gent und Antwerpen (1984 als Santuzza in Cavalleria rusticana), in Lausanne (1986 als Zauberin in Dido and Aeneas), an der Oper Rom (November 1986 als Irmengarda in der Spontini-Oper Agnese di Hohenstaufen), am Teatro Comunale in Bologna (1987 als Clairon in Capriccio) und am Teatro Nuovo in Spoleto (1989 als Klytämnestra in Elektra).[12]

In der Spielzeit 1990/91 sang sie, „voluminös auftrumpfend“, am Opernhaus Frankfurt die Rolle der Witwe Leokadja Begbick in einer Neuinszenierung von Kurt Weills Oper Aufstieg und Fall der Stadt Mahagonny.[13] 1992 nahm sie in dieser Rolle auch ihren Abschied von der Opernbühne.

Linos trat als Konzertsängerin mit einem breitgefächerten Repertoire hervor, das von der Barockmusik bis zu Gustav Mahler (Das Lied von der Erde) reichte und die zeitgenössische Musik des 20. Jahrhunderts umfasste. 1985 sang sie beim Musikverein Essen unter der musikalischen Leitung von Heinz Wallberg das Altsolo in der Sinfonie Roméo et Juliette, op. 17 von Hector Berlioz.[14] Mit der Staatsphilharmonie Rheinland-Pfalz und dem Beethoven-Chor Ludwigshafen sang sie 1987 in dem Oratorium Das Paradies und die Peri.[15] Im April 1990 sang sie mit dem Tonhalle-Orchester Zürich das Verdi-Requiem.[16]

1980 trat sie als Sängerin in der Fernsehshow Einer wird gewinnen auf. 1990 wurde ein Live-Mitschnitt der Oper Andrea Chénier aus der Alten Oper Frankfurt, in dem sie als „vokalkompetente Madelon herausragt“, auf CD veröffentlicht.[17]

Nach dem Ende ihrer Karriere war Linos intensiv als Gesangslehrerin und Gesangsprofessorin tätig, in den 1990er Jahren zunächst in Zürich und an der an der Royal Academy of Music in London in London, dann in Wien.

Linos war mit dem österreichischen Dramaturgen und Musikwissenschaftler Gerhard Persché verheiratet.

Iris Blumauer

Presse

Jonas Niederstadt (*1981) is a music producer, balance engineer (Dipl.-Tonmeister) and record label director. He studied musicology in Oldenburg (Germany), Tonmeister/Balance Engineer in Detmold and some lute playing at the HfK Bremen.
In 2008 he started his own company by taking over the label Carpe Diem from his professor T. Görne. Since then he is recording and producing diverse styles of music throughout Europe and beyond for his own label as well as for other labels and musicians.