“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” by S. Durón (Label Panclassics) with ensemble “A Corte Musical”, has received excellent reviews.
Favola in Musica. Early New Music
World Premiere Recordings Early Music
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was 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.
studied at the most renowned universities of Italy such as Accademia Chigiana di Siena, Scuola di Musica di Fiesole or Scuola Civica di Milano. Since 2002 he is the leading cellist of Accademia Bizantina of Ottavio Dantone. He performs regulary with orchestras such as Il Giardino Armonico, Le Concert d'Astree, Ars Musica Zuerich, Ensemble Accordone, Ensemble Risonanze, La Cappella della Pietà dei Turchini and Ensemble Claudiana. His musical partners are amongst others Emmanuelle Haim, Emma Kirkby, Bernarda Fink, Vittorio Ghielmi, Lorenzo Ghielmi, Roberta Invernizzi, Enrico Onofri, Sandrine Piau und Andreas Scholl.
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)
Gyoengy EroediCello | stepped in at short-notice for Marco Frezzato - first concert and recordings Early Music: THANK you Gyöngy!
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.
Jonas Niederstadtbalance engineer
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.
Thomas Wisser | Mista WisdomRap Artist | Hip Hop
Rapper, DJ, artist; lives in Vienna. He studied linguistic and philosophy and is part of the artist-group AO&. In his works he oscillates between methodic and formal, such as alliterations and deliberate spoonerism.
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Maria Weiss has a fantastic mezzo-soprano, F.A.N.T.A.S.T.I.C!!!!Mrs B. from St. Veit
Dreamlike beautiful, warm and expressiv voice, wonderful secure coloraturas, you can hear, that Maria Weiss has had the best teachers.Mrs Mag. P. from Projern
As an unprofessional I have been exspecially impressed by the complete harmony of the two instrumentalits and the outstanding voice. This is what I admired and then, of course, the powerful voice.Mr W. from St. Veit
The leading woman, if I may put it that way, was excellent. Her voice, sensationalMr B. from Klagenfurt
Photo Maria Weiss (Header) © Moritz Schell
Photos Maria Weiss, Rosario Conte, Gyöngy Erödi © Moritz Schell
Photo Marco Frezzato © Giulia Papetti
Photo Wolfgang Mitterer © Gert Mosettig
Photo Jonas Niederstadt © Maria Weiss
Photo Thomas Wisser © TAG/Anna Stöcher
Photo Rosario Conte in the Testimonial Slider © Moritz Schell