Here we would like to introduce members of our “1607. ensemble for early & new music”, but also some of the wonderful and numerous people without whom it would be impossible to realise our projects.
Our Team
early music bird. early new music
Wolfgang Mitterer was born in Lienz in East Tyrol in 1958 and grew up in an environment of down-to-earth church music and traditional Tyrolean brass bands. In 1977 his interest in the organ took him to Graz to pursue formal study in the instrument. One year later he moved to the University of Music in Vienna, where he studied organ with Herbert Tachezi and composition with Heinrich Gattermeyer.
In 1983 he went to the Elektronmusikstudio (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 had already embarked on an exciting musical journey through the regions of experimentalism and was a member of collectives working in various styles and genres on the boundaries between jazz, folk music, new wave and noise music.
He has played with bands including Hirn mit Ei, Call Boys Inc., Pat Brothers, Dirty Tones and Matador. He has also collaborated with musicians such as Linda Sharrock, Gunter Schneider, Wolfgang Reisinger, Klaus Dickbauer, Hozan Yamamoto, Tscho Theissing and Tom Cora.
The hallmark of Wolfgang Mitterer’s work is that the musical process begins with the unpredictable and unexpected. 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 composition events. Improvisation is superimposed onto fixed notation. He regularly gives performances as a soloist and as part of collectives at international festivals and in concert halls, and he has been commissioned to compose for important cultural events and institutions including the Wiener Festwochen, Steirischer Herbst, Wien Modern, Wiener Konzerthaus, a festival in Erl, Tyrol and Klangspuren Schwaz, as well as for broadcasters such as ORF, WDR and SRG.
He has received many prizes and awards for his work as a musician and composer, including the German Record Critics’ Award, an Austrian state scholarship, the Prix Ars Electronica, the Max Brand Prize, the Prix Futura Berlin, the Emil-Berlanda Prize, the City of Vienna Music Prize, the Austrian Art Prize for Music and the 2018 Austrian Film Prize for Best Music for Untitled (dir. Michael Glawogger and Monika Willi). He won the same prize again in 2020 for Die Kinder der Toten (dir. Pavol Liska and Kelly Copper).
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 for soprano, small choir and ensemble, Ka und der Pavian for choir, 13 musicians and surround sound, Net-Words 1-5 for 11 musicians and an 8-channel tape to Fisis for symphony orchestra, and the opera Massacre (first performed at Wiener Festwochen).
Wolfgang Mitterer taught the Music and Computer course at the University of Music in Vienna.
wolfgangmitterer.com
Luca Pianca is a Lugano-born lute player and conductor. He studied with Nikolaus Harnoncourt at the Mozarteum University Salzburg before embarking on a 30-year collaboration with Concentus Musicus Wien. He co-founded Il Giardino Armonico, a leading ensemble in the field of ancient music. His output includes more than 80 CD recordings, among them the complete lute works of Bach and Vivaldi.
His concert activity has taken him all around the world, and he has played recitals in many of the major European and American venues. Since 2008 he has conducted the Bach cantata cycle at the Wiener Konzerthaus. He has led over 100 Bach cantatas, as well as St John’s Passion and the Christmas Oratorio. In 2018 the Swiss Federal Office of Culture awarded him the Swiss Music Prize.
“Her voice is tremendous, and the continued suspense of her stage presence is breath-taking”, “a marvellous mezzo soprano with organ-like depths” and “a vocal and acting synthesis of arts” are just some of the things that reviewers have said of the Austrian mezzo soprano Maria Weiss.
The mezzo soprano was just a child when she discovered her love for singing and early music. She studied solo performance at the Luigi Cherubini State Conservatory in Florence, the University of Music and Performing Arts in Graz and acting at the Lee Strasberg Theater & Film Institute in New York.
She has performed with orchestras including the Bach Consort Vienna, Klangforum Wien, L'Orfeo Barockorchester, Ensemble Claudiana, Harmony of Nations Baroque Orchestra, Il Concerto Tivoli, Camerata Argentea, A Corte Musical, Capella Leopoldina, Graz Symphony Orchestra and the Vorarlberg Symphony Orchestra and has established herself as an outstanding interpreter of early music with a mezzo soprano voice that reviewers have described as "beautiful", "clearly timbred and flawlessly guided", and "softly floating”.
The repertoire of the singer, who speaks five languages, consists of early and contemporary music, Bach, Mozart and Offenbach, and particularly first performances of forgotten works.
Her artistic path has been shaped by collaborations with directors such as Frank Castorf, Philippe Arlaud, Seollyeon Konwitschny, John Lloyd Davies and Kobie van Rensburg and with musical partners such as Stefan Asbury, Domingo Hindoyan, Michi Gaigg, David Levi, Rubén Dubrovsky, Gérard Korsten, Rogério Gonçalves and Franco Pavan.
Notable engagements include the Wiener Festwochen, Wiener Konzerthaus, Graz Opera House, Händel Festival in Halle, Theater an der Rott (Germany), trigonale. festival of early music, Festspielhaus Bregenz, Feldkirch Festival, Festspielhaus Dornbirn, Donaufestwochen im Strudengau, BOV Opera Festival at the Teatru Manoel in Valetta (Malta) and Ateneu Barcelonés in Spain.
As a Lied singer, Maria Weiss, under the guidance of Teresa Berganza and Isabel Aragón, has specialised in Spanish and Latin American repertoire (especially the songs of De Falla, Granados, Guridi, Montsalvatge, Rodrigo, Leon and Villa-Lobos).
Her stage presence was described as that of a “gifted singer-actress” in a review by the Kritisches Journal für Alte Musik.
She regularly appears in short films, feature films and commercials, and has worked with directors such as Anja Salomonowitz, Oskar Roehler, Christopher Schlier, Martin Aamund, Phil Moran, Ronald Unterberger, Thomas Woschitz and Quadmo Quintero.
mariaweiss.at
mariaweissactress.com
Zsófia Bréda was born in 1998, and started her musical studies in Gödöllő, Hungary.
She graduated from Bartók Béla Conservatory Budapest, in Erika Petőfi’s class.
She graduated from Bartók Béla Conservatory Budapest, in Erika Petőfi’s class.
Early music has always had a special place in her heart, and she started to discover the secrets of it at the Miszla Baroque Academy, (at first in 2016, and every year since then) with Monika Toth and Soma Dinyes. In Miszla she decided to dedicate her time entirely to baroque violin and early music. Since 2018 she has been studying with Ulrike Engel at the Music and Arts University of the City of Vienna. In 2021 she also took up viola da gamba.
Zsófi has had a lot of opportunities to work and perform with Hungarian (Bacchus Consort, Miszla Baroque Orchestra, Orfeo Orchestra Budapest, Budapest Bach Consort, Ariadné Consort, Ensemble Metatron) and international (Collegium Marianum, 1607. ensemble for early & new music) ensembles. She played in Europes famous concert halls such as the Palace of Arts and the Music Academy in Budapest, in the Wiener Konzerthaus (at the Resonanzen Festival), Hofburgkapelle, and Musikverein in Vienna, as well as in the Czech Republic, Germany and Italy.
She took masterclasses from Monika Toth, Enrico Onofri, Soma Dinyés, Balázs Máté, Dirk Börner, Rachel Podger, Lenka Torgersen, Jana Semeradova, Benoit Dratwicki, Davide Monti and Veronika Skuplik.
Zsófia Bréda | Castle “Schloss Pöckstein” | Photograph © Carmen & Ingo Photography
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.
<p>Wolfgang Mitterer, Composition & Electronics<br />
Maria Weiss, Mezzosoprano & Artistic director<br />
Gyöngy Erödi, Cello<br />
Rosario Conte, Theorbo</p>
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.
<p>Wolfgang Mitterer, Composition & Electronics<br />
Maria Weiss, Mezzosoprano & Artistic director<br />
Gyöngy Erödi, Cello<br />
Rosario Conte, Theorbo</p>
Mónika Tóth received her degree with distinction in violin pedagogy and chamber music performance from the Franz Liszt Academy of Music, Szeged, Hungary, in 1997. In 1999, she was awarded grants by the Soros Foundation and the Marco Fodella Foundation, which allowed her to study baroque violin and specialise in early music at the Accademia Internazionale della Musica in Milan under the guidance of Enrico Gatti. Subsequently, she received a master’s degree cum laude in baroque violin from the Vincenzo Bellini Conservatorium in Palermo in 2007 as a student of Enrico Onofri. She also attended the masterclasses of Simon Standage, Lucy van Dael, Jaap Schröder, Bart Kuijken, and Malcolm Bilson.
She won second prize at the Premio Bonporti Rovereto International Chamber Music Competition (Italy) in 2000 and third prize at the International Telemann Competition in Magdeburg (Germany) in 2001. Both times, the head of the international jury was Gustav Leonhardt.
She appears regularly with leading early music groups and chamber ensembles, including I Barocchisti, Imaginarium Ensemble, Ensemble Zefiro, Accademia Bizantina, Il Giardino Armonico, Dolce e Tempesta, Europa Galante, Capella Leopoldina Graz, Barucco Wien, Neue Hofkapelle Graz, Accentus Austria, L'Eclisse, Ensemble Castor, and Stella Matutina. She is regularly invited as a chamber musician, leader and soloist to prestigious international festivals, such as the Regensburg, Berlin, Barcelona, Leipzig, Vienna, Salzburg, Trigonale in the South of Austria, Mantova, Milano, Krakow, Stockholm, Cuopio, Mexico City, Creta and Jerusalem Festivals.
She has contributed to numerous recordings with Decca, EMI, Sony, Archiv, Naiv, Deutsche Harmonia Mundi, Arts, Chandos, Hungaroton, RTSI, Symphonia, Amadeus, Taktus, Erato, Querstand, Panclassics, Passacalia, Arcana, Preiser Records, Brilliant Classics and Virgin labels.
She has regularly taught baroque violin at early music summer academies in Hungary from 2003, and in Italy and Poland as well. She is the founder of the Miszla Baroque Early Music Academy, which takes place twice a year at the Nemeskéry baroque villa in Miszla, Hungary.
From 2012, she is Tutor of young baroque string players of the I Talenti Vulcanici Baroque Orchestra at the Centro di Musica Antica della Pietá de'Turchini, Naples.
From 2018/19 she is lecturer for baroque violin at the University of Ljubljana.
In 2019, Mónika Tóth was honoured with the Betty Wager Prize by the City of Heves, Hungary, her hometown, for her achievements in early music.
She won second prize at the Premio Bonporti Rovereto International Chamber Music Competition (Italy) in 2000 and third prize at the International Telemann Competition in Magdeburg (Germany) in 2001. Both times, the head of the international jury was Gustav Leonhardt.
She appears regularly with leading early music groups and chamber ensembles, including I Barocchisti, Imaginarium Ensemble, Ensemble Zefiro, Accademia Bizantina, Il Giardino Armonico, Dolce e Tempesta, Europa Galante, Capella Leopoldina Graz, Barucco Wien, Neue Hofkapelle Graz, Accentus Austria, L'Eclisse, Ensemble Castor, and Stella Matutina. She is regularly invited as a chamber musician, leader and soloist to prestigious international festivals, such as the Regensburg, Berlin, Barcelona, Leipzig, Vienna, Salzburg, Trigonale in the South of Austria, Mantova, Milano, Krakow, Stockholm, Cuopio, Mexico City, Creta and Jerusalem Festivals.
She has contributed to numerous recordings with Decca, EMI, Sony, Archiv, Naiv, Deutsche Harmonia Mundi, Arts, Chandos, Hungaroton, RTSI, Symphonia, Amadeus, Taktus, Erato, Querstand, Panclassics, Passacalia, Arcana, Preiser Records, Brilliant Classics and Virgin labels.
She has regularly taught baroque violin at early music summer academies in Hungary from 2003, and in Italy and Poland as well. She is the founder of the Miszla Baroque Early Music Academy, which takes place twice a year at the Nemeskéry baroque villa in Miszla, Hungary.
From 2012, she is Tutor of young baroque string players of the I Talenti Vulcanici Baroque Orchestra at the Centro di Musica Antica della Pietá de'Turchini, Naples.
From 2018/19 she is lecturer for baroque violin at the University of Ljubljana.
In 2019, Mónika Tóth was honoured with the Betty Wager Prize by the City of Heves, Hungary, her hometown, for her achievements in early music.
Anne-Suse Enßle studied recorder at Mozarteum Salzburg with Professor Dorothee Oberlinger and at the Universität für Musik und darstellende Kunst Wien with Prof. Carsten Eckert.
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 led the recorder class at the Carinthian National Conservatoire, Klagenfurt as a temporary replacement. Since January 2020 she has been teaching as a recorderprofessor at the Tyrolean State Conservatory in Innsbruck.
As a soloist and member of various ensembles, she has devoted herself to the interpretation of early and new music. Special emphasis is placed on collaborating with composers, developing new concertformats, working for young audiences, cross-disciplinary projects and chambermusic at the highest level.
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 led the recorder class at the Carinthian National Conservatoire, Klagenfurt as a temporary replacement. Since January 2020 she has been teaching as a recorderprofessor at the Tyrolean State Conservatory in Innsbruck.
As a soloist and member of various ensembles, she has devoted herself to the interpretation of early and new music. Special emphasis is placed on collaborating with composers, developing new concertformats, working for young audiences, cross-disciplinary projects and chambermusic at the highest level.
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Born / raised in Stuttgart. Musical maturation in countless chamber music and orchestral formations. Violin studies in Aachen / Cologne and Klagenfurt with Prof. P. Rosemberg and Prof. H. Fister, baroque violin with Mag. NS. Fheodoroff, master classes with Y. Kless, Igor Ozim, John Holloway, Rachel Podger, Andreas Pilger and others.
State teaching qualification 1999, artististic Diploma 2001, each with distinction. Lively chamber music activity at home and abroad with the baroque ensemble Arco-Baleno, the ensemble for early music La Follietta (appearances as part of the Millstatt Music Weeks, trigonale. festival for early music, Innsbruck Festival for Early Music, etc.) and the Carinthian Baroque Orchestra.
Hanne Eisenhut lives with her family in Carinthia and leads a class for violin / viola at the Gustav Mahler Music School in Klagenfurt. Making the diversity of music in the eras audible and tangible is a great concern and joy for her, both as a musician and as an instrumental teacher.
Hanne Eisenhut | Castle “Schloss Pöckstein” | Photograph © Maria Weiss
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.
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Annemarie Podesser | Castle “Schloss Pöckstein” | Photograph © Theresa Pewal
Prof. Hermann Ebner has been playing for many years as first horn in the Tonkünstler-Orchester Niederösterreich, as well as with the Vienna Philharmonic Orchestra, the Vienna State Opera and the Vienna Radio Symphony Orchestra.
In the field of early music, he plays with renowned original-sound orchestras such as L’Orfeo Barockorchester, the Wiener Akademie, the Musica Angelica Baroque Orchestra (Los Angeles, USA) and Les Musiciens du Louvre (Grenoble, France).
As a university lecturer, Hermann Ebner teaches horn, natural horn and chamber music at the University of Music and Performing Arts Graz (Institut Oberschützen).
He has performed orchestral concerts with the Vienna Chamber Orchestra, the Győrer Philharmonic, the Radio Symphony Orchestra Krakow and the Mozarteum Orchestra Salzburg. He has taken part in many chamber music and solo performances and has recorded numerous CDs.
Hermann Ebner holds masterclasses in Austria, Italy, Hungary, Poland, USA, Japan, Novosibirsk, Bogotá, Santo Domingo and Los Angeles.
His book Die Hornisten bei Haydn am Hofe Esterházy: Auf der Suche nach den hornistischen Spuren in den Meisterwerken Joseph Haydns, published in Vienna, received great recognition in the musicological world.
In the field of early music, he plays with renowned original-sound orchestras such as L’Orfeo Barockorchester, the Wiener Akademie, the Musica Angelica Baroque Orchestra (Los Angeles, USA) and Les Musiciens du Louvre (Grenoble, France).
As a university lecturer, Hermann Ebner teaches horn, natural horn and chamber music at the University of Music and Performing Arts Graz (Institut Oberschützen).
He has performed orchestral concerts with the Vienna Chamber Orchestra, the Győrer Philharmonic, the Radio Symphony Orchestra Krakow and the Mozarteum Orchestra Salzburg. He has taken part in many chamber music and solo performances and has recorded numerous CDs.
Hermann Ebner holds masterclasses in Austria, Italy, Hungary, Poland, USA, Japan, Novosibirsk, Bogotá, Santo Domingo and Los Angeles.
His book Die Hornisten bei Haydn am Hofe Esterházy: Auf der Suche nach den hornistischen Spuren in den Meisterwerken Joseph Haydns, published in Vienna, received great recognition in the musicological world.
Igor Bobovich was born in Belarus in 1976 and received his first cello lessons at the age of six. From 1990 to 1993 he attended a special school for gifted children in Kharkov, before beginning his studies at the Moscow State Tchaikovsky Conservatory, graduating in 1999.
From 1999-2005 he was at the Hanover University of Music, Drama and Media, where he pursued studies in artistic education, chamber music and orchestra solo literature and took solo classes.
Igor Bobovich has won numerous prizes and awards at international competitions, including the International J. S. Bach Competition in Leipzig, the Maria Canals International Music Competition in Barcelona, the International Chamber Music Competition in Caltanissetta and many others. Igor Bobovich was solo cellist with the orchestra MusicAeterna and has played in early music groups including Concerto Köln, La Poème Harmonique and Ensemble 1700.
He regularly gives concerts in Europe and Russia, teaches at the Moscow Conservatory, conducts for the Moscow Chamber Music Academy and is a permanent member of the ensemble La voce strumentale.
Igor Bobovich | Pöckstein Castle | Photograph © Maria Weiss
Michael Söllner received his horn training first with Roland Baar and then with Klaus Zajer at the Vienna Conservatory. He received further important musical impulses from Franz Söllner, Wolfgang Tomböck, Michel Gasciarino and Christian Binde.
Fascinated by the sound and construction of historical wind instruments, he dealt early on with the history of the French horn and its development. Michael Söllner plays regularly with orchestras such as the L'Orfeo Barockorchester, the Calamus Consort, the Ensemble Barucco, the Haydn Philharmonie, Ars Antiqua Austria, the Vienna Academy, Concilium musicum Vienna, the New Orchestra Cologne, Capella Coloniensis, La Stagione Frankfurt, the Mahler Chamber Orchestra, Les Musiciens du Louvre, the Australian Chamber Orchestra, L'arpa festante and others.
On the modern horn he has made guest appearances in the Vienna State Opera (Vienna Philharmonic Orchestra), the Vienna Symphony Orchestra, the Vienna Volksoper, the RSO Vienna, the Tonkünstler Orchester Niederösterreich and many others.
As a founding member of the horn quintet Die Matterhorns, Michael Söllner has dedicated himself to maintaining rare, often unknown original literature on the Vienna Horn. The interpretation of folk music in your own arrangements is also one of the specialties of this ensemble.
Numerous sound and image recordings as well as concert tours around the world round off Michael Söllner's previous musical oeuvre. He is currently also engaged in various research projects on the historical development of instrument making (explicitly the Viennese horn) and the restoration of brass instruments.
Fascinated by the sound and construction of historical wind instruments, he dealt early on with the history of the French horn and its development. Michael Söllner plays regularly with orchestras such as the L'Orfeo Barockorchester, the Calamus Consort, the Ensemble Barucco, the Haydn Philharmonie, Ars Antiqua Austria, the Vienna Academy, Concilium musicum Vienna, the New Orchestra Cologne, Capella Coloniensis, La Stagione Frankfurt, the Mahler Chamber Orchestra, Les Musiciens du Louvre, the Australian Chamber Orchestra, L'arpa festante and others.
On the modern horn he has made guest appearances in the Vienna State Opera (Vienna Philharmonic Orchestra), the Vienna Symphony Orchestra, the Vienna Volksoper, the RSO Vienna, the Tonkünstler Orchester Niederösterreich and many others.
As a founding member of the horn quintet Die Matterhorns, Michael Söllner has dedicated himself to maintaining rare, often unknown original literature on the Vienna Horn. The interpretation of folk music in your own arrangements is also one of the specialties of this ensemble.
Numerous sound and image recordings as well as concert tours around the world round off Michael Söllner's previous musical oeuvre. He is currently also engaged in various research projects on the historical development of instrument making (explicitly the Viennese horn) and the restoration of brass instruments.
The Italian harpsichordist, Chiara Massini, studies piano with Professor Enzo Stanzani at the at the Ottorino Respighi Conservatory in Rome, and musicology at La Sapienza University. Upon graduating, she attended various master-classes in Salzburg and commenced an intensive study of early music. This path led her to Vienna, where she studied harpsichord and figures bass at the University of Music and Performing Arts under Professors Gordon Murray and Augusta Campagne, respectively, graduating with distinction.
In addition to numerous recordings for Austrian, Italian, Canadian and Spanish radio, Chiara Massini is active as soloist and chamber musician, and has appeared at various festivals and concert series in Europe, Canada, Brazil and Lebanon, including the Al Bustan Festival in Beirut, I conceri de Confalone in Rome, Muzikfestspiele in Dresden and the Musikverein in Vienna.
As one critic remarked on her solo debut CD, Toccata, Passacaglia, Partita released in 2003 and broadcast in Italy and Canada: "Her playing captivates through its combination of technical authority and expressive power."
Elsewhere, the press has written of her: "Already with the first phrase, she profiled herself as an exceptional artistic personality who brings these selected works by Italian composers to life with ingenious liberties [...] her rubato, executed with stylistic certainty and sheer delight, injected itself organically into the course of the movement [...] Massini's suspenseful playing successfully captured the affects' polymorphism and illuminated the music's harmonic boldness [...] the melodic charm and the perfect proportions of the music of Domenico Zipoli unfolded under Massini's sensual grasp in all their radiance."
In august 2005 Chiara Massini played J.S. Bach's Goldberg Variations (BWV 988) throughout Europe, subsequently recording them in summer 2006 for Symphonia. The reaction of both public and press was highly appreciative: "C.M. shows she can really dig in and captivate her listeners.” (Alte Musik Aktuell). In December 2008 she was invited by the Charitable Society of Friends to make her USA concert debut touring Florida. She performed in Delray Beach solo on the harpsichord, and in Palm Beach both solo and with a chamber group. Both critics and the public were awed by her technical grasp of the music as well as the passion with which she played. As always, the audience was with her from the first touch of the keyboard to the end.
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Chiara Massini | Café am Heumarkt (Vienna) | Photograph © Maria Weiss
N.N.
Born in 1969 in Innsbruck / Austria, she learned dulcimer from her father Florian at the age of 5, soon also double bass and played folk music with the family music Pedarnig for many years.
Piano lessons begin almost at the same time and, from the age of 16, in the music high school, the double bass studies with Prof. Sorg and Rumer at the Innsbruck Conservatory.
She completes her concert diploma and IGP with excellent results and goes to Vienna (Oberschützen) for further training to Professor Auersperg.
From 1995-2018 she lives as a freelance double bass player in Vienna and has since then almost exclusively dealt with historical performance practice and contemporary music.
In 1998 she received the Pembauer Prize in Innsbruck.
She has been living in Innsbruck again since 2018.
Since 2020 lecturer at the University of Music in Vienna for double bass new playing techniques.
She is a member of the ensemble Phace Contemporary Music and plays amongst others at Concentus Musicus, Ensemble Prisma, Klangforum Wien, Ensemble Die Knoedel, Kammerorchester Basel, Il Giardino Armonico, Ensemble Claudiana,Wiener Akademie, Akademie für Alte Musik Berlin, Lauttencompaney Berlin or Barucco, Bachconsort.
Alexandra Dienz | Photograph © Maria Weiss
Georg Burdicek, born in Vienna, is the founder of tonzauber, a classical sound studio based in the Austrian capital. It has created numerous renowned national and international productions. It has its main base in the Wiener Konzerthaus and another studio in the Casino Baumgarten (Vienna).
Georg Burdicek has extensive references as a sound engineer. He has worked with renowned artists such as Nikolaus Harnoncourt, Zubin Mehta, Semyon Bychkov, Martha Argerich, Yuja Wang, Elina Garancia, Edita Grubervoa, Joe Zawinul, Julian Rachlin and Günther Groissböck, and with ensembles such as Concentus Musicus Wien, Klangforum Wien, the Tonkünstler Orchestra, the Vienna Symphony Orchestra and the Vienna Philharmonic Orchestra.
As well as his activities as a sound engineer, Georg Burdicek edits the Austrian journal Media Biz and shares his profound knowledge in seminars at universities and universities of applied sciences.
tonzauber.com
Georg Burdicek | Photograph © Milos Sipos
Professor James E. Pearson was born in Minneapolis (U.S.A.) in 1948 and received piano instruction from the age of nine.
From 1967 to 1971 he attended Columbia University in New York City, graduating with a Bachelor of Arts degree. From 1971 to 1974 he continued his studies in London, at the Royal College of Music and the London Opera Centre. Since 1974 he has worked as a repetiteur in several opera houses in Germany, Belgium and Austria: Coburg, Heidelberg, Mannheim, Frankfurt am Main, Brussels (Théatre de la Monnaie) and, since September 1993, Vienna State Opera. He has been engaged as guest pianist and repetiteur for opera productions in Nice, Paris and Los Angeles and is also busy as a pianist for vocal recitals on three continents.
In March 2015 the Austrian government awarded James E. Pearson the title Professor.
Photograph of James Pearson © Stephanie Houtzeel
From 1967 to 1971 he attended Columbia University in New York City, graduating with a Bachelor of Arts degree. From 1971 to 1974 he continued his studies in London, at the Royal College of Music and the London Opera Centre. Since 1974 he has worked as a repetiteur in several opera houses in Germany, Belgium and Austria: Coburg, Heidelberg, Mannheim, Frankfurt am Main, Brussels (Théatre de la Monnaie) and, since September 1993, Vienna State Opera. He has been engaged as guest pianist and repetiteur for opera productions in Nice, Paris and Los Angeles and is also busy as a pianist for vocal recitals on three continents.
In March 2015 the Austrian government awarded James E. Pearson the title Professor.
Photograph of James Pearson © Stephanie Houtzeel
Glenys Linos, daughter of a Greek mother and English father, was born as Glenys Birch in Cairo in 1937 and died in Vienna in 2020. She grew up in Great Britain, where she also attended school. She received singing lessons from the famous opera singer Elvira de Hidalgo in Milan; later she asked Dennis Hall in Bern for advice on vocal techniques. Until 1974 she performed under the name Glenys Loulis.
As a member of the Zurich Opera ensemble, she sang the Messagera in Monteverdi's L'Orfeo (1978; musical direction: Nikolaus Harnoncourt, staging: Jean-Pierre Ponnelle), the Countess Geschwitz in Lulu (1979 in the Swiss premiere of the version supplemented by Friedrich Cerha , Directed by Götz Friedrich), the Charlotte in Werther [1] (1979, with Alfredo Kraus and Peter Dvorsky), the Brangäne in Tristan und Isolde (1980), the Giulietta in Hoffmanns Stories (premiere 1980, directed by Hans Neugebauer, also with Alfredo Kraus as a partner).
In Zurich she also appeared as Bizet's Carmen for several seasons (in Jean-Pierre Ponnelle's production). She sang this role over 200 times in the course of her career at various stages, including at the Opéra de Paris in a series of performances in the Palais des Sports, at the Bavarian State Opera, the Deutsche Oper Berlin, in Bern, Cardiff and at other French houses such as Toulouse (under Michel Plasson), Nancy (under Marc Soustrot), Orléans and with the Paris Opera Ensemble (under Pierre Dervaux, with Guy Chauvet as José) in a special performance in the bullring in Bayonne.
In 1971 she was a guest at the Bayreuth Festival, in 1978 at the Munich Opera Festival as a wet nurse in the opera Die Frau ohne Schatten. In 1979 she sang at the Staatstheater Wiesbaden as Adriano in Richard Wagner's early work Rienzi. Of the numerous international guest appearances pars pro toto, her appearance as Baba the Turk in 1982 at the Maggio Musicale Fiorentino in Ken Russell's production of Stravinsky's Rake's Progress should be mentioned. From 1984 to 1986 she sang the mother role of Storge in a scenic implementation of the oratorio Jephtha at the Salzburg Festival. In 1985 she appeared at the Opéra National de Paris as Laura in the opera Der Steinerne Gast by Alexander Sergejewitsch Dargomyschski. In 1986 she took over the Geneviève in the opera Pelléas et Mélisande at La Scala in Milan. There is also a live recording of these performances under the musical direction of Claudio Abbado, which was later published on CD.
As Leokadja Begbick in a new production of Kurt Weill's opera Rise and Fall of the City of Mahagonny, she took her leave of the opera stage in 1992.
After the end of her career, Linos worked intensively as a singing teacher and professor, first in Zurich in the 1990s and at the Royal Academy of Music in London in London, then in Vienna.
Photograph of Glenys Linos © Private Archive of Evelyn Schörkhuber
As a member of the Zurich Opera ensemble, she sang the Messagera in Monteverdi's L'Orfeo (1978; musical direction: Nikolaus Harnoncourt, staging: Jean-Pierre Ponnelle), the Countess Geschwitz in Lulu (1979 in the Swiss premiere of the version supplemented by Friedrich Cerha , Directed by Götz Friedrich), the Charlotte in Werther [1] (1979, with Alfredo Kraus and Peter Dvorsky), the Brangäne in Tristan und Isolde (1980), the Giulietta in Hoffmanns Stories (premiere 1980, directed by Hans Neugebauer, also with Alfredo Kraus as a partner).
In Zurich she also appeared as Bizet's Carmen for several seasons (in Jean-Pierre Ponnelle's production). She sang this role over 200 times in the course of her career at various stages, including at the Opéra de Paris in a series of performances in the Palais des Sports, at the Bavarian State Opera, the Deutsche Oper Berlin, in Bern, Cardiff and at other French houses such as Toulouse (under Michel Plasson), Nancy (under Marc Soustrot), Orléans and with the Paris Opera Ensemble (under Pierre Dervaux, with Guy Chauvet as José) in a special performance in the bullring in Bayonne.
In 1971 she was a guest at the Bayreuth Festival, in 1978 at the Munich Opera Festival as a wet nurse in the opera Die Frau ohne Schatten. In 1979 she sang at the Staatstheater Wiesbaden as Adriano in Richard Wagner's early work Rienzi. Of the numerous international guest appearances pars pro toto, her appearance as Baba the Turk in 1982 at the Maggio Musicale Fiorentino in Ken Russell's production of Stravinsky's Rake's Progress should be mentioned. From 1984 to 1986 she sang the mother role of Storge in a scenic implementation of the oratorio Jephtha at the Salzburg Festival. In 1985 she appeared at the Opéra National de Paris as Laura in the opera Der Steinerne Gast by Alexander Sergejewitsch Dargomyschski. In 1986 she took over the Geneviève in the opera Pelléas et Mélisande at La Scala in Milan. There is also a live recording of these performances under the musical direction of Claudio Abbado, which was later published on CD.
As Leokadja Begbick in a new production of Kurt Weill's opera Rise and Fall of the City of Mahagonny, she took her leave of the opera stage in 1992.
After the end of her career, Linos worked intensively as a singing teacher and professor, first in Zurich in the 1990s and at the Royal Academy of Music in London in London, then in Vienna.
Photograph of Glenys Linos © Private Archive of Evelyn Schörkhuber
Dr Christian Moritz-Bauer was born in Stuttgart and currently lives in Seewalchen am Attersee in Upper Austria. He has undertaken university studies in musicology, English literature and European art history in Vienna, Heidelberg, Exeter and Salzburg. Christian Moritz-Bauer is a music journalist and dramaturge for the Linz-based L’Orfeo Barockorchester and the haydn2032 project. In 2013 he was appointed to the Haydn Foundation Basel as an academic adviser. With the foundation’s support, he has been running a research and dissertation project supervised by Wolfgang Fuhrmann and Birgit Lodes since autumn 2015. In March 2021, Christian Moritz-Bauer was appointed as a dramaturge by one of the most renowned and traditional organisers on the European festival scene, the Innsbruck Festival of Early Music.
Christian Moritz-Bauer | Kremsmünster Abbey Library | Photograph © Maria Weiss
Doris Weberberger studied musicology at the University of Vienna, where she specialised in new music and wrote her thesis on Wolfgang Mitterer and his mini opera for children, Das tapfere Schneiderlein (Brave Little Tailor).
During her studies she took seminars in cultural management at the Institute for Cultural Management (part of the University of Music and Performing Arts Vienna) and the Institute for Cultural Concepts.
In 2006 she began working for the Österreichische Musikzeitschrift (an Austrian music magazine) as a freelance editor, and from 2011 to 2014 she had a position in the editorial department. Since 2012 she has been responsible for new music and music education at mica – music austria, where she takes care of the website, organises conferences and networking events, and looks after other projects that support new music, some of which are international.
She has written texts for the Wiener Konzerthaus, the Grafenegg festival, the neue musikzeitung and the Rainy Days music festival. As part of her teaching activities at the Institute of Musicology (part of the University of Vienna), she has given classes in writing about music.
Doris Weberberger | Photograph © Maria Weiss in the Butterfly House, Vienna
Alexander Moore grew up in a music-loving family with Austrian and US-American roots in his home city of Vienna. He first studied musicology and soon moved to the University of Music and Performing Arts Vienna, where he studied classical guitar, piano and music history. In 1998 he was a founding member of Radio Klassik Stephansdom and worked there for three years as a presenter and music editor. From 2001 he headed the press office of Graz Opera and the Graz Next Liberty children's and youth theatre.
After graduating in 2006 and training in cultural management at the Institute for Cultural Concepts in Vienna, he took his first theatre directing position at Playhouse Derry (Northern Ireland) as part of a trainee programme. He then went to the Brucknerhaus Linz, where he oversaw several programme series (including chamber music, vocal music and literature) and directed a production of Six Tales of Time for the Linz Klangwolke, a multimedia musical event.
From 2007 to 2014 Alexander Moore was a dramaturge and editor at the Tonkünstler Orchestra and the Grafenegg festival. In this capacity, he presented concerts at the Wiener Musikverein, introductory talks, and the Tonkünstler programme on Radio Niederösterreich; in addition, he wrote numerous programme booklet contributions, magazine articles (for example in the Österreichische Musikzeitschrift), CD booklets and the central music chapter in the illustrated book Grafenegg. Klang trifft Kulisse (2013, published by Residenz).
In 2014 Alexander Moore was appointed Secretary General of Jeunesse Austria and led the organisation until the preliminary planning for the 2017/2018 season. He initiated a programmatic turnaround for Jeunesse and founded the sponsorship programme for orchestra camps and the new brand identity. In 2014 Alexander Moore established the editorial office MusiConsulting, a network for print and media production, text design, moderation and dramaturgical research. MusiConsulting works for the Bamberg Symphony Orchestra, the Allegro Vivo chamber music festival, the Festspielhaus St. Pölten, the Brucknerhaus Linz, the Grafenegg festival, the Tonkünstler Orchestra and the Salzburger Kulturvereinigung, among others. In 2018 Alexander Moore wrote the anniversary volume Klang verbindet (Kremayr & Scheriau) for Allegro Vivo. He returned to writing booklet texts for the early music bird CD by singer Maria Weiss.
After graduating from what is now the Ingeborg-Bachmann-Gymnasium, Marko Deisinger (b. 1971) studied history at the University of Klagenfurt. His thesis, which he presented in 2001, focuses on the Second Viennese School. From 1995 to 1999 he received lessons in jazz and classical percussion at the Carinthian State Conservatory. His keen interest in music history led him to the University of Vienna in 1999, where he studied musicology. In 2004 he earned his doctorate with a thesis on the Viennese court conductor Giuseppe Tricarico (1623–1697). During his doctoral studies he also completed the course in composition according to Heinrich Schenker at the University of Music and Performing Arts Vienna.
Having finished his PhD, Deisinger received two research grants from the Federal Ministry of Education, Science and Culture at the Historical Institute at the Austrian Cultural Forum in Rome. From 2005 to 2007 he studied in Italy, where he carried on with the theme of his dissertation by contributing to research into the musical and cultural relationships between Italy and the imperial city of Vienna in the Baroque period.
From 2007 to 2010 Deisinger was a research assistant on a project called Heinrich Schenker, Diaries 1918–1925: Annotated Edition with Professor Martin Eybl at the University of Music and Performing Arts Vienna. He then collaborated with Professor William Drabkin, who is based at the University of Southampton (UK), on Heinrich Schenker as Theorist, Teacher and Correspondent, 1925–1930. From 2014 to 2017 Deisinger was involved in Heinrich Schenker, Diaries 1912–1914 and 1931–1935: Annotated Edition, another project at the Vienna University of Music. Since 2019 he has been leading Heinrich Schenker, Diaries 1915–1919: Annotated Edition.
All four of those projects were developed in collaboration with Prof. Ian Bent, who co-ordinated the international edition of Schenker Documents Online (SDO), as part of which Deisinger transcribed and annotated Schenker’s diaries dating from 1912 to 1935 (www.schenkerdocumentsonline.org).
From 2010 to 2016 Deisinger lectured in music history at the University of Music and Performing Arts Vienna and has taught at adult education centres since 2013, giving lectures on music history and leading courses in music theory. His busy lecturing schedule has taken him to several Austrian cities, as well as Bolzano, Middelburg, Detmold, Freiburg im Breisgau, Rome, Gallipoli, London, Nashville and New York. Deisinger is the author of numerous publications on the history of music in the Baroque era.
Jeannette Mokosch is a calligraphy artist with a passion for poetry and motivational words. She gives calligraphy courses all over Germany, Austria and Switzerland, and also works as a graphic designer. She lives with her family in the Lüneburg Heath.
Photograph © Timo and Gella Scheven / what a youful picture
Theresa Pewal is a freelance photographer and musician based in Vienna. Her work as a photographer started early in 2010, while she was studying recorder at the University of Music and Performing Arts Vienna and at the Music and Arts University of the City of Vienna. Until 2017 she specialised in artistic portraits of musicians and concert photography.
In 2021 free collaborations with artists and personal projects became the core of her artistic work. Her experiences as a musician led to an intense and passionate way of photographing and a wider understanding of the classical and contemporary music scene. Besides taking an individual approach to every person and story, she will always have a cup of coffee and an open ear first before picking up her camera.
Photograph © Tamara Aptekar
Paul Richards studied German and art history in London and Berlin, and lives as a freelance translator in Cornwall, in the southwest of the UK. He has a BA and MA from the University of London and a Diploma in Translation from the Chartered Institute of Linguists.
He has translated for major cultural institutions in Austria and Germany, including the Tonkunstler Orchestra, the House of Austrian History and the Young Museum Frankfurt. He won the Geisteswissenschaften International Nonfiction Translators Prize 2019/20.
He has translated for major cultural institutions in Austria and Germany, including the Tonkunstler Orchestra, the House of Austrian History and the Young Museum Frankfurt. He won the Geisteswissenschaften International Nonfiction Translators Prize 2019/20.
Rose grew up near Liverpool but now lives in London. She studied German and Spanish at the University of Oxford from 2011 to 2015 and graduated with a First. During her studies, she spent time in Vienna, where she worked as a foreign language assistant, went to her first opera and ate a lot of Kaiserschmarrn.
Since graduating, she has worked as an editor, starting at an educational publishing company in the beautiful English Lake District. From there, she moved to London to work for Trinity Laban, a music and contemporary dance conservatoire, where she managed a vast range of print and digital publications. She is now a Senior Editor at The Economist Intelligence Unit, where she uses her in-depth knowledge of languages, politics and economics in reports and events pieces on developments in Latin America.
Alongside her editing work, Rose works as a freelance translator. In 2019 she began a long-term volunteer relationship with the Wiener Library in London, translating testimonials about the Holocaust from German to English. She loves to use her creativity, so she specialises in plays, poetry and novellas. She recently took advantage of the coronavirus lockdown to study for a Diploma in Translation, which she gained in 2021.
Rose is a keen flautist and has recently taken up the viola. She plays in various orchestras and chamber ensembles and relishes the chance to use her love for music in her translations. If it’s rainy, you’ll find Rose in the kitchen, as she enjoys cooking and baking. If it’s sunny, though, she’ll be hiking or cycling.
Since graduating, she has worked as an editor, starting at an educational publishing company in the beautiful English Lake District. From there, she moved to London to work for Trinity Laban, a music and contemporary dance conservatoire, where she managed a vast range of print and digital publications. She is now a Senior Editor at The Economist Intelligence Unit, where she uses her in-depth knowledge of languages, politics and economics in reports and events pieces on developments in Latin America.
Alongside her editing work, Rose works as a freelance translator. In 2019 she began a long-term volunteer relationship with the Wiener Library in London, translating testimonials about the Holocaust from German to English. She loves to use her creativity, so she specialises in plays, poetry and novellas. She recently took advantage of the coronavirus lockdown to study for a Diploma in Translation, which she gained in 2021.
Rose is a keen flautist and has recently taken up the viola. She plays in various orchestras and chamber ensembles and relishes the chance to use her love for music in her translations. If it’s rainy, you’ll find Rose in the kitchen, as she enjoys cooking and baking. If it’s sunny, though, she’ll be hiking or cycling.
Emmanuela Cossar was born in Italy in 1978.
She studied as a costume designer at the University of Florence.
After her studies she worked for the haute couture company Jato in Bologna as an embroidery designer.
From 2004, she continued to work as a costume designer, in more than 30 productions for operas, plays and musicals, under the directors Antonio Petris, Franceco Bellotto, Gianpaolo Zennaro, Leigh Holman, Davide Garattini Raimondi and Luca Ferri.
In 2012 she founded a theatre tailor's workshop to create costumes for the main theatre companies and dance groups from Friuli and Veneto.
From 2006-2016 she worked at the Stadttheater Klagenfurt, as an assistant in the costume design department, for various productions.
From 2015 she taught in Udine as a professor in the subjects of history of theatre costumes and textile chemistry.
She studied as a costume designer at the University of Florence.
After her studies she worked for the haute couture company Jato in Bologna as an embroidery designer.
From 2004, she continued to work as a costume designer, in more than 30 productions for operas, plays and musicals, under the directors Antonio Petris, Franceco Bellotto, Gianpaolo Zennaro, Leigh Holman, Davide Garattini Raimondi and Luca Ferri.
In 2012 she founded a theatre tailor's workshop to create costumes for the main theatre companies and dance groups from Friuli and Veneto.
From 2006-2016 she worked at the Stadttheater Klagenfurt, as an assistant in the costume design department, for various productions.
From 2015 she taught in Udine as a professor in the subjects of history of theatre costumes and textile chemistry.
In 2020 she took over the management of the "costume fundus" of the Stadttheater Klagenfurt.
Our Team
favola in musica. early new music
Rosario Conte 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 he 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 and the Ensemble La Tempesta. He also regularly
performs at a number of Early Music Festivals.
Rosario Conte has recorded for various major record
labels, including Deutsche Grammophon and Sony,
as well as for numerous radio stations. He released
a Baroque solo guitar album titled ‘Une Larme’ and
a 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, 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 and Thomas Hengelbrock.
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 he 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 and the Ensemble La Tempesta. He also regularly
performs at a number of Early Music Festivals.
Rosario Conte has recorded for various major record
labels, including Deutsche Grammophon and Sony,
as well as for numerous radio stations. He released
a Baroque solo guitar album titled ‘Une Larme’ and
a 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, 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 and Thomas Hengelbrock.
Ihre Liebe zu Gesang und Alter Musik entdeckte die Mezzosopranistin bereits als Teenager. Zu ihren Ausbildungsstätten zählen u.a. das Staatliche Konservatorium in Florenz, die Universität für Musik und darstellende Kunst Graz und das Lee Strasberg Theatre & Film Institute in New York (Schauspiel). Heute singt sie mit Klangkörpern wie dem L’Orfeo Barockorchester, dem Ensemble Claudiana, dem Bach Consort Wien, spanische Literatur des Barock mit A Corte Musical oder Zeitgenössisches mit dem Klangforum Wien und hat sich mit ihrem, in den Kritiken als „schönen“, „klar timbrierten und makellos geführten“, „leichtfüßig“ schwebenden Mezzosopran „mit orgelnder Tiefe“ als herausragende Interpretin Alter Musik etabliert. Repertoireschwerpunkte der 5 Sprachen sprechenden Sängerin sind Alte und Zeitgenössische Musik, Bach, Mozart bis hin zu Offenbach, im Besonderen Erstaufführungen (vergessener) Werke. Die Zusammenarbeit mit RegisseurInnen wie Frank Castorf, Philippe Arlaud, Sigrid T’Hooft und musikalischen Partnern wie Michi Gaigg, Rubén Dubrovsky, Wolfgang Mitterer, Stefan Asbury, Domingo Hindoyan prägen ihren künstlerischen Weg. Sängerische Stationen sind u.a. Wiener Festwochen, Opernhaus Graz, Theater an der Rott (Dtl.), Konzerthaus Wien, trigonale, Bregenzer Festspielhaus oder Teatru Manoel (Malta). Im Juni 2019 gab die Mezzosopranistin ihr Debüt bei den Händel-Festspielen Halle mit der Oper „Atalanta“ in der Rolle der Irene.</p>
<p>Fotografie vom Maria Weiss © Moritz Schell
<p>Fotografie vom Maria Weiss © Moritz Schell
Marco Frezzato studied with Mario Brunello, with Antonio Meneses and with Amedeo Baldovino.<br />
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.<br />
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.<br />
!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.</p>
<p>Fotografie von Marco Frezatto © Giulia Papetti
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.<br />
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.<br />
!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.</p>
<p>Fotografie von Marco Frezatto © Giulia Papetti
Wolfgang Mitterer was born in Lienz in East Tyrol in 1958 and grew up in an environment of down-to-earth church music and traditional Tyrolean brass bands. In 1977 his interest in the organ took him to Graz to pursue formal study in the instrument. One year later he moved to the University of Music in Vienna, where he studied organ with Herbert Tachezi and composition with Heinrich Gattermeyer.
In 1983 he went to the Elektronmusikstudio (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 had already embarked on an exciting musical journey through the regions of experimentalism and was a member of collectives working in various styles and genres on the boundaries between jazz, folk music, new wave and noise music.
He has played with bands including Hirn mit Ei, Call Boys Inc., Pat Brothers, Dirty Tones and Matador. He has also collaborated with musicians such as Linda Sharrock, Gunter Schneider, Wolfgang Reisinger, Klaus Dickbauer, Hozan Yamamoto, Tscho Theissing and Tom Cora.
The hallmark of Wolfgang Mitterer’s work is that the musical process begins with the unpredictable and unexpected. 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 composition events. Improvisation is superimposed onto fixed notation. He regularly gives performances as a soloist and as part of collectives at international festivals and in concert halls, and he has been commissioned to compose for important cultural events and institutions including the Wiener Festwochen, Steirischer Herbst, Wien Modern, Wiener Konzerthaus, a festival in Erl, Tyrol and Klangspuren Schwaz, as well as for broadcasters such as ORF, WDR and SRG.
He has received many prizes and awards for his work as a musician and composer, including the German Record Critics’ Award, an Austrian state scholarship, the Prix Ars Electronica, the Max Brand Prize, the Prix Futura Berlin, the Emil-Berlanda Prize, the City of Vienna Music Prize, the Austrian Art Prize for Music and the 2018 Austrian Film Prize for Best Music for Untitled (dir. Michael Glawogger and Monika Willi). He won the same prize again in 2020 for Die Kinder der Toten (dir. Pavol Liska and Kelly Copper).
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 for soprano, small choir and ensemble, Ka und der Pavian for choir, 13 musicians and surround sound, Net-Words 1-5 for 11 musicians and an 8-channel tape to Fisis for symphony orchestra, and the opera Massacre (first performed at Wiener Festwochen).
Wolfgang Mitterer taught the Music and Computer course at the University of Music in Vienna.
wolfgangmitterer.com
Gegründet von Maria Weiss, musiziert das Ensemble auf Originalinstrumenten gemeinsam mit langjährigen musikalischen KollegInnen und FreundInnen.<br />
Intention: Auf höchstem musikalischen Niveau die existentiellen Schichten von Werken auf der Suche nach einer eigenen musikalischen Sprache erkunden.</p>
<p>Wolfgang Mitterer, Komposition & Electronics<br />
Maria Weiss, Mezzosopran & Künstlerische Leitung<br />
Gyöngy Erödi, Barockcello<br />
Rosario Conte, Theorbe</p>
<p>Fotografie Ensemble © Moritz Schell
Intention: Auf höchstem musikalischen Niveau die existentiellen Schichten von Werken auf der Suche nach einer eigenen musikalischen Sprache erkunden.</p>
<p>Wolfgang Mitterer, Komposition & Electronics<br />
Maria Weiss, Mezzosopran & Künstlerische Leitung<br />
Gyöngy Erödi, Barockcello<br />
Rosario Conte, Theorbe</p>
<p>Fotografie Ensemble © Moritz Schell
Hungarian-born Gyöngy Erödi appears regularly as a
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 and others. 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 on both continents, including Carnegie Hall in 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. Gyöngy 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
a 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, whose first CD release in 2008
received much praise in the press. A versatile musician,
Gyöngy 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‘s degree in cello performance
and musicology.
Since 2010 she has lived in Germany.
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 and others. 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 on both continents, including Carnegie Hall in 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. Gyöngy 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
a 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, whose first CD release in 2008
received much praise in the press. A versatile musician,
Gyöngy 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‘s degree in cello performance
and musicology.
Since 2010 she has lived in Germany.
(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
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
Nach seiner Matura am heutigen Ingeborg-Bachmann-Gymnasium studierte Marko Deisinger (*1971) an der Universität Klagenfurt Geschichte. Seine 2001 vorgelegte Diplomarbeit beschäftigt sich mit der Zweiten Wiener Schule. Von 1995 bis 1999 erhielt er Unterricht am Kärntner Landeskonservatorium (Jazz- und klassisches Schlagwerk). Sein starkes Interesse an Musikgeschichte führte ihn 1999 an die Universität Wien, wo er Musikwissenschaft studierte. 2004 promovierte er mit einer Arbeit über den Wiener Hofkapellmeister Giuseppe Tricarico (1623–1697) und absolvierte während seines Doktoratsstudiums den Lehrgang für Tonsatz nach Heinrich Schenker an der Universität für Musik und darstellende Kunst Wien. Nach dem Doktorat erhielt Deisinger zwei Forschungsstipendien des Bundesministeriums für Bildung, Wissenschaft und Kultur am Historischen Institut beim Österreichischen Kulturforum in Rom. Seine zwischen 2005 und 2007 in Italien durchgeführten Studien knüpften an die Dissertation an und leisteten einen Beitrag zur Erforschung der musikkulturellen Beziehungen zwischen Italien und der Kaiserstadt Wien im Barock. Von 2007 bis 2010 war Deisinger wissenschaftlicher Mitarbeiter des von Univ.-Prof. Dr. Martin Eybl geleiteten Projekts „Heinrich Schenker, Tagebücher 1918–1925: kommentierte Edition” an der Universität für Musik und darstellende Kunst Wien. Daran anschließend folgte bis Ende 2013 seine Mitarbeit am Forschungsprojekt „Heinrich Schenker as Theorist, Teacher and Correspondent, 1925–1930”, das unter der Leitung von Prof. Dr. William Drabkin stand und seinen Sitz an der University of Southampton in England hatte. Von 2014 bis 2017 war Deisinger im Projekt „Heinrich Schenker, Tagebücher 1912–1914 und 1931–1935: kommentierte Edition” an der Wiener Musikuniversität involviert. Seit 2019 ist er dort Leiter des Projekts „Heinrich Schenker, Tagebücher 1915–1919: kommentierte Edition“. Alle vier Projekte entstanden in Kooperation mit dem von Prof. em. Dr. Ian Bent koordinierten internationalen Editionsprojekt „Schenker Documents Online“ (SDO), im Rahmen dessen die von Deisinger transkribierten und kommentierten Tagebücher Schenkers 1912–1935 erscheinen (www.schenkerdocumentsonline.org). Deisinger war von 2010 bis 2016 Lehrbeauftragter für Musikgeschichte an der Universität für Musik und darstellende Kunst Wien und ist seit 2013 Dozent an den Wiener Volkshochschulen, wo er musikhistorische Vorträge hält und Kurse für Musiktheorie leitete. Eine rege wissenschaftliche Vortragstätigkeit führte ihn in mehrere österreichische Städte sowie nach Bozen, Middelburg, Detmold, Freiburg im Breisgau, Rom, Gallipoli, London, Nashville und New York. Deisinger ist Autor zahlreicher Publikationen zur Geschichte der Musik im Barock.</p>
<p>Fotografie von Marko Deisinger © Maria Weiss
<p>Fotografie von Marko Deisinger © Maria Weiss
Doris Weberberger studied musicology at the University of Vienna, where she specialised in new music and wrote her thesis on Wolfgang Mitterer and his mini opera for children, Das tapfere Schneiderlein (Brave Little Tailor).
During her studies she took seminars in cultural management at the Institute for Cultural Management (part of the University of Music and Performing Arts Vienna) and the Institute for Cultural Concepts.
In 2006 she began working for the Österreichische Musikzeitschrift (an Austrian music magazine) as a freelance editor, and from 2011 to 2014 she had a position in the editorial department. Since 2012 she has been responsible for new music and music education at mica – music austria, where she takes care of the website, organises conferences and networking events, and looks after other projects that support new music, some of which are international.
She has written texts for the Wiener Konzerthaus, the Grafenegg festival, the neue musikzeitung and the Rainy Days music festival. As part of her teaching activities at the Institute of Musicology (part of the University of Vienna), she has given classes in writing about music.
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.
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.
Alexander Moore wuchs in Wien auf und studierte nach der Matura Musikwissenschaft, später wechselte er an die Musikuniversität ins Hauptfach klassis- che Gitarre und Klavier. 1998 war er Mitgründer des Senders Radio Klassik Stephansdom und dort in Folge als Musikredakteur und Moderator tätig.<br />
Ab 2001 leitete er das Pressebüro des Opernhauses Graz und des Grazer Kinder- und Jugendtheaters «Next Lib- erty». Nach dem Studienabschluss 2006 und einer Kulturmanagement-Ausbildung am Institut für Kulturkonzepte folgte eine erste Theaterregie am Playhouse Derry in Nordirland. Danach arbeitete er am Brucknerhaus Linz und leitete dort unter anderem die Produktion der visualisierten Klangwolke «Six Tales of Time».<br />
Von 2007 bis 2014 war Alexander Moore als Dramaturg für das Tonkünstler-Orchester und das Grafenegg Festi- val tätig. Er moderierte in dieser Funktion Konzerte, Einführungs- und Publikumsgespräche sowie die Sendung «Tonkünstler» auf Radio Niederösterreich. Weiters verfasste er zahlreiche Programmheftbeiträge, Magazinartikel, Texte für CD-Booklets und das Kapitel über das Musikleben im Bildband «Grafenegg. Klang trifft Kulisse», erschienen 2013 im Residenz Verlag.<br />
Seit 2014: Managing Director von MusiConsulting<br />
Geschäftsführung, Projektmanagement, Redaktion, Layout, Texte und Moderation u.a. für die Bamberger Symphoniker, Grafenegg Festival, Tonkünstler-Orchester Niederösterreich, Kammermusikfestival Allegro Vivo, Festspielhaus St. Pölten, Wien Modern, Festival «Musik im Riesen», DaCapo Klassik, CD-Produktionen.</p>
<p>Fotografie von Alexander Moore © Roland Renner
Ab 2001 leitete er das Pressebüro des Opernhauses Graz und des Grazer Kinder- und Jugendtheaters «Next Lib- erty». Nach dem Studienabschluss 2006 und einer Kulturmanagement-Ausbildung am Institut für Kulturkonzepte folgte eine erste Theaterregie am Playhouse Derry in Nordirland. Danach arbeitete er am Brucknerhaus Linz und leitete dort unter anderem die Produktion der visualisierten Klangwolke «Six Tales of Time».<br />
Von 2007 bis 2014 war Alexander Moore als Dramaturg für das Tonkünstler-Orchester und das Grafenegg Festi- val tätig. Er moderierte in dieser Funktion Konzerte, Einführungs- und Publikumsgespräche sowie die Sendung «Tonkünstler» auf Radio Niederösterreich. Weiters verfasste er zahlreiche Programmheftbeiträge, Magazinartikel, Texte für CD-Booklets und das Kapitel über das Musikleben im Bildband «Grafenegg. Klang trifft Kulisse», erschienen 2013 im Residenz Verlag.<br />
Seit 2014: Managing Director von MusiConsulting<br />
Geschäftsführung, Projektmanagement, Redaktion, Layout, Texte und Moderation u.a. für die Bamberger Symphoniker, Grafenegg Festival, Tonkünstler-Orchester Niederösterreich, Kammermusikfestival Allegro Vivo, Festspielhaus St. Pölten, Wien Modern, Festival «Musik im Riesen», DaCapo Klassik, CD-Produktionen.</p>
<p>Fotografie von Alexander Moore © Roland Renner
Professor James E. Pearson was born in Minneapolis (U.S.A.) in 1948 and received piano instruction from the age of nine.
From 1967 to 1971 he attended Columbia University in New York City, graduating with a Bachelor of Arts degree. From 1971 to 1974 he continued his studies in London, at the Royal College of Music and the London Opera Centre. Since 1974 he has worked as a repetiteur in several opera houses in Germany, Belgium and Austria: Coburg, Heidelberg, Mannheim, Frankfurt am Main, Brussels (Théatre de la Monnaie) and, since September 1993, Vienna State Opera. He has been engaged as guest pianist and repetiteur for opera productions in Nice, Paris and Los Angeles and is also busy as a pianist for vocal recitals on three continents.
In March 2015 the Austrian government awarded James E. Pearson the title Professor.
From 1967 to 1971 he attended Columbia University in New York City, graduating with a Bachelor of Arts degree. From 1971 to 1974 he continued his studies in London, at the Royal College of Music and the London Opera Centre. Since 1974 he has worked as a repetiteur in several opera houses in Germany, Belgium and Austria: Coburg, Heidelberg, Mannheim, Frankfurt am Main, Brussels (Théatre de la Monnaie) and, since September 1993, Vienna State Opera. He has been engaged as guest pianist and repetiteur for opera productions in Nice, Paris and Los Angeles and is also busy as a pianist for vocal recitals on three continents.
In March 2015 the Austrian government awarded James E. Pearson the title Professor.
Glenys Linos, Tochter eines Engländers und einer Griechin, wurde 1937 als Glenys Birch in Kairo geboren und starb 2020 in Wien. Sie wuchs in Großbritannien auf, wo sie auch die Schule besuchte. 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.<br />
Als Ensemblemitglied der Zürcher Oper sang sie unter anderem die Messagera in Monteverdis 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, mit Alfredo Kraus bzw. Peter Dvorsky), die Brangäne in Tristan und Isolde (1980), die Giulietta in Hoffmanns Erzählungen (Premiere 1980, Regie: Hans Neugebauer, ebenfalls mit Alfredo Kraus als Partner).<br />
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.<br />
1971 gastierte sie bei den Bayreuther Festspielen,1978 bei den Münchner Opernfestspielen als Amme in der Oper Die Frau ohne Schatten. 1979 sang sie am Staatstheater Wiesbaden als Adriano in Richard Wagners Frühwerk Rienzi. Von den zahlreichen internationalen Gastspiele sei pars pro toto ihr Auftritt als Baba the Turk 1982 beim Maggio Musicale Fiorentino in Ken Russells Inszenierung von Strawinskys Rake's Progress erwähnt. Von 1984 bis 1986 sang sie bei den Salzburger Festspielen die Mutterrolle der Storge in einer szenischen Umsetzung des Oratoriums Jephtha. 1985 trat sie an der Opéra National de Paris als Laura in der Oper Der steinerne Gast von Alexander Sergejewitsch Dargomyschski auf. 1986 übernahm sie an der Mailänder Scala die Geneviève in der Oper Pelléas et Mélisande. Von diesen Aufführungen unter der musikalischen Leitung von Claudio Abbado existiert auch ein Live-Mitschnitt, der später auf CD veröffentlicht wurde.<br />
Als Leokadja Begbick in einer Neuinszenierung von Kurt Weills Oper Aufstieg und Fall der Stadt Mahagonny nahm sie 1992 nahm ihren Abschied von der Opernbühne.<br />
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.</p>
<p>Fotografie von Glenys Linos © Privatarchiv Evelyn Schörkhuber
Als Ensemblemitglied der Zürcher Oper sang sie unter anderem die Messagera in Monteverdis 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, mit Alfredo Kraus bzw. Peter Dvorsky), die Brangäne in Tristan und Isolde (1980), die Giulietta in Hoffmanns Erzählungen (Premiere 1980, Regie: Hans Neugebauer, ebenfalls mit Alfredo Kraus als Partner).<br />
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.<br />
1971 gastierte sie bei den Bayreuther Festspielen,1978 bei den Münchner Opernfestspielen als Amme in der Oper Die Frau ohne Schatten. 1979 sang sie am Staatstheater Wiesbaden als Adriano in Richard Wagners Frühwerk Rienzi. Von den zahlreichen internationalen Gastspiele sei pars pro toto ihr Auftritt als Baba the Turk 1982 beim Maggio Musicale Fiorentino in Ken Russells Inszenierung von Strawinskys Rake's Progress erwähnt. Von 1984 bis 1986 sang sie bei den Salzburger Festspielen die Mutterrolle der Storge in einer szenischen Umsetzung des Oratoriums Jephtha. 1985 trat sie an der Opéra National de Paris als Laura in der Oper Der steinerne Gast von Alexander Sergejewitsch Dargomyschski auf. 1986 übernahm sie an der Mailänder Scala die Geneviève in der Oper Pelléas et Mélisande. Von diesen Aufführungen unter der musikalischen Leitung von Claudio Abbado existiert auch ein Live-Mitschnitt, der später auf CD veröffentlicht wurde.<br />
Als Leokadja Begbick in einer Neuinszenierung von Kurt Weills Oper Aufstieg und Fall der Stadt Mahagonny nahm sie 1992 nahm ihren Abschied von der Opernbühne.<br />
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.</p>
<p>Fotografie von Glenys Linos © Privatarchiv Evelyn Schörkhuber
Professor James E. Pearson was born in Minneapolis (U.S.A.) in 1948 and received piano instruction from the age of nine.
From 1967 to 1971 he attended Columbia University in New York City, graduating with a Bachelor of Arts degree. From 1971 to 1974 he continued his studies in London, at the Royal College of Music and the London Opera Centre. Since 1974 he has worked as a repetiteur in several opera houses in Germany, Belgium and Austria: Coburg, Heidelberg, Mannheim, Frankfurt am Main, Brussels (Théatre de la Monnaie) and, since September 1993, Vienna State Opera. He has been engaged as guest pianist and repetiteur for opera productions in Nice, Paris and Los Angeles and is also busy as a pianist for vocal recitals on three continents.
In March 2015 the Austrian government awarded James E. Pearson the title Professor.
From 1967 to 1971 he attended Columbia University in New York City, graduating with a Bachelor of Arts degree. From 1971 to 1974 he continued his studies in London, at the Royal College of Music and the London Opera Centre. Since 1974 he has worked as a repetiteur in several opera houses in Germany, Belgium and Austria: Coburg, Heidelberg, Mannheim, Frankfurt am Main, Brussels (Théatre de la Monnaie) and, since September 1993, Vienna State Opera. He has been engaged as guest pianist and repetiteur for opera productions in Nice, Paris and Los Angeles and is also busy as a pianist for vocal recitals on three continents.
In March 2015 the Austrian government awarded James E. Pearson the title Professor.
I work as a filmmaker, montage and story artist in Vienna, Rome and London.
I was born in the Austrian Alpine region of Carinthia to an Austrian father and British mother. In the early nineties, I moved to London where I attended AFECT, a practical 16mm filmmaking course under the patronage of Mike Leigh. I concluded my film studies with a PhD in Feature Film Screenwriting at the Royal Holloway, University of London, under the supervision of Sue Clayton (“The Disappearance of Finbar”) and Professor Mandy Merck.
In addition to my own film projects, which have been funded by federal institutions such as the Bundeskanzleramt Austria (BKA), I have worked extensively as a video editor and post-production manager for TV, internet blogs and other creative projects and as a script consultant for feature films. I have also translated screenplays and created subtitles for major film and TV productions.
Film as the language of overcoming and becoming has always fascinated me, while the depiction of women away from masculine tropes of female sexuality and victimhood has formed the crux of my work. Looking for empowering narratives in the here and now as well as the future and the past and interrogating human desires in fictional narratives and at the level of the cinematic image are my areas of specialization.
I was born in the Austrian Alpine region of Carinthia to an Austrian father and British mother. In the early nineties, I moved to London where I attended AFECT, a practical 16mm filmmaking course under the patronage of Mike Leigh. I concluded my film studies with a PhD in Feature Film Screenwriting at the Royal Holloway, University of London, under the supervision of Sue Clayton (“The Disappearance of Finbar”) and Professor Mandy Merck.
In addition to my own film projects, which have been funded by federal institutions such as the Bundeskanzleramt Austria (BKA), I have worked extensively as a video editor and post-production manager for TV, internet blogs and other creative projects and as a script consultant for feature films. I have also translated screenplays and created subtitles for major film and TV productions.
Film as the language of overcoming and becoming has always fascinated me, while the depiction of women away from masculine tropes of female sexuality and victimhood has formed the crux of my work. Looking for empowering narratives in the here and now as well as the future and the past and interrogating human desires in fictional narratives and at the level of the cinematic image are my areas of specialization.
Jonas Niederstadt (*1981) is a music producer,
balance engineer (Dipl.-Tonmeister)
and record label director.
He studied musicology in Oldenburg
(Germany), Tonmeister/Balance Engineering
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 has
recorded and produced diverse styles of
music throughout Europe and beyond for
his own label as well
balance engineer (Dipl.-Tonmeister)
and record label director.
He studied musicology in Oldenburg
(Germany), Tonmeister/Balance Engineering
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 has
recorded and produced diverse styles of
music throughout Europe and beyond for
his own label as well
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 prêta-
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.
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 prêta-
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.
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<br />
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.</p>
<p>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.</p>
<p>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.</p>
<p>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.
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.</p>
<p>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.</p>
<p>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.</p>
<p>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.
hi there, i’m romina and i’m a make-up artist. i’m italian, from the beautiful sardinia, but living in vienna, austria.<br />
i lived in milano, then in london for 3 years and had enough of making and selling pizzas. so i decided to attend a makeup school.</p>
<p>20 years later here i am, richer in experience, willing to always improve myself and ready to do more international jobs.</p>
<p>i am here for business – contacts, make-up, fashion, hair styling, all what’s to do with make-up & hair for fotoshooting, film productions, tv series, fashion seasons, catalogues, music video clips, off projects all over the world…
i lived in milano, then in london for 3 years and had enough of making and selling pizzas. so i decided to attend a makeup school.</p>
<p>20 years later here i am, richer in experience, willing to always improve myself and ready to do more international jobs.</p>
<p>i am here for business – contacts, make-up, fashion, hair styling, all what’s to do with make-up & hair for fotoshooting, film productions, tv series, fashion seasons, catalogues, music video clips, off projects all over the world…
Without Mr Beurer and Haus Infrarot Heizungen our CDs would not exist.<br />
Recording in such a beautiful, hillside church is difficult. In summer, the church is crowded with visitors, weddings, baptisms. Silence is hard to find.</p>
<p>In winter there is silence, but sub-zero temperatures. Mr. Beurer has made our shoots possible every time so far by "enchanting" the church into a warm place with his infrared panels. INFINITE THANKS to Mr Beuerer & Haus Infrarot Heizungen!</p>
Recording in such a beautiful, hillside church is difficult. In summer, the church is crowded with visitors, weddings, baptisms. Silence is hard to find.</p>
<p>In winter there is silence, but sub-zero temperatures. Mr. Beurer has made our shoots possible every time so far by "enchanting" the church into a warm place with his infrared panels. INFINITE THANKS to Mr Beuerer & Haus Infrarot Heizungen!</p>
ris Blumauer studierte Soziologie mit Fächerkombination aus Philosophie und Kunstgeschichte an der Universität Wien. Wissenschaftliche Mitarbeit bei der Erstellung des Catalogue raisonné zu Arnold Schönbergs bildnerischem Werk und museumspädagogische Betreuung von Ausstellungen am Arnold Schönberg Center. For more than 20 years active in the field of press and public relations, among others for the Arnold Schönberg Center, the Jeunesse - Musical Youth of Austria, the intercultural author's theatre project WIENER WORTSTAETTEN (together with Marie-Therese Rudolph), the donauFESTWOCHEN in Strudengau and the L'Orfeo Barockorchester - Michi Gaigg.
In 2005, she was awarded the Federal Decoration of Honour of the Republic of Austria for her voluntary commitment to the Historical Society of the City of Grein and its oral history research projects on regional contemporary history.
Photography by Iris Blumauer © Reinhard Winkler
In 2005, she was awarded the Federal Decoration of Honour of the Republic of Austria for her voluntary commitment to the Historical Society of the City of Grein and its oral history research projects on regional contemporary history.
Photography by Iris Blumauer © Reinhard Winkler
Our Team
early music bird | Early music at its finest
Concert in the town hall of St. Veit an der Glan
July 2017