Manos Tsangaris (b. 1956) is a composer, percussionist, and installation artist. He’s considered to be one of the most significant representatives of new music theater. He has been researching performance conditions as an essential part of compositions since the 1970s. In 2011 he founded the International Institute for Artistic Investigation (www.iike.de), and he conducts research in the field of scenic anthropology.
He has been a professor of composition at the Dresden College of Music since 2009. A member of the Akademie der Künste Berlin (since 2009; director of the music department since 2012); an artist-in-residence at the Zurich University of the Arts (2012/13); and a visiting professor at the Norwegian Academy of Music in Oslo (2017/18). Tsangaris has been one of the artistic directors of the Munich Biennale, festival of new music theater, along with Daniel Ott, since 2016.
In view of the political and social developments, this artist asks himself whether Germany is a safe country for his family. Born in 1980 in Haifa, Israel, where he also grew up, he emigrated when he was 23 to Berlin and started a family there. His great-grandparents on his father\’s side fled from Munich to Palestine in 1935. He had never been able to understand as much how his great-grandparents felt back than until now.
Yoav Panofsky learned to play the piano as a child, and he started composing when he was a youth, and he finished his studies in composition at the Berlin University of the Arts (UdK Berlin) under, among others, Daniel Ott and Walter Zimmermann. His works are primarily electronic-acoustic and are performed at festivals of new music (ISCM World New Music Days; Donaueschinger Musiktage) and broadcast on the radio. He has been collaborating for many years with Ensemble Modern Akademie; Ensemble Adapter; Ensemble U3; United Berlin; Quartet New Generation; and Zafraan Ensemble. This is the second time he will be a guest artist at the Munich Biennale.
Benjamin Breitkopf is a filmmaker and media artist. After an apprenticeship at SWR in Baden Baden, he studied visual arts at the Karlsruhe University of Arts and Design. Alongside his artistic profession, Breitkopf works as a lecturer.
He documents everyday scenes from around the world and societal phenomena, which he then exhibits as sprawling installations, projections onto cityscapes and photographs. Together with artist Trond Ansten, he won the 2017 Canon “New Cosmos of Photography Award” and travelled to Tokyo to receive the prize. Breitkopf lives in Karlsruhe and works all over the world. Benjamin Breitkopf was born in 1986 in Donaueschingen, Germany.
Die Mezzosopranistin Amelie Baier debütierte im März 2022 als Maddalena („Rigoletto“) am Stadttheater Klagenfurt. Auf der Opernbühne war sie zuvor in Produktionen der Universität der Künste Berlin zu erleben, u. a. als Fortunata („Satyricon“/Bruno Maderna) und Lucrezia („Lucrezia“/Georg Friedrich Händel) zu erleben. Ein Schwerpunkt ihrer künstlerischen Tätigkeit liegt im Bereich der Zeitgenössischen Musik und Performance. Hier arbeitete sie mit namhaften Künstlern wie dem Regisseur Ersan Mondtag bei einer Stückentwicklung im Deutschlandhaus Berlin und mit dem Komponisten Manos Tsangaris („winzig und der Elefant“) an der Akademie der Künste Berlin zusammen. Konzertengagements führten sie u. a. in die Philharmonie Berlin, das Konzerthaus Berlin, die Laeizshalle Hamburg und zu den Festspielen Mecklenburg-Vorpommern. Sie ist 2. Preisträgerin des Wettbewerbs PodiumJungerGesangssolisten 2021 und war Stipendiatin der Masterclass von Neue Stimmen 2019, der Händel-Akademie des Staatstheater Karlsruhe sowie der Hochschule für Musik Detmold. Amelie Baier absolvierte ihr Gesangsstudium an der Hochschule für Musik Detmold sowie an der Universität der Künste Berlin.
The actor Benita Sarah Bailey is equally at home in film, theater, and contemporary theater. She has acted in numerous television and feature films (among others, “Krimi Zürich,” and the feature film “Subtext,” 2021) as well as in the theater (Robert Wilson’s “Luther.Dancing with the Gods”). Benita Sarah Bailey was born in 1989 in Rudolstadt, in the state of Thüringen, Germany, and after she graduated from school she became a member of an arts performance team in Johannesburg before she started to study political science and Africa studies in Leipzig and at the Hong Kong Baptist University. After various stations in her career in the U.S., among other countries, she returned to Berlin to study acting. In 2016 she was invited to Theatertreffen der Jugend with the play “One day I went to *idl,” and in 2017 she won Pro Quote e.V.’s short film competition with the film “I’m a woman.”
Nicolas Berge is a composer and musician. In 2017 he founded together with other musicians Kollektiv3:6Koeln für zeitgenössische Musik, a contemporary music collective in Cologne. He studied composition at Hochschule für Musik und Tanz Köln under Professor Michael Beil. In 2017 he finished his studies in piano there under Sheila Arnold and Paulo Álvaresa. His work focuses on digitality, media, and virtual and alternate realities and their interfaces with analogue realities. He has written pieces for, among other artist groups, Ensemble Musikfabrik and Theater Bielefeld.
Nicolas Berge and Lucia Kilger have been collaborating on compositions since 2018. Their projects always have intermedia-performative formats.
Gina Bolle, born 1990, works as a freelance photographer in Munich and Switzerland. She studied photo design in Munich and New Zealand, lived in New York and is currently completing her photography master\’s degree at Ecal in Lausanne. She has photographed for ZEITmagazin, Münchner Kammerspiele and GEO Wissen, among others.
For the \”Good Friends\” photo campaign of the Munich Biennale, extraordinary couples were collected that Gina Bolle photographed in everyday life. For this purpose, she walked along the Isar, wandered through the Glockenbachviertel with her girlfriends and found the funniest picture couples at the Viktualienmarkt. She has also expanded her archive with many funny dog photos.
A sought-after interpreter of contemporary music, British baritone Peter Brathwaite has given many world premieres. In 2020 he made his acclaimed Royal Opera House Covent Garden main stage debut as Martin Carter in Hannah Kendall’s one-person opera “The Knife of Dawn”. Engagements at The Royal Opera House Linbury Theatre include the world premiere of Jules Maxwell’s “The Lost Thing”, and the role of Narrator in the world premiere of Little Bulb’s “Wolf Witch Giant Fairy” (winner of an Olivier Award 2022).
Current and future engagements include his house and role debut as Joey in the world premiere Kris Defoort’s “The Time of Our Singing” at La Monnaie/ De Munt, Brussels; Pero Jones in the world premiere of “Migrations” at Welsh National Opera, and Stubb in Olga Neuwirth’s “The Outcast” at the Philharmonie de Paris with Ensemble intercontemporain and Matthias Pintscher.
Elsewhere he has sung principal roles for Glyndebourne, Opéra de Lyon, Edinburgh International Festival, Opera North, Nederlandse Reisopera, Danish National Opera, and at the Hamburg Elbphilharmonie and Philharmonie Luxembourg. He conceived and performed in “Effigies of Wickedness” for English National Opera and the Gate Theatre.
The baritone graduated with a first-class degree in Philosophy and Fine Art from Newcastle University and holds a Master’s with distinction from the Royal College of Music, where he studied at the RCM International Opera School. He continued his training at the Flanders Opera Studio, Ghent. In 2021 Peter Brathwaite was nominated for a Royal Philharmonic Society Award.
He is a broadcaster for BBC Radio 3 and has written for The Guardian newspaper. His first book will be published by Getty publication in 2023.
The actor Matthias Breitenbach was under contract at, among other theaters, Theater Essen; Kampnagel Hamburg; Sophiensaele Berlin; Schauspielhaus Hamburg; Theater Freiburg; Schauspiel Dortmund; Theater Bonn; Schauspiel Frankfurt; and Schauspiel Stuttgart. He works with, among others, the directors Stefan Pucher; Thorsten Lensing; Jan Lauwers (Needcompany); Martin Laberenz; Robert Schuster; Thomas Krupa; Marcus Lobbes; Jerome Bel; and Sandra Strunz. He directed, among other productions, “Wurthering Heights” at Theater Freiburg, and “Eugen and Eugen” at Theater Rampe in Stuttgart. In addition, Matthias Breitenbach regularly appears in film and television roles, including in the television series “Großstadtrevier”; “Tatort”; and “SoKo Stuttgart.”
Matthias Breitenbach was born in 1963 in Frankfurt am Main. He trained to be an actor and a dancer in the mid-1980s in Hamburg.
Kolja Buscher (*1989) ist Art-Direktor, Grafikdesigner und Web-Entwickler. 2015 schloss er sein Kommunikationsdesign-Studium ab und arbeitet seither selbstständig für nationale und internationale Kunden aus den Bereichen Kultur, Mode und Design. Ebenfalls seit 2015 ist er Designer bei Bureau Borsche, München.
Für die Münchener Biennale ist er verantwortlich für die Konzeption, Gestaltung und Entwicklung der Festival Website 2020 und 2022. Darüber hinaus übernahm er die Art-Direktion und Gestaltung der Plakat- und Print-Kampagne für das Festival 2022. Er ist Co-Gründer von B1–B2 – einem Design Studio, das er zusammen mit Jamal Buscher realisiert.
Eliciting sounds from everyday items and objects and combining them with sounds from more traditional instruments are an important starting point of this composer\’s musical language. Malin Bång’s work includes pieces for instrumental ensembles, orchestra, and electronic music. Her works are performed at important festivals of new music including, among others, Donaueschinger Musiktage; Huddersfield Contemporary Music Festival; IMPULS Festival; Ultraschall Festival; and Wittener Tage für neue Kammermusik. She received the Orchestra Award from Donaueschinger Musiktage (2018) and the Christ Johnson Music Prize (2020) for “splinters of ebullient rebellion.” Bång is composer-in-residence and a founding member of Curious Chamber Players (Stockholm). She was born in 1974 in Sweden and studied composition at the School of Music in Piteå; the Berlin University of the Arts (UdK Berlin); the Royal Academy of Music in Stockholm; and the University of Göteborg.
Aaron Cassidy is an American composer and conductor. His compositions have been presented in hundreds of performances across 27 countries by leading contemporary music specialists at major international festivals and venues including Donaueschinge Musiktage, Ultraschall Festival, Warsaw Autumn, Huddersfield Contemporary Music Festival, Darmstädter Ferienkurse, Gaudeamus Festival, Tage für Neue Musik Zürich, etc. Recordings of his work are available on 11 commercial CD releases from NEOS, NMC, HCR, and New Focus Records. His work as a conductor encompasses a broad, stylistically diverse range of contemporary and historical repertoire across chamber, orchestral, and choral settings, including leading dozens of world premieres. He has appeared with Ensemble Musikfabrik, ELISION, Schola Heidelberg, Ensemble Proton Bern, International Contemporary Ensemble, and Ensemble Interface (as IEMA), and has recorded for forthcoming releases on the Kairos, Wergo, and HCR labels. From 2008–13 he served as conductor of the University Symphony Orchestra and New Music Ensemble at the University of Huddersfield. Notable recent performances as a conductor include an Ann Cleare portrait concert with Musikfabrik in the Großer Saal of the Berlin Philharmonie for the Berliner Festspiele, recording three works by Turgut Erçetin at the WDR Funkhaus for the Musikfabrik im WDR series, and a Swiss tour with Ensemble Proton Bern. He currently serves as Professor of Composition and Director of the Centre for Research in New Music (CeReNeM) at the University of Huddersfield.
Laure Cazin, born in 1999 in Paris, has been studying since October 2019 at the University of Music and Performing Arts Munich (HMTM) under Professor Daniela Sindram. While she was studying at Conservatoire à rayonnement régional de Paris she participated in numerous music projects and worked with, among other conductors, Esa Pekka-Salonen; Pavo Järvi; and Daniel Harding. In 2016 she took over the role of Flora in Benjamin Britten’s “The Turn of the Screw”, and in doing so discovered her passion for the stage. As part of her studies, this mezzo-soprano sang the roles of the Second Lady and the Second Child-spirit in “The Magic Flute” in May 2021, a production of Musiktheater im Reaktor at HMTM.
The soprano Peyee Chen has performed as a soloist at numerous festivals: the Huddersfield Contemporary Music Festival; the Lucerne Festival; the club transmediale festival (now called CTM); the Rewire Festival; the Adelaide Festival; and the Spitalfields Festival. She has also performed at Cadogan Hall; the Philharmonie de Paris; Hayward Gallery; and the Louth Contemporary Music Society. She has worked with ensembles such as Ensemble intercontemporain; the Lucerne Festival Academy Orchestra; the Goeyvaerts Trio; the Crash Ensemble; and the Red Note Ensemble. She is a member of Schola Heidelberg, where she is an ensemble vocalist, and she has performed with EXAUDI; the BBC Singers; the Det Norske Solistkor; the Ensemble Modern; the Ensemble Recherche; the BCMG; the Ensemble Nikel; and the Ensemble Resonanz. She performed with conductors such as Ingo Metzmacher; Simon Rattle; Oliver Knussen; Emilio Pomàrico; Grete Pedersen; Jeffrey Tate; and François-Xavier Roth at the festivals Bregenz Festival; Ultima Festival; Festival d’Automne á Paris; Ruhrtriennale; the BBC Proms; and the Aldeburgh Festival; and she has performed with the Berliner Philharmonie and the Elbphilharmonie.
Peyee studied under the tenor John Potter at the University of York, where she received her master’s degree in vocal studies in 2010. In addition, she studied under Barbara Hannigan at the Lucerne Festival Academy; under Petra Hoffmann and Andreas Fischer at the Impuls Academy; under Donatienne Michel-Dansac at the Darmstadt Summer Course; and under Linda Hirst at the Dartington Summer School.
Ann Cleare’s creative works include concerts, operas, expanded soundscapes, and hybrid instrument designs. She frequently uses instruments she has built herself to explore the boundary areas of timbres and musical texture and form. Her works are performed at all of the important new music festivals such as, for example, the Wittener Tage für Neue Kammermusik; IMATRONIC (Karlsruhe); Ultraschall (Berlin), Transit (Antwerpen); Gaudeamus Muziekweek (Utrecht); Rainy Days (Luxemburg); Huddersfield Contemporary Music Festival (UK); Shanghai New Music Week; and MATA Festival (New York). In 2019, she received the Composers’ Prize of the Ernst von Siemens Music Foundation.
This Irish artist (b. 1983) studied at the University College Cork and IRCAM (Paris). She received her doctorate from Harvard University and is a junior professor of music and media technology at Trinity College Dublin.
Johanna Danhauser studied dramaturgy at the Hochschule für Musik und Theater in Leipzig as well as music and performance at the University of Bayreuth, where she was employed as a student assistant at the Research Institute for Music Theater. Before and during her studies, she completed internships at the Deutsche Oper Berlin, the Staatstheater Nürnberg, the Süddeutsche Zeitung, and the Goethe-Institut Nigeria. From 2015 to 2018, she worked first as a dramaturgy assistant, then as a dramaturg at the Stuttgart Opera, and took over the production dramaturgy for “Così fan tutte” at the Konzerttheater Bern. Most recently she supervised the artistic work of Neco Çelik, Anika Rutkofsky, Lulu Obermayer, Maximilian von Mayenburg and Heinrich Horwitz. She was a fellow in ASSITEJ’s Next Generation program and, together with Anika Rutkofsky and Eleni Konstantatou, won the RING AWARD 2021 for “Don Giovanni. The Reckoning.” Since 2020 she has been working as a dramaturge for music and cross-disciplinary projects at the Ruhrtriennale.
Anne Sophie Domenz is a set designer, director, and dramaturge. Recently she designed the costumes at the Düsseldorfer Schauspielhaus for the co-production with the Volksbühne Berlin “come as you are” (directed by Armin Petras), and directed with great succes the recital “In Bed With Madonna” (Theater Bremen). Before that, she worked for several years as a director, costume designer, and dramaturge at Theater Bremen, and she directed at, among other institutions, Schauspiel Kiel; Maxim Gorki Theater; and the Autorentheatertage at Deutsches Theater Berlin. Anne Sophie Domenz studied direction at the theater academy at the Hochschule für Musik und Theater (HfMT) in Hamburg.
Seit 2019 studiert Thu Trang Dong an der Universität der Künste Berlin im Studiengang Schauspiel. Bereits im ersten Studienjahr gastierte sie bei der Münchener Biennale. Weitere Engagements folgen, u. a. am Theater Heidelberg (Lesung „Peeling Oranges“ von Patty Kim Hamilton), an der Volksbühne Berlin („Glanz oder Harnisch“ von Patty Kim Hamilton) und am Deutschen Theater Berlin im Rahmen der Autor:innentheatertage 2021. Seit 2020 ist Thu Trang Dong Stipendiatin der Paul-Hindemith-Gesellschaft. Vor ihrem Schauspielstudium studierte die Darstellerin erfolgreich Informatik und arbeitet noch immer als Programmiererin.
This actor could be seen most recently in the German broadcaster ARD\\\'s television film “Servus Schwiegermutter” (“Hello Mother-in-Law”) (2020) and in the feature film “Matze, Kebab and Sauerkraut” (2019). In “Almanya – Willkommen in Deutschland” (“Almanya – Welcome to Germany”) (2011) she played the role of Leyla Yılmaz. This film was awarded the German Film Award in Gold (Best Screenplay) and in Silver (Best Film). Her career began when she started studying acting at the Staatliche Schauspielschule Saarbrücken. There followed engagements at, among other institutions, theaters in Erlangen and Oberhausen; at Kölner Schauspielhaus, and Düsseldorfer Schauspielhaus. She started acting in television and film productions in the early 1990s. She acted in, among other productions, the feature film “Happy Birthday, Turk!”; “Tatort Falsche Liebe” (“Crime Scene False Love”); and she played the role of Dr. Nesrin Ergün in the broadcaster RTL’s series “Stadtklinik” (“Municipal Clinic”). This actor also works as an author, including, among other productions, on the series “Sinan Toprak ist der Unbestechliche” (“The Incorruptible Sinan Toprak”), starring the actor Erol Sander.
This artist came with her parents to Germany in 1969, and since then she has been living in Cologne and Berlin.
The Ensemble Modern is considered to be one of the leading ensembles of new music worldwide. It is a regular guest at European festivals and venues, for example, at the Berliner Festspiele; Bregenz Festival; Cité de la Musique; Concertgebouw Amsterdam; Festival d’Aix-en-Provence; Wien Modern; and Wigmore Hall London. On average Ensemble Modern performs 70 works a year, from music theater, dance, and video productions to chamber music, and ensemble and orchestra concerts, which include approximately 20 world premieres.
They have collaborated intensively with composers over the course of many years – among others, with John Adams; Mark Andre; George Benjamin; Peter Eötvös; Brian Ferneyhough; Heiner Goebbels; Hans Werner Henze; Mauricio Kagel; György Kurtág; Helmut Lachenmann; György Ligeti; Olga Neuwirth; Enno Poppe; Rebecca Saunders; Simon Steen-Andersen; Karlheinz Stockhausen; Steve Reich; Frank Zappa; and Vito Žuraj.
They have been based in Frankfurt am Main since 1980, and Ensemble Modern has its own subscription series at the Alte Oper Frankfurt. The ensemble is run on a democratic basis, and has been very successful for many decades and is very well known. Projects, partnerships, and financial issues are decided and carried out as an artist collective. Around 20 soloists from Belgium, Bulgaria, Germany, India, Israel, Japan, the U.S., and Switzerland form the core of the ensemble.
The ensemble Musikfabrik is considered to be one of the leading ensembles of new music in the world, and at the same time is the official contemporary music ensemble of the State of North Rhine-Westphalia. A central component of this ensemble’s work is the examination of modern forms of communication and potential experimental modes of expression. Interdisciplinary productions are created by integrating live electronics, dance, theater, film, literature, and the fine arts, and simultaneously the conventional concert form is broken open, formal, open works and improvisations are tested, and the audience is integrated into the performances.
Founded in 1990 and based in Cologne, this ensemble is organized in a democratic fashion. It regularly performs works by renowned composers including, among others, Mark Andre; Louis Andriessen; Sir Harrison Birtwistle; Peter Eötvös; Heiner Goebbels; Georg Friedrich Haas; Mauricio Kagel; Helmut Lachenmann; Enno Poppe; Henri Pousseur; Wolfgang Rihm; Rebecca Saunders; Christoph Staude; and Karlheinz Stockhausen. Every year the ensemble performs up to 100 performances, and therefore makes a great contribution to the propagation of contemporary music.
Soprano Juliet Fraser has a repertoire dominated by the very old and the very new. Juliet is an active commissioner of new music and has worked particularly closely with composers Rebecca Saunders; Bernhard Lang; Michael Finnissy, Matthew Shlomowitz; and Cassandra Miller. She regularly performs as a guest soloist with ensembles such as Klangforum Wien; Musikfabrik; Ensemble Modern; AskoSchönberg; Remix Ensemble; Ictus; Plus-Minus Ensemble; and Talea Ensemble, and she has created duo projects with the percussionist Maxime Echardour and the pianist Mark Knoop.
The Georgian-German soprano has been studying in the master class of concert vocal studies since 2021 under Professor Christiane Iven and Sabine Lahm at the University of Music and Performing Arts Munich (HMTM), where she previously received her bachelor’s degree. Even before that she was a protégé student at the Freiburg University of Music (HfM). In 2018 she participated in the Munich Biennale in the project “Liminal Space”, and she also sang roles at Kammeroper München (“The Ghost of Canterville”; Cimarosa’s “The Secret Marriage”), as well as in productions at the HMTM (Serpetta in “La finta giardiniera”; Pamina in “The Magic Flute”). Freyhoff has performed with the Bremer Philharmoniker and the Deutsche Kammerphilharmonie Bremen, and she has sung at the MelosLogos festival; Château de Pourtalès; at the Mozart Residence in Salzburg; and the Philharmonie at the Gasteig Cultural Center in Munich. She currently has a grant from the German Academic Scholarship Foundation.
In view of his aesthetics, the Austrian composer Bernhard Gander eludes being clearly attributed to certain genres. He explodes the boundaries of categories and creates works through the connection of new music and heavy metal that have a huge plasticity and expressive power on formal, tonal, gestural, and energetic levels. Gander’s works have been performed at, among other venues, Wiener Konzerthaus; Wiener Festwochen; steirischer herbst; Klangspuren Schwaz; Transart Bozen; Donaueschinger Musiktage; Wien Modern; Musica Strasbourg; Wittener Tage für neue Kammermusik; and the Munich Biennale. He was awarded the music grant for composers from the City of Vienna in 2004; the Erste Bank Composer Award in 2005; the SKE Publicity Prize in 2009; and he received the Austrian Federal Grant for composers. For “melting pot”, which had its world premiere at the Wiener Festwochen in 2012, Bernhard Gander received the Ernst Křenek Award.
Gander (b. 1969) studied piano, music composition, and conducting at the Tyrolean State Conservatory, and he completed his studies at the studio for electronic music UPIC in Paris; the Foundation Schweizerisches Zentrum für Computermusik in Zurich; and the University of Music and Performing Arts Graz (among others, under Beat Furrer). He lives in Vienna.
Nadine Geyersbach has been a member of the theater ensemble at Theater Bremen since the season 2012/2013. She has performed there in numerous productions, including, among others, productions by Alize Zandwijk; Felix Rothenhäusler; Sophie Domenz; and Nurkan Erpulat. In addition, she designed the sets and costumes for Alize Zandwijk’s production of “Gas,” and she designed the masks for the production “Der Schimmelreiter” (“The Rider on the White Horse”) at Theater Bremen. Nadine Geyersbach is a founding member of the independent theater group “Candlelight Dynamite.”
Born in Erfurt, Germany, this actor finished her education at the Hochschule für Schauspielkunst Ernst Busch in Berlin. Afterwards she performed at, among other theaters, Berliner Ensemble and Schauspiel Hannover. This was followed by a period when she was under contract at Theater Freiburg; Düsseldorfer Schauspielhaus; and Schauspielhaus Zürich, where she worked with the directors Sybille Fabian; Sebastian Baumgarten; Amelie Niermeyer; Antú Romero Nunes; Martin Klöpfer; Anna-Sophie Mahler; Christoph Loy; Heike M. Götze; and Christiane Pohle. In 2008 she received the sponsorship award from the City of Düsseldorf. Before she transferred to Theater Bremen, she was a guest performer at Schauspiel Köln, where she worked with Johannes Schütz, and at Schauspiel Hannover, where she worked with Ricarda Beilharz.
Sophie Gigou, born in 1997, is studying Sociology at the Ludwig-Maximilians-University Munich. During her bachelor studies in Sociology and Theater Studies, she completed assistanceships with the performance collective ausbau.sechs, worked in the production support of the Munich Biennale for New Music Theater and participated in the production of Studiobühne München Väter und Söhne – Mütter und Töchter (Director: Katrin Kazubko, Jurij Diez), which won the first prize at the “Turgenev Fest” in St. Petersburg (2018). In the summer of 2019, she became part of the ensemble of LOsT – A Reflection in Five Pictures (director: Paulina Platzer). Since 2020 she is a member of the theater collective Futur.X.
In addition to the classical repertoire, the soprano Johanna Greulich has a special interest in contemporary music. In 2010 she made her debut as Kesa in Laure M. Hiendl’s world premiere of “Erwartung und Traumverlust” at the Bockenheimer Depot in Frankfurt. This was followed by guest engagements at Theater Chur; Theater Heilbronn (the world premiere of the opera “Minsk” by Ian Wilson); and Konzerttheater Bern (including the world premiere of “The Burning House” by Maricel Alvarez and Emilio Garcia Wehbi).
She has performed in various world premieres together with the Eunoia Quintet, for example, in “The Vacuum Pack” (2015/2016, directed by Cornelia Bauckholt and Dmitri Kourliandski); “One Shot Train” (2017/2020 by François Sarhan) at Wien Modern; and at the Scène Nationale d’Orléans festival; and at Konzerttheater Bern. Her extensive repertoire also includes classical roles, such as Belinda (“Dido and Aeneas”); Papagena; and Hannchen (“Der Vetter aus Dingsda” [“The Cousin from Nowhere”]). Johanna Greulich has won numerous awards, including the Concours Suisse Ernst Haefliger Special Prize for New Music in 2012 in Bern; the Special Prize for Modern Interpretation at the International Hilde Zadek Voice Competition in 2011; and, together with the Eunoia Quintet, the Concours Nicati Award in 2015 in Bern. Johanna Greulich was born in Hanover, she studied opera singing at the Frankfurt University of Music and Performing Arts (HfMDK) under Professor Heidrun Kordes. She received her master’s degree in contemporary music at the Musik Akademie Basel.
The actress Thekla Hartmann can be seen equally on the theater stage and in television productions: Her first roles took her to, among other theaters, Residenztheater in Munich, where she performed in Dimiter Gotscheff’s production of “Cement.” In 2018 she performed at the Münchner Kammerspiele in “Jedem das Seine” (“To Each His Own”), directed by Marta Górnicka, which was performed again in 2019 as part of the 4th Berlin Herbstsalon at the Maxim Gorki Theater in Berlin. As a freelance actor, Thekla Hartmann has regularly appeared in German television productions, for example, in “Letzte Spur Berlin”; “Um Himmels Willen”; and “Der Zürich-Krimi.” Thekla Hartmann studied theater, film, and media studies from 2014 to 2015 at the University of Vienna. She finished her theater studies from 2015 to 2019 at the Theaterakademie August Everding in Munich. Thekla Hartmann was born in 1993 in Bremen.
Ernest Allan Hausmann is a German theater, television, and film actor from Hamburg. He regularly has engagements at major European theaters such as, for example, Thalia Theater Hamburg; Berliner Ensemble; Deutsches Theater Berlin; Münchner Kammerspiele; Staatstheater Darmstadt; Burgtheater Wien; Theater an der Wien; and Schauspielhaus Zürich. In 2019 he received the ITI Award from the Internationales Theaterinstitut (ITI Academy) for his role in “Mittelreich/Schwarzkopie” (“Middle Empire/Black Copy”) (director: Anta Helena Reck).
This artist has had an equally successful career since the mid-1990s in film productions, and was seen most recently in the short film “Weg von hier” (“Getting Away From Here”) (2021); in the well-known comedy by Fatih Akin “Soul Kitchen;” and in Hannes Stöhr’s “Berlin Calling.” But this sought-after artist can also be seen in series and other productions such as, among others, “FC Venus – Elf Paare müsst ihr sein” (“FC Venus – You Have To Be Eleven Couples”); “Kebab Connection”; “Im Juli” (“In July”); “Rosa Roth”; “Tatort” (“Crime Scene”); “Bis in die Spitzen” (“To The Tips”); and “Rote Rosen” (“Red Roses”).
Jessica Higgins has been a member of the theater ensemble at the Nationaltheater Mannheim since the 2021/2022 season. Previously she had engagements at, among other institutions, Theater Bielefeld; Münchner Volkstheater; Landestheater Tübingen; and Theater Augsburg. In addition, she has also performed at Theater Bonn; Theater Heidelberg; Nationaltheater Mannheim; Thalia Theater in Hamburg; and Münchner Kammerspiele. She works closely with Christian Weise, the resident director at Nationaltheater Mannheim, and she celebrated her debut at Nationatheater Mannheim in its production of “Das Käthchen von Heilbronn oder Die Feuerprobe” (“Käthchen of Heilbronn or The Trial by Fire”) at the end of the 2020/2021 season.
Jessica Higgins was born in 1976 near Hamburg, and she finished her studies in acting at the Otto Falckenberg Schule in Munich.
Violist Laura Hovestadt is active in both the classical and contemporary music scenes. She lives as a freelance musician in Cologne and works with various ensembles and orchestras, including the Gürzenich Orchestra Cologne, the Ensemble Modern and the oh ton-Ensemble Oldenburg. She is also a member of several ensembles of her own. As co-founder and artistic director of the young Cologne-based ensemble Kollektiv3:6Koeln for contemporary and experimental music, founded in 2017, she is, for example, concerned not only with the musical aspects but also in depth with the possibilities of new concert formats.
Lennart Hüper works as a freelance director and cinematographer and studies sociology at the University of Vienna. His first feature documentary “No News” premiered at the 42. Filmfestival Max Ophüls Preis in Saarbrücken.
Lennart Hüper was born in 1994 in Landsberg am Lech. After graduating from high school, he started working as an assistant editor and 2-unit cameraman for a feature documentary film. Afterwards he began studying Film & Sound at the University of Applied Sciences and Arts in Dortmund.
Ercan Karacayli studied acting from 1991 – 1994 at the Otto Falckenberg Schule in Munich, where he also grew up and still lives today. There followed engagements at theaters such as Münchner Kammerspiele; Theater Freiburg; and Ernst Deutsch Theater in Hamburg. From 2007 to 2009 he was part of the management team at Theater Halle 7. Karacayli has performed roles in numerous German television productions since the 1990s. In addition, Karacayli has acted in feature films and short films, including in “Bach und Bouzouki” (2006); “Ayla” (2008); “Almanya – Willkommen in Deutschland” (2011); “Dreiviertelmond” and “Sommer in Orange.” Ercan Karacayli has also been working as a director since 2000, and he directed productions at, among other theaters, Halle 7; Metropoltheater; Zentraltheater; and Torturmtheater Sommerhausen.
A. L. Kennedy is considered to be one of the most important contemporary authors in Great Britain. She has received numerous prestigious literature awards. In 2007 she received the Austrian Federal Award for European Literature; in 2016 the Heine Prize; and in 2020 the Honorary Award of Austrian Bookdealers. In addition to her novels, this author publishes science fiction books, short stories, and textbooks. She also was a columnist for The Guardian and the daily German newspaper Süddeutsche Zeitung. From 2002 to 2007 she taught creative writing at the University of St. Andrews in Scotland, and she has been an associate professor at the University of Warwick since 2007.
Kennedy was born in 1965 and grew up in Dundee; she studied from 1983 to 1986 at the University of Warwick in Coventry, England (theater studies and drama). She has been a member of the Berliner Akademie der Künste since 2017.
Works (a selection): “Original Bliss” (novel); “Looking for the Possible Dance” (novel); “Paradise” (novel); “Serious Sweet” (novel)
Lucia Kilger works as a freelance composer and sound designer; she lives in Cologne. She received a grant to study for her master’s degree from Ensemble Modern Akademie and received her master’s degree in contemporary music with an emphasis on sound design from the Frankfurt University of Music and Performing Arts (HfMDK Frankfurt) under Norbert Ommer, and she received her master’s degree in electronic composition from the Hochschule für Musik und Tanz Köln (HfMT Köln) under Michael Beil. She’s currently studying composition with a graduate recital under Brigitta Muntendorf there, and for several semesters now she has been a lecturer in sound design at the Staatliche Hochschule für Musik Trossingen.
Lucia Kilger and Nicolas Berge have been collaborating on compositions since 2018. Their projects always have intermedia-performative formats.
London-based pianist and conductor Mark Knoop is known for his fearless performances and individual interpretations. He has commissioned and premiered countless new works and worked with many respected composers, including Peter Ablinger; Joanna Bailie; Michael Finnissy; Bernhard Lang; Cassandra Miller; Matthew Shlomowitz; and Steven Kazuo Takasugi. His versatile technique and virtuosity also bring fresh approaches to the standard and 20th-century repertoire.
Sabine Kohlstedt has been working intensively for years now with the directors Friederike Heller; Sandra Strunz; Patrick Wengenroth; Miloš Lolić; Simon Solberg; and the choreographer Antje Pfandtner. Her latest set and costume designs were for the drag musical “Hedwig and the Angry Inch” and “Every heart is built around a memory” (director: Friederike Heller) at Schauspiel Hannover. She also worked as set and costume designer at, among others, Schaubühne Berlin; Deutsches SchauSpielHaus Hamburg; Staatstheater Stuttgart; Staatsschauspiel Dresden; Residenztheater München; Thalia Theater Hamburg; Düsseldorfer Schauspielhaus; Salzburger Festspiele; and Nationaltheater Mannheim.
Kohlstedt (b. 1972 in Buchholz) learned dressmaking and studied costume design at the Hamburg University of Applied Sciences (HAW Hamburg). She also lives in Hamburg.
Katherina Kopp has been a freelance costume designer since 2003 and has worked in the field of drama, among others at the Schauspielhaus Bochum, the Staatsschauspiel Dresden or the Deutsches Schauspielhaus Hamburg. Since 2009 she has been working increasingly in the field of opera, including for the world premiere of “Kryos” at the Theater Bremen as well as for “Tamerlano” and “The Love for Three Oranges” at the Theater Bonn. She has a long collaboration with Waltraud Lehner.
Composer Polina Korobkova is currently studying composition with Martin Schüttler at the Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart as part of the Konzertexamen program. Previously, she was pursuing a dual-MA in Composition at the Zurich University of the Arts (with Isabel Mundry) and the Academy of Music Basel (with Caspar Johannes Walter). In 2019, she completed her composition studies with Vladimir Tarnopolsky in Moscow.
Polina Korobkova won the composition competition of the Bludenzer Tage zeitgemäßer Musik (2020/2021), the tender of the IGNM Zurich (2020) and the 26th Apeldoorn commission prize (2020). She also received the Excellence Scholarship of the Zurich University of the Arts (2019-2021), the Nicati-de-Luze Scholarship (2021, 2020), the Hirschmann Scholarship (2021), and the Lyra Scholarship (2021). Important influences resulted from encounters with Georges Aperghis, Wolfgang Rihm, Mauro Lanza, Dmitri Kourliandski, Bernard Cavanna, and Bryn Harrison. The Russian composer lives and works in Zurich.
The soprano Natalia Labourdette had her debut in 2016 as Oscar in “Un ballo in Maschera,” and she performed this role at venues such as Teatro Jovellanos de Gijón; Teatro Dante Alighieri di Ravenna; Teatro Comunale di Ferrara; and Municipale di Piacenza, where one year later she sang the role of Rosina in “The Barber of Seville.” In addition, she performed at Teatro de la Maestranza Sevilla and at Teatro Real Madrid. Further debut roles were Corinna in “Il viaggio a Reims” at UNI.T, the theater of the Berlin University of the Art; and Lucia in “Lucia di Lammermoor” as part of the project “Opera Garage” in Madrid. Natalia Labourdette was invited to various lied festivals. She also has sung symphonic repertoire with renowned orchestras such as, among others, Orquesta de RTVE; Real Orquesta Sinfónica de Sevilla; and Orquesta Ciudad de Granada.
Natalia Labourdette was born in Madrid, and she studied violin in her hometown and later vocals at the Berlin University of the Arts (UdK). She has won prizes in international competitions including, to name a few, as part of the Compostela Lírica; the Riccardo Zandonai International Competition for Young Opera Singers; and at the Nuevas Voces de Sevilla competition.
Mathias Lachenmayr studied in Munich with Adel Shalaby, Peter Sadlo and Wolfram Winkel. Already during his studies he specialized in contemporary music and has since worked with composers such as Helmut Lachenmann, Harrison Birtwistle, Brian Ferneyhough, Georges Aperghis, Steve Reich, Mark Andre, Enno Poppe, Beat Furrer and Wolfgang Rihm. Lachenmayr has performed at festivals and concert series such as cresc Biennale Frankfurt, impuls Graz, Musikfest Berlin, SOU festival (Georgia), Gaudeamus Muziekweek (Netherlands), time of music (Finland) as well as at the International Summer Courses Darmstadt and Klangspuren Schwaz. In the 2016/17 season he was the percussionist of the International Ensemble Modern Academy in Frankfurt am Main. Mathias Lachenmayr has performed with a variety of ensembles and orchestras, including the Munich Philharmonic, Munich Radio Orchestra, Staatstheater am Gärtnerplatz, Munich Symphony, Schallfeld Ensemble, Nuremberg Symphony, NDR Hannover, Munich Chamber Orchestra, and Ensemble Modern. Until 2019, he was a member of both the BlauerReiter ensemble and the Ensemble Zeitsprung. He is one of the initiators to found the ensemble der/gelbe/klang Munich.
Katrin Langner has been working since 2019 as a lighting technician at the Münchner Kammerspiele. She studied set design at the Akademie Minerva in Groningen, the Netherlands. After she finished her studies, she founded the performance collective Bilderband, and she toured with this collective in the Netherlands. She not only performed onstage, she also worked on the concepts of the productions and designed the lighting and sound. During and after her studies she worked as an assistant to the lighting designer Andre Pronk on several productions, which led to her decision to train to be an event technician at Theater Bremen. In 2017 she became the head technician at the Otto-Falckenberg-Schule, the performing arts academy in Munich.
The baritone Ilya Lapich has been under contract at the Nationaltheater Mannheim since the season 2016/17. In Mannheim, he started at the international opera studio and since the 2018/2019 season he has been a member of the soloist ensemble at the Nationaltheater Mannheim. There he has already performed the roles of, among others, Dandini (“Cinderella”); Golaud (“Pelléas and Mélisande”); Silvio (“Il pagliacci”); and Freddy Eynsford-Hill (“My Fair Lady”).
Already during his acting studies at the university at Rostov-on-Don he performed various roles at the Maxim Gorky Academic Drama Theater in Rostov. In 2012 he began studying vocals at the Russian Institute of Theatre Arts (GITIS) in Moscow, where he completed his studies in 2015. He made his debut in 2014 performing the role of Count Robinson (“Il matrimonio segreto”). In 2015 he attended the Opéra de Monte-Carlo Academy. Since then, he has performed at well-known festivals, such as the International Festival of Young Opera Singers at Kammeroper Schloss Rheinsberg, and Beethovenfest Bonn.
Ilya Lapich was born in 1988 in Rostov-on-Don, Russia.
The pianist and conductor Elda Laro has been a coach and répétiteur at the Deutsche Oper Berlin since January 2016. Before that she was the director of studies at Theater Münster. In addition, since 2015 she has worked as a conductor at the National Theatre of Opera and Ballet of Albania in Tirana. As the director of the concert choir in Münster she has conducted various concerts including, among others, “Ein Deutsches Requiem” by Johannes Brahms on a tour of Italy in the summer of 2014.
Elda Laro began her career in music as a solo pianist and worked with, among others, Orchestra del Teatro Regio Torino; Orchestra di Filarmonica di Torino; Orchestra Verdi Milano; Orchestra i Pomeriggi Musicali Milano; Orchestra della Val d’Aosta; Orchestra Arturo Toscanini; and RTSH Orchester Tirana. Her concert tours took her to Italy; Spain; Great Britain; Austria; France; Japan, Malaysia; and the U.S. She has performed with such renowned conductors as Marc Soustrot; Konrad Junghänel; Bruno Campanella; Donato Renzett; Gustav Kuhn; and Mstislaw Rostropowitsch.
Munich director Waltraud Lehner focuses on world premieres and first performances in more than forty productions at theaters in Heidelberg, Koblenz, Lübeck, Trier, and Berlin, as well as the state operas of Hanover and Stuttgart. Waltraud Lehner is a winner of the European Opera Directing Prize, awarded the Chamber Opera Prize by Musik Theatre NOW and has been nominated several times in the Opera World’s Staging of the Year category. Since 2013, she has been Professor of Scenic Direction at the Opera School of the Munich University of Music and Theatre and Artistic Director of the “Musiktheater im Reaktor” format, which she founded.
Video artist and director Robert Lehniger examines in his transmedia projects and productions the interfaces between theater and digital media. In doing so, he experiments with media storytelling forms in the real world and on the internet. His works are based on novels, films, theater works, and play developments. Lehninger has been a guest artist at the major theaters in Germany including, among others, Düsseldorfer Schauspielhaus; Deutsches Theater Berlin; Schauspielhaus Zürich; Schauspiel Frankfurt; Münchner Kammerspiele; Volksbühne Berlin; Burgtheater Wien; Residenztheater in Munich; Theater Neumarkt in Zurich; Theater Bremen; Staatsschauspiel Dresden; and Deutsche Oper Berlin.
Born in 1974 in Weimar, Robert Lehniger studied visual communication and media design (experimental television) in Weimar.
In addition to her work as artistic director of the Nostos Dance Theater, Athens-born Christina Liakopoyloy works as a freelance choreographer for dance theater, opera and drama productions throughout Germany. She has staged over 25 full-length pieces for Nostos Tanztheater in Heidelberg and Mannheim. In her work, she combines the genres of dance (contemporary-urban dance styles) and post-dramatic spoken theater. Political, socially critical content as well as interpersonal, intercultural relationships in aesthetic discourse are the focus of her interdisciplinary work. She also teaches choreographic theater at the University of Education Heidelberg and the University of Heidelberg, at the University of Music and Performing Arts Munich and at the University of Art and Design in Athens. Nostos Dance Theater locates itself in our society and discusses the social issues of our time in the medium of language, drama and dance. Christina Liakopoyloy has lived in Heidelberg since 1983.
Paolo Mariangeli worka as freelance Sound Engineer, Audio Designer and Composer including audio design, sound director and composition for contemporary music performances, modern opera, theater productions, film, documentary, video game and music productions. Since 2018 he is resident Sound Engineer at Münchener Kammerspiele Munich.
Viktoria Matt was born in 1998 in Bad Saulgau, Germany, and when she was nine years old she started taking her first lessons in voice training with her choir director at that time, Waltraud Marschall. This soprano participated twice in the German competition for young people “Jugend musiziert,” and she received awards as part of this competition. In 2016 she began studying as a protégé at the Staatliche Hochschule für Musik Trossingen under Professor Alexandra Coku. In 2018 she started studying for her bachelor’s degree in vocal studies at the Karlsruhe University of Music under Professor Christian Elsner. In 2021 Viktoria Matt transferred to the Hochschule für Musik und Theater München (HMTM), where she is currently studying under KS Professor Christiane Iven.
The Serbian soprano Alisa Milosevic started studying voice in 2016 at the Hochschule für Musik und Theater in München (HMTM) under Julian Prégardien, and she continued her studies in October 2020 to receive her master’s degree in concert vocal studies under Professor Daniela Sindram. She was awarded a scholarship from the Dositej Obradovic Foundation, which helps young, gifted writers and artists, which enabled her to sing in the Europa Chor. In the music theater program Musiktheater im Reaktor at the HMTM she participated in the projects “Orpheus and Eurydice” and “Liminal Space.” Furthermore, she had her debut at the HMTM performing the role of Ida in “Die Fledermaus,” directed by Marcus Bosch, and she sang the roles Belinda in “Dido and Aeneas”; Norina in “Don Pasquale”; and the First Lady and Pamina in “The Magic Flute.” In 2021 she was awarded the first prize at the international singing competition Lav Mirski.
Theun Mosk evolved from theater technician to become the leading theatermaker, lighting and set designer, sculptor, and scenographer in the Netherlands. He designs concepts for exhibitions, installations, and sets for theater, dance, and music theater productions, most recently for the opera “Upload” (Michael van der Aa) at the Bregenz Festival (2021). This artist has been working for a long time with the directors Boukje Schweigman; Paul Koek; and Marcus Azzini; with Theater Artemis; with the choreographers Ann van der Broek; Nicole Beutler; and Medhi Walerski. Exhibitions such as “Egypt’s Sunken Treasures” (with Robert Wilson) and at the Arnhem Mode Biennale (Piet Paris) are displays of this artist’s diversity.
Born in 1980 in the Netherlands, Theun Mosk studied theater engineering at the Academy of Theatre and Dance in Amsterdam, and also theater design at the Gerrit Rietveld Akademie in Rotterdam.
Born in California, Andrew Robert Munn attracted attention as a finalist in the Cesti Competition Innsbruck in 2019, and he recently made important debuts: in New York’s Carnegie Hall this bass vocalist was a soloist in the world premiere of Zhou Long’s oratorio “Men of Iron and the Golden Spike.” In addition, he sang 2019 in Chaya Czernowin’s “Heart Chamber” at the Deutsche Oper Berlin. He returned to the Opera na Zamku in Szczecin, Poland, performing the role of Frère Laurent in Charles Gounod’s “Roméo et Juliette,” and he performed the role of King Atrace in Alessandro Melani’s “L’empio punito” at the Innsbruck Festival of Early Music in the summer of 2020. In the 2021/2022 season he will be performing at the Landestheater Salzburg, where he will take on roles such as Truffaldin in Richard Strauss’ “Ariadne auf Naxos”; Un Medico in Giuseppe Verdi’s “Macbeth” at Felsenreitschule in Salzburg; and Sarastro in “The Magic Flute.”
After completing his studies at the Juilliard School in New York, Andrew Robert Munn moved to Berlin in 2018. His first season in Europe saw him appear as Seneca in Claudio Monteverdi’s “L’incoronazione di Poppea” ; as Inspector and Uncle Albert in Philip Glass’ “The Trial”; and as Sarastro in “The Magic Flute.” He and the pianist Rami Sarieddine founded the project platform Chimera and the ensemble duo+ in 2019.
Rei Munakata is a Japanese conductor and composer whose works include chamber and ensemble music as well as compositions for large orchestras and solo instruments. He is the artistic director of Curious Chamber Players (CCP) in Stockholm and the conductor of Ensemble Mimitabu Göteburg. Both ensembles perform works by contemporary composers. Rei Munakata was a guest conductor at, among other festivals, Darmstädter Ferienkurse; IMPULS Graz; Time of Music Viitasaari; Gaudeamus Muziekweek Utrecht; and with CCP at Ultraschall Berlin; Sound Scotland; Bludenzer Tage zeitgemäßer Musik; Klang Festival, Copenhagen; Estonian Music Days; and the Borusan series in Istanbul. This artist was born in 1976 in Yokohama and currently lives in Stockholm.
Maria Munkert has been a member of the ensemble at Nationaltheater Mannheim since the 2018/2019 season. After guest engagements at the Schauspielhaus Düsseldorf and Theater Bonn, she was a member of the ensemble at Theater Bonn from 2006 to 2013, where she performed, among other roles, Ariel in Shakespeare’s “The Tempest”; Electra in “Electra/Orestes” by Sophocles; and Karoline in Horváth’s “Kasimir and Karoline.” In 2012 she received the Thespis Prize from Theater Bonn. She had additional guest engagements at Theater Heidelberg; Hessisches Staatstheater in Wiesbaden; Niedersächsisches Staatstheater Hannover; and Staatstheater Kassel. She has been under contract at Staatstheater Kassel since 2016, and she could be seen most recently there performing the role of Puck in Shakespeare’s “A Midsummer Night’s Dream.” She has worked with, among other directors, Dominic Friedel; Schirin Khodadadian; Alexander Nerlich; Heike M. Goetze; Eva Lange; and Laura Linnenbaum. Maria Munkert has also been teaching at the State University of Music and the Performing Arts Stuttgart since 2016. Maria Munkert studied at the State University of Music and Performing Arts Stuttgart, and in 2006 she won the solo as well as the ensemble award at the annual German Theater School Conference.
Alexandra Paal, born in 1997, works as a freelance dancer and choreographer in Munich. After she received her bachelor’s degree in contemporary dance from the London Contemporary Dance School, she returned to her hometown of Munich to work with Eldad Ben Sasson, Zoe Gyssler, Marta Rak, and Moritz Ostruschnjak on the NIMBLE project. In London she worked in interdisciplinary fields and with other students at Central St. Martin University of the Arts on mutual projects. She performed “Full of Grace” with the artist Jessye Curtis at Slade Centre in London. In addition, she danced in the pieces “BALLET,” choreographed by mariksicrycrycry; “Kottam,” choreographed by Saju Hari; and “Honey,” choreographed by Leila McMillan at Robin Howard Dance Theatre, The Place London. She has been influenced by her collaborations with artists from different fields, and she herself works in the fields of movement, text, poetry, film, fine arts, and design. Her most recent choreography was “834 sec,” which was performed in March 2021 at the Gasteig Cultural Center in Munich. She has been a member of the collective Futur.X since 2021.
The young American mezzo-soprano Gina Perregrino has made guest appearances as a winner of the Opera Foundation 2020 and 2021 at numerous stages in the USA: Santa Fe Opera, Opera Philadelphia, Minnesota Opera, Dallas Opera, Atlanta Opera, Opera Theatre of Saint Louis, Lyric Opera of Guatemala, Central City Opera and OperaDelaware. Gina Perregrino has also been a guest soloist with the Cincinnati May Festival, the St. Louis Symphony Orchestra, The Phoenix Symphony, the Portland Symphony Orchestra, and the Rome Chamber Music Festival. She has also appeared as a soloist at the New York Festival of Song and the Caramoor Center for Music and Arts.
In the 2021/22 season, she is a member of the Deutsche Oper Berlin ensemble as a fellow of the Opera Foundation.
The mezzo-soprano Julia Pfänder initially studied double bass and music education at the Hochschule für Musik und Theater München (HMTM). She has sung as a mezzo-soprano in famous choirs, such as the Münchner Madrigalchor; the Audi Jugendchorakademie choir; and the Philharmonischer Chor München. She has sung for renowned artists, among others, for Thomas Hengelbrock; Kent Nagano; and Barbara Hannigan. Julia Pfänder has been studying voice since 2019 at the Hochschule für Musik und Theater München (HMTM) under Professor Daniela Sindram. She gained additional impulses from master classes under KS Professor Christiane Iven; Sabine Lahm; and Professor Gerhild Romberger. She has already performed in opera productions at the music school, where she sang the roles of Fricka in “The Rhine Gold” and the Third Lady and Third Child-spirit in “The Magic Flute.” In the academic year 2021/2022 she can be heard performing the roles of the Countess in Albert Lortzing’s “Der Wildschütz” and Erda in “The Rhine Gold.” In addition, she will sing the role of the mother in the cantata by Hanns Eisler “Die Mutter” (“The Mother”) at the Brecht Festival 2022 in Augsburg.
Constructed legacies are the starting point for her theater work, says the set and costume designer Charlotte Pistorius. She focuses on what\’s concealed, on production processes, on the hierarchy of material things, and on documents and materials – all of which tell their own stories. Many of her projects evolve in close collaboration with Isabelle Schad (choreography); the research collective werkgruppe2; the author Davide Carnevali; and the director Christiane Pohle. Pistorius directs productions at Münchner Kammerspiele; Sophiensaele Berlin; Luzerner Theater; Hebbel am Ufer (HAU); Oldenburgisches Staatstheater; and the Ruhrtriennale. The artist (b. 1985 in East Frisia, Germany) studied fine arts in Hamburg (HFBK) and costume design in Berlin (UdK). She has worked on productions together with Christoph Schlingensief; Romeo Castellucci; Susanne Kennedy; Anna Viebrock; and Christoph Marthaler.
Paulina Platzer lives and works as a director, dramaturg and project manager in Munich. After completing her Bachelor of Theater Studies at LMU Munich, she finshed her studies in dramaturgy (MA) at the August Everding Theater Academy since October 2019. She assisted Cornelie Müller, Gert Neuner, Robert Spitz, Waltraud Lehner and Doris Heinrichsen.
Since 2019, Paulina Platzer has been a member of the AYSE X-Staatstheater and co-founder of the theater collective Futur.X. In 2021, she served as project director for “Kultur im Block” and, together with Waltraud Lehner, staged the production of “Die Zauberflöte” at the Hochschule für Musik und Theater (“Music Theater in the Reactor”). She is a laureate of the Klaus Zehelein Award 2021.
Theater and opera director Christiane Pohle directs productions at all of the major houses in Europe – such as, for example, Staatsoper Stuttgart (“The Marriage of Figaro”); Bayerische Staatsoper (“Pelléas et Mélisande” and “Elegy for Young Lovers”); München Kammerspiele; Theater Luzern; Schauspiel Zürich; and Schauspiel Graz. For several years now, many of the productions she directs evolve in close collaboration with the dramaturge Malte Ubenauf.
In addition to actively working as a director, Pohle teaches at the Berlin University of the Arts (UdK Berlin); the Hochschule für Musik and Theater Hamburg; the Otto-Falckenberg-Schule in Munich; and the Bayerische Theaterakademie. Up until 2019 she was the director of the acting studies program at the Akademie für Darstellende Kunst Baden-Württemberg (Ludwigsburg).
Born in 1968 in Berlin, this director graduated with a degree in acting in Hamburg, and she now lives in Munich and Trieste.
The Tenor John Pumphrey was in the seasons 2019-2020 and 2020-2021 a member of the ensemble at Staatstheater Nürnberg, where he could be seen singing the roles of Roderich de Weert (“Der Vetter aus Dingsda” [“The Cousin from Nowhere”]), and Frederic (“The Pirates of Penzance”). He has worked with the conductors Donald Runnicles; Patrick Fournillier; Daniele Callegari; and Joana Mallwitz, and he has worked with the directors Robert Carson; Olivier Py; Mariame Clément; and Jens-Daniel Herzog. John Pumphrey also performs as a concert and lieder vocalist. In October 2013 he received the Gabriel Fauré-Déodat de Séverac Award at the Concours International d’Interprétation de la Mélodie Française de Toulouse.
The Scotsman John Pumphrey studied voice at the Alexander Gibson Opera School of the Royal Scottish Academy of Music and Drama in Glasgow under Stephen Robertson, and he finished his studies and received his diploma in 2010 from Flanders Opera Studio in Belgium. He was a member of the opera studio at Opéra National du Rhin from 2010 to 2012 where he sang, among other roles, the roles of Ernesto (“Don Pasquale”) and Spoletta (“Tosca”). This was followed by an engagement at Stadttheater Plauen-Zwickau.
Cornelius Reitmayr is a media artist living in Berlin. He first worked for a year at the Center for Art and Media in Karlsruhe and then moved to Berlin to study theater technology. He currently works as a freelance artist on theater and film productions, in collaboration with photographers and on personal projects. Reitmayr is known for his atmospheric and cinematic photographs and unusual light and video installations.
As a versatile interpreter of contemporary music, Eva Resch was invited to perform at Teatro de Bellas Artes and the Cervantino festival in Guanajuato, Mexiko, as well as at the Villa Massimo in Rome. She has also been a guest performer at, among other institutions, the state theaters in Warsaw and Weimar; Oper Bonn; Malmö Oper; and, as part of the Munich Biennale program, at the Wiener Festwochen and the Berliner Festspiele. During the season 2021/2022 Eva Resch will make her debut with the Israel Contemporary Players in Benedict Mason’s “Chaplin Operas” in Tel Aviv. In addition, as part of the European Workshop for Contemporary Music she has been invited by Warsaw Autumn and the German Music Council to interpret Morton Feldman’s “Voice and Instruments 1” at the Chopin University of Music (UMFC).
Eva Resch has performed world premieres of works by Wolfgang Rihm; Pascal Dusapin; Thomas Adès; Johannes Maria Staud; Vladimir Tarnopolski; Philipp Maintz; Gordon Kampe; and Anno Schreier. She has worked with directors such as Claus Guth and Werner Schroeter, and she has sung for the conductors Franck Ollu; Stefan Asbury; Walter Koberá; Johannes Kalitzke; and Alicija Mounk. In addition, she has recorded diverse CDs for the label Genuin Musikverlag.
Eva Resch studied vocals and stage design at the music academies in Würzburg and Karlsruhe under Sigune von Osten and Renate Ackermann. Following this period, she was heavily influenced by her private studies under Professor Eugen Rabine, and by the master classes she attended under Peter Konwitschny and Helmut Deutsch.
Countertenor Christopher Robson has performed in opera houses, concert halls and festivals around the world and has worked with many of the most renowned conductors, musicians and directors on the opera and music scene. He has made countless radio and television appearances and has an outstanding discography. He is an advocate of contemporary compositions for countertenor voice, and numerous roles have been written for him. In 1994 he made his debut at the Bavarian State Opera. In recognition of his many contributions to music and the arts, the Bavarian State honored him with the title of Bavarian Chamber Singer in 2003. In 1981, he made his debut at the English National Opera (ENO) in David Freeman’s production of Claudio Monteverdi’s “L’Orfeo”. He remained associated with ENO as a singer for the next four decades. Christopher Robson was born in Scotland in 1953. He is living in Munich since 2007.
Carl Rumstadt is a member of the ensemble at Theater Trier for the 2018/19 season. He has been engaged as a guest soloist at numerous opera houses and orchestras, including the Graz Opera, the Staatstheater Kassel, the Cairo Opera House and the Royal Opera House Muscat. As a concert and lied interpreter, he devotes himself primarily to the repertoire of German Romanticism and drew attention with solo roles in Mahler’s “Lieder eines fahrenden Gesellen”, Carl Orff’s “Camina Burana”, Felix Mendelssohn Bartholdy’s “Paulus” and Johann Sebastian Bach’s “St. John Passion”, among others. From 2016 to 2018, he was engaged by the Bühnen Bern, where his roles included the title roles of “Don Giovanni” and “Le nozze di Figaro” as well as Papageno. From 2016 to 2018 he was engaged at the Konzert Theater Bern, where he performed in the title roles of “Don Giovanni” and “Le nozze di Figaro”, as well as Papageno, among others.
Carl Rumstadt studied voice first as a junior student with Prof. Siegfried Jerusalem in Nuremberg, and later in the diploma program with Prof. Fenna Kugel-Seifried in Munich, which he completed in 2016.
“Davor“ is already the second collaboration this set and costume designer has worked on with Robert Lehniger. She works as a freelance artist and most recently she designed the sets for “AURORA” at HAU1 in Berlin, directed by Adrian Figueroa; for “last park standing” by Ebru Nihan Celkan at Schauspiel Stuttgart, directed by Nuran David Calis; and for “Die Verlorenen” (“The Lost”) by Ewald Palmetshofer at Residenztheater in Munich, directed by Nora Schlocker.
This Munich native studied in the master class of stage and film design under Axel Manthey and Klaus Zehelein at the University of Applied Arts in Vienna.
The baritone Carlo Zaccaria Schmitz is currently studying at the Hanns Eisler School of Music Berlin under Professor Martin Bruns. He received his first singing lessons from Hans-Joachim Straub. He performs regularly at the music school with various ensembles, such as with the music school’s chamber choir, and as part of the music school’s projects, which included a song recital for Clara Schumann’s 200th birthday and performances of Menotti’s “The Telephone.” Carlo Zaccaria Schmitz has been an academician for the Rundfunkchor Berlin since August 2021.
David Schnaegelberger lives as a freelance director and scenographer in Düsseldorf. With the author Patrick Schneider and the actress Sina Ebell, he founded the collective Die Happy Few in 2010. Between 2016 and 2018 he was engaged at the Düsseldorf Schauspielhaus and subsequently at the Ruhrtriennale, the Wiener Festwochen and the Berliner Festspiele as assistant director to Mariano Pensotti. His work has been shown at the Düsseldorfer Schauspielhaus, the Körber Studio junge Regie, the 100° Festival Berlin, the Young Directors Projects of the Salzburg Festival, the FFT-Forum Freies Theater Düsseldorf, the Landestheater Niederösterreich St. Pölten or at the Kunstmuseum Bonn. Born in Darmstadt in 1987, he studied philosophy, media art and scenography at the HfG Karlsruhe and directing at the Thomas Bernhard Institute of the University Mozarteum Salzburg.
Sebastian Schottke is an internationally sought-after sound director and sound designer in the field of contemporary electroacoustic music and has performed at the Munich Biennale, the Ruhrtriennale, the Festival d’Avignon, the Auckland Arts Festival, Santiago a Mil, ICOM Kyoto, the Beethovenfest Bonn, the Ultima Oslo Contemporary Music Festival, Wien Modern, ECLAT, Achtbrücken and Ultraschall. He has worked with Ensemble Modern, Ensemble musikFabrik, Klangforum Wien, Hong Kong New Music Ensemble, Klangforum Heidelberg, SWR Vokalensemble, Ensemble Resonanz, Balthasar-Neumann-Choir and -Ensemble, Neue Vocalsolisten, Lemi Ponifasio/MAU, Sir Simon Rattle, Ingo Metzmacher, Thomas Hengelbrock. Sebastian Schottke works as a freelance sound engineer at the Centre for Art and Media (ZKM) in Karlsruhe, is a member of the artists’ collective “stock11”, sound director of the duo “soundspaces”, the quartet “EW-4”, and the trio “Pasog”. He is sound engineer for numerous studio productions, which have been released on WERGO, Tzadik, Kairos, Naxos and Mode Records, among others. Sebastian Schottke held seminars in the “Vorgehört” series at the HFG (Hochschule für Gestaltung) Karlsruhe, at the “Modern Academy” in Hong Kong and at the University of Indianapolis Athens Campus.
Sebastian Schottke grew up in Schwerin/ Mecklenburg. He studied sound engineering at the University of Music and Performing Arts in Vienna and was a scholarship holder for sound direction at the International Ensemble Modern Academy (IEMA) in Frankfurt/Main.
Pit Schultheiss has been working since 1990 at the Münchner Kammerspiele in the lighting department. In 1997 he passed his examinations to become a lighting operations manager, and he has been the deputy head of the department since 2017. He has worked with, among others, Simon Stone; Philippe Quesne; David Marton; Luc Perceval; Christiane Huber; Uisenma Borchu; and Stephanie Felber.
In recent years, mezzo-soprano Annette Schönmüller has established herself as one of the most versatile and sought-after interpreters in the field of contemporary music. The artist has sung at leading opera houses and festivals, including the Zurich Opera House (H. Holliger “Lunea”, G. Aperghis “Dark Side”), the Frankfurt Opera (R. Riehm “Sirenen”), the Konzerthaus Berlin (A. Hölszky “Bremer Freiheit”), the Staatstheater Darmstadt (L. Nono “Prometheo”), at the Munich Biennale (D. Fennessy “Sweat of the sun”), the Salzburg Biennale (S. Sciarrino “Infinito Nero”), the Wuppertal Opera (L. Nono “Intolleranza), the Klangspuren Schwaz or the Music Biennale Zagreb and worked with, among others. With Peter Eötvös, Heinz Holliger, Adriana Hölszky, Aribert Reimann, Pierluigi Billone, Chaya Czernowin, Fabián Panisello, Andreas Homoki, Johannes Erath, Dietrich Hilsdorf, Ludger Engels, Kay Kuntze, Marco Štorman, Nicola Raab, Markus Stenz, Emilio Pomàrico, Johannes Kalitzke, Jonathan Stockhammer, Marino Formenti or Marin Alsop. Annette Schönmüller received her training at the University of Music and Performing Arts Vienna, where she also intensively studied early music. Parts in operas by Monteverdi can therefore be found in her artistic repertoire as well as the roles of Countess Geschwitz in “Lulu” and Marie in “Wozzeck” by A. Berg or of Eine Frau in A. Schönberg’s monodrama “Erwartung”.
Prof. Wolf-Michael Storz ist seit Oktober 2021 Musikalischer Leiter der Opernschule der Hochschule für Musik und Theater München. Der HMTM ist er bereits seit 2009 mit einem Lehrauftrag für Klavierauszugspiel in der Dirigierklasse verbunden. Seit 2007 ist er zudem stellvertretender Studienleiter an der Bayerischen Staatsoper. Nach verschiedenen Stationen als Repetitor und Kapellmeister in Ulm, Darmstadt und Karlsruhe kam er 2001 als stellvertretender Studienleiter und Kapellmeister an die Deutsche Oper am Rhein in Düsseldorf. Gastdirigate führten ihn in an die Opernhäuser von Bonn, Oldenburg, Münster, Regensburg, Halle. Als Assistent von Christian Thielemann arbeitete er an den Bayreuther und Salzburger Festspielen sowie in Baden-Baden.
Wolf Michael Storz wurde in Tübingen geboren. Er studierte an der Staatlichen Hochschule für Musik und Darstellende Kunst Stuttgart Klavier bei Prof. Edgar Trauer und Dirigieren bei Prof. Thomas Ungar. Von 1994 bis 1999 war er Mitglied im Dirigentenforum des Deutschen Musikrats.
The director Sandra Strunz from Hamburg has been directing works at major German-speaking theaters for years now, such as, for example, Thalia Theater Hamburg; Staatstheater Stuttgart; Schauspiel Frankfurt; Schauspiel Hannover; Schauspielhaus Zürich; Deutsches SchauSpielHaus Hamburg; and Staatsschauspiel Dresden.
Strunz (b. 1968) studied direction at the Hochschule für bildende Künste Hamburg (HFBK Hamburg) under Jürgen Flimm. From 2012 to 2016 she was one of the directors of the theater direction studies program at Akademie für Darstellende Kunst Baden-Württemberg in Ludwigsburg, where she is currently an honorary professor. In addition, she has been teaching directing classes at Theaterakademie in Hamburg since 2003.
The mezzo-soprano Devi Suriani finished her studies for her master’s degree in lied, oratorio, and concert vocals at the Berlin University of the Arts (UdK) under Kammersängerin Julie Kaufmann in 2017, and since then she has been studying for her master’s degree in opera. Devi first gained experience performing onstage in opera projects at the university in the roles of, among others, The Sorceress (Henry Purcell, “Dido and Aeneas”); Ottone (Claudio Monteverdi, “L’incoronazione di Poppea”); Deuxième Commère (Jacques Ibert, “Angélique”); and Madame Flora (Gian Carlo Menotti, “The Medium”). In June 2019 she performed the roles of Harper Pitt and Ethel Rosenberg in the Berlin premiere of Peter Eötvös’ opera “Angels in America.” In February 2021 Devi interpreted “Aventures” and “Nouvelles Aventures” by György Ligeti on the celebration of György Kurtág’s 95th birthday in Budapest, conducted by Peter Eötvös. In addition to opera, Devi devotes herself to lied, and she has been influenced in this field by Axel Bauni; Eric Schneider; and Wolfram Rieger. Her musical education has been supplemented by taking master courses taught by Susanne Kelling; Hilde Sveen; and Helmut Lachenmann. She has had a grant from the German Music Council since April 2021.
Devi Suriani was born in the capital city of the Indonesian province North Sumatra. In 2006 she began training in vocals, and in 2010 she received her Bachelor of Arts degree from the Lasalle College of the Arts in Singapore in performance, with an emphasis on contemporary classical music. She has been living in Germany since 2015.
It is especially important to the Norwegian composer Øyvind Torvund that he was a guitarist in rock and improvisational bands. For his music is an accumulation of inhomogeneous material and erratic attitudes: rock music sounds or sounds of everyday life are heard equally in chamber music work as well as in improvisations, combined with a precise notation, serious classical music, film music, or projections. He has collaborated intensively with ensembles such as asamisimasa (Norway); Oslo Sinfonietta; the British Plus-Minus Ensemble; and the video artist Yorgos Sapountzis. His works were and are performed at, among other venues, Donaueschinger Musiktage; MaerzMusik; Ultraschall Festival; Ultima; Transit Festival; Huddersfield Contemporary Music Festival; and Darmstädter Ferienkurse.
Torvund (b. 1976) received degrees in composition from the Norwegian Academy of Music and the Berlin University of the Arts (UdK-Berlin).
Snapshots in concert halls during rehearsals with famous musicians are part of the spectrum of Miguel Murrieta Vásquez’s work, along with images of nature in the Antarctic or images of day-to-day life in Afghanistan.
As a film sound designer, he has worked so far on film and advertising productions (the soundtrack for the film “The Florence Foster Jenkins Story” with Joyce Di Donato; “Klang des Lebens” (“The Sound of Life”) with Daniel Hope for Markenfilm; Tony Petersen Film; Chroma TV; and Gruner + Jahr), and he worked as a sound designer at Bayerisches Staatsschauspiel; Residenztheater in Munich; and Thalia Theater.
Born in Ecuador, he studied media technology and sound vision at the Hamburg University of Applied Sciences (HAW Hamburg).
Dongfang Xie (bass-baritone) completed his master’s degree in opera/musical theater in 2022 at the University of the Arts in Berlin. Prior to that, he completed a master’s degree in voice at the Hochschule für Künste Bremen. After an engagement at the Staatstheater Oldenburg in the 2018/19 chorus, he took on the role of Cristiano in Giuseppe Verdi’s „Un ballo in maschera“ at the Theater Bremen in 2018/19. At the Ettlingen Castle Festival in 2020/21, he sang the prison warden Frank in „Die Fledermaus“ by Johann Strauss. In the summer of 2018 he sang Count Almaviva in the university production of „The Marriage of Figaro“ and in the summer of 2019 he sang the role of Papageno in „The Magic Flute“ at the HfK Bremen with performances at the Shakespeare Company Bremen.
Pat To Yan, born in 1975 in Hong Kong, is a playwright, director, and instructor. He studied English literature and sociology in Hong Kong, as well as creative writing for the stage at the Royal Holloway University in London. He directs his own texts as well as texts from other authors, frequently with Reframe Theatre, an independent production company, which he founded in 2016.
In 2016 his work “A Concise History of Future China” in the original version in English was up until now the first theater text from China that was invited to Stückemarkt in Berlin. It is the first part of the trilogy “Posthuman Journey.” In the second part, “Posthuman Condition,” which celebrated its world premiere in 2021 at Schauspiel Frankfurt, the author examines what being a person could mean in our future. He is currently writing the third part. His works are published in Germany by Suhrkamp.
Works (a selection): “The Sorrows of Young Yat Sum”; “A Concise History of Future China”; “Posthuman Condition”
The theater director Alize Zandwijk has been the artistic director along with Guy Cassiers of the Ro Theater in Rotterdam since 1998. She had been directing productions regularly in Germany since 2003, for example at, among other institutions, Thalia Theater and Deutsches Theater Berlin. At Theater Bremen she had her debut during the season 2012/2013 with Dea Loher’s “Das Leben auf der Praça Roosevelt” (“Life on Roosevelt Square”), followed by, among others, Anton Chekhov’s “The Cherry Orchard” and Arne Sieren’s “Mädchen und Jungen” (“Girls and Boys”). She has been the in-house theater director at Theater Bremen since the season 2016/2017, and she directed, among other productions, Gerhard Hauptmann’s “The Rats”; Bertold Brecht’s “The Good Person of Szechwan”; the genre cross-over evening of dance “Golden Heart and Amour”; Tom Lanoye’s “GAS. Plädoyer einer verurteilten Mutter” (“GAS. Plea of a Convicted Mother”); Leo Tolstoy’s “Resurrection”; and “Mütter – Geschichten von Bremer Frauen aus aller Welt” (“Mothers – Stories of Women in Bremen From All Over the World”). Alize Zandwijk, born in 1961 in Hellendoorn in the Netherlands, studied direction at the theater academy in Kampen, and she currently lives in Bremen.
Since the year 1991 Serhij Zhadan has been considered to be one of the most influential figures among Ukrainian authors. He had his debut when he was 17, and he has published twelve volumes of poetry and seven works of prose. For his book “Voroshilovgrad” he received the Jan Michalski Literature Award and the Brücke Berlin Award in 2014 (together with Juri Durkot and Sabine Stöhr). The BBC named the work with the title “Book of the Decade.”
Zhadan lives in Kharkiv, Ukraine. His works are published in Germany by Suhrkamp. Zhadan was born in 1974 in the region of Luhansk in the eastern part of Ukraine; he studied German and received his doctorate on the subject of Ukrainian futurism.
The mezzo-soprano Yixuan Zhu initially studied classical music vocal studies at the International College of Music, Hamburg (ICoM). In 2015 she transferred to the Berlin University of the Arts (UdK) to study under Professor Enrico Facini. The first roles she performed as part of her studies were, among others, Modestina in “Il viaggio a Reims” by Gioachino Rossini, directed by Errico Fresis (2017); and the roles Rabbi Henry/Hannah Pitt in “Angels in America” by Peter Eötvös, directed by Christian Schumann (a Berlin University of the Arts summer project). She also finished her studies for a bachelor’s degree in 2019 by singing this part. As a concert soloist she sang in 2018 the alto part in the “Christmas Oratorio” by Johann Sebastian Bach, as well as the role of the second mezzo-soprano in “Requiem for Mignon” by Robert Schumann with the Berliner Philharmonie, conducted by Frank Markowitsch in 2019. Yixuan Zhu has been studying for her master’s degree in opera at the Berlin University of the Arts under Professor Maria Jose Montiel since October 2019.
Yixuan Zhu was born in 1993 in China, and she came to Germany at the end of 2012.
The repertoire of the soprano Lisa Ziehm, who was born in the Holstein region in Germany, ranges from classical to modern music; she specializes in opera and especially in lieder from the Romanticism period. She has performed so far at the Frankenfestspiele Röttingen; Theater Brandenburg; Deutsche Oper Berlin; Theater Lübeck; the music festival Oper Oder-Spree; and the Neue Eutiner Festspiele music festival. This soprano has worked with directors such as Michael Wallner; Lars Franke; Matthias Kaiser; Eva-Maria Höckmayr; Gregor Horres; Isabel Hindersin; and Birgit Kronshage. As part of her brisk concert activities in and outside Germany she sang at, to name just a few, the London Handel Festival; the Cap Ferret Music Festival in France; and she sang with the Lübecker Kammerorchester.
Lisa Ziehm received her master’s degree under Professor Carola Höhn with an emphasis on opera from the Berlin University of the Arts (UdK) in March 2021. She received her bachelor’s degree under Isabel Schaarschmidt from the University of Music Lübeck (MHL). She also studied during this time as part of the Erasmus Programme at the Guildhall School of Music & Drama in London, where she worked together with Theresa Goble. Lisa Ziehm is currently studying with Sami Kustalogli. This soprano received the Deutschlandstipendium sponsorship grant, a grant from the Possehl Foundation in Lübeck, and she has a sponsorship grant from the Yehudi Menuhin Live Music Now organization.