CD “early music bird. early new music”
Meet Our Team
lives in Vienna.
Mitterer studied organ, composition and electroacoustics in Vienna and Stockholm. He is not only one of the Austrian specialists for electronics as well as being equally brilliant on the keyboard and on the slide controls, but is also one of the most innovative composers. His work oscillates between composition and open form. Apart from music for organ and orchestra, a piano concerto and an opera he has produced electronic pieces, conceptualized sound installations, and engaged in collective improvisation with diverse groups, developing a language of extremes, tension and complexity. The pleasure he takes in experimenting leads him to combine contrasting elements in the creation of unpredictable musical events. In one major composition, for instance, he juxtaposes musical bands and children’s choirs with specialized instrumentalists and singers, while filling the hall with surround sound created by live electronics. But his work transcends the merely spectacular, precisely because of his musical presence and the high – deeply moving – intensity and complexity of his compositions. Listening intensely to low sounds has its place just as much as the “installing” of exploding sound fragments in the listeners’ minds. Far from being smoothly pleasurable, Mitterer’s music is still uncannily beautiful at times.
Mitterer studied organ, composition and electroacoustics in Vienna and Stockholm. He is not only one of the Austrian specialists for electronics as well as being equally brilliant on the keyboard and on the slide controls, but is also one of the most innovative composers. His work oscillates between composition and open form. Apart from music for organ and orchestra, a piano concerto and an opera he has produced electronic pieces, conceptualized sound installations, and engaged in collective improvisation with diverse groups, developing a language of extremes, tension and complexity. The pleasure he takes in experimenting leads him to combine contrasting elements in the creation of unpredictable musical events. In one major composition, for instance, he juxtaposes musical bands and children’s choirs with specialized instrumentalists and singers, while filling the hall with surround sound created by live electronics. But his work transcends the merely spectacular, precisely because of his musical presence and the high – deeply moving – intensity and complexity of his compositions. Listening intensely to low sounds has its place just as much as the “installing” of exploding sound fragments in the listeners’ minds. Far from being smoothly pleasurable, Mitterer’s music is still uncannily beautiful at times.
M. Meller for “Tirol multimedial”
Photograp of Wolfgang Mitterer © Julia Stix
lute player, conductor-born in Lugano, he studied with Nikolaus Harnoncourt at Mozarteum Salzburg before starting a 30 years long collaboration with Concentus Musicus Wien. Co-founder of “Il Giardino Armonico” leading ensemble in the field of ancient music. Over 80 cd recorded including complete lute works by Bach and Vivaldi. Worldwide concert activity, recitals in all major european and american venues. Since 2008, he’s conducting the Bach-Zyklus at Vienna’s Konzerthaus. 100 cantatas already performed, plus John’s Passion and Christmas Oratorio. He is awarded with the Swiss Music Prize 2018, from the Swiss Federal Departement of Culture.
Photograph of Luca Pianca © Maria Weiss in the castle "Schloss Pöckstein"
“Her voice is tremendous, and the continued suspense of her stage presence is breathtaking“, “a marvelous mezzo-soprano with organ-like depths” or “a vocal and acting synthesis of arts” are excerpts of reviews about the Austrian mezzo-soprano Maria Weiss.
With a repertory focusing on early and contemporary music, she is dedicated in particular to premiering (forgotten) early music and contemporary compositions.
Maria studied voice at the national conservatory “Luigi Cherubini” in Florence and concluded her studies at the University of Music and Performing Arts Graz. Furthermore she studied acting at the Lee Strasberg Theatre & Film Institute of New York.
With an emphasis on Baroque repertoire, she has sung, amongst others, the roles of Bradamante or Gismonda (Händel), Megalce (Vivaldi), Lisinga (Gluck), contemporary music as the opera by W. Rihms ”Jakob Lenz” (Voice) or Baiana in the European premiere of the Brasilian opera “Pedro Malazarte” of Mozart C. Guarnieri. Examples of premieres of rediscovered works in the Baroque repertoire are Palante in the Austrian premiere of “La Guerra de los Gigantes”, Júpiter in “El imposible mayor en amor le vence Amor” (S. Durón) or Aurora in the European premiere of “L’Oracolo del Fato” (F. Gasparini).
Her opera spectrum includes not only the most important Mozart pieces, and extends from the rarely performed Renaissance and Baroque repertoire until Jacques Offenbach’s operettas. She has worked with stage directors such as Frank Castorf, Philippe Arlaud, Seollyeon Konwitschny, John Lloyd Davies or the Baroque-Gesture- Specialist Sigrid T’Hooft.
Musical cooperation with directors and musicians such as Stefan Asbury, Michi Gaigg, Domingo Hindoyan, David Levi, Rubén Dubrovsky, Luca Pianca, Gérard Korsten, Rogério Gonçalves, Jörg Zwicker, Thomas Platzgummer, Wolfgang Mitterer, James Pearson or Franco Pavan and musical partners such as Bach Consort Wien, Klangforum Wien, L’Orfeo Baroque Orchestra, Ensemble Claudiana, Harmony of Nations Baroque Orchestra, Il Concerto Tivoli, Camerata Argentea, A Corte Musical, Capella Leopoldina, Grazer Symphonikern or Vorarlberger Symphonieorchester.
Further engagements saw Maria Weiss perform, amongst others, at Wiener Festwochen, Konzerthaus Wien, Theater an der Rott, Opernhaus Graz, “trigonale. festival für alte musik”, Bregenzer Festspielhaus, Feldkirch Festival, Festspielhaus Dornbirn, Kammeroper Graz, Klagenfurter Konzerthaus, Donaufestwochen im Strudengau, BOV Opera Festival to the Teatru Manoel in Valetta (Malta) or Ateneu Barcelonés in Spain.
With a repertory focusing on early and contemporary music, she is dedicated in particular to premiering (forgotten) early music and contemporary compositions.
Maria studied voice at the national conservatory “Luigi Cherubini” in Florence and concluded her studies at the University of Music and Performing Arts Graz. Furthermore she studied acting at the Lee Strasberg Theatre & Film Institute of New York.
With an emphasis on Baroque repertoire, she has sung, amongst others, the roles of Bradamante or Gismonda (Händel), Megalce (Vivaldi), Lisinga (Gluck), contemporary music as the opera by W. Rihms ”Jakob Lenz” (Voice) or Baiana in the European premiere of the Brasilian opera “Pedro Malazarte” of Mozart C. Guarnieri. Examples of premieres of rediscovered works in the Baroque repertoire are Palante in the Austrian premiere of “La Guerra de los Gigantes”, Júpiter in “El imposible mayor en amor le vence Amor” (S. Durón) or Aurora in the European premiere of “L’Oracolo del Fato” (F. Gasparini).
Her opera spectrum includes not only the most important Mozart pieces, and extends from the rarely performed Renaissance and Baroque repertoire until Jacques Offenbach’s operettas. She has worked with stage directors such as Frank Castorf, Philippe Arlaud, Seollyeon Konwitschny, John Lloyd Davies or the Baroque-Gesture- Specialist Sigrid T’Hooft.
Musical cooperation with directors and musicians such as Stefan Asbury, Michi Gaigg, Domingo Hindoyan, David Levi, Rubén Dubrovsky, Luca Pianca, Gérard Korsten, Rogério Gonçalves, Jörg Zwicker, Thomas Platzgummer, Wolfgang Mitterer, James Pearson or Franco Pavan and musical partners such as Bach Consort Wien, Klangforum Wien, L’Orfeo Baroque Orchestra, Ensemble Claudiana, Harmony of Nations Baroque Orchestra, Il Concerto Tivoli, Camerata Argentea, A Corte Musical, Capella Leopoldina, Grazer Symphonikern or Vorarlberger Symphonieorchester.
Further engagements saw Maria Weiss perform, amongst others, at Wiener Festwochen, Konzerthaus Wien, Theater an der Rott, Opernhaus Graz, “trigonale. festival für alte musik”, Bregenzer Festspielhaus, Feldkirch Festival, Festspielhaus Dornbirn, Kammeroper Graz, Klagenfurter Konzerthaus, Donaufestwochen im Strudengau, BOV Opera Festival to the Teatru Manoel in Valetta (Malta) or Ateneu Barcelonés in Spain.
Photograph of Maria Weiss © Carmen & Ingo Photography
was born in 1998, and started her music education in Gödöllő (Hungary). She has a degree from the Bartók Béla Conservatory Budapest in the class of Erika Petőfi. Early music has always been something special to her and in 2016 she began to study it more closely with Monika Toth and Soma Dinyes at the Miszla Baroque Academy. Since 2018 she has been studying baroque violin with Ulrike Engel at the Musik und Kunst Privatuniversität der Stadt Wien. Zsofia is a member of the Miszla Baroque Orchestra, Bacchus Consort, and the Bach Consort Budapest. She regularly performs throughout Europe with different instrumentations. She also attended master classes with Monika Toth, Enrico Onofri, Soma Dinyes, Balazs Mate, Dirk Börner, Rachel Podger, Davide Monti and Veronika Skuplik.
FOUNDED by Maria Weiss the ensemble plays music on original instruments together with longlasting musical friends and colleagues.
Intention: to fulfill the highest artistic demands exploring the existential layers of works in search for a distinctive musical language.
Intention: to fulfill the highest artistic demands exploring the existential layers of works in search for a distinctive musical language.
Wolfgang Mitterer, composition, electronics⠀⠀⠀⠀⠀
Luca Pianca, lute
Maria Weiss, mezzosoprano
Monika Toth, violin⠀⠀⠀⠀⠀⠀⠀⠀⠀
Zsófia Breda, violin ⠀⠀⠀⠀⠀⠀⠀⠀⠀
Hanne Eisenhut, viola⠀⠀⠀⠀⠀⠀⠀⠀⠀
Igor Bobovich, cello⠀⠀⠀⠀⠀⠀⠀⠀⠀
Alexandra Dienz, contrabass⠀⠀⠀⠀⠀⠀⠀⠀⠀
Chiara Massini, cembalo⠀⠀⠀⠀⠀⠀⠀⠀⠀
Anne Suse Ennsle, flute⠀⠀⠀⠀⠀⠀⠀⠀⠀
Annemarie Podesser, flute⠀⠀⠀⠀⠀⠀⠀⠀⠀
Hermann Ebner, horn⠀⠀⠀⠀⠀⠀⠀⠀⠀
Michael Söllner, horn
Photograph of the Ensemble © Theresa Pewal in the castle "Schloss Pöckstein"
In 1997 she obtained her diploma in instrumental pedagogy violin Cum Laude at the Conservatory of the Franz Liszt Academy of Music in Hungary. In 2000 she won the 2. In 2001 he won 3rd place at the International Competition for Chamber Music Premio Bonporti Rovereto and 3rd place at the International Competition for Chamber Music Premio Bonporti Rovereto. Place at the Magdeburg Telemann competition. She obtained her master's degree in baroque violin in 2007 as a student of Enrico Onofri at the Vincenzo Bellini Conservatory in Palermo. Monika has a busy concert schedule with leading baroque ensembles and chamber music groups such as I Barocchisti, L'Eclisse, Zefiro, Europa Galante, Il Giardino Armonico, Dolce e Tempesta, Brixia Musicalis, Barucco Wien, Capella Leopoldina Graz, Neue Hofkapelle Graz and Musica Perduta. She teaches baroque violin and chamber music at summer academies in Miszla (Hungary) and Naples.
Photograph of Monika Toth © Maria Weiss in the castle "Schloss Pöckstein"
Anne-Suse Enßle was born in Backnang (Germany) in 1988.
She started playing the recorder at the age of 8 and has not lost her fascination with this instrument since.
From 2007 to 2014, Anne-Suse Enßle studied recorder with professor Dorothee Oberlinger at University Mozarteum in Salzburg, specialising in both instrumental pedagogics and solo performance. From 2012 until 2015, she also studied at the University of Music and Performing Arts Vienna (mdw) with professor Carsten Eckert. She graduated with honours from both these courses of study and received an honorary prize awarded by the University of Music and Performing Arts Vienna for her achievements in 2015.
In addition, she studied Baroque bassoon for a number of semesters with professor Jennifer Harris (The Music and Arts University of the City of Vienna, MUK).
Apart from her solo career, Anne-Suse Enßle is a passionate chamber music player. With her “Duo Enßle-Lamprecht (recorder & percussion), which has been in existence for 10 years, she dedicates herself to music from the Middle Ages as well as contemporary music. Intensive collaborations with composers, communication-of-art projects, workshops for students of composition, and the large “Mönch von Salzburg” (Monk of Salzburg) project are but a few areas of activity of this multifaceted and unique duo. Another ensemble that Anne-Suse Enßle is part of, “windcraft-quartet”, is made up solely of recorder players.
In 2013, she won first place at the Moeck/SRP Competition in London and was furthermore a finalist for the “Casinos Austria Rising Star Award”.
Scholarships that she held range from the Roychi Sasakawa Young Leaders Fellowship Fund and University Mozarteum Salzburg (merit-based scholarship) to the PE society for the promotion of music, Mannheim.
In 2018, she received a Start Scholarship from the Austrian Ministry of Art and Culture.
Both as a soloist and as an ensemble member, Anne-Suse Enßle performed at renowned festivals, such as Bachfest Leipzig, ERPS Biennale, PODIUM festival, Innsbruck Barock, Klangspuren Festival Tyrol, Greenwich Early Music Festival the European Church Music Festival Schwäbisch Gmünd, Baroque Festival Bad Arols, Tonlage Festival Hellerau, the Dalheim Summer Festival and the.
As a Baroque bassoon player, she is in great demand as an orchestra player and has played in this function at Mozartwoche Salzburg as well as a number of operas (“La scuola de’ gelosi” at Kammeroper Vienna with Bach-Consort Vienna; “Beloved Adonis” at Donaufestwochen im Strudengau), among other performances.
Being a member of prize juries and an instructor round off Anne-Suse Enßle’s professional tasks: Among other things, she was a judge at the young talent competition of the ERPS (European Recorder Players Society) in Graz (2016) and Bolzano (2019) and an instructor at “Tage der Schulmusik” (School Music Days) in Halle an der Saale (2017), the 2017 ERTA congress, and the Austrian Arts Sessions (2018). Since 2018, she has been holding the post of vice president of ERPS and chairwoman of ERTA Austria.
From 2015—2019, Anne Suse-Enßle gained experience in university teaching in her function as assistant for artistic education in Carsten Eckert’s recorder class (University of Music and Performing Arts Vienna). In the summer term of 2019, she lead the recorder class at the Carinthian National Conservatoire, Klagenfurt as a temporary replacement.
Photograph of Anne-Suse Enßle © Theresa Pewal in the castle "Schloss Pöckstein"
lives with her family in Carinthia and teaches a violin class at the Gustav Mahler Music School there. Born/grown up in Stuttgart. violin studies in Aachen/Cologne and Klagenfurt with Prof. P. Rosemberg and Prof. H. Fister, baroque violin with Mag. Th. Fheodoroff, master classes with Y. Kless, Igor Ozim, Andreas Pilger, John Holloway, Rachel Podger and others State teaching qualification 1999, artist. Diploma 2001, each with distinction. Teacher for violin/viola at the music school in Klagenfurt, active musical activities in Austria and abroad with the baroque ensemble Arco-Baleno and the ensemble for old music "La Follietta" (performances during the music weeks Millstatt, Trigonale, Innsbruck Festival of Old Music and others).
Photograph of Hanne Eisenhut © Maria Weiss in the castle "Schloss Pöckstein"
Recorder, transverse flute
Her musical life began when she got hold of her sister's recorder. Some years later she studied IGP/recorder at the Carinthian State Conservatory, concert recorder at the Zurich University of the Arts, and traverse flute in Lyon/France and at the MUK Vienna. All studies with distinction.
She performs as a soloist and chamber musician with various ensembles and orchestras throughout Europe and has been principal flautist of the Capella Leopoldina Baroque Orchestra since 2015. She gave concerts, among other things. with the Vienna Symphony Orchestra, with the orchestra Camerata Athens, as a soloist in the New Opera Athens, at the Theater an der Wien, the Royal Palace Stockholm, the Radio Kulturhaus Vienna, the Baroque Festival St. Pölten, the Vienna Musikverein, the International Baroque Festival Bodrum/Turkey, the Vienna Konzerthaus, and many more Radio recordings and cd productions of Radio Ö1 and film music recordings are as much a part of her activities as her many years of teaching. In addition to early music, Annemarie Podesser is intensively engaged in the interpretation of contemporary music. She has already premiered several works composed for her. Since 2018 she is professor for recorder and early music at the Gustav Mahler Private University of Music Klagenfurt. www.
diefloetenspielerin.at
Photograph of Annemarie Podesser © Theresa Pewal in the castle "Schloss Pöckstein"
Biography Univ. Doz. Mag. Hermann Ebner
Longstanding 1st horn player in the Tonkünstlerorchester Lower Austria,
Participation Vienna Philharmonic, Vienna State Opera, RSO Vienna.
Original sound orchestra: LÒrfeo Barockorchester, Wiener Akademie, Musica Angelica LA,
Les Musiciens du Louvre.
Teaching activities at the KUG, Inst. Oberschützen for horn, natural horn and chamber music
CD recordings, orchestras, chamber music and
Solo concerts: Vienna Chamber Orchestra, Philarmonic Orchestra Györ, RSO Cracow, Mozarteum Orchestra Salzburg.
Masterclasses in Austria, Italy, Hungary, Poland, USA, Japan, Novosibirsk, Bogota,
Santo Domingo, Los Angeles.
Publications: Joseph Haydn's horn players at the Esterhazy court
was born in Belarus in 1976 and received his first cello lessons at the age of six. From 1990-1993 he attended the special school for gifted children in Kharkov, before he began his studies at the state "P. I. Tchaikovsky" Conservatory in Moscow, which he successfully completed in 1999. From 1999-2005 he studied at the University of Music and Drama Hanover in the following courses: artistic education, chamber music, orchestra solo literature, solo classes.
Igor Bobovich has won numerous prizes and awards at international competitions, including the International "J. S. Bach" Competition in Leipzig, the International "Maria Canals" Competition in Barcelona, the International Chamber Music Competition in Caltanissetta and many others. Igor Bobovich was solo cellist in the orchestra "MusicAeterna", has participated in "Concerto Köln", "La poeme harmonique", "Ensemble 1700". He regularly gives concerts in Europe and Russia, teaches at the Moscow Conservatory, conducts dаs Ensemble "Moscow Chamber Music Academy", is a permanent member of the ensemble "La voce strumentale".
Igor Bobovich has won numerous prizes and awards at international competitions, including the International "J. S. Bach" Competition in Leipzig, the International "Maria Canals" Competition in Barcelona, the International Chamber Music Competition in Caltanissetta and many others. Igor Bobovich was solo cellist in the orchestra "MusicAeterna", has participated in "Concerto Köln", "La poeme harmonique", "Ensemble 1700". He regularly gives concerts in Europe and Russia, teaches at the Moscow Conservatory, conducts dаs Ensemble "Moscow Chamber Music Academy", is a permanent member of the ensemble "La voce strumentale".
Photograph of Igor Bobovich © Maria Weiss in the castle "Schloss Pöckstein"
born 1974 in Steyr. Studied horn at the private university Vienna Conservatory. Specialization with the baroque and natural horn and especially the historical performance practice on the E-flat trumpet.
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.
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.
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 MdW for double bass new playing techniques
She is a member of the ensemble "Phace Contemporary Music"
and plays 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,
Barucco, Bachconsort
Born in Vienna, Georg Burdicek is the founder of tonzauber. The sound engineer can already look back on extensive references, including with well-known artists such as Nicolaus Harnoncourt, Milan Horvat, Dmitri Sitkovetzky, Ildikò Raimondi, Elina Garancia, Joe Zawinul, Holger Groh and many others.
Georg Burdicek is editor for the Austrian trade magazine Media Biz.
Georg Burdicek is editor for the Austrian trade magazine Media Biz.
REFERENZEN
Ensembles
Tonkünstler-Orchester Niederösterreich
Wiener Symphoniker
Grazer Symphonisches Orchester
Filharmonia Wroclawska
Europasymphony
Imperialorchester Wien
Concentus Musicus
Wiener Bachsolisten
Freitagsakademie
Casal Quartett
Ensemble Daniel Hisi
Ensemble Singleè
Sarasate Quartett
Boszodi Quartett
Klangforum Wien
Kirchenmusik St. Augustin
Chor des innermongolischen Rundfunks
Chor der China National Petroleum Corp.
Zisterzienser Stift Heiligenkreuz
Polizeimusik Wien
Changing Tunes
Original Wiener Salonensemble
...uvm
Künstler
Dmitry Sitkovetsky
Joe Zawinul
Paul Gulda
Clemens Hagen
Johan Botha
Elina Garanca
Ildikò Raimondi
Michael Heim
Florian Bösch
Holger Groh
Kolja Lessing
Yang Jiang
Harald Hörth
Gülsin Onay
Max Müller
Volker Nemmer
Ulrike Anton
Volker Ahmels
Friederike Haufe
Lukas Rath
James Rapport
Zhi Gang Shah
...uvm
Dirigenten
Zubin Mehta
Nicolaus Harnoncourt
Milan Horvat
Max Pommer
Heinz Wallberg
Carel Mark Chichon
Herbert Klinger
Aleksandar Markovic
Jacek Kaspszyk
Israel Yinon
Georg Mark
Roland Seifferth
Wolfgang Gröhs
Johannes Wildner
Nazanin Aghakhani
Pang Ka Pang
Wolfgang Garbiel
Ernst Wedam
Azis Sadikovic
...uvm
Film / TV - Ton
Thinking Horse, DVD, 2010
Soul Song Concert, DVD, 2009
Last Urban Desperado, Kurzfilm, 2009
Der goldene Hahn 2009, DVD, 2009
Der goldene Hahn 2008, DVD, 2008
Eurovision / EBU Young Musicians 2008, 2008
Feierabend Fronleichnam, 2007
Joe Zawinuls Erdzeit, Dokumentation, 2007
Der Goldene Hahn, DVD, 2007
Der Biodieselfilm, Industriefilm, 2007
Eurovision / EBU Young Musicians, 2006
Friedrich Cerha, Dokumentation, 2006
Apple Austria, Image Film, 2006
Wien Westbahnhof, Dokumentation, 2005
Wolfgang Wer? Dokumentation, 2005
20 Jahre Styriarte, Dokumentation, 2005
Jacqueline, Kurzfilm, 2005
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
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.
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
lives in the Salzkammergut, was born in Stuttgart, where he received musical and vocal training first with the Stuttgart hymn choir boys and later with the boys' choir collegium iuvenum. He studied musicology, English philology and European art history at the universities of Vienna, Heidelberg, Exeter (GB) and Salzburg. Christian Moritz-Bauer works in the areas of drama, music journalism and cultural management. In 2014 he was appointed scientific advisor to the Joseph Haydn Foundation Basel. In the fall of 2015, he began a dissertation project to research the diverse relationships between Haydn's symphonic work and the theater practice of his time. Christian Moritz-Bauer is the dramaturge at the Innsbruck Festival.
Mag. Doris Weberberger studied musicology at the university in Vienna and wrote her diploma thesis on Wolfgang Mitterer and his “Little Opera” The Brave Little Tailor. During her studies, she began her journalistic work at the Austrian music magazine, where she worked from 2011 to 2014. She has been responsible for new music and music education at mica - music austria since 2012. She wrote, inter alia. Texts for the Wiener Konzerthaus, the Grafenegg Festival, the new music newspaper.
Photograph of Doris Weberberger © Maria Weiss
Born and grew up in Vienna
Studied at the University of Vienna and the University of Music and Performing Arts Vienna
Studied cultural management at the Institut für Kulturkonzepte, Vienna
1998: Co-founder of Radio Stephansdom
Music production, presenting, marketing
2001-2004: Press officer at the Graz Opera House and the Next Liberty Children’s and Young People’s Theatre
Press work, editorial (print and web), press officer to the artistic director, pre-concert talks, administration
2004-2006: Completion of studies and various PR projects («Mozart in Reinsberg», etc.)
2006: Theatre director at the Playhouse Derry (Northern Ireland)
Production of «It Should Happen to a Dog» (Wolf Mankowitz)
2006-2007: Production office at the Brucknerhaus Linz
Planning and programming several series, head of production for «Six Tales of Time» at the «Visualisierte Linzer Klangwolke»
2007-2014: Dramaturg and editor, Grafenegg Festival and Tonkunstler Orchestra
Editorial (print and web), programme notes, marketing materials, biographies, presenting concerts and pre-concert talks, presenting the «Tonkünstler» radio show for Radio Niederösterreich
2015-2017: General Secretary of Jeunesse Österreich
Executive management, overall artistic planning, chair of the Classical Committee of the Jeunesses Musicales International
Since 2014: Managing Director of MusiConsulting
Executive management, project management, editing, layout, texts and presenting for clients including the Bamberger Symphoniker, Grafenegg Festival, Tonkünstler Orchestra, Allegro Vivo chamber music festival, Festspielhaus St. Pölten, Wien Modern festival, «Musik im Riesen» festival, DaCapo Klassik, CD productions (including «Favola in Musica»)
Studied at the University of Vienna and the University of Music and Performing Arts Vienna
Studied cultural management at the Institut für Kulturkonzepte, Vienna
1998: Co-founder of Radio Stephansdom
Music production, presenting, marketing
2001-2004: Press officer at the Graz Opera House and the Next Liberty Children’s and Young People’s Theatre
Press work, editorial (print and web), press officer to the artistic director, pre-concert talks, administration
2004-2006: Completion of studies and various PR projects («Mozart in Reinsberg», etc.)
2006: Theatre director at the Playhouse Derry (Northern Ireland)
Production of «It Should Happen to a Dog» (Wolf Mankowitz)
2006-2007: Production office at the Brucknerhaus Linz
Planning and programming several series, head of production for «Six Tales of Time» at the «Visualisierte Linzer Klangwolke»
2007-2014: Dramaturg and editor, Grafenegg Festival and Tonkunstler Orchestra
Editorial (print and web), programme notes, marketing materials, biographies, presenting concerts and pre-concert talks, presenting the «Tonkünstler» radio show for Radio Niederösterreich
2015-2017: General Secretary of Jeunesse Österreich
Executive management, overall artistic planning, chair of the Classical Committee of the Jeunesses Musicales International
Since 2014: Managing Director of MusiConsulting
Executive management, project management, editing, layout, texts and presenting for clients including the Bamberger Symphoniker, Grafenegg Festival, Tonkünstler Orchestra, Allegro Vivo chamber music festival, Festspielhaus St. Pölten, Wien Modern festival, «Musik im Riesen» festival, DaCapo Klassik, CD productions (including «Favola in Musica»)
Photograph of Alexander Moore © Roland Renner
After graduating from today's Ingeborg-Bachmann-Gymnasium, Marko Deisinger (* 1971) studied history at the University of Klagenfurt. His diploma thesis, presented in 2001, deals with the Second Viennese School. From 1995 to 1999 he received lessons at the Carinthian State Conservatory (jazz and classical percussion). His keen interest in music history led him to the University of Vienna in 1999, where he studied musicology. In 2004 he received his doctorate with a thesis on the Viennese court conductor Giuseppe Tricarico (1623–1697) and completed the course in composition according to Heinrich Schenker at the University of Music and Performing Arts Vienna during his doctoral studies.
After completing his doctorate, 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. The studies he carried out in Italy between 2005 and 2007 followed on from his dissertation and contributed to researching the musical-cultural relationships between Italy and the imperial city of Vienna in the Baroque period. From 2007 to 2010 Deisinger was a research assistant at the Univ.-Prof. Dr. Martin Eybl-led project "Heinrich Schenker, Diaries 1918–1925: Annotated Edition" at the University of Music and Performing Arts Vienna. This was followed by his collaboration on the research project "Heinrich Schenker as Theorist, Teacher and Correspondent, 1925–1930", which was conducted under the direction of Prof. Dr. William Drabkin and was based at the University of Southampton in England. From 2014 to 2017 Deisinger was involved in the project “Heinrich Schenker, Diaries 1912–1914 and 1931–1935: Annotated Edition” at the Vienna University of Music. Since 2019 he has been the head of the project “Heinrich Schenker, Diaries 1915–1919: Annotated Edition”.
All four projects were developed in cooperation with Prof. em. Dr. Ian Bent coordinated the international edition project “Schenker Documents Online” (SDO), in the context of which the diaries of Schenker 1912–1935 transcribed and annotated by Deisinger appear (www.schenkerdocumentsonline.org). From 2010 to 2016 Deisinger was a lecturer in music history at the University of Music and Performing Arts Vienna and has been a lecturer at the Vienna Adult Education Centers since 2013, where he gives lectures on music history and led courses in music theory. A lively academic lecture activity took him to several Austrian cities as well as Bozen, 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.
After completing his doctorate, 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. The studies he carried out in Italy between 2005 and 2007 followed on from his dissertation and contributed to researching the musical-cultural relationships between Italy and the imperial city of Vienna in the Baroque period. From 2007 to 2010 Deisinger was a research assistant at the Univ.-Prof. Dr. Martin Eybl-led project "Heinrich Schenker, Diaries 1918–1925: Annotated Edition" at the University of Music and Performing Arts Vienna. This was followed by his collaboration on the research project "Heinrich Schenker as Theorist, Teacher and Correspondent, 1925–1930", which was conducted under the direction of Prof. Dr. William Drabkin and was based at the University of Southampton in England. From 2014 to 2017 Deisinger was involved in the project “Heinrich Schenker, Diaries 1912–1914 and 1931–1935: Annotated Edition” at the Vienna University of Music. Since 2019 he has been the head of the project “Heinrich Schenker, Diaries 1915–1919: Annotated Edition”.
All four projects were developed in cooperation with Prof. em. Dr. Ian Bent coordinated the international edition project “Schenker Documents Online” (SDO), in the context of which the diaries of Schenker 1912–1935 transcribed and annotated by Deisinger appear (www.schenkerdocumentsonline.org). From 2010 to 2016 Deisinger was a lecturer in music history at the University of Music and Performing Arts Vienna and has been a lecturer at the Vienna Adult Education Centers since 2013, where he gives lectures on music history and led courses in music theory. A lively academic lecture activity took him to several Austrian cities as well as Bozen, 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.
Photograph of Marko Designer © Maria Weiss
Jeannette Mokosch is a calligraphy artist with a passion for poetry and encouraging 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 of Jeannette Mokosch © Timo und Gella Scheven
THERESA PEWAL is a freelance photographer and musician based in Vienna. Her work as a photographer starts early in 2010 and while studying recorder at the mdw and MUK Privatuniversität der Stadt Wien until 2017 she specializes in artistic portraits of musicians and concert photography. In 2021 free collaborations with artists and personal projects become the core of her artistic work. Her experiences as a musician lead to an intense and passionate way of photographing and a wider understanding of the classical and contemporary music scene. Besides an individual approach for every person and story she will always have a cup of coffee and an open ear first before taking the camera.
Photograph of Theresa Pewal © Michelle Mock
Emmanuela Cossar was born in Italy in 1978. She studied as a costume designer at the University of Florence.
After completing her studies, she worked as an embroidery designer for the haute couture company Jato in Bologna.
From 2004 she continued to work as a costume designer for more than 30 productions for operas, drama and musicals, under the directors Antonio Petris, Franceco Bellotto, Gianpaolo Zennaro, Leigh Holman, Davide Garattini Raimondi and Luca Ferri.
In 2012 she founded a theatrical tailoring to make the costumes for the main theater groups and dance groups from Friuli and Veneto.
From 2006-2016 she worked at the Klagenfurt City Theater, as an assistant in the costume design department, for various productions.
Since 2015 she has taught history of theater costumes and textile chemistry as a professor in Udine.
In 2020 she took over the management of the “Kostümfundus” at the Klagenfurt City Theater.
After completing her studies, she worked as an embroidery designer for the haute couture company Jato in Bologna.
From 2004 she continued to work as a costume designer for more than 30 productions for operas, drama and musicals, under the directors Antonio Petris, Franceco Bellotto, Gianpaolo Zennaro, Leigh Holman, Davide Garattini Raimondi and Luca Ferri.
In 2012 she founded a theatrical tailoring to make the costumes for the main theater groups and dance groups from Friuli and Veneto.
From 2006-2016 she worked at the Klagenfurt City Theater, as an assistant in the costume design department, for various productions.
Since 2015 she has taught history of theater costumes and textile chemistry as a professor in Udine.
In 2020 she took over the management of the “Kostümfundus” at the Klagenfurt City Theater.
Meet Our Team
CD “favola in musica. early new music”
Rosario Contewas born 1966 in Taranto (Italy). He studied baroque guitar, lute, theorbo and basso continuo at the N. Piccinni Conservatoire in Bari and received his diplomas in guitar and lute with the highest distinction. From 2002 to 2004, he studied with Hopkinson Smith at the Schola Cantorum Basiliensis (CH) and has since lived in Basel. In addition to an active career as a solo musician, he also participates in a number of different ensembles and orchestras which specialize in performance using period instruments, such as the Orchestern La Lyra di Amphione, La Confraternita de Musici, Accademia Bizantina, Kammerorchester Basel barock, Freiburger Barockorchester, dem Zürcher Barockorchster Musica Inaudita, L’Amoroso, dem Baltasar Neumann Ensemble und mit dem Ensemble La Tempesta. He also regularly performs at a number of Early Music Festivals. Rosario Conte has recorded for various major record labels, including as Deutsche Grammophon and Sony, as well as for numerous radio stations. He released a Baroque solo guitar album titled ‘Une Larme’ or the solo-arch lute album Piccini with the label, Carpe Diem. Since 2007 he has been lute, theorbo, baroque guitar and basso continuo teacher at the N. Piccinni Conservatoire in Bari. He began his musical education by studying the violin and guitar and before later turning his attention to plucked period instruments and historically informed performance. He performs with directors and musicians such as Stefano Montanari, Giuliano Carmignola, Ottavio Dantone, Cecilia Bartoli, Guido Balestracci und Thomas Hengelbrock.
“Her voice is tremendous, and the continued suspense of her stage presence is breathtaking“, “a marvelous mezzo-soprano with organ-like depths” or“a vocal and acting synthesis of arts” are excerpts of reviews about the Austrian mezzo-soprano Maria Weiss. With a repertory focusing on early and contemporary music, she is dedicated in particular to premiering (forgotten) early music and contemporary compositions.
After receiving a diploma in cultural history studies at the University of Sorbonne (Paris), she studied voice at the national conservatory “Luigi Cherubini” in Florence and concluded her studies at the University of Music and Performing Arts Graz under the guidance of Kammersängerin Joanna Borowska. Master Classes with Angelika Kirchschlager, Teresa Berganza und Jorge Sirena followed. Since then, Maria Weiss has worked and studied with the mezzo-soprano Glenys Linos.
With an emphasis on Baroque repertoire, she has sung, amongst others, the roles of Bradamante or Gismonda Händel), Megalce (Vivaldi), Lisinga (Gluck), contemporary music as the opera by W. Rihms ”Jakob Lenz” (Voice) or Baiana in the European premiere of the Brasilian opera “Pedro Malazarte” of Mozart C. Guarnieri. Examples of premieres of rediscovered works in the Baroque repertoire are Palante in the Austrian premiere of “La Guerra de los Gigantes”, Júpiter in “El imposible mayor en amor le vence Amor” (S. Durón) or Aurora in the European premiere of “L’Oracolo del Fato” (F. Gasparini).
Her opera spectrum includes not only the most important Mozart pieces, and extends from the rarely performed Renaissance and Baroque repertoire until Jacques Offenbach’s operettas.
She has worked with stage directors such as Frank Castorf, Philippe Arlaud, John Lloyd Davies or the Baroque-Gesture-Specialist Sigrid T’Hooft. Musical cooperation with directors and musicians such as Stefan Asbury, Domingo Hindoyan, David Levi, Rubén Dubrovsky, Luca Pianca, Gérard Korsten, Rogério Gonçalves, Jörg Zwicker, Thomas Platzgummer, Wolfgang Mitterer, James Pearson or Franco Pavan and musical partners such as Bach Consort Wien, Klangforum Wien, Ensemble Claudiana, Harmony of Nations Baroque Orchestra, Il Concerto Tivoli, Camerata Argentea, A Corte Musical, Capella Leopoldina, Grazer Symphonikern or Vorarlberger Symphonieorchester.
Further engagements saw Maria Weiss perform, amongst others, at Wiener Festwochen, Konzerthaus Wien, Opernhaus Graz, “trigonale. festival für alte musik”, Bregenzer Festspielhaus, Feldkirch Festival, Festspielhaus Dornbirn, Kammeroper Graz, Klagenfurter Konzerthaus, Donaufestwochen im Strudengau, BOV Opera Festival to the Teatru Manoel in Valetta (Malta) or Ateneu Barcelonés in Spain.
With regard to her lied repertoire, Maria Weiss, under the guidance of Teresa Berganza and Isabel Aragón, has specialized on Spanish and Latin American repertoire (especially songs of De Falla, Granados, Guridi, Montsalvatge, Rodrigo, Leon und Villa-Lobos).
Her stage presence has been described, amongst others, as that of a “gifted singer-actress” (in a review by the Kritisches Journal für Alte Musik). Maria Weiss also studied acting at the Lee Strasberg Film & Theatre Institute in New York (US). She can frequently bee seen in short films and feature films. Her most recent feature film “Spanien” by Anja Salomonitz was premiered at the Berlinale 2012. Her most recent award-winning CD, the first recording of the Baroque opera “La Guerra de los Gigantes” b S. Durón (Label Panclassics) with ensemble “A Corte Musical”, has received excellent reviews.
After receiving a diploma in cultural history studies at the University of Sorbonne (Paris), she studied voice at the national conservatory “Luigi Cherubini” in Florence and concluded her studies at the University of Music and Performing Arts Graz under the guidance of Kammersängerin Joanna Borowska. Master Classes with Angelika Kirchschlager, Teresa Berganza und Jorge Sirena followed. Since then, Maria Weiss has worked and studied with the mezzo-soprano Glenys Linos.
With an emphasis on Baroque repertoire, she has sung, amongst others, the roles of Bradamante or Gismonda Händel), Megalce (Vivaldi), Lisinga (Gluck), contemporary music as the opera by W. Rihms ”Jakob Lenz” (Voice) or Baiana in the European premiere of the Brasilian opera “Pedro Malazarte” of Mozart C. Guarnieri. Examples of premieres of rediscovered works in the Baroque repertoire are Palante in the Austrian premiere of “La Guerra de los Gigantes”, Júpiter in “El imposible mayor en amor le vence Amor” (S. Durón) or Aurora in the European premiere of “L’Oracolo del Fato” (F. Gasparini).
Her opera spectrum includes not only the most important Mozart pieces, and extends from the rarely performed Renaissance and Baroque repertoire until Jacques Offenbach’s operettas.
She has worked with stage directors such as Frank Castorf, Philippe Arlaud, John Lloyd Davies or the Baroque-Gesture-Specialist Sigrid T’Hooft. Musical cooperation with directors and musicians such as Stefan Asbury, Domingo Hindoyan, David Levi, Rubén Dubrovsky, Luca Pianca, Gérard Korsten, Rogério Gonçalves, Jörg Zwicker, Thomas Platzgummer, Wolfgang Mitterer, James Pearson or Franco Pavan and musical partners such as Bach Consort Wien, Klangforum Wien, Ensemble Claudiana, Harmony of Nations Baroque Orchestra, Il Concerto Tivoli, Camerata Argentea, A Corte Musical, Capella Leopoldina, Grazer Symphonikern or Vorarlberger Symphonieorchester.
Further engagements saw Maria Weiss perform, amongst others, at Wiener Festwochen, Konzerthaus Wien, Opernhaus Graz, “trigonale. festival für alte musik”, Bregenzer Festspielhaus, Feldkirch Festival, Festspielhaus Dornbirn, Kammeroper Graz, Klagenfurter Konzerthaus, Donaufestwochen im Strudengau, BOV Opera Festival to the Teatru Manoel in Valetta (Malta) or Ateneu Barcelonés in Spain.
With regard to her lied repertoire, Maria Weiss, under the guidance of Teresa Berganza and Isabel Aragón, has specialized on Spanish and Latin American repertoire (especially songs of De Falla, Granados, Guridi, Montsalvatge, Rodrigo, Leon und Villa-Lobos).
Her stage presence has been described, amongst others, as that of a “gifted singer-actress” (in a review by the Kritisches Journal für Alte Musik). Maria Weiss also studied acting at the Lee Strasberg Film & Theatre Institute in New York (US). She can frequently bee seen in short films and feature films. Her most recent feature film “Spanien” by Anja Salomonitz was premiered at the Berlinale 2012. Her most recent award-winning CD, the first recording of the Baroque opera “La Guerra de los Gigantes” b S. Durón (Label Panclassics) with ensemble “A Corte Musical”, has received excellent reviews.
Photograph of Maria Weiss © Moritz Schell
Marco Frezzato studied with Mario Brunello, with Antonio Meneses and with Amedeo Baldovino.
He owes his chamber music training to the Trio di Trieste, with whom he did his postgraduate work at the Fiesole Music School, the Chigiana Academy in Siena and the Duino International School of Music. At a very early age, he was drawn to performance practice on original instruments, delving deeper into the study of ancient music with ever increasing interest under the guidance of Gaetano Nasillo at the Milan’s Civic School of Music, obtaining his diploma cum laude in 2003. Marco collaborates with numerous ensembles – Accademia Bizantina, Europa Galante, Orchestra of the Age of Enlightenment, Il Giardino Armonico, Le Concert d’Astrèe, Les Ambassadeurs, Il Sonar Parlante, Ensemble Pygmalion, Orquestra Barroca de Sevilla, Il Pomo d’Oro, Ensemble Accordone, Divino Sospiro, Ensemble Claudiana – and with artists like Fabio Biondi, Ottavio Dantone, Giovanni Antonini, Enrico Onofri, Christophe Coin, Vittorio Ghielmi, Emmanuelle Haim.
He has participated in numerous recordings on labels such as Archiv, Deutsche Grammphon, Decca, L’Oiseau-Lyre, EMI, Virgin Classics, Harmonia Mundi, Naive, Claves, Arts, Carus, Stradivarius, Amadeus, as well as radio and television broadcasts like Arte, Mezzo, Radio France, BBC, Rai RadioTre, RSI, NDR, WDR and SWR.
!In 2002, he co-founded AleaEnsemble along with violinists Fiorenza de Donatis and Andrea Rognoni and violist Stefano Marcocchi, with the aim of exploring string quartet repertory from the Classical and Romantic periods on original instruments. With AleaEnsemble, Marco recorded Mozart’s Divertimento for string trio in E-flat Major, KV 563 for the Italian label MVC, Luigi Boccherini’s six quartets op. II for Stradivarius (Choc de la Musique 2008, Diapason d’Or 2008) and a CD on Stradivarius dedicated to the final Haydn quartets from op. 77.
He owes his chamber music training to the Trio di Trieste, with whom he did his postgraduate work at the Fiesole Music School, the Chigiana Academy in Siena and the Duino International School of Music. At a very early age, he was drawn to performance practice on original instruments, delving deeper into the study of ancient music with ever increasing interest under the guidance of Gaetano Nasillo at the Milan’s Civic School of Music, obtaining his diploma cum laude in 2003. Marco collaborates with numerous ensembles – Accademia Bizantina, Europa Galante, Orchestra of the Age of Enlightenment, Il Giardino Armonico, Le Concert d’Astrèe, Les Ambassadeurs, Il Sonar Parlante, Ensemble Pygmalion, Orquestra Barroca de Sevilla, Il Pomo d’Oro, Ensemble Accordone, Divino Sospiro, Ensemble Claudiana – and with artists like Fabio Biondi, Ottavio Dantone, Giovanni Antonini, Enrico Onofri, Christophe Coin, Vittorio Ghielmi, Emmanuelle Haim.
He has participated in numerous recordings on labels such as Archiv, Deutsche Grammphon, Decca, L’Oiseau-Lyre, EMI, Virgin Classics, Harmonia Mundi, Naive, Claves, Arts, Carus, Stradivarius, Amadeus, as well as radio and television broadcasts like Arte, Mezzo, Radio France, BBC, Rai RadioTre, RSI, NDR, WDR and SWR.
!In 2002, he co-founded AleaEnsemble along with violinists Fiorenza de Donatis and Andrea Rognoni and violist Stefano Marcocchi, with the aim of exploring string quartet repertory from the Classical and Romantic periods on original instruments. With AleaEnsemble, Marco recorded Mozart’s Divertimento for string trio in E-flat Major, KV 563 for the Italian label MVC, Luigi Boccherini’s six quartets op. II for Stradivarius (Choc de la Musique 2008, Diapason d’Or 2008) and a CD on Stradivarius dedicated to the final Haydn quartets from op. 77.
Photographs of Marco Frezzato © Giulia Papetti
Wolfgang Mitterer was born in Lienz in East Tyrol in 1958 and grew up in an ambiance of down-to-earth church music and traditional Tyrolean brass bands. In 1977 his interest in the organ led him to study the instrument in the orderly environment of a course of studies in Graz. One year later he moved to the Vienna University of Music, where he studied organ with Herbert Tachezi and composing with Heinrich Gattermeyer. In 1983 he went to the EMS in Stockholm to explore electroacoustics. In 1988 he spent a year in Rome on a scholarship awarded by the Ministry of Education.By this time Wolfgang Mitterer was already undertaking an exciting musical journey through the regions of experimentalism and was a member of collective bands in various stylistic quarters on the fringe between jazz, folk music, New Wave and noise music. He played with bands like “Hirn mit Ei” (brains with egg), “Call Boys Inc.”, “Pat Brothers”, “Dirty Tones”, “Matador” and with musicians like Linda Sharrock, Gunter Schneider, Wolfgang Reisinger, Klaus Dickbauer, Hozan Yamamoto, Tscho Theissing and Tom Cora. Wolfgang Mitterer’s music is characterized by the unpredictable, the unexpected as the starting point of the musical process. He creates a network of instrumental and vocal live ensembles and electronic surround sound; he juxtaposes sawmills and old church organs in a new movement of sounds and engages thousands of choir singers and several traditional brass bands for his compositional events. Improvisation is superimposed on fixed notation. He regularly gives performances as a soloist and in collective groups at international festivals and in concert halls, and he receives compositional contracts from important cultural events and institutions like Wiener Festwochen, Steirischer Herbst, Wien modern, the Wiener Konzerthaus, the festival in Erl, Tyrol, the Klangspuren Schwaz, the ORF, WDR and SRG.For his work as a musician and composer, he has received among others the Prize of the German Recording Critics, a state scholarship from the Republic of Austria, the Prize of the Ars Electronica, the Max Brand Prize, the Prix Futura Berlin, the Emil-Berlanda Prize, the Music Prize of the City of Vienna,… Wolfgang Mitterer’s oeuvre now includes several hundred works for a great variety of musical ensembles, from “Amusie” for six musicians, loudspeaker and a broken church organ to “und träumte seltsam” (“had strange dreams”) for soprano, small choir and ensemble, “Ka und der Pavian” (“Ka and the Pavian”) for choir, 13 musicians and surround sound, “Net-Words 1-5” for eleven musicians and an eight-channel tape to “Fisis” for symphony orchestra, and the opera “Massacre” (first performance at Wiener Festwochen). In the mean time Wolfgang Mitterer is working on another order for musical theatre: In March 2005 the Theatre in Basle will produce “Crushrooms”. He is currently writing “String Quartet 1.3” for the string quartet of Klangforum Wien, which will be given its first performance in the Konzerthaus in Vienna on June 19, 2004 in the framework of the “generator” series. He is also writing a “Brachialsinfonie” (“Brute Force Symphony”) for a large ensemble of Klangforum Wien. Its first performance is planned for autumn 2005. Wolfgang Mitterer taught “Music and Computer” at the University of Music in Vienna.
Published in occasion of the first performance of “Sunrise” (2004), the soundtrack to Murnau’s film with the same title.By Rainer Lepuschitz
Photograph of Wolfgang Mitterer © Julia Stix
FOUNDED by Maria Weiss the ensemble plays music on original instruments together with longlasting musical friends and colleagues.
Intention: to fulfill the highest artistic demands exploring the existential layers of works in search for a distinctive musical language.
Hungarian-born Gyöngy Erödi appears regularly as cellist/ principal/ continuo player throughout Europe, the British Isles and the United States with ensembles such as I Fagiolini, The English Concert, Gabrieli Consort&Players, Dresdner Barockorchester, Concerto Cologne, L’Arpa Festante Munich, Orchestra Solamente Naturale Bratislava, Ensemble Inegal Prague, Concerto Palatino, Hofkapelle München, American Opera Theater, Les Recreations Paris, the European Union Baroque Orchestra, Moderntimes_1800, Seraphic Fire Miami, Orchestra of New Spain, Dallas Bach Society et al. She is heard on recordings of the Bavarian Radio, the ORF Austria, and on labels such as Challenge Classics, Virgin Classics, OHMS Classics and Raumklang. She has performed in concert halls of both continents including Carnegie Hall New York, Concertgebouw Amsterdam, Musikverein Vienna, Salle Gaveau Paris, Waldstein Palace Prague, Grande Auditorio Lisboa, Spitalfields London, Alte Oper Frankfurt and the National Gallery Washington DC, among others.
Gyongy won several prizes on competitions, a. o. for the best continuo playing and chamber music at the Telemann International Competition Magdeburg, the York Early Music Festival, 1st prize at the International Graun Competition, and 2nd prize on the prestigious Musica Antiqua Vlaanderen International Competition in Bruges. She is founding member of many chamber music ensembles, playing repertoire ranging from the sixteenth- until the nineteenth-century. Among these is the Harmony of Nations Baroque Orchestra, which first CD release in 2008 (under the artistic direction master oboist Alfredo Bernardini) received much praise in the press.
A versatile musician, Gyongy was trained in choir conducting, music theory and piano at the acclaimed Ferenc Liszt Conservatory in Budapest and moved to Germany to study modern violoncello with Annemarie Spengler, baroque cello with Jaap ter Linden and harpsichord with Glen Wilson at the Hochschule für Musik Würzburg. In 2005, she moved to the USA, to attain a double master degree in cello performance and musicology. She also plays the viol and her thesis introduces the sixteenth-century bass violin, the direct ancestor of the violoncello.
She gives workshops and master classes on performance practice, continuo playing and the history of the basse de violon at venues such as Innsbruck Summer Early Music Festival, the International Masterclasses for Early Music in Gmunden Austria, and institutions such as the Royal Academy of Music and the Guildhall School of Music in London. Between 2005 and 2010, Gyongy has held an Adjunct Faculty position at University of North Texas as an instructor for baroque violoncello with collegues such as Richard Croft and Jennifer Lane. Since 2010 she lives in Germany.
Gyongy won several prizes on competitions, a. o. for the best continuo playing and chamber music at the Telemann International Competition Magdeburg, the York Early Music Festival, 1st prize at the International Graun Competition, and 2nd prize on the prestigious Musica Antiqua Vlaanderen International Competition in Bruges. She is founding member of many chamber music ensembles, playing repertoire ranging from the sixteenth- until the nineteenth-century. Among these is the Harmony of Nations Baroque Orchestra, which first CD release in 2008 (under the artistic direction master oboist Alfredo Bernardini) received much praise in the press.
A versatile musician, Gyongy was trained in choir conducting, music theory and piano at the acclaimed Ferenc Liszt Conservatory in Budapest and moved to Germany to study modern violoncello with Annemarie Spengler, baroque cello with Jaap ter Linden and harpsichord with Glen Wilson at the Hochschule für Musik Würzburg. In 2005, she moved to the USA, to attain a double master degree in cello performance and musicology. She also plays the viol and her thesis introduces the sixteenth-century bass violin, the direct ancestor of the violoncello.
She gives workshops and master classes on performance practice, continuo playing and the history of the basse de violon at venues such as Innsbruck Summer Early Music Festival, the International Masterclasses for Early Music in Gmunden Austria, and institutions such as the Royal Academy of Music and the Guildhall School of Music in London. Between 2005 and 2010, Gyongy has held an Adjunct Faculty position at University of North Texas as an instructor for baroque violoncello with collegues such as Richard Croft and Jennifer Lane. Since 2010 she lives in Germany.
Photograph of György Erdöl © Moritz Schell
(Granada, Spain, born 1948) Professor of music history, Director of the Department of Music History and Musicology, as well as course leader of the Máster de Patrimonio Musical (master’s programme for musical heritage) at the University of Granada. Antonio Martín Moreno has won the Premio Extraordinario de Doctorado, the Primer Premio Nacional de Investigación Musical of the Ministry of Education and Science in Spain (1975) and Director of the Festival Internacional de y Danza de Granada (1984-1987) and Director of the Cursos Internacionales Manuel de Falla of the same festival (1985-1995). He is Corresponding Member of the Royal Academy of Fine Arts San Fernando (Madrid) and the Academy of Fine Arts Sant Jordi (Barcelona). As well as scientific articles about Spanish music and musicians, he has also written numerous books, in particular: El Padre Feijoo y las Ideologías Musicales del XVIII en España (1976) ; La Música del Barroco (1977); Monografía de Hilarión Eslava (1978); Sebastián Durón, José de Cañizares: Salir el Amor del Mundo, zarzuela en dos jornadas del siglo XVII (1979); Historia de la Música andaluza (1985); La Música en Granada (1993); La Música Española del Renacimiento (1999); Catálogo del Archivo de Música de la Catedral de Málaga (2003); Sebastián Durón – F. de Bances Candamo: El Imposible mayor en amor, le vence Amor (2005); La catedral de Granada y la Música (2005); Historia de la Música Española: Siglo XVIII (1985); Sebastián Durón: Ópera deducida de la Guerra de los Gigantes (2007); Sebastián Durón (1660-1716) y la música de su tiempo (2011). His interest in the Spanish composer Sebastián Durón dates back to the 1970s. At this time, Durón was mentioned only in critical references by the Benedictine monk Benito Jerónimo Feijoo y Montenegro (1676-1764) in his work „Teatro crítico universal o discursos vario en todo género de materias para desengaño de errores comunes“ (1726, vol. I, Discourse XIV ‚Música de los Templos’) as the person responsible for introducing the Italian style into Spanish sacred music.
Photograph © Antonio Martín Moreno
Marko Deisinger, born in Vienna in 1971, studied history at the University of Klagenfurt and musicology at the University of Vienna. He earned his PhD from the University of Vienna in 2004 with a dissertation on the Viennese court Kapellmeister Giuseppe Tricarico (1623–1697). Concurrent to pursuing his doctorate, Deisinger also completed the two-year course on Schenkerian analysis offered at the University of Music and Performing Arts Vienna.
After completing his doctorate, Deisinger received two grants from the Austrian Ministry of Education, Science and Culture in 2005 and 2006 to do research at the Historical Institute at the Austrian Cultural Forum in Rome, Italy. This research in Italy tied into his dissertation study, enabling him to contribute substantially to the body of research on the music historical relationship between Italy and the Habsburg courts in Vienna in the Baroque period.
Since 2007, Deisinger has been a member of the research project team publishing an annotated edition of Heinrich Schenker‘s 1918–1935 diaries at the Institute for Music Analysis, Theory and History at the University of Music and Performing Arts Vienna, where he also received a teaching appointment in 2010.
After completing his doctorate, Deisinger received two grants from the Austrian Ministry of Education, Science and Culture in 2005 and 2006 to do research at the Historical Institute at the Austrian Cultural Forum in Rome, Italy. This research in Italy tied into his dissertation study, enabling him to contribute substantially to the body of research on the music historical relationship between Italy and the Habsburg courts in Vienna in the Baroque period.
Since 2007, Deisinger has been a member of the research project team publishing an annotated edition of Heinrich Schenker‘s 1918–1935 diaries at the Institute for Music Analysis, Theory and History at the University of Music and Performing Arts Vienna, where he also received a teaching appointment in 2010.
Photograph of Marko Designer © Maria Weiss
Alexander Moore is the editor and dramaturg for the Tonkünstler Orchestra and the Grafenegg Festival. In this capacity he presents concerts and pre-concert talks at the Musikverein Vienna, the Festspielhaus St. Pölten and in Grafenegg.
Born in Vienna into a music-loving family with Austrian and US-American roots, he studied musicology for two semesters before studying classical guitar, piano and voice at the University of Music and Performing Arts in Vienna. In 1998, Alexander was a co-founder of Radio Stephansdom, Vienna‘s first private classical radio station, where he worked as music editor and presenter.
Born in Vienna into a music-loving family with Austrian and US-American roots, he studied musicology for two semesters before studying classical guitar, piano and voice at the University of Music and Performing Arts in Vienna. In 1998, Alexander was a co-founder of Radio Stephansdom, Vienna‘s first private classical radio station, where he worked as music editor and presenter.
In 2001 he moved to Graz and was the head of communications at the Opera House and the theatre for young audiences „Next Liberty“. After completing his studies in 2006, he worked at the Playhouse in Derry (Northern Ireland), where he directed a play by Wolf Mankowitz. Alexander returned to Austria, where he was a member of the artistic administration at the Brucknerhaus Linz: he planned and organized concerts with classical and chamber music, Lied recitals, programs with music and literature as well as the Linzer Klangwolke „Six Tales of Time“. In 2007 he joined the wonderful Tonkünstler Orchestra and the Grafenegg Festival – he has been fortunate to work for this landmark of Austrian culture for seven years now.
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.
Photograph of silent tapes © Maria Weiss
Doris Weberberger studied Musicology at Vienna University where she became interested in contemporary music and wrote her thesis on Wolfgang Mitterer’s work, in particular “Das Tapfere Schneiderlein”.
At that time she also started work as a freelance music journalist. Between 2011 and 2014, she was editor of the Austrian Music Magazine (“Österreichischen Musikzeitschrift”) and since 2012 she has supervised the contemporary music section at mica – music austria.
Further professional engagements include press and public relations work, as well as that of assistant director of opera productions.
Photograph of Doris Weberberger © Maria Weiss
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.
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.
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
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.
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 Engineer in Detmold and some lute playing at the HfK Bremen.
In 2008 he started his own company by taking over the label Carpe Diem from his professor T. Görne. Since then he is recording and producing diverse styles of music throughout Europe and beyond for his own label as well as for other labels and musicians.
Photograph of Jonas Niederstadt © Maria Weiss
Designers Sandra Thaler and Annette Prechtl met at the Vienna College of Fashion and Clothing Design and have been working successfully together as a team for twelve years. After completion of their training in 2001, they made the decision to start the elfenkleid label, going on to win the Pierre Lang Fashion Award for their first ever collection “Tyrol”. In 2003, they opened their first shop near the Naschmarkt in Vienna. In 2007, they courageously stepped onto the international market.
elfenkleid is known for its elegant and simple collections and the use of highest quality materials.
In 2009, the time was ripe to make the wish for a couture line come true – the “black & white edition”. The designers’ vision was a collection of modern interpretations of classic bridal and evening gowns.
The goal was to overcome the division between modernity and tradition, thus creating a new unity through their designs: it is not traditional romance but rather timeless elegance and modern sensuality that is the hallmark of this collection. The models are hand-tailored for each customer. In December 2010, a new series of softly flowing wedding and evening gowns was added to the “black & white edition”. These dresses, offered in ready-made sizes, melt the borders between prêt-a-porter and haute couture.
In November 2013, the wish to open an elfenkleid boutique and workshop in Munich came true.
In this new location, Sandra Thaler & Annette Prechtl present the „black & white edition“, the ready-to-wear collection, and accessories from Viennese design labels. The white edition designs are personally fitted for customers in Munich, tailored in-store. „White series“ dresses can also be ordered in ready-to-wear sizes.
elfenkleid is known for its elegant and simple collections and the use of highest quality materials.
In 2009, the time was ripe to make the wish for a couture line come true – the “black & white edition”. The designers’ vision was a collection of modern interpretations of classic bridal and evening gowns.
The goal was to overcome the division between modernity and tradition, thus creating a new unity through their designs: it is not traditional romance but rather timeless elegance and modern sensuality that is the hallmark of this collection. The models are hand-tailored for each customer. In December 2010, a new series of softly flowing wedding and evening gowns was added to the “black & white edition”. These dresses, offered in ready-made sizes, melt the borders between prêt-a-porter and haute couture.
In November 2013, the wish to open an elfenkleid boutique and workshop in Munich came true.
In this new location, Sandra Thaler & Annette Prechtl present the „black & white edition“, the ready-to-wear collection, and accessories from Viennese design labels. The white edition designs are personally fitted for customers in Munich, tailored in-store. „White series“ dresses can also be ordered in ready-to-wear sizes.
Photograph of Elfenkleid © Victoria Schaffer
After school and military service in 2001, I got involved straight away in the Carinthian TV business. I had no clue what I wanted or where I wanted to go, but I knew it should be something to do with film. Philipp Steiner DP
So, I started at the ORF Carinthia and became a production assistant on the folk music show "Wenn die Musi spielt". The way this show was shot was very straightforward and traditional. My work included operating the camera dolly and assisting with the light setup. There, I learned a lot about lighting and the process of TV production. The years went by and in 2005, I knew what I wanted to do: camerawork.
So, I started at the ORF Carinthia and became a production assistant on the folk music show "Wenn die Musi spielt". The way this show was shot was very straightforward and traditional. My work included operating the camera dolly and assisting with the light setup. There, I learned a lot about lighting and the process of TV production. The years went by and in 2005, I knew what I wanted to do: camerawork.
So, I moved to Vienna and attained the SAE "Digital Film Class", doing work on the side with a Canon XL-H1 (borrowed from my father, a retired ORF cameraman ). To finance my eduction and living expenses, I filmed events and worked for the Austrian music channel "GOTV", as well as for a home shopping programme on Sat1 called "EP Home Shopping". In this period I shot about 20 music videos and did various SAE projects and short films. In 2008, I succesfully finished my education and started work as a freelance cameraman.
At my side, whenever a sound recordist is required, I have my friend the sound engineer Thomas Andreas Werginz. If you desire new furniture: he is also a gifted carpenter. My main client is Pubbles Films and I work as a cameraman on their motorshow "Go! Das Motormagazin" on Kabel1. This is why there are so many car ads in my clips section.
I also do a lot of work for Cinetop Film, and should a client require more than just a cameraman, Cinetop Film is the place to go. They can assemble a whole team and oversee the project from start to finish. Also, I am their cameraman of choice, which is nice. If you would like to contact Cinetop, please go to their website: www.cinetop.at.
hi there, i’m romina and i’m a make-up artist. i’m italian, from the beautiful sardinia, but living in vienna, austria.
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.
20 years later here i am, richer in experience, willing to always improve myself and ready to do more international jobs.
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 Johann Beurer our CDs simply wouldn't exist. Registrating in a special and beautiful church is difficult: In the summer the church is always crowded with visitors, weddings, and finding silence is impossible. In wintertime silence is available but we had to face minus degrees. Johann Beurer with his infrared paneers made the church a warm place which seems nearly magic: Infinite thanks, Johann Beurer & Haus Infrarot Heizungen!
Photograph of Johann Beurer © Maria Weiss
Iris Blumauer studied sociology with a combination of philosophy and art history at the University of Vienna. Scientific collaboration in the creation of the catalog raisonné for Arnold Schönberg's visual work and educational support for exhibitions at the Arnold Schönberg Center. Active in the field of press and public relations for more than 20 years, including for the Arnold Schönberg Center, the Jeunesse - musical youth of Austria, the intercultural author theater 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 Honor of the Republic of Austria for the voluntary commitment of the Historical Society of Grein and its oral history research projects on regional contemporary history.
In 2005 she was awarded the Federal Decoration of Honor of the Republic of Austria for the voluntary commitment of the Historical Society of Grein and its oral history research projects on regional contemporary history.
Photograph of Iris Blumauer © Reinhard Winkler