Lecturers

 

KS Prof. Roland Schubert - Vocal

Schubert

The bassist Roland Schubert comes from Gentha near the Luther town of Wittenberg.

At young age Schubert was already educated in playing the flute and the piano. Having this previous knowledge he attended the music school "Johann Sebastian Bach" in Leipzig from 19779-1983 where he also got his first singing lessons. After the Abitur  (school leaving exam) he studied singing in the master class of Professor Hermann Christian Polster at the music college "Felix Mendelssohn-Bartholdy" in Leipzig from 1983-1989. There he also worked as an assistant. Since 1993 he got lessons from Professor Walther Berry in Vienna.  After his successful final examinations he was engaged at the opera house in Leipzig were he succeeded with roles like Leporello, Papageno, Rocco, Bartolo and celebrated different premières successfully.

Since 1991 Schubert has also been bound by a second contract to the Vienna State Opera House. Since the theatre season 2000/2001 he has had an engagement at the German State Opera in Berlin.

Guest performances led the artist to the Semper Opera in Dresden, the State Opera in Hamburg, the Opera in Halle, the State Opera in Munich, the Opera in Rouen, the Folk Opera in Vienna, the Milan Scale, the Berlin State Opera, the Opera in Chemnitz and the Opera in Seoul.

Apart from his career as a a singer of opera  Roland Schubert also has a good reputation as a concert singer. Among the orchestras which asked him for cooperation are  the Vienna Philharmonics, the Gewandhuas Orchestra Leipzig, the MDR Symphony Orchestra, the Bach Orchestra Leipzig, the Saxon State Band, the Bavarian Radio Orchestra Munich and the Orchestra dell'Accademia Santa Cecilia Rom. He worked with conductors like Carlo Maria Giulini ,Riccardo Muti, Zubin Mehta, Horst Stein, Lord Yehudi Menuhin, Mstislaw Rostropowitsch, Fabio Luisi, Christian Thielemann, Michel Plasson und Kent Nagano.

In 2001 he was conferred the honorary title of a Chamber Singer.

Roland Schubert took part in different radio and TV recording. So he sang the roles of Masetto, Bartolo and Don Alfonso in the Mozart – da Ponte series which was produced by the Mitteldeutscher Rundfunk .

Numerous CD recordings with him were published within the last years. Roland Schubert has already sung more than 100 parts and worked together with many important directors, among others Ruth Berghaus, Christine  Mielitz, Alfred Kirchner, David Pountney, Volker Schlöndorf, Christoph Loy  and many more.

In the year 2004 he was appointed full Professor for singing at the College of Music and Theater in Leipzig.

He gave different master courses in Germany, Switzerland and in Italy. Students of his singing classes are prize winners of international competitions and were engaged to different theaters, among others German Opera Berlin, State Opera Berlin, State Opera Vienna, Opera Leipzig, MDR Radio Choir, Theater Bremen, Gera/Altenburg, Luzern, Semper Opera Dresden.

 

Prof. Caroline Stein - Vocal

Caroline Stein was born in Königstein/Taunus and studied singing with Prof. Claudio Nicolai at the Musikhochschule Köln. Her professional career began for the lyric-coloratura soprano at the Mainfranken-Theater Würzburg and at the Hessische Staatstheater Wiesbaden. From 1991 until 1999, she was a member of the ensemble of the Niedersächsische Staatsoper Hannover.

She sang several major roles in her “Fach” like Königin der Nacht in Die Zauberflöte, Zerbinetta in Ariadne auf Naxos, Susanna in Le nozze di Figaro, and Konstanze in Die Entführung aus dem Serail. For her outstanding interpretation of Venus/Gepopo in Le Grand Macabre she was nominated as singer of the year from the magazine Opernwelt, and guested in these Roles among others by the BBC Symphony Orchestra London and at the San Francisco Opera.

At the Staatsoper Berlin Stein performed in new productions with Michael Boder and Philippe Jordan as conductors. She guested further at the Theatre de la Monnaie in Brüssel, Semperoper Dresden, the Royal Opera House Covent Garden, Opera National de Paris and at Teatro Real Madrid.

Stein made her debut at the Bayreuther Festspielen in 1999 as a Blumenmädchen in Parsifal conducted by Giuseppe Sinopoli and sang this role in the following years with Christoph Eschenbach and Christian Thielemann. In Der Ring staged by Jürgen Flimm 2002-2004, she sang Woglinde in Rheingold and Götterdämmerung conducted by Adam Fischer. In Paris at the Opera Bastille she did the same role in a new production staged by Günter Krämer, conducted by Philippe Jordan.

She has also performed numerous concerts and recitals. For instance with the Akademie für Alte Musik Berlin with Händel`s Il trionfo del tempo e del disinganno. With the Berlin Philharmonic Orchestra she sang Requiem für einen jungen Dichter by Zimmermann conducted by Peter Eötvös and Mysteries of the Macabre by Ligeti with Simon Rattle as conductor at the Salzburger Festspiele and Lucerne Festival. Recordings at WDR was made with pieces of Jacques Offenbach and Oscar Straus. She also made a cd production with the RIAS Kammerchor with pieces of Ernst Krenek.

Caroline Stein has worked with many widely known conductors, such as Michael Boder, Marcus Creed, Sir Colin Davis, Christoph Eschenbach, Peter Eötvös, Hartmut Haenchen, Philippe Jordan, Jonathan Nott, Sir Simon Rattle, Esa-Pekka Salonen, Giuseppe Sinopoli, Markus Stenz and Christian Thielemann among others.
Her close work with Claudio Abbado, brought her as Blumenmädchen with the Berlin Philharmonic to Berlin, Salzburg and Edinburgh. To the Osterfestspielen Salzburg as Gretchen in Szenen aus Goethes Faust by Schumann and a european tour as 1.Dame in Die Zauberflöte with the Mahler Chamber Orchestra. This production was recorded on cd by Deutsche Gramophon.

Since 2007 Stein has worked close with choreographer and staging manager Sasha Waltz in the production of Medeamaterial composed by Pascal Dusapins. This opera was performed in Berlin, by the Hollandfestival Amsterdam, Melbourne International Festival, at the Paris Theatre des Champs-Elysees, Theatre de la Monnaie in Brussels and at Theatre du Capitole in Toulouse.

Caroline Stein was appointed professor in Lübeck 2012. Since 2014 she is professor at the Hochschule für Musik Felix Mendelssohn Bartholdy Leipzig.

Prof. Brigitte Wohlfarth - Vocal

Brigitte Wohlfarth began her vocal studies in Würzburg, Germany, where she recieved scholarships from both the „Richard Wagner-Verband“ and the „Leni- Geissler-Stiftung“. Further studies with James King in Munich (National Theater) greatly influenced her singing artistry.
Her career began as sought-after oratoria and recital singer:
Rheingaufestival, Weilburger Schloßkonzerte, Internalional Musiktage Bad Urach, Mozartfest Würzburg, Festival der Mitte Europa and the „Bregenzer Festspiele“ are only a few of her many concert stations. Milano, Rome, Bolzano, Trieste, Munich, Berlin, Nürnberg, Leipzig, Bern, Biel, Ankara, London, Singapore (New Esplanade Hall) Salzburg as well as in Australia, France, Norway and Finland and China.
Mrs. Wohlfarth can be heard on numerous CD and Radio productions, among the most important are: Faust (Louis Spohr), Die Vögel (Braunfels – nominated for 40 Grammy awards), 9.Symphony (L.V. Beethoven) and Das Tagebuch der Anne Frank (G. Fried). It is with the world premiere of the latter that Mrs. Wohlfarth launched her opera career in Nürnberg Germany in 1993. In the same year, following an appearance as finalist in the international „Neue Stimmen“ competition (Bertelsmann), she debuted as „Desdemona“ (Otello/Rossini) at Staatstheater Braunschweig, where she remained until 1997.

Since then she has guested in numerous theatres:
Bologna (the opening of the ARENA DEL SOLE), Castello di Montegridolfo, Naples (Teatro San Carlo), Udine (the opening of the Nuovo Teatro), Palermo (Teatro Massimo), Festspiele Erl, Tbilisi (National Opera House), Beijing, Shanghai (Grand Theatre), Heidenheim (Opernfestpiele), Halle a.d. S., Lübeck, Trier, Frankfurt a.M., Berlin, Stuttgart, Munich ( first night “ Leonore – L.v. Beethoven ), Rome, London and Meiningen, where she enjoyed enormous success from audiences and critics alike as Sieglinde (Die Walküre) and Gutrune (Götterdämmerung) in the „RING“-staging from Christine Mielitz. Her many-sided repertoire ranges from Mozart`s Fiordiligi and First Lady to Puccini`s Turandot, Verdi`s Aida and Leonore (Trovatore), to Wagner`s Elisabeth (Tannhäuser), Elsa (Lohengrin), Brünnhilde (Götterdämmerung) and Isolde (Tristan und Isolde), Weber`s Agathe (Freischütz), Beethoven`s Fidelio-Leonore and Richard Strauss` Arabella, Salome, Ariadne, Diemut (Feuersnot) and Elektra. Brigitte Wohlfarth worked from September 2010 until August 2015 as a professor for classical voice at the Hochschule der Künste (HKB) in Bern (Switzerland). Since September 2015 she was appointed as a professor for classical voice at the Felix Mendelssohn Bartholdy Hochschule für Musik und Theater to Leipzig. Since 2017, she has also been an accredited professor at Kalaidos University of Switzerland.

Prof. Carola Guber - Vocal

Mezzo-Soprano Carola Guber was born in Braunschweig. Before beginning her vocal studies with Carol Richardson at the Conservatory in Hannover, she completed a degree in Instrumental Music Education at the same school.  She was awarded prizes in many competitions; for example,, the Sylvia-Geszty-Koloraturgesangswettbewerbes in Luxembourg.

From 1993-2001 Carola Guber sang as member of the „fest“ Ensemble of the  Niedersächsischen Staatsoper in Hannovev.  While there she performed such roles as  Hänsel in Hänsel und Gretel, Siebel in Gounods Faust, Dorabella in Cosi fan Tutte, Rosina in Il Barbiere di Siviglia, Angelina in La Cenerentola (nominated for  „best young singer of the year“ by the magazine Opernwelt), Elisabetta in Maria Stuarda, Prinz Orlofsky in Die Fledermaus, Cherubino in Le Nozze di Figaro, Muse-Niklas in  Hoffmanns Erzählungen, and Komponist in Ariadne auf Naxos.

From 2001-2004 she sang as member of the Ensemble at the Vereinigten Städtischen Bühnen Krefeld/Mönchengladbach.  There her Repertoire expanded to include Carmen, Donna Elvira in Don Giovanni, Jokasty in Oedipus by Riehm, and Olga in Eugen Onegin. From 2004 - 2008 she worked as a member of the Ensemble at the Theater Erfurt. While there she sang Octavian in Der Rosenkavalier, Fremde Fürstin in Rusalka, Donna Elvira in Don Giovanni, Kundry in Parsifal, and Venus in Tannhäuser.

In addition to the above-mentioned fest Engagements, Carola Guber also sang as a guest  - both in opera and in concerts - in  theaters in Köln, Kassel, Leipzig, Karlsruhe, Schwerin, Wiesbaden, Nürnberg, Dortmund, Düsseldorf, Weimar, Darmstadt, Bonn, Helsinki, Stuttgart, the Alte Oper Frankfurt, as well as in Italy, France, Portugal, Holland, and the USA.  Festivals include  Ludwigsburger Schloßfestspielen, the Menuhin-Festival Gstaad, the Rheingau Musikfestival, the Göttinger Händel Festspielen, the Brühler Schloßkonzerten and the Accademia di Santa Cecilia in Rom. Most important among her conductors were John Eliot Gardiner, Pierre Boulez, Adam Fischer, Wolfgang Gönnenwein, Ruben Gazarian, Christoph Prick, Frans Brüggen and Andreas Spering. She worked with stage directors such as Philipp Himmelmann, Mario del Monaco, Gregor Horres, Thomas Krupa and Alexander Schulin.

Between 2004 and 2012 Carola Guber was a regular guest at the Bayreuth Festival: in two productions as Blumenmädchen, first under the stage direction of Christoph Schlingensief, conductors Pierre Boulez and Adam Fischer, then under the stage direction of Stefan Herheim, conductors Daniele Gatti and Philipp Jordan.  In addition, she sang the role of  Magdalene in "Die Meistersinger von Nürnberg" under the stage direction of  Katharina Wagner, conductor Sebastian Weigle.

In 2013 and 2014  Carola Guber performed the roles of  Eboli in „Don Carlo“ and  Isabella in „L´Italiana in Algeri“ at the  Musiktheater im Revier in Gelsenkirchen.  In 2013 and 2015 she sang the role of the Mother in Hänsel und Gretel at the Komischen Oper Berlin.

She can be heard in CD and DVD recordings in: „ Die Zauberflöte" (2. Dame under John Eliot Gardiner), Carl Reineke„ Kinderlieder", „Verdiana“ (arrangement Andreas N.Tarkmann), „Die Meistersinger von Nürnberg", Bayreuther Festspiele 2008.

From 2008 to 2011 Carola Guber held the position of adjunct vocal instructor at the Hochschule „Franz Liszt" in Weimar. In 2010 she became professor at the Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy" in Leipzig.

Prof. Elvira Dreßen - Vocal

Mezzosopran, unterrichtet seit 1994 an der Hochschule für Musik und Theater »Felix Mendelssohn Bartholdy« Leipzig Hauptfach Gesang.

Sie selbst studierte von 1974 bis 1980 in Leipzig bei Maria Croonen. Bereits während ihres Studiums sang sie am Leipziger Opernhaus unter anderem Annio in »Titus« und gastierte mit dieser Partie in Wiesbaden, Genua, Cardiff und Birmingham.

1981 wurde sie erste Preisträgerin des nationalen Opernsängerwettbewerbs Gera.

Nach einem Erstengagement am Nationaltheater Weimar gehörte sie von 1980 bis 1994 zum Solistenensemble der Deutschen Staatsoper Berlin.

Bis zum Jahre 2012 war sie als freiberufliche Opernsängerin an der Semperoper Dresden, sowie an den Opernhäusern Leipzig, Amsterdam, Augsburg, Potsdam, Chemnitz, Cottbus, Schwerin und Gera-Altenburg engagiert.

Zu ihren bedeutendsten Opernpartien gehören: Carmen, Dorabella, Cherubino, Hänsel, Olga, Magdalena, Octavian, Niklas, Silla (»Palestrina«) Suzuki, Charlotte, Frau Reich, Mere Marie (»Karmeliterinnen«).

Sie sang unter der musikalischen Leitung von Dirigenten wie Daniel Barenboim, Fabio Luisi, Horst Stein, Ottmar Suitner, Hartmut Hähnchen und Peter Schreier über 80 Opernpartien und arbeitete mit Regisseuren wie Harry Kupfer, Ruth Berghaus, Horst Bonnet und Joachim Herz.

1988 wirkte sie als Ramiro in einer Fernsehproduktion des ORF »Die Gärtnerin aus Liebe« mit.

Sie sang unter anderem in Rundfunkproduktionen von Radio Hilversum in Holland die Partie »Königin der Erdgeister« in »Hans Heiling« von Marschner, welche europaweit live übertragen wurde.

Im Operetten- und Musicalfach war Elvira Dreßen Prinz Orlofsky an der Staatsoper Berlin, Anita in West Side Story am Berliner Metropoltheater und Perichole an der Musikalischen Komödie Leipzig.

Im Musikclub des Berliner Konzerthauses hatte sie von 1989 bis 2004 mehrere eigene musikkabarettistische Soloprogramme, welche zum Teil auch vom TV übertragen wurden.

Eine enge Zusammenarbeit verband sie mit verschiedenen Komponisten der Neuen Musik.

Neben konzertanten Aufführungen und Rundfunkproduktionen im Bereich der Modernen Musik sang sie unter anderem am Weimarer Nationaltheater die Hauptpartien in »Das Chagrinleder« von Geissler und »Babettes grüner Schmetterling« von Hanell, an der Berliner Staatsoper die weibliche Hauptpartie in »Büchner« von Schenker und am Berliner Hebbeltheater Iphigenie in der gleichnamigen Oper von Hoyer/Stelzenbach.

Viel Beachtung fand sie als Cosima 2007 in der Uraufführung »Cosima« von S. Matthus im Theater in Gera. Regelmäßig war Elvira Dreßen Solistin bei Festivals der Neuen Musik im In- und Ausland. Ebenso regelmäßig sang sie Liederabende.

Im Jahr 2002 produzierte der Deutschlandfunk 21 Lieder von Hans Pfitzner mit ihr.

Konzertreisen mit Ensembles wie dem Orchester und Chor des MDR, dem Londoner Bachchor, mit Concerto Köln,dem Leipziger Gewandhausorchester, der Staatskapelle Berlin oder den Berliner Barocksolisten unter der Leitung von Dirigenten wie Gerd Albrecht, Max Pommer oder Matthias Foremny führten sie mehrfach nach Japan, China, Kroatien, Libanon, Israel, Russland, Österreich, Schweiz, Belgien, Italien und England. Zu ihrem umfangreichen Konzertrepertoire gehören die Werke Bachs und Mozarts ebenso wie zum Beispiel Verdis »Requiem«, Mahlers »Lied von der Erde« oder Rossinis »Stabat mater«.

Im Jahr 2012 übernahm Elvira Dreßen die Leitung aller Musikschulen in Nordsachsen, zusammengefasst unter Kreismusikschule »Heinrich Schütz« Nordsachsen.

Im gleichen Jahr wurde sie Stiftungsvorsitzende der Internationalen sächsischen Sängerakademie Torgau/Schloss Hartenfels.

KS Dagmar Schellenberger - Vocal

Attending the University „Carl Maria von Weber“ in Dresden Dagmar Schellenberger gained her musical education. Still studying she won the International Dvorak Song Contest in Karlsbad, which was the starting point for her international career.

At the beginning of her career at the Komische Oper Berlin she was renowned in Mozart parts. She performed as Pamina in Zauberfloete, Susanna and Contessa in Figaro, Fiordiligi in Cosi fan tutte, and Donna Anna and Donna Elvira in Giovanni. For her performance as Agathe in Freischuetz, which she also sang at the Berliner Staatsoper and the Oper in Frankfurt am Main, she received a “critics price” from the Berlin newspapers.

The broad repertoire of Dagmar Schellenberger reaches from Monteverdi’s Poppea (Opera Marseille) and Haendel’s Arianna in Guistino (guest roles from Amsterdam to Vienna) to Rosalinde in Johann Strauß’s Fledermaus (i.a. at the Staatsoper in Berlin and Hamburg, Opera Bastille, Paris and Santiago de Chile). At the world premiere of Matthus Farinelli Dagmar Schellenberger - in her role as Maria Strada - was nominated as Singer of the Year 1998 by a reviewer of the Opernwelt. In another world premiere she sang the Hildegard in Siegfried Wagner’s Heiliger Linde. Impersonating all three women in Les Contes des Hoffmann Dagmar Schellenberger was able to show the wide scope of her state of art, which was celebrated by the press as a “tour de force”. For several years now Dagmar Schellenberger has been supervised in vocal training by KS Brigitte Eisenfeld.

Engagements and Guest roles led Dagmar Schellenberger not only to the Deutsche Oper Berlin, the Staatsopern of Berlin, Hamburg, Munich, Frankfurt, Dresden, Duesseldorf, Stuttgart, Zurich and Vienna but also to Buenos Aires (with the Zauberfloete and Cosi fan Tutte), New York (with Orfeo ed Euridice and La Donna del Lago), Amsterdam (with Arabella and Koenigin von Saba), Bruxelles, Paris, Marseille, Strasbourg, Venice, Nice, Nancy, Toulouse, Lausanne, Monte Carlo, Roma, Milan, Palermo, Geneve, Turin, Cagliari, Valencia, Sevilla, Jerusalem, Nagoya and Tokyo.

Parts in her repertoire are Elisabeth in Tannhaeuser, Eva in Meistersinger, and Elsa in Lohengrin. Further on she performed in several Strauss parts, e.g. Marschallin in Rosenkavalier, Arabella in Arabella and the countess in Carpriccio.

Dagmar Schellenberger also sticks out as a ballad singer. Singing oratorios of the Matthaeus Passion with the Cleveland Orchestra or Beethoven’s Ninth Symphony with the Tokyo Symphony Orchestra she was also appreciated singing Schostakowitsch’s 14th Symphony at the Gewandhaus Leipzig.

In 1993 Dagmar Schellenberger made an exclusive contract with EMI Classics where she recorded Deutsche Arien from Haendel to Wagner as well as international lullabies in six different languages. Her discography is pretty impressive: Gluck’s Orfeo ed Euridice, Humperdinck’s Koenigskinder or Eugen d’Albert’s Tote Augen are only a few examples. Including original recordings of performances there are more than 30 CD records with Dagmar Schellenberger.

Dagmar Schellenberger has worked with renowned artists like Hartmut Haenchen, Milan Horvath, Kurt Masur, Fabio Luisi, Franz Welser - Möst, Neville Marriner, Ralf Weikert, Leopold Hager, Rolf Reuter, Alain Lombard, Edo de Waart, Marek Jankowski, Michail Jurowski, Vladimir Jurowski, Ivor Bolton, Pierre Boulez, Kazushi Ono, Lawrence Renes, Christian Thielemann, Zubin Mentha, Riccardo Muti and Yuri Temirkanow.

With her debut at the scala in Milan in 2004 she experienced a special highlight performing the Blanche in Les Dialogues des Carmelites with Riccardo Muti. This was followed by admiring acknowledgement by the national italian press .

The following year (2005) she received another invitation to the scala as Lisa in Tschaikowsky’s Pique Dame (Queen of Spades) which was also celebrated in the press afterwards. As a steady part of the ensemble of the Deutsche Oper am Rhein in Duesseldorf from 2006 to 2009 she performed in Katja Kabanova, as Saffi in Zigeunerbaron, Rosalinde in Fledermaus and Eva in Meistersinger. She sang the Marschallin in Rosenkavalier worldwide, e.g. with great success with Edo de Waart in Hongkong in 2007 and again in the following year in 2008.

The year 2009 was characterized by triumphant Katja Kabanova performances and in 2010 was her debut as Ariadne in "Ariadne auf Naxos" in Dusseldorf.

For fifteen years Dagmar Schellenberger has been working pedagogically with singers and students, also as a guest professor at the UdK (University of Arts) in Berlin from 2006 til 2012 and as jury member at large singing competitions.

In spring of 2011 Dagmar Schellenberger became the new designated Intendant of the Seefestspiele Mörbisch which she previously got to know and love during her engagement at the Seefestspiele as "Gräfin Mariza" in 2004 and "Lustige Witwe" in 2005.

In June of 2012 she sang at the Wiener Konzerthaus in Weinberger’s opera “Wallenstein”.

In September 2012 the chamber singer took over the directorship of the Seefestspiele Mörbisch. In her first season as the director of the Seefestspiele Mörbisch she celebrated great success with Millöckers "Der Bettelstudent" in the summer of 2013.       
As Iduna in Paul Burkhards operetta „Das Feuerwerk“ Dagmar Schellenberger sang in january of 2014.
 
As of now she is inmidst of preparations for her second season in Mörbisch with the summer production of Jerry Bocks Musical "Anatevka" in July/August 2014, where she will be singing the Golde herself.

Prof. Berthold Schmid - oratorio course (12. - 14. Juli)

Born in Ravensburg

He studied at the Music College in Stuttgart, Munich and Freiburg in school music, piano and singing.

Since 1981 he has been working as a freelance singer who feels obliged to the classic repertoire in opera, song and oratorio as well as to the New Music.

Tours ,among others, in Europe, Japan, Korea, Israel and South America as well as guest performances at important festivals like "Warsaw Autumn", "Intern. Festival Bergen", "World Music Days", "Festival Estival" show him as a famous singer of opera and oratorio as well as an engaged interpreter of song. He worked together with well known conductors like

Leopold Hager, Gerd Albrecht, Frieder Bernius, Christian Arming, S. Bächli, K.Wildner.

His commitment for contemporary music becomes visible in numerous premières of oeuvres which partly resulted from cooperation with the composers who he devotes himself to.

His work has been made complete by radio and record publications.

Besides his work as a singer and teacher he often enters public as an initiator and art director of unusual concert projects.

From 1989 to 2003 he taught at the Music College Dortmund and since the winter semester of 2003 he has taught at the College of Music and Theater "Felix Mendelssohn-Bartholdy" in Leipzig.

From 2003 to 2010 Berthold Schmidt was President of the Federal Union of German Song Pedagogues, which appointed him their honorary president in 2012.

Prof. Alexander Schmalcz - Song Design

Alexander Schmalcz got his first piano lessons as a member of the Dresden Cross Choir. He studied at the College of Music in Dresden and changed for 2 years to the Conservatory in Utrecht. At the Guildhall School of Music and Drama in London he was the student of Iain Burnside and Graham Johnson. The pianist is a prize winner of the Gerald Moore Award 1996 and of the Megan Foster Accompanist Prize. In 1995 he won the competition of the Nederlands Impresariaat with his piano trio.

Besides performances at music festivals like the Schubertiade in Schwarzenberg,the Salzburg Festspiele, the Schleswig-Holstein Music Festival, the Schwetzing Festspiele, the Tanglewood Festival or the Prague Spring the accompanist of song gives quest performances in the big centers of music in Europe, America, Japan and Korea. Concerts led him, among other places, to the Wigmore Hall London, Concertgebouw Amsterdam, the Vienna Music club, the Berlin Philharmonic Orchestra, the Leipzig Gewandhaus, the Cologne Philharmonic Orchestra, the Théâtre du Chatelet, the Théâtre de la Monnaie Bruxelles, the Royal Opera House Covent Garden London, the Kennedy Center Washington D.C., the Tokyo Opera City Hall and the Church of our Lady Dresden.

Alexander Schmalcz works together with singers like Grace Bumbry, Peter Schreier, Matthias Goerne, Konrad Jarnot, Stephan Genz, Eva Mei, Doris Soffel, Christiane Oelze and Stephan Loges. His chamber music partners are the Petersen Quartette and the actors Julia Stemberger and Hans-Jürgen Schatz.

He made records for different CD labels and radio stations,among others, BBC, BR, SWR and the Netherlands Radio. Mozart-songs, Zilcher-songsr and a CD with songs by Richard Wagner and Franz Liszt with Konrad Jarnot were published by OehmsClassic.

Since 1999 Alexander Schmalcz has been teaching at the Robert Schumann College in Düsseldorf and in master courses.

 

Hildegard Saretz - Old Music

Hildegard Saretz studied church music at the University of Halle, then piano and accompaniment at the University of Music and Theatre Leipzig.
The acquaintance with age music lead her 1994 to supplement her studies with additional studies in harpsichord with Professor Nicolas Parle at the same institute. In addition she attended masterclasses with Jesper Christensen and Johann Sonnleitner to enlarge her knowledge in the practice of  true-to-original basso continuo.

Hildegard Saretz works with ensembles such as the Chursächsische Capelle, the Chemnitz Baroque Orchestra and the Capella de la Torre. In the Leipzig harpsichord duo, she performs regularely with harpsichordist Michaela Hasselt. An intensive cooperation also connects them with Bernhard Forck.
As a juror she is employed at the competition Jugend Musiziert (Early Music). She is also interested in music education. She leads a children's choir and teaches at the music school Torgau.

Ilona Blumenthal-Petzold - German Language

Born in Lauchhammer/Lausitz ( Germany)

After her graduation from high school (Abitur examination) she studied   dramatic arts in the Theatre school "Hans Otto" in Leipzig with the likes of Erika Solbrig

University degree in vocal studies by Christiane Kluge from the Popular Music Department at the Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig

As well as a postgraduate study at the Institute for Speech-science and Phonetics at die Martin-Luther-Universität Halle/Wittenberg with the likes of Prof. Dr.Dr. E.-M. Krech and Prof. E. Stock

1980  she began her teaching career in Speech training in the Department of Singing/Music theater at the Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig

From 1983-1986  the direktor of the branch in Magdeburg

Cooperation with the stage director Joachim Beese

Extensive creative work as a Chanson-and song interpreter for example in the "Trio Corazon";  literary-musical programs like: "Berührungen"(Haptics) with then composer Wolfgang Mader, Jazz-lyrics with the composer Frank Petzold,  Tucholsky/Eisler-Programs with the guitarist Thomas Blumenthal

Readings such as: "Maxi Wander- Auskunft und Offenbarung" ("Information and revelation");   readings within the German Chopin- society with titles like "Chopin in Vienna";  "Hölderlin";   Goethes  "West-Eastern Divan";  L. Tiecks "Schöne Magelone" ("Beautiful Magelone")  with the singers Berthold Schmid and Tobias Berndt;  letters from Clara and Robert  Schumann with the singer Daniel Ochoa;

Competition experiences both nationally and internationally,  work in the media.



Master classes (16/7–18/7/2019):

KS Prof. Regina Werner-Dietrich - Vocal

Regina Werner`s extensive field of artist activity was highly influenced by the musical milieu in which she grew up. One year before she gratuated in 1973 from the Hochschule „Felix Mendelssohn Bartholdy“ zu Leipzig with a Diplom (degree) in voice and vocal pedagogy, she had already been named one of the winners of the International J.S.Bach Competition.

Her career as a concert singer began in 1974 when Kurt Masur engaged her as soloist with the Gewandhaus Orchestra. She appeared in concert with this orchestra in germany, many other European countries, Japan,and Korea. During the same period she made many radio and television appearances in addition to numerous commercial recordings.The recordings of Händel´S „Messiah“,“Semele“,and „Salomo“, as well as Haydn´S „Creation“ deserve special mention.

Collaboration with Leipzig´s St.Thomas Boys Choir in performances of cantatas and oratorios formed a substantial part of Ms. Werner´s work as an interpreter of Bach´s music. These performances took place in Leipzig as well as abroad, especially in Japan. She was also involved in a long-standing collaboration in the field of Barock music with the formation „Concentus Musicus Lipsiensis“,and the Händel Festspiel Orchestra in Halle, among others.

Ms. Werner displayed her extensiv Lied repertory in numerous recitals, particulary in Leipzig´s Gewandhaus.

Over a period of many years,Regina Werner was engaded as a guest in the opera houses of Leipzig,Chemnitz,and Halle, as well as at the Comic Opera in Berlin and the State Opera Dresden. In these theaters she sang the roles of Susanna in „The Marriage of Figaro“, Gilda in „Rigoletto“, Sophie in „The Rosenkavalier“, Marzelline in „Fidelio“, Norina in „Don Pasquale“, the Queen of the Night in „Magic Flute“, and Adele in „Die Fledermaus“, among others.

Operetta performances in radio ,television and live-in concert rounded out Ms.Werner´s extensiv repertory. The Cologne Philharmonie, the Offenbach Festival in Bad Ems, the orchestra of the Leipzig Comic Opera, and the Salon Orchestra „Cappuccino“ served as colloborators in this milieu.

Her position as professor since 1993 at the Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ Leipzig as well as her participation in international workshops and master classes, allows Regina Werner ample opportunity to pass on her considerable experience to her students. Several of them are winner or finalists in national and international vocal competitions as the ARD-Wettbewerb München, Competizione dell´Opera and BBC Cardiff Singers of the World. The vast majority immediately after graduation were active as a soloist in opera houses ore in radio and opera choruses. Some started an international career. Singers standing in professional life seek her advice.

Regina Werner was also a jury member for various vocal competitions, such as the National Vocal Competition (Bundeswettbewerb für Gesang).