KS Bo Skovhus - Master class Vocal

Born in Ikast (Denmark), Bo Skovhus studied at the Conservatory in Aarhus, at the Royal Opera Academy in Copenhagen, and in New York. His career began 1988 at the Volksoper in Vienna with a brilliant Don Giovanni. In 1997 he was already awarded the title of Austrian Kammersänger.

When portraying Krenek’s KARL V. in February 2019 at the Bavarian State Opera Munich, he brought the housedown and the press spoke of the "role of his life".

Other milestones of the recent past include overwhelming successes as Titusin the world premiere of Michael Jarrell’s BERENICE 2018 at the Paris Opera Opéra (production: Claus Guth; conductedby Philippe Jordan), as Wozzeck 2017 in Stefan Herheim’s new production at the Deutsche Oper am Rhein, as Reimann’s Lear 2016 at the Paris Operain a new production of Calixto Bieito, as well as at the at the Maggio Musicale Fiorentino2019,both conducted by Fabio Luisi,as Beckmesserin MEISTERSINGER in March 2016 at the Bastille (Stefan Herheim/ Philippe Jordan) and at the Budapest WagnerFestival as wellasCortez in Rihm’s DIE EROBERUNG VON MEXICO at the Salzburg Festival 2015.

Among the future engagements: Kusmitsch Kowaljow and Eisenstein in new productionsof DIE NASE and FLEDERMAUSat the Hamburg State Opera,a revival of KARL V. at the Bavarian State Opera Munich,Learas revival at the Paris Opera and at the Teatro Real inMadrid, Herzog von Albain EGMONT by Christian Jost, a creation at the Theater an der Wien, Dr. Schönin concert performances of LULU with the Cleveland Orchestra and Beckmesser in DIE MEISTERSINGER at the Wagner Festival 2020 in Budapest, etc.

Further back, major moments include the baritone solo in the world creation of Sunleif Rasmussen’s2ndSYMPHONY in Helsinki, Dr. Schön / LULU at the Bavarian State Opera Munich, Mandryka / ARABELLA at the Dresden State Opera and at the Vienna State Opera, a new production of NOZZE DI FIGARO / Conte Almaviva and Tamare in a revival of Schreker’s DIE GEZEICHNETEN in Cologne,concerts with Frank Martin`s JEDERMANN-MONOLOGEN at the Konzerthaus Wien, orchestrated Schubert songs with the Dortmund Philharmonic, René in a new production ofDER GRAF VON LUXEMBURG in Düsseldorf,Danilo in a concert version of DIE LUSTIGE WITWE at the Liceu in Barcelona, Dr. Schön in a new production of LULU at the Vienna State Opera, Eisenstein / FLEDERMAUS as well as Šiškov in a new production of DAS TOTENHAUS, both at the Bavarian State Opera Munich, Jean-Charles in DAS FLOSS DER MEDUSA in Amsterdam, Lieder recitals at Schloss Elmau and at the Schleswig-Holstein Musik Festival.

Besides his performances in the major opera houses in Europe, America and Japan, Bo Skovhus devotes himself intensively to lied singing; he is regularly invited to the world's most renowned music centres. As a concert singer Bo Skovhus has appeared with outstanding orchestras throughout Europe, USA and Japan. His extensive repertoire focuses on works of Gustav Mahler and of Scandinavian composers, as well pieces like Frank Martin's JEDERMANN-MONOLOGE and Zemlinsky’s LYRISCHE SINFONIE.

Bo Skovhus has recorded many of the central roles of his opera and concert repertoire on CD/DVD and also a series of recital albums.

 

KS Prof. Roland Schubert - Vocal

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 - Vokal

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. Yamina Maamar - Vocal

Yamina Maamar was born in Germany and studied singing with Prof. Carol Richardson at the Hannover University of Music, Drama and Media. She started her career as a mezzosoprano with roles such as Cherubino, Dorabella and Orlofsky before she changed to the dramatic soprano repertoire. In addition to her international artistic activities, she sang in important German opera houses such as the Bavarian State Opera Munich, the Lower Saxony State Opera Hannover, the Aalto Theater Essen, the opera houses in Dortmund, Braunschweig, Kaiserslautern, Linz, Gelsenkirchen, Bern, Darmstadt and others.

She made her US debut in 2007 at the Avery Fisher Hall in Lincoln Center,  New York City, as „Grete“ in Franz Schreker’s opera „The Distant Sound“.
In recent years she took on many key roles such as Isolde, Salome, the Empress (The Woman Without a Shadow by Richard Strauss), Lady Macbeth (Shostakovich and Verdi), Aida, Abigaille (Nabucco), Elisabetta (Don Carlo), Manon Lescaut, Adriana Lecouvreur, Marschallin (Rosenkavalier), Kundry (Parsifal), Senta (The Flying Dutchman) and Fidelio Leonore.
In 2019 she will appear as „Brünnhilde“ in the complete „Ring des Nibelungen“ (R. Wagner) in Passau, in Verdi's „Messa da Requiem“ in Cologne and Bonn as well as in the German Premiere of Anno Schreier’s „City of the Blind“ at Pfalztheater Kaiserslautern.

Important stations in the concert area were the International Edinburgh Festival (Berlioz: Les nuits d’été, Wagner: Wesendonck-Lieder, de Falla: El amor brujo), the Seoul Arts Center (Beethoven, 9th Symphony), Herkulessaal Munich (excerpts Tristan and Isolde), Verdi's „Messa da Requiem“ with Enoch zu Guttenberg, concerts with WDR Cologne (e.g. excerpts Tannhäuser), a recital in the Apollosaal State Opera Berlin and „Tove“ in Schoenberg’s „Gurrelieder“ in the Berlin Cathedral.

Yamina Maamar is co-founder and artistic director of the International Opera Academy IOA e.V. which organizes annual masterclasses for singers and concerts since 2012. After a few years of teaching at Hannover University of Music, Drama and Media she has been appointed as a professor for classical voice at the Dresden University of Music Carl Maria von Weber in 2019.
She is also a welcome guest at numerous masterclasses at home and abroad, e.g. in China, Tunisia, France, at the Opera Academy Schloss Henfenfeld or the Sankt Goar International Music Festival and Academy.

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. 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. Gotthold Schwarz – Master class oratorio

Contents follow

KS Prof. Olaf Bär – Master class song design

Baritone Olaf Bär still lives in his home town of Dresden where he was for many years a principal member of the Semper Oper and where he continues to make regular guest appearances. As the winner of the inaugural Walther Grüner Lieder Competition, Olaf Bär was launched on an international career and is today considered to be one of the foremost Lieder interpreters of his generation, a reputation which is also documented in his numerous Lied recordings, most of them with EMI.

Olaf Bär appears worldwide in recital and has made major tours of Australia, Israel, Japan and America. He made his Covent Garden recital debut in 1992 and is one of the most frequent guests in London’s esteemed Wigmore Hall but also in most major chamber music halls all over the world.

Equally at home in the concert hall and opera house, Bär’s concert repertoire ranges from the baroque to the contemporary including Mahler’s Lieder eines fahrenden Gesellen, Bach’s St Matthew Passion, Britten’s War Requiem, Brahms’ Requiem and Haydn’s Creation. He has appeared with many of the world’s finest orchestras and conductors including the LSO/Tilson Thomas, the COE/Solti, RCO/Harnoncourt, La Scala/Muti, the RSNO/Runnicles, the NYPO/Masur, the Accademia di Santa Cecilia/Tate and Symphonieorchester des Bayerischen Rundfunks/Maazel.

As an opera singer Olaf Bär has appeared at Covent Garden as Harlekin and Papageno; at La Scala as Papageno; at the Aix Festival as Harlekin and Guglielmo; in Frankfurt as Guglielmo; at the Vienna State Opera as Harlekin and Olivier; at Glyndebourne both as Olivier and Don Giovanni; Papageno in Chicago, marking his American operatic debut, as Mozart’s Count in Rome and in the Flimm/Harnoncourt production in Amsterdam as well as with Seiji Ozawa as part of of the Ongaku-Juku Opera project in Japan; Olivier/Capriccio and Foila in Schubert’s Alfonso e Estrella in Zürich and at the Vienna Festival, Der Graf/Capriccio in Amsterdam and Dr. Falke/Die Fledermaus conducted by Nikolaus Harnoncourt at the Vienna Festival to mention only some of his engagements.

1998 Olaf Bär was awarded the Schumann-Preis of the city of Zwickau.

Since 2004 hat Olaf Bär is a regular professor for recital at Hochschule für Musik in Dresden.

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.

KS Axel Köhler – Master class stage presence and scene

Born in Schwarzenberg, began his musical studies at Carl Maria von Weber music school in Dresden where he con-centrated on violin pedagogy and singing. Upon graduating he was engaged as bariton in Halle in 1984. Two years later, following the advice of Marianne Fischer-Kupfer in Berlin and Jessica Cash in London, he switched to altus.

Axel Köhler made his professional debut as an altus as Eustatio in Handel‘s RINALDO in Halle in the legendary production by Peter Konwitschny in 1987. In the time since, he has become known internationally as a Handel spe-cialist, appearing in the titel roles of Sosarme, Giulio Cesare, Orlando, Tamerlano, Tolomeo. He made his American debut as Tamerlano in 1990 at the Kennedy Centre in Washington, DC, with the Handel Festival Orchestra conducted by Stephen Simon. He made his Carnegie Hall debut with Richard Westenberg‘s Musica Sacra in Handel‘s Messiah. Other projects included Orpheo by Telemann in Innsbruck and at the Berlin State Opera conducted by René Jacobs, the title role of  GUISTINO and TAMERLANO at Komische Oper Berlin, Daniel in BELSAZAR and Poro in CLEOFIDE at Dresden Semper Opera, David in SAUL in Karlsruhe and Berlin, Ottone in AGRIPPINA in Halle. He sang Orlovsky in DIE FLEDERMAUS at Accademia di Santa Cecilia in Rome, in Hamburg and Berlin, Ottone in L‘INCORONAZIONE DI POPPEA, Eustazio in RINALDO and Nirenus in GIULIO CESARE at Bavarian State Opera.

During his career several composers have written parts for Axel Köhler: 1995 the part of Bacco in ARIANNA by Alexander Göhr (his debut at Royal Oper House in London), 1998 the titel role of FARINELLI by Siegfried Matthus, performed in Karlsruhe and Dresden, 2001 the devil in SCHERZ, SATIRE, IRONIE UND TIEFERE BEDEUTUNG by Detlef Glanert and the title role in CANTOR – DIE VERMESSUNG DES UNENDLICHEN by Ingomar Grünauer at Oper Halle. A particular importance for the singer reached the works by Hans Werner Henze –  the part of Adschib in L‘UPUPA at Salzburger Festspiele and at Teatro Real de Madrid in 2003, and the part of Artemis in PHAEDRA in Berlin, Brüssel, Wien, Frankfurt, Köln and London.

Axel Köhler is a virtuos song singer, his altus-recitals „Falsetto grazioso“ und „Falsetto amoroso“ in Berlin, Halle, Essen, Duisburg, Dresden and Rom were very successful. He worked with renowned early music ensembles such as Concerto Köln, Musica Antiqua Köln, Lautten Compagney and with conductors such as René Jacobs, Marcus Creed und Howard Arman.

In 1994 Axel Köhler was awarded the Handel Prize, in 1998 he was appointed Kammersänger and 1999 received the renowned Critics‘ Award of Berliner Zeitung.

Again and again the countertenor was to be experienced in operettas. Orlofski in DIE FLEDERMAUS he played at the Komische Oper Berlin, the Staatsoper Hamburg, the Staatstheater Karlsruhe and at the Oper Halle. In 1998 he was invited in this role with the ensemble of the Vienna State Opera to the Accademia Santa Cecilia. He performed the title role in ORPHEUS UNDERWELT at the Komische Oper Berlin and at the Oper Halle. Since 2005, Axel Köhler also sings and plays in humorous cabaret programs. Since 2016, the singer has been making leading roles at the Staatsoperette Dresden - such as in the musical ZZAUN! (world premiere) and Prof. Higgins in the musical classic MY FAIR LADY.

In 2000 Axel Köhler presented his first production as a director: L‘INCORONAZIONE DI POPPEA in Halle got enthusiasticacclaim both by critics and audience. He was asked to direct RODRIGO at 50th Handel Music Festival in Halle. Handel‘s TESEO as production by Axel Köhler was acclaimed in 27 performances in Germany, Switzerland and England and is also abvailable on DVD. In fellowing he staged in Munich, Schwerin, Augsburg, Bayreuth, Leipzig, Innsbruck, Dresden, Palermo und Graz. At the Semper Opera in Dresden in 2012 Axel Köhler directed the opera ŠVANDA DUDÁK by Jaromir Weinberger, hailed by the journal „Opernwelt” as rediscovery of the year. There also sucsessfull were his productions of CARMEN by Georges Bizet and DER FREISCHÜTZ by Carl Maria von Weber, honored with the Bachtrack Opera Award 2015.The DVD was honored by the renowned japanese Record Geijutsu Magazine with his Record Oscar 2016.

With Philip Jenkins‘s dramatic version of DR. JEKYLL & MR. HYDE, Axel Köhler staged his first acting (without music)at the Landesbühnen Sachsen. In the following, he staged Mozart‘s DIE HOCHZEIT DES FIGARO at the Staatsoperette Dresden, Zeller‘s operetta DER VOGELHÄNDLER at the Seefestspiele Mörbisch and Franz Lehár‘s DIE LUSTIGE WITWE at Theater Erfurt. In 2018 he brought the operas on stage: DER OPERNBALL (Heuberger) at the Volksoper Wien, LA CENERENTOLA (Rossini) at Oldenburgisches Staatstheater and DIE CSÁRDÁSFÜRSTIN (Kálmán) at Staatsoperette Dresden, the two-piece event DIE SCHÖNE GALATHÉE|GIANNI SCHICCHI at Staatsoperette Dresden and DIE FLEDERMAUS (Strauss) at Deutschen Oper am Rhein. The year 2019, the director began with Paul Burkhards DAS FEUERWERK at the Mu-sikalischen Komödie Leipzig and concluded it with the world premiere of the musical THE NAME OF ROSE (Kverndokk|Wiik)after the novel by Umberto Eco at the DomStufen-Festspielen Erfurt.

From 2009 to 2016 Axel Köhler was artistic director of the Oper Halle. From the season 2016|2017 until the end of the season 2018|2019 he was a singer and a director of the ensemble of the Staatsoperette Dresden. From the beginning of academic year 2019{2020 Axel Köhler is the Principal of Academy of Music Carl Maria von Weber Dresden.

Prof. Heiko Reintzsch – Repetition and ensemble

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Prof. Michael Schütze – Coaching

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Ilona Blumenthal-Petzold - German diction

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.

 

Hildegard Saretz - songs and arias with basso continuo

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.

KS Prof.
Regina Werner
Master class 2019


The artistic offering of the Singers Academy Torgau as well as the performance opportunities for the singers are extraordinarily diverse, much more extensive than in other master classes. The international appeal of the Academy is evident in the large number of applicants and the noticeably high professional level of the participants.

 



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