The Deutsches Nationaltheater Weimar is presenting Mieczysław Weinberg's opera The Passenger in a new production staged by Jossi Wieler and Sergio Morabito, which celebrated its highly successful premiere on 5 April under the musical direction of Roland Kluttig. We spoke to the conductor about his special relationship with Soviet music and the significance of Weinberg's opera for the memory of Nazi atrocities.
Five questions for the JACK Quartet: For the Musikkollegium Winterthur magazine, the musicians gave humorous and revealing insights into their musical and literary passions.
On the occasion of the new recording of Stockhausen's epochal piano work Mantra, Götz Schumacher talks in an interview about the intensive relationship that has connected the GrauSchumacher Piano Duo with the work since its beginnings.
There are good reasons to celebrate in Porto: the Remix Ensemble is celebrating its 25th anniversary in 2025. The ensemble's artistic director Peter Rundel looks back at its beginnings.
On the occasion of the world premiere of Samir Odeh-Tamimi's composition Roaïkron at the Biennale Musica in Venice in autumn 2024, Italian musicologist Gianluigi Mattietti spoke to the composer about his new piece and about his life stages in Israel, Greece and Germany, which are reflected in his music.
In an extensive interview for the World Federation of International Music Competitions, Hyung-ki Joo spoke about the humorous side of classical composers, about his collaborations with personalities such as Gidon Kremer, Asmik Grigorian and, early in his career, Yehudi Menuhin, and about his plans as the new Artistic Director of the Menuhin Competition.
Olli Mustonen talks about an early musical key experience, composers who have influenced him and the interplay between analytical thinking and intuition.
"Don't touch" was what Carlotta Dalia heard as a child when it came to guitars. Luckily, she revolted against this order and now delights audiences with her playing on historical and modern guitars, even outside of sworn guitar circles.
Role debut as Sieglinde: Sarah Wegener performed Wagner's Walküre under the baton of Kent Nagano in six major European concert halls in 2024. In the run-up, she talked about her path to the new role and other vocal milestones of recent years.
In June 2024, Mariam Batsashvili was once again a guest at the Klavier Festival Ruhr. In a very personal interview with festival director Katrin Zagrosek in the run-up to the festival, she spoke about what composers such as Johann Sebastian Bach and Franz Liszt mean to her.
Lukas Ligeti is the artistic director of the World New Music Days, which took place in Africa for the first time in its centenary year 2023 - a unique opportunity for creative exchange: both the African audience and the guests from all over the world heard music they had never come into contact with before.
World premiere of the year: Vito Žuraj's first full-length opera Blühen came to the stage in Frankfurt in early 2023 under the musical direction of Michael Wendeberg and has now been named premiere of the year by Opernwelt magazine. In our interview, Vito Žuraj talks about his collaboration with librettist Händl Klaus, director Brigitte Fassbaender and the Ensemble Modern.
In May 2022, Ensemble Musikfabrik premiered Ming Tsao's Triode Variations in Cologne. We caught up with the composer during a visit to his Berlin flat in the run-up to the performance.
The Armida Quartet has put together a comprehensive Mozart package in recent years: a concert series, a complete recording, and even an app - all with surprising perspectives on the composer.
Just before Bas Wiegers conducted his first concerts in front of a live audience in May, he sat down for an interview to reflect on the preceding Corona year.
As music director of the Folkoperan Stockholm, Henrik Schaefer started the season 2021/22 by bringing the house fresh ideas – and not just through the original romantic sound.
Simon Bode talks about his wanderlust for musical journeys.
Outrage is not enough: Titus Engel talks to the FAZ about conducting Bartók's only opera and about cultural politics in Corona times.
Ryoko Aoki incorporates into her performances a theatrical culture that, in the past, was largely reserved for male performers.
Lukas Ligeti on artistic influences and his father's legacy.
In an interview with German music critic Eleonore Büning, Christoph Prégardien muses about empathy and stage fright, talk of a lieder crisis and the sins of concert promoters.
François-Frédéric Guy, expert in romantic German repertoire and especially Beethoven's works, describes his experience as an orchestra leader from the piano as a "thrilling tightrope act".
Peter Rundel talks about opera.
No panic – Christoph Prégardien, one of the leading tenors of our time, is still on tour as a soloist. However, considering the success of his St. John and St. Matthew Passions it is no surprise that the singer will increasingly be seen on the conductor’s podium.
We talked to Mariam Batsashvili in 2017 – at a particularly exciting time in her career.
In conversation with Jeffrey Arlo Brown, Mark Andre discussed teachers and companions, his German-French heritage and the aesthetics of fragility.
Brad Lubman’s official title at the Grafenegg Festival 2017 was “only” Composer-in-Residence. However, at Schloss Grafenegg, the many facets of his musical life were on display.
Ahead of Antje Weithaas' round birthday in 2016, we spoke to her about her multi-faceted career as a soloist, chamber musician and teacher, and why she is always looking for something new.
Toshio Hosokawa about his opera Stilles Meer and the 2011 Fukushima catastrophe.
Jeroen Berwaerts explains what connects him to the brass band tradition, what yoga taught him about breath, and why singing became an essential part of his trumpet recitals.
The GrauSchumacher Piano Duo and composer Stefan Heucke talk about the arrangement of Liszt’s Concerto pathétique for two pianos and orchestra.
