Vito Žuraj's first full-length opera Blühen was premiered in Frankfurt in January 2023 and received enthusiastic reviews. Before the world premiere, we spoke to the composer about his collaboration with librettist Händl Klaus, director Brigitte Fassbaender and the Ensemble Modern, which played under Michael Wendeberg.
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.
Olli Mustonen talks about an early musical key experience, two new compositions and the special meaning that the Paul Hindemith Award bears for him.
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.
Johannes Maria Staud talks about his orchestral piece Stromab.
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.
