Tag Archives: Voice

MARIMBA/PERCUSSION – Francisco Manuel Anguas Rodríguez (University of Music and Drama Rostock)

Falko Hönisch Falko Hönisch | 09/02/2025 09/02/2025

Teacher:

Francisco Manuel Anguas Rodríguez was born in Seville, Spain in 1990. After com- pleting his bachelor’s degree at the Royal Conservatory of Music Victoria Eugenia in Granada, he began his master’s degree at the Rostock University of Music and Theater with Henrik M. Schmidt, Torsten Schönfeld, and Jan Frederick Behrend. In 2015 he studied at the Toho University in Tokyo at the invitation of the marimba legend Keiko Abe.

Already during his studies he performed in the Philharmonisches Orchester Vorpommern, serving as principal percussionist in 2016/2017 and principal timpanist in 2017/2018. He gained professional experience as an orchestral musician with the Staatskapelle Berlin and at the Komische Oper Berlin.

From 2015 to 2019 he worked at the Bayreuth Festival. His passion for historical performance practice brought him to international concert stages as principal timpanist with the Akademie für Alte Musik Berlin. As a chamber musician, he is always searching for new tonal colors and combinations.

At his concerts with the Ukrainian Piano Duo Chipak-Kushnir and Elbtonal Percussion, he captivates his audience with his natural approach and his musicality. He is the winner of numerous competitions, including the Ian Murray Competition and the 2008 Ciutat de Llíria Percussion Competition in Llíria, Spain.

Accommodation:

Students are hosted on a shared room basis in a beautiful villa on the bank of the Rhine river.

Meals:

A kitchen is available for cooking; groceries can be bought in a nearby supermarket. Group shopping is advised. A different team can do the cooking daily, which can be organize in situ.

Rooms:

Committed to the spirit of romanticism, all masterclasses offered by the Sankt Goar International Music Festival and Academy unite everything under one roof: living, learning, eating and sleeping. That is why participants will be hosted on a shared room basis.

PIANO/PIANO DUO – Piano Duo Chipak-Kushnir (University of Music and Drama Rostock)

Falko Hönisch Falko Hönisch | 12/12/2023 09/02/2025

Teachers:

When Olha Chipak and Oleksiy Kushnir first met in 1998 while studying at the Lviv Music Academy in Ukraine, they could not have imagined where their musical partnership would take them. What they certainly knew, however, was that from that point on they would not only pursue a career as solo artists but also devote themselves to an equal degree to performing chamber music. They soon won their first international competition together (“Roma 98”), but the piano duo—like Emil Gilels and Sviatoslav Richter she is from the legendary music metropolis Odessa on the Black Sea, he from the cultural melting pot of Lviv, where the first music conservatory in the Ukraine was founded as early as 1786—sought more than recognition by juries.

Thus their path as a duo took them to the Hochschule für Musik und Theater in Rostock where they majored in piano duo performance with Hans-Peter and Volker Stenzl and in 2006 completed their degree in piano ensemble performance (concert exam – Konzertexamen).

The two have since begun to work at the institution as docents for piano and piano duo.

The duo has won numerous international competitions:

1st prize – Rom-98 (international competition)

2nd prize – TIM (Torneo Internazionale di Musica) (2000)

2nd prize – Chamber music competition in Caltanissetta (2000)

1st prize – “Premio Seiler“ in Palermo (2002)

2nd prize – “Palma d’Oro“ in Finale Ligure (2002)

1st prize – Piano duo competition in Bialystok (Poland) (2002)

1st prize – “Piano duo in 20th century“ (Premio Valentino Bucchi) (2003)

2nd prize – Dranoff International Two Piano Competition in Miami (2003)

1st prize – San Marino Piano competition (2006)

Winners of the International Web Concert Hall Competition (2012)

Success at these competitions led to concert performances at important venues in many European countries, the U.S., and China as well as guest performances at festivals such as the Festival “Virtuosi”(Ukraine), the Piano Festival in Trieste (Italy), the “Festspiele Mecklenburg-Vorpommern”. The artistry of the duo is documented in recordings for NDR (North German Radio), BR-Classic (Bayern Radio) and television and radio recordings in the Ukraine, Poland and San Marino.

www.chipak-kushnir.de

Course Description:

The course is open to students and advanced young pianists, whether preparing for immediate exams, competitions, projects, or simply navigating through their studies. Tailored specifically for piano duos (four hands or on two pianos) looking for new inspirations.

Participants from the “Jugend musiziert” Competition 2025 in the chamber music category are warmly welcome for the finishing touches.

Accommodation:

Students are hosted on a shared room basis in a beautiful villa on the bank of the Rhine river.

Meals:

A kitchen is available for cooking; groceries can be bought in a nearby supermarket. Group shopping is advised. A different team can do the cooking daily, which can be organize in situ.

Rooms:

ART SONG “Conteporary Music is not dissonant per se”- Prof. Hendrik Bräunlich (University of Music and Theatre “Felix Mendelssohn-Bartholdy” Leipzig)

Falko Hönisch Falko Hönisch | 29/05/2023 29/05/2023

Teacher:

Hendrik Bräunlich, was born in Leipzig. Prof. Bräunlich’s pianistic talent, as well as his general involvement in music have been nurtured since early childhood.

From 1986 to 1992 he studied at the Hochschule für Musik und Theater (Music Conservatory) “Felix Mendelssohn Bertholdy” in Leipzig with emphasis on vocal accompaniment, piano solo and instrumental accompaniment. There, under the tutelage of Maestro Eugen Wangler, he developed a love for the singing voice, and a passion for accompanying it.

From 1992 to 1997 he studied song interpretation in the postgraduate program at the same conservatory with Lied professor and mentor Prof. Karl-Peter Kammerlander, During this same period he was given the opportunity to work privately with Charles Spencer, with whom he studied most extensively, and Prof. Hartmut Höll – both great lied interpreters. In addition, he accompanied master classes of well-known singers such as Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau, Peter Schreier, Thomas Hampson and Jakob Stämpfli. Mr. Stämpli, impressed with his work, invited him to accompany a master class in Sion (Suisse) during the Tibor Varga Festival.

Prof. Bräunlich’s success at the Varga Festival as well as his association with other famous artists led to additional invitations to accompany international singing competitions such as the Schumann in Zwickau and the Bach in Leipzig. Charles Spencer used his influence to introduce Mr. Bräunlich to world-renowned mezzo-soprano, Christa Ludwig, with whom he became associated for many years – accompanying her master classes in Gumpoldskirchen near Vienna, Wiener Musikverein, Villecroze in France and a national conference of German-speaking singing teachers in Halle/Saale,) to name a few.

Prof. Bräunlich’s accompanying skills were indeed also acknowledged by the fact that he himself became a prize-winner: in 1993 he won the Felix Mendelssohn-Bartholdy Prize in Berlin, and in the same year, the accompanying prize at the International Singing Competition in Tauberbischofsheim. In 1994 he received an award at the International Brahms Singing Competition in Hamburg, and in the 1997 Deutscher Musikwettbewerb awarded him a scholarship. In 1998 he was prize-winner at the first International Hilde Zadek Singing Competition in Passau.

The attention generated by these German music competitions enabled Prof. Bräunlich to start a concert career. It also resulted in repeated invitations to accompany the above-mentioned competitions and master classes.

Prof. Bräunlich has recorded for all major German broadcasters. He has also participated in various CD projects, including the first recording of Lieder by Georg Göhler. Other CD recordings include “Hausmusik bei Schumanns” with the Calmus Vocal Ensemble Leipzig, and the award-winning CD of the clarinetist Nicola Jürgensen.

In 1992 Prof. Bräunlich was offered a permanent full-time teaching position at the Leipzig Conservatory; the association with this institution continues to this day. The pedagogical commitment he has to his students, and his support of their individual development is obviously enriched by his personal history of performing and accompanying.

In 2005, under the auspices of the ERASMUS exchange program, he was invited – together with Leipzig Conservatory Voice Prof. Dr. Jeanette Favaro-Reuter – to participate in coaching Lieder of Felix Mendelssohn Bartholdy at the Royal College of Music in London. During this period he also tought during the Leipzig Summer Courses of Puccini’s “Tosca” as well as master classes of clarinettist Allan Key and Prof. Dr. Favaro-Reuter.

Over the last years Prof. Bräunlich has offered classes, free of charge, at the Leipzig Conservatory with primary emphasis on Piano Lied literature of the 20th and 21st centuries. He has offered addition classes on topics such as “Robert Schumann´s Lieder” and “Claude Debussy´s Lieder and Chants”.

His involvement with 20th and 21st century Lied has led Prof. Bräunlich to an even greater concentration on contemporary music. In 2022, together with soprano Lisa Fornhammar, he developed a special New Music Program. The theme for the 2023/24 session is “New Music is not per se dissonant”.

Dates:

Arrival: Thursday, July 20, 2023, until 2 pm
Closing concert: Sunday, July 23, 2023, 5 pm
Departure: Monday, July 24, 2023, after 2 pm

Dieser Kurs möchte nach Möglichkeit mit Duos arbeiten. Diese können wir auch gemeinsam zusammenstellen. Wobei es nicht darauf ankommt, ob jede teilnehmende Person nur mit einer anderen Person zusammenarbeitet. Es können gerade die Pianistinnen. zw. Pianisten auch mit mehreren Gesangspartnerinnen bzw. -partnern zusammen musizieren.

So habe ich es selbst bei Wettbewerben während der Runden mit einigen Teilnehmenden zu tun gehabt, was meine Qualität nicht minderte. Meine Idee ist folgende: Jeder teilnehmende Person sucht sich eine bis zwei Liedgruppen aus und bereitet diese vor. Dann können wir während der Kurstage an den Liedern arbeiten und das Erarbeitete zum Schluss in einem Abschlusskonzert vorstellen.

Dies setzt voraus, dass jeder seine Stücke handwerklich gut parat hat, um damit arbeiten zu können. Die Programmfolge des Konzertes sollte dann auch der meiner Ankündigung entsprechen.

Repertoire: Neue Musik ist nicht per se dissonant

Ich habe ein Programm zusammengestellt, welches den tonalen Aspekt der Stücke in den Mittelpunkt rückt. Denn wir sind es gewohnt, nach atonalen Klängen meist eine Auflösung in Form einer Konsonanz zu erwarten. Und diese gibt es in erstaunlich vielen Liedern der Neuen Musik.

Das Programm beginnt mit drei Liedern aus den „Walzergesängen, Op. 6“ von Alexander von Zemlinsky. Diese sind, wie er selbst äußerte, nicht modern, sondern im Spätromantischen verwurzelt.

Nr. 1 Liebe Schwalbe
Nr. 5 Blaues Sternlein
Nr. 6 Briefchen schrieb ich

Danach zwei Brettl-Lieder des Entdeckers der Dodekaphonie, Arnold Schönberg. Diese insgesamt acht Lieder (zwischen April und September 1901 komponiert) gehen auf sein Engagement als Leiter de Berliner Cabaretts Überbrettl zurück.

Zwei davon habe ich ausgewählt: Gigerlette und Arie aus dem Spiegel von Arkadien

Darauf folgen die vielleicht berühmtesten Schüler, nämlich Anton von Webern und Alban Berg. Zuerst Webern. Er kommt, wie auch sein Lehrer und sein Mitschüler Berg, aus der Tradition der Wiener Spätromantik. Nur in wenigen Klängen meint man das Kommende zu hören, eher zu ahnen, die musikalische Struktur steht noch ganz im Zeichen der Tradition: Vorfrühling, Blumengruss, Fromm und Heiter

Dann Alban Berg, dem Romantiker der Zweiten Wiener Schule. Von ihm habe ich die quasi nicht explizit „Neuen Lieder“ ausgewählt, nämlich aus den “Sieben frühen Liedern: Die Nachtigall und Im Zimmer.

Der „zweiten Wiener Schule“ folgt ein anderer österreichischer Komponist, Gottfried von Einem. Von ihm habe ich ein Lied gewählt aus seinen „Zwölf Tag- und Nachtliedern“. Das Stück „Eine Treppe abwärts steigend“ zeigt seine Individualität gut und vermittelt trotzdem nicht das Quere der Neuen Musik.

Nach dem ersten Teil mit ausschließlich deutschsprachigen Tonsetzern gibt es einen zweiten Teil mit amerikanischen Komponisten. Diese haben sich , vor allem nach dem zweiten Weltkrieg, eine guten Ruf gemacht im ansonsten eher prüden Amerika: Zuerst ein Komponist mit sizilianischen Wurzeln, Dominick Argento. Er fühte sich zeitlebens zur Musik George Gershwins und zur amerikanischen Vokalmusik hingezogen. Von ihm habe ich aus seinem Zyklus “Six Elizabethan Songs” folgende ausgesucht: Diaphenia und Hymn

Ihm folgt ein eher sich der leichteren Klassik verpflichtender Musiker, Marc Blitzstein. Er komponierte häufig für den Film und so habe ich gedacht, diese besondere Farbe mit ins Programm zu nehmen. Der Song „I wish it so“ steht ganz in der Linie der für den Film geschaffenen Titel. Nach Blitzstein folgt ein unter anderem mit dem Pulitzer-Preis ausgezeichneten Samuel Barber ein weiterer Amerikaner. Er war nicht nur Komponist, sondern auch Bariton. Und vielleicht hat er deshalb seine Lieder so eingänhig komponiert.

Zuerst „Sure of this shining night“, dann das wesentlich düsterere „The Crucifiction“. Zum Schluss noch ein weiterer sehr wichtiger und bedeutender amerikanischer Komponist, Leonard Bernstein.

Dieser, aus jüdischer Familie stammend, war ein extrem erfolgreicher Musikvermittler. Und als Komponist ist uns allen wahrscheinlich seine „West Side Story“ bekannt, einer Musical-Oper. Aber er hat auch Lieder vertont, unter anderem den Zyklus „I hate music“. Und aus diesem habe ich den namensgebenden Titelsong ausgewählt.

Accommodation:

Students are hosted on a shared room basis in a beautiful villa on the bank of the Rhine river.

Meals:

A kitchen is available for cooking; groceries can be bought in a nearby supermarket. Group shopping is advised. A different team can do the cooking daily, which can be organize in situ.

Rooms:

Foyerkonzert: Du bist wie eine Blume

Falko Hönisch Falko Hönisch | 31/01/2023 15/02/2023

Anlässlich des Weltfrauentags am 8. März ist die Liedklasse der Hochschule für Musik Mainz mit einem Programm „Du bist wie eine Blume“, das inhaltlich ganz den Damen dieser Welt gewidmet ist, zu Gast in den Foyerkonzerten der Internationalen Musikakademie Sankt Goar im Glasfoyer der Rheinfelshalle.

Auf dem Programm stehen Werke u.a. von Robert Schumann, Franz Liszt, Hugo Wolf und Sergej Rachmaninoff.

Es musizieren die Studierenden Emilie Jønsson, Anne Sofie Møller Olesen, Nerea Elizaga Gomez, Luisa Teodora Sagliano, Sasou van Oordt.

Diese wurden von Herrn Trung Sam auf dieses Konzert vorbereitet.

Als Sohn vietnamesischer Einwanderer in Essen geboren, schloss Trung Sam seine Ausbildung an den Musikhochschulen in Wien und Karlsruhe mit Auszeichnung ab. Stand schon vor seinem Studium das Kunstlied ganz im Fokus seiner Arbeit, ist Trung Sam mittlerweile einer der versiertesten und gefragtesten Liedbegleiter seiner Generation und konzertiert über Europa hinaus auch in Nord- und Südamerika sowie in Asien.

Die Presse lobt seinen magischen Klavierklang und sein außergewöhnliches Einfühlungsvermögen für Atem, Phrasierungen und Farben, was ihn zu einem beliebten Partner für Sänger macht. Das „Göttinger Tageblatt“ schrieb nach einem Liederabend: „…Trung Sam: perfekter Partner…technisch präzise, mit hoher Anschlagskultur und bezauberndem Farbenreichtum.“

Liederabende mit Sängerinnen und Sängern wie Christoph Prégardien, Roman Trekel, Christian Elsner, Thomas Michael Allen, Peter Schöne, Susanne Ritterbusch, Falko Hönisch, Susanna Martin, Britta Stallmeister, Lisa Wedekind u.v.a. führen den Pianisten durch ganz Europa zu berühmten Festivals wie der Schubertiade Schwarzenberg, den Niedersächsischen Musiktagen Hannover, dem Beaminster Festival England, bei den Weingartner Musiktagen, den Ludwigsburger Schlossfestspielen, beim Beethovenfest Bonn etc. Weitere Liederabende gab er an wichtigen Stätten wie in der Sinfonie Bamberg, Konzerthaus Berlin, Philharmonie Essen, Schloss Ettlingen, Liederhalle Stuttgart, Opéra de Lille, Paris, Musikverein Wien, Tonhalle Zürich u.a.

Mehrere Auszeichnungen zeugen von seiner außergewöhnliche Gabe als Liedbegleiter: „Liedpreis“ des Kultusministerium Schleswig-Holsteins 2005 & 2006, „Thomas-Wiese-Förderpreis“ für Liedbegleitung 2005 & 2006, “Preis für die beste Liedbegleitung beim Joseph-SuderLiedwettbewerb”, „Liedbegleiter des Jahres 2007“ des Kulturfonds Baden sowie 1. Preis des Deutschen Musikwettbewerbs Berlin 2007 in der Kategorie “Liedbegleitung” und Aufnahme in die „Bundesauswahl Konzerte junger Künstler“.

Studio- wie auch Live-Aufnahmen verschiedener Liederabende wurden wiederholt von Rundfunkanstalten wie dem SWR, BR, HR, NDR, Deutschlandradio und Radio France mehrfach gesendet. CD-Aufnahmen sind bei den Labels „Harmonia Mundi France“ und „Carus-Verlag“ erschienen.

Trung Sam ist seit dem Wintersemester 2022/23 Dozent an der Hochschule für Musik in der Landeshauptstadt Mainz, wo er die Liedklasse leitet. Er gibt neben seiner aktiven Konzerttätigkeit Meisterkurse über Europa hinaus auch in den USA, Südkorea und Vietnam.

PIANO – Prof. Andreas Weber (University Mozarteum Salzburg)

Falko Hönisch Falko Hönisch | 15/12/2022 29/05/2023

Teacher:

Andreas Weber began his pianistic education at the Music University of Cologne with Prof. Karin Merle and continued with Prof. Hans Leygraf at the University of Music in Salzburg.

His gives concerts as a soloist and as chamber musician in Europe and Asia, i.a. with the Trio Cartellieri and with the Violinist Albert Fischer.

Television recordings in Austria, Korea and China.

He holds many Masterclasses in Korea, China, Germany and Belgium and is member of jury in national and international piano competitions in Germany, Austria, China and Korea.

He made CD recordings with the Cellist Hanna Spielbüchler (Brahms, Schubert and Franck) as well with the Violinist Albert Fischer (Mozart, Brahms, Schubert) and with the Trio Cartellieri (Turina, Takacs, Piazzolla).

Since 2002 Andreas Weber is professor for piano at the University Mozarteum and since 2005 he is the head of the Leopold-Mozart-Institut for highly talented young students and is promoting young talents at national and international level.

Since 2009 he is professor at the International Summer Academy of Mozarteum.

Many of his students are prize winners of international piano competitions.

Course Description:

The masterclass is primarily aimed at young, motivated pianists who want to prepare for an entrance examination at a music university or for a competition.

The vigilant and creative examination of the score, as well as the individual encounter and motivation of the participant are the focus of this course.

An inspired musical idea and its technical realization should be experienced and formed as an inseparable unit.

The final concert provides a valuable experience for the further musical development of the participants.

Repertoire:

Piano solo or for four hands

Accommodation:

Students are hosted on a shared room basis in a beautiful villa on the bank of the Rhine river.

Meals:

A kitchen is available for cooking; groceries can be bought in a nearby supermarket. Group shopping is advised. A different team can do the cooking daily, which can be organize in situ.

Rooms:

VOICE – Dr. Emilio Pons

Falko Hönisch Falko Hönisch | 10/05/2022 10/05/2022

The career of tenor Emilio Pons has taken him across Europe, the Middle East, Asia and Latin America.

Since his professional debut in 2006 at the Mariinsky Theater in Saint Petersburg, Russia, he has performed internationally at the Grand Théâtre de Genève and Theater Sankt Gallen, Switzerland; the Royal Opera House, Copenhagen, Denmark; the Vlaamse Opera, Ghent & Antwerp, Belgium; the Sankt Margarethen Opera Festival, and the Wiener Kammeroper in Austria; and the Prinzregenten Theater, the Deutsche Oper am Rhein, Düsseldorf, the Magravial Opera House in Bayreuth, Theater Freiburg and Theater Heidelberg, in Germany; Vilnius City Opera, in Lithuania; Opéra de Metz, in France; Opera Siam in Bangkok, Thailand; as well as Compañía Nacional de Ópera de Bellas Artes, Mexico City, and the Teatro Municipal de Santiago, in Chile and Theatro Municipal of Rio de Janeiro, Brazil.

His operatic repertoire encompasses more than thirty roles, including: staples of the light lyric Fach such as Tamino (Mozart, Die Zauberflöte), Ferrando (Mozart, Così fan Tutte), Don Ottavio (Mozart, Don Giovanni), Il Conte d’Almaviva (Rossini, Il Barbiere di Siviglia), Nemorino (Donizetti, L’elisir d’amore), Narraboth (Strauss, Salome), Le Chevalier de la Force (Poulenc, Dialogues des Carmélites), Trouffaldino (Prokofiev, L’amour des trois oranges) and Lensky (Tchaikovsky, Yevgenij Onegin); a myriad of leading roles in lesser known works, including the title role in Porsile’s Spartaco, Mad Woman (Britten, Curlew River), Hypollit (Henze, Phaedra), Egeo and Sole (Cavalli, Il Giasone, commercially released on DVD), Richmond (Battistelli, Richard III), Serge/Adolphe (Martinů, Die Drei Wünsche), Le Commissaire (Martinů, Juliette), Fernando (in the German première of Granados’ Goyescas); and various supporting roles such as Arbace (Mozart, Idomeneo), Arturo (Donizetti, Lucia di Lammermoor), Jaquino (Beethoven, Fidelio), Pong (Puccini, Turandot), Laërtes (Thomas, Mignon), Beppe/Arlecchin (Leoncavallo, Pagliacci) and Malcolm (Verdi, Macbeth) amongst others.

He has sung under the baton of acclaimed conductors such as Mikhail Jurowsky, Daniele Callegari, Jiří Bělohlávek, Ingo Metzmacher, Enoch zu Guttenberg, Frédéric Chaslin, Zoltan Pesko, Niksa Bareza, Federico Maria Sardelli, Rodolfo Fischer and Cornelius Meister amongst others; has worked with renowned stage directors such as Robert Carsen, Christof Loy, Guy Joosten, Richard Jones, Pier Francesco Maestrini, Jean-Louis Benôit, Mariame Clément and Benedikt von Peter, and has shared the stage with prominent singers such as Diana Damrau, Jennifer Larmore, Sophie Koch, KS Francisco Araiza, and Franco Vasallo, amongst others.

On the concert and recital stage, he has performed recitals in Germany, France, Belgium, The Netherlands, Switzerland, Spain, Poland, Russia, Japan, Azerbaijan (with the London Philharmonic Orchestra) and Israel (with the Jerusalem Camerata and the Be’er Sheva Sinfonietta).

Dr. Pons is co-founder and artistic director of the Sankt Goar International Music Festival and Academy.

Emilio Pons holds a graduate degree in Piano from the National Conservatory of Music in Mexico and a Juris Doctor Degree from the Universidad Iberoamericana, in addition to Master and Doctor of Music Degrees from the Indiana University Jacobs School of Music, where he was a student of Carlos Montané and Andreas Poulimenos. In Europe, he continued to study privately under the tutelage of KS Francisco Araiza and Lyubov Stuchevskaya, and currently, of Neumar de Kanel-Starling.

Dr. Pons has been a recipient of numerous scholarships and grants, including Mexico’s prestigious FONCA (National Endowment for the Arts), SIVAM (International Society of Mexican Artistic Values) scholarships (2000-2002), the Olympia Barbera and Culver Miller scholarships at the Indiana University School of Music (2002-2004), and INBA (National Fine Arts Institute of Mexico, as of 2003). He is a prize-winner of the Irma Cooper (2005), Palm Beach Opera (2005) and Pavel Lisitsian (2006) competitions and the RBT-Preis München award at the Hans Gabor “Belvedere” (2007) competition in Vienna.

A skilled polyglot, Dr. Pons speaks English, Spanish, French, Italian, German and Russian — all fluently.

Dr. Pons is a dual citizen of Mexico and Germany. He is a member of the European Cultural Parliament.

Students are hosted on a shared room basis in a beautiful villa on the bank of the Rhine river.

Meals:

A kitchen is available for cooking; groceries can be bought in a nearby supermarket. Group shopping is advised. A different team can do the cooking daily, which can be organize in situ.

Rooms:

VOICE — Wolfgang Klose (University of Music Rostock)

Falko Hönisch Falko Hönisch | 19/03/2019 09/02/2025

Teachers:

Stylistic variety, authentic sound and the synthesis of word and music are the most basic elements of singing for the tenor Wolfgang Klose. He received significant impetuses from Thomas Heyer, Mario Hoff and Konrad Jarnot as well as on master classes with Francisco Araiza, Julie Kaufmann and Kurt Widmer.

He performed e.g. Tamino (Magic Flute), Symon (Bettelstudent) and Pylades (Iphigenie on Tauris) on the opera stage. Besides from off stage productions he performed at Händelfestspiele Halle, Deutsche Oper am Rhein and Bühnen der Stadt Köln.

His favorite work is dedicated to the oratorio stage: he is performing all main repertoire from Renaissance to contemporary music, mostly known for his interpretations of the cantatas and oratorios of the baroque and classical epoch. Being guest of numerous festivals and stages all over Europe and the USA he performs with symphonic orchestras and HIP ensembles.

In 2013 the he received a 1^st price from Verband Deutscher Konzertchöre. Recordings of broadcasting services and CD labels are available such as WDR, rbb, SWR, Carus Verlag, Virgin Classics (former Label: EMI France) and cpo.

Having graduated at Robert Schumann Hochschule Düsseldorf and University of Music Mainz he has been teaching on university level for many years. Nowadays he teaches singing at Hochschule of Music und Theater Rostock and Folkwang University of Arts Essen.

Course Description:

The voice is the instrument most closely connected to the human body and therefore capable of transporting emotions unfiltered and most directly to the audience. Etymologically, there is a direct translation to personare (latin for through sounding); in Hebrew there is even the same word for soul and throat.

For five days we will be working on throat skills which will help to make these connections hearable. Additionally to working on stylistic differences of the epochs, diction and interpretation impulses the fun of making music is of great importance as well!

Our master class is intended for all who are searching for new impulses in singing and interpreting – e.g. as a preparation for attending universities or for a check-up for (midterm) exams – we will work individually in three units each day and actually strengthen the instrument “voice”.

The interpretation of the repertoire will increase in authenticity by working out and improving individual qualities.

Repertoire:

Concert and opera arias, as well as art songs from the baroque era to contemporary music

Accommodation:

Students are hosted on a shared room basis in a beautiful villa on the bank of the Rhine river.

Meals:

A kitchen is available for cooking; groceries can be bought in a nearby supermarket. Group shopping is advised. A different team can do the cooking daily, which can be organize in situ.

Rooms:

For further impression, please visit our venue site.

Language:

SGIMFA

Tag Archives: Voice

MARIMBA/PERCUSSION – Francisco Manuel Anguas Rodríguez (University of Music and Drama Rostock)

PIANO/PIANO DUO – Piano Duo Chipak-Kushnir (University of Music and Drama Rostock)

ART SONG “Conteporary Music is not dissonant per se”- Prof. Hendrik Bräunlich (University of Music and Theatre “Felix Mendelssohn-Bartholdy” Leipzig)

Foyerkonzert: Du bist wie eine Blume

PIANO – Prof. Andreas Weber (University Mozarteum Salzburg)

VOICE – Dr. Emilio Pons

VOICE — Wolfgang Klose (University of Music Rostock)

SGIMFA

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