첼로 주윤아 첼로 주윤아 (JUYUNA) – 계원예술고등학교 실기 수석 입학, 졸업 – 한양대학교 음악대학 관현악과 수석 졸업 – 독일 프라이부르크 국립음대 석사 및 전문연주자과정 졸업 – 독일 데트몰트 국립음대 실내악 석사 최고점 졸업 – 수원 청소년 음악 콩쿠르 1위, 서울 중구신문사 콩쿠르, 협성대학교 콩쿠르 2위 – 계원예술고등학교, 한양대학교 오케스트라 협연 및 상하이 음악원 초청 연주 – 독일 Bamberger Symphoniker 장학생 단원 역임 – 독일 Detmold Chamber Orchestra 객원수석 역임 현) 앙상블아인스, 과천시립교향악단, 크로스챔버 오케스트라 단원, 에이블아트센터 출강 주윤아 유튜브 채널
더블베이스 베네딕트 치어포겔 더블베이스 베네딕트 치어포겔 (Benedict Ziervogel) https://www.ensembleresonanz.com/en/ensemble-resonanz/benedict-ziervogel Born in Vienna, Benedict Ziervogel took his first double bass lessons at age 16 at the conservatory in Kärnten, Austria. After highschool, he fully enrolled there, studying double bass, composition and conducting. He then pursued studies at the University of Music and Performing Arts in Graz (studying double bass with Johannes Auersperg and Violone/Viola da gamba with Lorenz Duftschmid) as well as at the Zurich University of the Arts with Prof. Duncan McTier (double bass). After graduating with distiction, he held positions at the Vienna Volksoper, the Tonkünstler-Orchester Niederösterreich, and was principal double bass player in the Orchestra Ensemble Kanazawa/Japan and the Württembergisches Kammerorchester Heilbronn. He was professor at the Mahler Academy in Bolzano/Bozen and the International Summer Academy Feldkirchen, and taught masterclasses in Europe, Asia and South America, focussing mainly on the “Viennese Bass” and the repertoire of the First Viennese School. Since 2012, he has been teaching double bass at the Prayner Conservatory for Music and Dramatic Arts in Vienna. Benedict Ziervogel is a sought-after chamber musician in and outside of Germany, mainly concentrating on the historically informed performance of the First Viennese School. He also specialises in contemporary music and has composed and premiered several commissioned works. 베네딕트 치어포겔 유튜브 채널
타악 박혜지 타악 박혜지 (Hyeji Bak) First Korean to win the 2019 Geneva Competition 2019년 제네바 콩쿠르 한국인 최초 우승 Win all six special awards in 2019 for the first time in the history of the Geneva Convention 2019년 제네바 콩쿠르 역사상 최초로 6개 부문 모든 특별상 석권 Lecture of Yeungnam University/Gyeongbuk University 영남대/경북대 출강 중 Hyeji Bak has been globally highlighted as a percussionist attractive to audiences, as she becomes the first Korean who not only won a first prize of the percussion section in the Geneva International Music Competition which was held 10 years after the previous competition, but also swept six Special Prizes for the first time in the history of Geneva International Music Competition, including Audience Prize, Young Audience Prize, Students Prize, Yamaha Young Artists Scolarship, Concerts de Jussy Prize and even Bergerault Marimba Prize. In addition, she won the 1st prize and three special prizes including Recording Prize, Public Prize and Best Performance set Concerto in The Universal Marimba Competition, the 1st prize of Sparda Classic Awards, the 3rd prize of International Percussion Competition at Northwestern and the 2nd prize of August-Everding Music Competition in Munich. In April 2021, Hyeji Bak performed ‘Speaking Drum’ composed by Péter Eötvös, as the Korean premiere, together with Seoul Philharmonic Orchestra led by Osmo Vänskä in the LOTTE Concert Hall, to introduce the charm of percussion to Korea. She also collaborated with famous conductors such as Julien Leroy, Li Biao, Jaejoon Lee, Hongsik Kim, Narah Chung, etc. Moreover, she has continued the collaboration with orchestras representing for Europe and Korea, including Orchestre de la Suisse Romande, Südwestdeutsche Philharmonie Konstanz, Ensemble Quodlibet, Seoul Philharmonic Orchestra, Gyeonggi Philharmonic Orchestra, Daegu Symphony Orchestra, Jeju Chamber Orchestra and Daegu Prodigy Youth Orchestra. As an active soloist, she has been also invited to globally renown festivals such as Festival de Pau, International Percussion Ensemble Week(IPEW), The 50th Anniversary of the Kolberg Festival and Percussion PULSE 2020 held by The Royal Danish Academy of Music, as well as the recital held by Cathédrale Sainte-Croix des Arméniens and recitals held in Jussy and Geneva in Swiss and Paris in France. She distinguished herself on the domestic stages including Seoul Arts Center, LOTTE Concert Hall, Suseong Artpia, Daegu Conert House, etc. She has thus extended her internal and external sphere of activity. Hyeji Bak is scheduled to meet audiences on many global stages, by conducting a variety of performances such as the collaboration with orchestras, recitals and even ensembles. She will be visited to Festival Classique des Haudères, a recital held in Uzès France, Kaohsiung Symphony Orchestra and the stage for the percussion ensemble and the collaboration with NDR Percussion, but also performed the Percussion Concerto composed by Michael Jarrell as the Swiss premiere, together with Geneva Chamber Orchestra in Swiss. In addition, She plans to perform a recital held by Seoul Arts Center. Hyeji Bak, who began to study percussion when she was 15 years old, completed the master’s course and the supreme performer’s program in Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart, after graduating from Seoul National University and studied under Gyeonghwan Choi and Marta Klimasara. 퍼커셔니스트 박혜지는 10년만에 개최된 2019 제네바 국제 콩쿠르 타악기 부문에서 한국인 최초로 우승 및 관중상, 청소년 관중상, 제네바 학생 관중상, 야마하 영아티스트상, 쥬씨 콘서트 상, 버그라울트 마림바 상까지 제네바 콩쿠르 역사상 최초로 6개 부문의 모든 특별상을 석권하며 관객을 끌어당기는 매력을 가진 퍼커셔니스트로 세계의 주목을 받고 있다. 또한 2015 벨기에 국제 마림바 콩쿠르 1위 및 4개의 특별상을 수상 하였으며, 2015 독일 슈파르다 클래식 어워드 우승, 2016 미국 시카고 국제 타악기 콩쿠르 3위, 2016 독일 뮌헨 어거스트-에버딩 타악기 콩쿠르 2위를 수상하였다. 박혜지는 2021년 롯데콘서트홀에서 지휘자 오스모 벤스케가 이끄는 서울시립교향악단과 함께 페테르 외트뵈시의 ‘스피킹 드럼’을 국내 초연을 성공적으로 마쳤으며, 스위스 제네바 체임버 오케스트라와 함께 마이클 자렐의 타악기 협주곡을 스위스 초연으로 무대에 올리며 타악기 독주자로서 한국과 유럽을 오가며 눈부신 활약을 보였다. 스위스 로망드 오케스트라, 콘스탄츠 남서독일필하모니, 쿼들리벳 앙상블 서울시립교향악단, 경기필하모닉오케스트라, 대구시립교향악단, 부천필하모닉오케스트라, 제주체임버오케스트라 등 세계 유수의 오케스트라와 함께 협연하였으며, 오스모 벤스케, 가브리엘라 테이체네, 줄리앙 르로아, 리 비아오, 이재준, 김홍식, 정나라, 장윤성을 비롯한 저명한 지휘자들과도 호흡을 맞춘 바 있다. 독주자로서도 활발한 활동을 펼치고 있는 박혜지는 2022년 세계적으로 유명한 타악기 회사 중 하나인 말렛텍의 아티스트로 선정, 세계적인 아티스트들과 어깨를 나란히 하고 있다. 또한 스위스 레조데르 페스티벌과 프랑스 페리고르 누아 페스티벌, 프랑스 포 타악기 페스티벌, 크로아티아 국제 타악기 페스티벌 IPEW, 콜베르그 50주년 타악기 페스티벌, 덴마크 왕립 음악원에서의 퍼커션 펄스 2020 초청연주 등을 비롯한 세계적인 음악 페스티벌에 초청되었다. 프랑스 파리의 성당에서의 리사이틀과 스위스 쥬씨, 제네바, 프랑스 파리 등지에서의 초청 독주회는 물론, 예술의전당, 롯데콘서트홀, 수성아트피아, 대구콘서트하우스, 천안예술의전당 등 국내 무대에서도 그녀의 이름을 알리며 오케스트라 협연과 리사이틀, 그리고 앙상블까지 솔리스트로서 활발한 활동을 이어오고 있다. 만15세에 타악기를 공부하기 시작한 박혜지는 서울대학교 졸업 후 독일 슈투트가르트 국립음대에서 석사과정과 최고연주자과정을 졸업하였고 정희라, 최경환, Marta Klimasara를 사사하였다. 또한 2022년부터 영남대학교와 경북대학교에 출강하며 후학 양성에도 힘쓰고 있다. 박혜지 유튜브 채널
앙상블 인 레지던스 아론 스트링 콰르텟 앙상블 인 레지던스 아론 스트링 콰르텟 (Aron String Quartet) Quartet in Residence, EONmusic Founded in 1998 by Ludwig Müller, with Barna Kobori, Georg Hamann and Christophe Pantillon, four Viennese musicians Founded in 1998 by Ludwig Müller, with Barna Kobori, Georg Hamann and Christophe Pantillon, four Viennese musicians The aron quartett was founded in 1998 by Ludwig Müller, Barna Kobori, Georg Hamann and Christophe Pantillon, four Viennese musicians. Their artistic careers have been profoundly influenced by the members of the Alban Berg quartet along with Ernst Kovacic and Heinrich Schiff. Isaac Stern, Max Rostal, William Primrose, Mischa Maisky, Ralph Kirschbaum and Sándor Végh have also played critical roles in furthering their musical careers. The quartet made its debut in Vienna during the year of its foundation, and was highly acclaimed by press and public alike. Since then, the quartet has developed a wide-ranging repertoire – also in collaboration with Heinz Holliger, Heinrich Schiff and members of the Amadeus, LaSalle and Alban Berg quartets. During the year of its foundation, the aron quartett’s intention not only to tackle classical repertoire but also to devote itself to works by the second Viennese school led to an invitation to organize its own cycle of 18th, 19th and 20th century compositions as the quartet in residence at the Arnold Schoenberg Center in Vienna. The aron quartett has also performed together with artists such as Bruno Canino, Oleg Maisenberg, Philippe Entremont, Elisabeth Leonskaja, Alexei Lubimov, Wenzel Fuchs, Daniel Ottensamer, Sharon Kam, Anna Caterina Antoniacci, Ildikó Raimondi, Soile Isokoski, Adrian Eröd and members of the Alban Berg quartet. In 2002, the aron quartett appeared as guest artists as part of the Alban Berg quartet’s cycle in the Vienna Konzerthaus. A busy concert schedule has so far taken the aron quartett through Europe, the USA, Mexico and Japan and to renowned festivals (Viennese Festival Weeks, international String Quartet Festival in Prague, Biennale di Venezia, Schoenberg Festival, “Klangbogen” Festival, Cervantino Festival, Kuhmo Festival, Stresa Festival, Enescu Festival Berlin, Carinthischer Sommer etc.). In 2001, the aron quartett made its debut at the Carnegie Hall in New York, and in 2002 at London’s Wigmore Hall and the Tchaikovsky Conservatoire in Moscow. In 2004, they made their debut at the Vienna Musikverein, where in 2007 they performed Korngold’s complete string quartets and his piano quintet in a four-part cycle. In 2008, the aron quartett founded the Laudon Castle Chamber Music Festival (www.schlosslaudonfestival.at). The quartet celebrated its 10-year anniversary in November 2008 with a very successful concert at the Vienna Konzerthaus. For 2009, the quartet again had an invitation to perform a Haydn – Martinu cycle in the Vienna Musikverein and a three-part Korngold cycle at the Opéra Bastille in Paris. In 2010 and 2011 the quartet participated in numerous festivals in Finland, Israel, Italy, France, Switzerland, Germany, Slovenia, Romania and Argentina. The aron quartett’s first CD was released in 1999 and consists of works by Schubert, Schoenberg, Mozart and Ullmann. In February 2002, a concert by the aron quartett was broadcast throughout Europe by ORF (Austrian broadcast) for the EBU. Other CD recordings include string quartets by Franz Schubert (“Rosamunde” and “Death and the Maiden”, Preiser Records 90549) and a CD box with Arnold Schoenberg’s complete works for string quartet (Preiser Records 90572) for which the aron quartett received the Pasticcio Prize. The international press acclaimed this CD as one of the best recordings of 20th century chamber music. The outstanding interpretation and technical excellence of these recordings not only demonstrate the aron quartett’s exceptional competence but also set new standards. Cascavelle has released the piano quintets by Dvorak and Frank in a recording with Philippe Entremont. For the German label cpo the quartet has recorded the complete string quartets by Erich Wolfgang Korngold as well as the piano quintet with Henri Sigfridsson and in March 2010 the CD (“Paris-Vienne-Moscou 1910 – 2010”) has been released bv Preiser Records. In 2013 cpo published a second CD with works by Korngold (string sextet with Th. Selditz and M. Diaz & Suite op. 23 with H. Sigfridsson) and in 2014 the Kammermusikfestival Schloss Laudon released a recording with works by Schubert, Eisler, Shostakovitch and Horovitz. Another production with cpo label appeared in 2016: The piano quintets by M. Castelnuovo-Tedesco with the pianist Massimo Giuseppe Bianchi. 2019 Bruno Walter‘s String Quartet and Piano Quintet (M. G. Bianchi) will be released by cpo. 아론 스트링 콰르텟 유튜브 채널
앙상블 인 레지던스 콘골드 앙상블 빈 앙상블 인 레지던스 콘골드 앙상블 빈 (Korngold Ensemble) Founded in2019 by 5 renowned artists in Vienna Main emphasis in 20th centuries repertoire Violin 1 : Ludwig MuellerViolin 2 : Tiffany Pei Hsuan WuViola : Cynthia Liao ZottlCello : Jonas KreciPiano : Catalina Butcaru After 2 successful concerts at the Arnold Schönberg Center Vienna, the Korngold Ensemble Wien has been invited in the 2021-22 season to perform at prestigious chamber music festivals such as Burghof Chamber Music Festival Klagenfurt, Austria, The Muth in Vienna, and The Spring Festival in Kaohsiung, Taiwan. Korngold Ensemble Wien was founded in 2019 by five renowned musicans who had already gained success in various chamber music groups. The intention of the ensemble, next to standard repertoire, is to perform less-frequently heard pieces for various formations. Our main emphasis is the especially rich musical oevre of the 20th century. 콘골드 앙상블 유튜브 채널
바리톤 미하엘 메로우 바리톤 미하엘 메로우 (Michael Meraw) Faculty of New England Conservatory, USA 미국 뉴 잉글랜드 음악원 교수 Artistic Director of the Undergrauate Opera Studio, NEC, USA 미국 뉴 잉글랜드 음악원 Opera Studio 예술감독 https://www.necmusic.edu/faculty/michael-meraw Baritone Michael Meraw has performed with companies across North America (including: Pacific Opera Victoria, the Victoria Symphony Orchestra, the Banff Centre, Edmonton Opera, the Richard Eaton Singers, Symphony Regina, the National Arts Centre, the Thirteen Strings, Opéra Atelier, Opera in Concert, Montreal Opera, Seattle Opera, Virginia Opera, and the Boston Symphony Orchestra), in repertoire ranging from Monteverdi and Handel, to Webern and Szymanowski. Not only has Meraw garnered critical acclaim in the standard repertoire, winning praise for his Figaro in Rossini’s Barber of Seville and Orff’s Carmina Burana, but he has also brought lesser-known works to new audiences through his incisive portrayals of such roles as King Roger by Szymanowski (“Meraw did well as Roger, with nervy urgency and gripping delivery of his increasingly anguished lines…” — Geoff Chapman, The Toronto Star) and Sir John A. MacDonald in Somers’s Louis Riel (“Dealing with a vocal part that veers from sprechgesang to dramatic declamation, baritone Michael Meraw showed great vocal cut and thrust, in addition to contributing a striking stage presence.” — Richard Turp, Opera Canada). Mr. Meraw has performed many of the standard baritone parts in oratorio including Mendelssohn’s Elijah, Orff’s Carmina Burana, Handel’s Messiah, Judas Maccabeas, Joshua and Israel in Egypt, and the Requiem’s of Brahms and Faure. A regular recitalist, his repertoire spans the baritone repertoire in English, French, German, Italian and Russian. As well as his regular voice studio at New England Conservatory and his responsibilities as the Artistic Director of NEC’s Undergraduate Opera Studio, Mr. Meraw has become a regular Master clinician and adjudicator at several festivals in China, and will be joining the faculty of AIMS in Graz this summer. Many of his students have gone onto success, winning positions in young artist programs and artist contracts in the United States, Canada and Europe. Michael’s students can include La Scala, the Chatelet, L’Opera Comique in Paris, Minnesota Opera, St. Louis Opera, Montreal Opera, BBC Proms, the Chicago Symphony Orchestra and the Montreal Symphony Orchestra among their recent credits. Bachelor of Early Music Performance, M. Mus. in Solo Vocal Performance, McGill University. Voice studies with Eva Bostrand, Alan Fast, William Neill, Dixie Ross-Neill, Mark Pedrotti, Lucille Villeneuve-Evans, Dr. Robert K. Evans. Fencing and Stage Combat with Jean-François Gagnon of the National Theatre School of Canada. Ballet and Modern Dance with Daniel Seller, Vincent Warren, and Sasha Belinski at Les Grands Ballet Canadiens. Former faculty of McGill University and l’Unversite de Montreal, where he taught studio voice as well as French and Italian diction and a graduate seminar entitled Vocal Styles and Conventions.
소프라노 올가 마케리나 소프라노 올가 마케리나 (Olga Makarina) Former of Metropolitan Opera soprano solist 미국 메트로폴리탄 오페라하우스 소프라노 솔리스트 역임 Member of The Elena Obraztsova International Music Academy, USA 미국 The Elena Obraztsova International Music Academy 멤버 https://www.olgamakarina.com/ As the great Giuseppe di Stefano already recognized during Ms. Makarina`s student years at the Mannes School of Music – bel canto repertoire became her trademark and the space in which she has distinctively delivered some of her signature roles and have opened her doors to some of the greatest stages worldwide.Less than a year after winning the Metropolitan Opera Auditions, Ms. Makarina has made her stage debut in New York City opera in the title role of Lucia di Lammermoor. These successful performances marked the beginning of her long and fruitful worldwide career, with her base in New York City, where she sang at The Metropolitan Opera for 18 seasons and was regular on other stages of the city – the New York City Opera, Lincoln Center, Carnegie Hall and where she now has her own studio on Manhattan, where she passionately shares her knowledge with the new generations of opera singers. Ms. Makarina`s portfolio includes impressive number of title and leading roles in some of the most beloved and performed operas of the Italian and French repertoire – Verdi`s Violetta, Gilda and Desdemona; Donizetti’s Lucia Ashton, Adina, Lucrezia Borgia and Anna Bolena; Bellini`s Amina, Elvira, Norma and Imogene; Puccini`s Mimì and Liù; Rossini`s Albina; Massnet`s Manon and Thaïs, Mayerbeer`s Marguerite de Valois, Halevy`s Eudoxie, Bizet`s Micaela, Offenbach`s Olympia and Antonia. She has also made highly acclaimed performances of Mozart`s heroines (Pamina, Vittelia, Donna Elvira, Donna Anna, Ilia, Elletra, Konstanze), R.Korsakov`s Marfa (with Olga Borodina) and Glinka`s Lyudmila; and some of the most demanding roles of contemporary repertoire, written for coloratura soprano: Stravinsky’s The Nightingale, Strauss`s Zerbinetta and Italian singer, Ravel`s The Fire and Respighi`s Princess. Outside New York, she performed on stages all over the world, including the Canadian Opera, Teatro Liceu in Barcelona, Las Palmas Opera, Opera di Roma, Teatro Regio in Rome, Opera La Coruna, Mariinsky Theater, Teatro de Bellas Artes in Mexico City, Teatro Colon in Buenos Aires, Kirov Opera, National Theater in Prague, Slovak National Opera, Opera Pacific, Palm Beach Opera and Warsaw’s Grand Theater.Ms. Makarina performed in highly acclaimed festivals among which are the Spoleto festival, the Cesky Krumlov Festival with the Brno Philharmonic that was televised in Eurovision, Macau Festival, Rome’s Euro Festival Mediterraneo where she sang a concert of bel canto arias and scenes with Eve Queler and the Malta Symphony at the site of Hadrian’s Villa which was telecast in Italy, and Bard Festival. Ms. Makarina made her stage debut singing Mozart’s C minor mass with Yehudi Menuhin. She has since performed with many top conductors such as James Levine, Valery Gergiev, Zubin Mehta, Nello Santi and Bruno Campanella. Her concert appearances include numerous recitals opera houses and concert halls around the world and performances of soprano solo parts in Verdi`s Requiem, Orf`s Carmina Burana and Catuli Carmina, Mahler’s 2nd and 4th Symphony, Mozart`s Exsultate Jubilate and Coronation mass, Bach`s Cantata 51 for soprano solo, Mendelsons` Elias, Handle`s Messiah, List`s Missa Solemnis and Brahms` German Requiem. She sang the world premiere of Puccini Songs, a new ballet by choreographer, Nilas Martins based on nine songs by Puccini and repeated this work with Ballet San Jose. Ms. Makarina has recorded three solo albums with Romeo Records: Italian Opera Arias, Olga Makarina Sings Liszt, Tchaikovsky, Rachmaninov, and Mozart: Arias; Exsultate, Jubilate. Her performances in Rossini`s La donna dell lago and R. Strauss`s Capriccio from The Met are available as on demand HD videos. Aside from giving private lessons in her studio on on Manhattan, Ms. Makarina travels all over the world to give master classes. She has taught in Israel, Russia, New York and Japan, and is a Management Board Member at The Elena Obraztsova International Academy of Music in St. Petersburg. A graduate of the Mannes School of Music, Ms Makarina also has her Masters in piano and voice from the St Petersburg Conservatory, where she also studied Choral conducting, all of which gave her thorough and multi angled perspective on opera and classical music in general, that is incorporated in the way she perceives music and teaches it. She has won a number of important prizes and awards including the Metropolitan Opera Auditions, the Musicians Emergency Fund and the Liederkranz Competition. Throughout her career she had fantastic mentors in the opera legends such
소프라노 앙케 헤프너 소프라노 앙케 헤프너 (Dr. Anke Hoeppner Ryan) Professor at the University of Sydney, Australia 호주 시드니 음악대학 교수 Artistic Director of the Sydney Art Song Society 호주 시드니 가곡 협회 음악 감독 https://www.sydney.edu.au/music/about/our-people/academic-staff/anke-ryan.html Background: Born, Germany. She studied with Professor Renate Faltin at the Hanns-Eisler Conservatorium in Berlin, graduating with a master’s degree in Performance. She won the first prize in the Hanns-Eisler Liederwettbewerb, the award for the best vocal Graduate in the German Democratic Republic and the Bayreuth Stipendium in 1993. Anke won the inaugural Helpman Award for her lead role as Cio Cio San in Madama Butterfly in 2001, and in 2007 she was again nominated for the Helpman Award for her portrayal of Procne in The Love of the Nightingale. Anke’s operatic repertoire includes Turandot, Tosca, Minni in La Fanciulla del West, the Title role in Madama Butterfly, Mimi in La Boheme, Procne in The Love of the Nightingale, Emilia Marty in Vĕc Makropulos, Leonore in Fidelio, Foreign Princess in Rusalka, the Title role in Iphigénie en Tauride, the Title role in Jenufa, Lucretia Janz in Batavia, Giulietta in Tales of Hoffmann, Elvira in Don Giovanni, Fata Morgana in The Love For Three Oranges, Santuzza in Cavalleria Rusticana, the Hexe in Hänsel und Gretel, Gerhilde and 3rd Norn in Der Ring des Nibelungen. Anke performed at the Komische Oper Berlin, the Staatsoper Berlin, Opera Australia, Opera Queensland, the West Australian Opera, the State Opera of South Australia, the Schleswig-Holsteinisches Landestheater, the Neue Opernbühne Berlin, the Otono Festival in Madrid, the Melbourne International Arts Festival and the Perth International Arts Festival. Anke performed under the batons of some of the world’s leading conductors, including Sir Charles Mackerras, Simone Young, Shao Chia Lü, Carlo Felice Cillario, Patrick Summers, Lionel Friend, Andrea Licata, Johannes Fritzsch, Jörg- Peter Weigle, Aldo Salvagno, Prof. Rolf Reuther, Josef Colaneri and Joachim Willert. Anke worked with leading directors Harry Kupfer, Neil Armfield, Graeme Murphy, Christine Mielitz, Michael Gow, Lindy Hume, Stuart Maunder, Moffatt Oxenbould, Nigel Jamieson and Andrew Sinclair. Concert engagements include soprano solo in Beethoven’s Symphony No.9 with the Tasmanian Symphony Orchestra, Queensland Symphony Orchestra and the Orchestra of the Sydney Conservatorium of Music, Verdi Requiem and Salome with the Orchestra of the Sydney Conservatorium of Music, Liederabende with songs of Schubert, Schumann, Strauss, Schönberg, Zemlinsky and Dvorák in the London Opera Festival, the Komische Oper Berlin, the Melbourne International Music Festival, Barossa Music Festival and Wagner Society NSW; the Brahms Requiem with the Schleswig-Holsteinisches Sinfonieorchester, the Mozart Requiem in the Berliner Philharmonie, Pergolesi’s Stabat Mater with the Neubrandenburg Philharmonic Orchestra and the Schleswig-Holsteinisch Sinfonia Orchestra, and Marie in excerpts from Berg’s Wozzeck with the Philharmonic State Orchestra Halle. Anke Höppner has been broadcast in radio and television by NDR, WDR, ORB and the ABC. Anke is currently lecturing in voice and opera at the Sydney Conservatorium of Music. In April 2019 she was awarded the academic degree of Doctor of Musical Arts by The Sydney University or her research about operatic cover-work.
테너 스테판 모울드 테너 스테판 모울드 (Stephan Mould) Professor at the University of Sydney, Australia 호주 시드니 음악대학 교수 Artistic Director of the Conservatorium Opera 호주 시드니 음대 오페라 음악 감독 https://www.sydney.edu.au/music/about/our-people/academic-staff/stephen-mould.html Stephen Mould is a Senior Lecturer in Conducting, Opera Studies and Repetiteurship at the Sydney Conservatorium of Music, and Artistic Director of the Conservatorium Opera. He studied at the Sydney Conservatorium (B Mus, Grad Dip, Repetiteur) and Royal Academy of Music, London before commencing a career as repetiteur, musical assistant and conductor in opera houses in Germany, Belgium, London, USA, Asia and Australia. He was Assistant to the Music Director of Oper Frankfurt (1993-6), returning to Australia in 1996 where he held a number of key positions at Opera Australia, as conductor, musical assistant, and Head Of Music (2004 -8). He has conducted most state orchestras in Australia along with the major orchestras in New Zealand, been engaged by the Sydney, Melbourne and Brisbane Festivals as well as working for most of the State opera companies in Australia, including State Opera of South Australia, assisting on both Wagner Ring Cycles, Parsifal and retaining an association with that company as conductor. He joined the faculty at Sydney University in 2009, and completed his dissertation, Curating Opera in 2016. His research activities centre upon opera and conducting, with a focus from the mid-eighteenth century until the present day. Interests include the history of opera and the rise of the conductor, along with performance practice-based research across both areas; the developing role of the conductor from the late nineteenth century; Richard Wagner; Mozart reception; Gustav Mahler as conductor and opera practitioner; the impact of historically aware performance practice upon the conducting profession; aspects of authenticity, Werktreue and Retuschen; the historical background to the conducted repertoire are all central areas of teaching and research. His teaching of conducting incorporates the study of the marked scores of iconic conductors of the past. The collection and study of such material forms the core of his current research. His book, Curating Opera is awaiting publication, and he is currently at work on his next, Reading Conductors. He has also published in the area of the visual arts, including a monograph on the lives of Dušan and Voitre Marek, two émigré surrealist artists who migrated to Australia in the wake of WW2. This area of study is an ongoing field of study for Dr Mould. Recent and current HDR students have worked on Retuschen in Beethoven’s 9th Symphony; The role of ambiguity in Britten’s The Turn of the Screw; The future role for opera in defining new cultural contexts; and the developing role of the conductor in nineteenth century Italy.
