Christoph Strehl is a Professor of Singing at the Mozarteum University in Salzburg, specializing in vocal studies and opera training since 2013. A renowned tenor, he has performed internationally with major opera houses and orchestras, collaborating with conductors like Claudio Abbado and directors including Claus Guth. His career spans key roles in Mozart operas (Don Ottavio in Don Giovanni , Tamino in The Magic Flute ), Beethoven's Fidelio , and Schubert's Fierabras . He has recorded extensively for labels like Deutsche Grammophon and EMI, with notable albums including Die Zauberflöte (2007) and Das Paradies und die Peri (2008). His teaching emphasizes creative process integration and vocal technique, supported by masterclasses with luminaries such as Axel Bauni and Norman Shetler. Education: Studied at Folkwang University (Essen) with Soto Papulkas and privately with Silvana Bazzoni-Bartoli in Zurich. Professional milestones include a 9-year tenure at Zurich Opera House (2002-2011) and Salzburg Festival debuts in 2003 and 2019. Active in recitals with pianists like Helmut Deutsch and Pauliina Tukiainen.
Thierry Favier is a Professor at the University of Poitiers , France, since 2010. He holds academic affiliations with the Institut Universitaire de France (2023) and has held visiting positions at prestigious institutions including the University of Zurich , Oxford University , and Heidelberg University . His research focuses on Baroque music , with emphasis on sacred music , French cultural identity , and musical historiography . Doctorate (1997) and Habilitation (2009) from leading French institutions Co-directed major research programs funded by ANR, CNRS, and regional governments Editorial leadership in Eighteenth-Century Music (2017) His scholarly work analyzes the intersection of music and power , musical ethics , and cultural exchange in early modern Europe. Recent publications explore topics like the Italian motet’s influence in France and post-Lullian musical identity . He has received significant recognition for scientific excellence and mobility fellowships. Favier has served as Chair of the Commission of Scientific Expertise (2014–present) and Head of the Music Department (2014-2017) at Poitiers. He has presented at institutions such as the Ecole Normale Supérieure , Gulbenkian Foundation , and Cardiff University , contributing to global discourse on Baroque and Enlightenment-era music.
Anne Piéjus is a Researcher at the French National Centre for Scientific Research (CNRS) , affiliated with the Institute of Music Research (IReMus) in Paris. A specialist in Early Modern Music , her multidisciplinary work bridges literature, performing arts, history, and intellectual history, with a focus on digital humanities and enriched music editions. Founded the "Mercure galant" program for text-music-image editions Active in scholarly societies and leads the European seminar "Building Relationships in a changing world" Member of the executive committee of the "Concepts et langages" Doctoral School (500 students) Her research spans music-theater intersections , sung poetry , digital music archives , and sacred music in Renaissance Rome . Key projects include critical editions of Racine's works and studies on Jesuit school spectacles. Recent publications highlight 16th-17th century European music , music censorship , and digital resource integration . Awards include dual 2015 honors from the Institut de France, Prix des Muses (2001), and CNRS grants. Thorlet Prize (2015) Alfred Verdaguer Prize (2015) Prime d'Encadrement de Recherche (2016, renewed 2020) Piéjus supervises graduate trainees, curates exhibitions, and contributes to musicological societies. Her work emphasizes digital humanities and interdisciplinary methodologies to connect historical music resources.
Univ.-Prof. Michèle Crider is a renowned soprano specializing in Italian opera repertoire, particularly Verdi roles. She has held a professorship in Voice at the Department of Vocal Studies, Mozarteum University since 2012, concurrently overseeing the Pre-College program. Her academic affiliations include the School of Music & Art Education (SOMA). Education: DMA from University of Iowa, advanced studies at Zurich Opera House Studio. Achievements include Metropolitan Opera Auditions victories, Geneva Competition first prize, and Pavarotti Competition finalist placement. Repertoire focuses on Verdi heroines (Leonora, Amelia, Elvira) and signature roles like Aida, Tosca, Norma, and Santuzza. She has performed at major institutions including Royal Opera House Covent Garden, Metropolitan Opera, La Scala, and with orchestras like Vienna Philharmonic under conductors Riccardo Muti and Daniel Barenboim. Awards highlight her artistry: Geneva Competition victory enabled her Il Trovatore debut, while Grand Prix cemented international acclaim. Active in concert performances at Salzburg Festival, Carnegie Hall, and Musikverein.
Private University of Music and Arts of the City of ViennaAustria
Huw Rhys James is a Lecturer at the Music and Arts Private University of the City of Vienna (MUK), where he has taught opera accompaniment, figured bass, and score reading since 2002. He studied German at the University of Bristol and composition, piano, and accompaniment at the Vienna University of Music (1984–1992), with notable mentors including Prof. A. Kubizek and Prof. H. Goertz. Education: German, University of Bristol Composition, Piano, Accompaniment, Vienna University of Music (1984–1992) His research interests focus on contemporary and Baroque opera, musicology, and vocal accompaniment. He is renowned for reviving forgotten works, such as Leonardo Vinci’s L’Artaserse and Francesco Conti’s Don Chisciotte in Sierra Morena , using original scores and instruments. He has held significant artistic roles, including répétiteur at the Vienna State Opera’s Opera Studio (1990) and choir director for the Vienna State Opera Chorus Concert Association since 2013. His collaborations span conductors like Riccardo Muti and Franz Welser-Möst, with notable productions at the Salzburg Festival and Bayreuth Festival. Scientific awards include grants from the US National Endowment for the Arts and ORF Edition. He also founded the Vienna-based ensembles Musikwerkstatt Wien and Musica Poetica Wien, which premiered 26 operas, including five world premieres. Key Contributions: Urtext editions of Baroque operas Author/editor of Felix Kaufmann’s Songs of the Mises-Kreis (2019) Translations of libretti into German
Private University of Music and Arts of the City of ViennaAustria
Anton Mittermayr serves as a University Professor at the University of Music and Performing Arts Vienna within the Faculty of Music's Wind Instruments and Percussion Department. He has held the position of principal timpanist at the Vienna State Opera and Vienna Philharmonic since September 1996, and at the Vienna Court Orchestra since September 2005. His educational foundation began with music education teacher training in 1990, followed by percussion studies under Prof. Horst Berger starting in 1992. During this period, he gained extensive professional experience as a substitute musician at major institutions including the Vienna State Opera, Vienna Philharmonic, Vienna Radio Symphony Orchestra, and Vienna Volksoper. Professor Mittermayr's expertise centers on percussion performance with specialization in timpani, orchestral repertoire, and instrumental pedagogy. His career uniquely bridges elite orchestral performance with academic instruction, having taught at MUK since 2001 while maintaining active performing roles. He has also conducted international masterclasses in Japan and the USA, contributing to global percussion education. Throughout his tenure, he has mentored numerous percussion students within the university's instrumental programs. His professional network extends across Vienna's premier musical institutions, where he continues to influence both performance practice and pedagogical approaches in percussion studies.
Karol Berger is the Osgood Hooker Professor in Fine Arts at the Department of Music, Stanford University (since 1996). He previously served as Professor in Musicology (1982-1996) and Assistant Professor (1975-1982) at Boston University. He has held visiting appointments at UNC Chapel Hill, Universität Paderborn, University of Oxford, and Harvard's Villa I Tatti. Education: Doctorate from Yale University (1975), musicology studies at University of Warsaw (1965-1968) His research spans Renaissance music theory, Austro-German musical modernity from Bach to Mahler, and the history of musical aesthetics. He pioneered interdisciplinary approaches connecting musicology with philosophy and cultural criticism. Key publications include Musica Ficta (1987), A Theory of Art (1999), Bach's Cycle, Mozart's Arrow (2007), and Beyond Reason (2016). His work explores how musical structures reflect philosophical and cultural shifts. Scientific Awards: 1988 Otto Kinkeldey Award 1995 Alfred Jurzykowski Award 2008 Marjorie Weston Emerson Award 2011 Glarean Prize 2014 Humboldt Research Award Multiple academy memberships
Andreas Scholl is a University Professor of Voice specializing in Early Music at Mozarteum University in Salzburg, where he teaches vocal studies in the Department of Vocal Studies. Born in Germany, Scholl began his musical training with the Kiedrich Chorbuben Choir and later studied at the Schola Cantorum Basiliensis with Richard Levitt and René Jacobs. His research interests focus on historical performance practice of Baroque and Renaissance vocal music, with special emphasis on countertenor repertoire, German Lied, and Handel's works. Scholl has pioneered approaches to interpreting early music that balance historical authenticity with contemporary vocal technique, particularly in the specialized field of countertenor performance where he has established new standards for tone production and expressive interpretation. His discography reveals a consistent focus on Baroque vocal repertoire, particularly Handel's works, with notable emphasis on oratorios and cantatas. Scholl's recordings demonstrate evolving expertise in historically informed performance while maintaining artistic innovation, with recent work expanding into digital media production through his "Room Service" VOD show that bridges historical music with contemporary presentation formats. ECHO Award for Deutsche Grammophon's audio-book of Hans Christian Andersen's The Emperor's New Clothes and The Nightingale BBC Music Magazine Award in 2012 for O Solitude Scholl maintains an active performance career while teaching at Mozarteum University. His students benefit from his extensive experience performing with major orchestras including the Berlin Philharmonic, New York Philharmonic, and Royal Concertgebouw Orchestra. He has been instrumental in developing online teaching methodologies, particularly during the pandemic, making his expertise accessible to singers worldwide regardless of geographical location. Scholl's "Room Service" production represents his innovative approach to music presentation, blending performance with educational content about historical context.
Private University of Music and Arts of the City of ViennaAustria
Birgid Michaela Steinberger is a renowned soprano and university professor at the University of Music and Performing Arts Vienna (since 2010) and the Music and Arts University of the City of Vienna (since 2001). She specializes in Lied (art song), oratorio, and operatic roles, with a focus on classical vocal performance and historical practices. Her career includes prominent roles at the Vienna State Opera, Volksoper Wien, and international opera houses. Education: Studied under Kammersängerin Wilma Lipp in Salzburg Further training with Charlotte Lehmann (Hannover) and Kurt Widmer (Basel) Completed studies in 1992 Research & Performance Interests: Steinberger’s work emphasizes interpretive depth in art song (e.g., Schubert, Wolf, Brahms), operatic roles (e.g., Mozart, Donizetti), and historically informed performance practices. She is celebrated for her interpretations of roles like Susanna (Figaro), Pamina (Magic Flute), and Marie (Zar und Zimmermann). Awards: Österreichische Kammersängerin (2009) Gianna Szel Foundation Scholarship (1986) International Hugo Wolf Competition Prize (1990) Teaching & Mentorship: As a professor of singing and lied interpretation, she leads masterclasses globally, including at the Guildhall School of Music & Drama (London, 2019). She supervises doctoral candidates in artistic-scholarly research at MUK. Performance Highlights: Extensive operatic engagements (Vienna State Opera, Berlin State Opera), acclaimed recordings (NAXOS, RSO Wien), and international recitals (Wigmore Hall, Paris Théâtre du Châtelet, Stuttgart).
Ulrike Arp is a Senior Lecturer at the Department of Vocal Studies at Mozarteum University Salzburg. She holds expertise in Speech & Dialogue and Opera Studies, combining academic teaching with professional theatre and voice coaching roles. Since 1982, she has been a permanent ensemble member at the Schauspielhaus Salzburg, where she also trained as an actor. Her professional development includes certifications in AAP training, Alexander Technique, Spiral Dynamics, and Linklater voice coaching. Affiliations: Mozarteum University Salzburg (Senior Lecturer), Schauspielhaus Salzburg (Permanent Ensemble Member) Professional Roles: Voice-over Artist (radio/TV/video), Voice Coach Her research interests focus on vocal pedagogy, integration of performing arts techniques into education, and applied theatre methodologies. She has contributed to projects with institutions like Salzburger Verkehrsbetriebe through voice-over work.
Lisa Magdalena Fornhammar is a Swedish soprano and music university teacher specializing in contemporary vocal music. She currently holds the position of Lecturer in Performance Practice for New Music at the Universität Mozarteum Salzburg, Department of Vocal Studies, and serves as a Visiting Professor for Innovative Vocal Techniques and Interpretation at the Dresden University of Music since October 2023. She also leads the International Master's Program in New Music and conducts a doctoral research project at CERADA, University of the Arts Helsinki, focusing on experimental vocal techniques in collaboration with Heidi Westerlund, Michael Fuchs, and Johan Sundberg. Affiliations: Universität Mozarteum Salzburg (School of Music & Art Education), Dresden University of Music, CERADA (University of the Arts Helsinki). Roles: Teacher of contemporary vocal music, performer in modern and avant-garde repertoire, researcher in experimental vocal techniques. Her research emphasizes interdisciplinary approaches to vocal expression, blending performance practice with compositional innovations. She actively collaborates with leading composers like Kaija Saariaho and Lisa Streich, and has premiered works by contemporary composers. Notable performances include roles in Ligeti’s Le Grand Macabre , Berio’s Sequenza , and Feldman’s For Franz Klein . She maintains an international performance career, appearing at venues such as the Elbphilharmonie Hamburg and the Philharmonie Köln. Her pedagogical work bridges academic and artistic domains, mentoring both singers and composers.
Andrea Lindmayr-Brandl serves as an Associate Professor in the Department of Art, Music and Dance Studies at Paris Lodron University Salzburg. With over three decades of academic activity documented from 1990 to the present, she maintains an active research profile with numerous publications, projects, and scholarly engagements extending into 2025. Her research focuses on historical musicology with particular expertise in Viennese Classical and Romantic periods. Key interests include Schubert studies, Beethoven research, music printing history in German-speaking lands, and 15th-16th century music. Her work examines cultural contexts, social networks, and institutional frameworks that shaped musical production and reception. Lindmayr-Brandl's recent publications (2021-2025) demonstrate consistent scholarly output across multiple formats including journal articles, book chapters, critical editions, and media contributions. Her work shows particular emphasis on Schubert's social networks, Viennese musical culture, and the intersection of gender studies with music history. The 2024-2025 publications reveal ongoing engagement with Beethoven studies, Schubert's biography, and the role of women in musical institutions. Scientific Awards: APART-Stipendium (1997) Kulturpreis der Stadt Salzburg (1988) Kardinal-Innitzer-Förderungspreis (2012) Vladimir Fédorov Award (2019) Förderpreis für Wissenschaft und Forschung (2015) Professor Lindmayr-Brandl has secured multiple research projects including the comprehensive "Music Printing in German Speaking Lands" (2016-2020) and "The Gaspar van Weerbeke Edition" (multiple phases from 2009-2018). Her extensive activities portfolio includes 236 documented engagements through 2025, comprising 105 speeches, 26 guest lectures, editorial work, and committee service. She maintains an active public presence through media contributions including the Austrian Academy of Sciences' podcast and radio features on Schubert and Rossini. Her scholarly work bridges academic research and public engagement, particularly through media appearances that translate complex musicological concepts for broader audiences. Current projects indicate continued investigation into women's agency in Viennese musical culture and the digital dissemination of musicological research.
Private University of Music and Arts of the City of ViennaAustria
Previn Moore is a Professor at the University of Music and Performing Arts Vienna, specializing in Voice Training and Singing. He has held this position since 2005 and is actively involved in vocal pedagogy and performance. Education: School for Creative and Performing Arts, Cincinnati (1974–1981) Indiana University Bloomington (1981–1987), studying under Roy Samuelsen and participating in masterclasses with James King His research and performance focus centers on classical vocal training, operatic repertoire, and musical theater. He has performed extensively across Europe and the U.S., including roles in Don Giovanni , Die Zauberflöte , and Porgy and Bess , and collaborates with institutions like Auburn University's Center for Educational Outreach and Engagement. Moore’s career bridges practical performance and academic instruction, with notable engagements at theaters in Vienna, Graz, Munich, and New York, alongside teaching roles in Hamburg and Vienna.
mdw - University of Music and Performing Arts ViennaAustria
Lukas Haselböck is an Austrian composer and musicologist born in Vienna in 1972. He has been an assistant professor at the Institute for Musicology and Interpretation Research at the Vienna University of Music and Performing Arts since 2000. His academic career includes teaching, research, and significant contributions to musicological scholarship. He served as a visiting professor of music theory at the University of Music and Performing Arts Graz from 2007 to 2008. His institutional activities include board membership in the ÖGMW (2006-2009) and ongoing service on the works council of the University of Music and Performing Arts Vienna. He earned his Dr.phil. in musicology in 1997 with a dissertation on 'Analytical Investigations into Motivic Logic in Max Reger' and his Mag.art. in composition in 1999, studying under Iván Eröd and Erich Urbanner in Vienna. His scholarly work focuses on music analysis, aesthetics, and philosophy, with particular emphasis on 20th-century music, especially French music. His 2009 book on Gérard Grisey was the first German-language monograph on this composer, representing a significant contribution to spectral music scholarship. Since organizing the 'Sound Perspectives' symposium in 2009, Haselböck has increasingly focused on dimensions of sound and timbre in music analysis, addressing an area long neglected in traditional approaches. His methodological diversity bridges analytical, historical, and philosophical perspectives. His scholarly output spans from analyses of Max Reger's motivic logic to contemporary explorations of spectral music and timbre. His publications reveal a consistent exploration of spectral music, timbre analysis, and the intersection of philosophy and music, with a particular interest in how sound, atmosphere, and textual levels interact in musical composition. The most recent works demonstrate continued engagement with timbre studies, ecological perspectives in music, and interdisciplinary approaches to contemporary composition. 1998 Promotion Prize from Theodor Körner Foundation 1999 Ministry Appreciation Prize and scholarship from the Federal Chancellery 2000 Working Scholarship from the City of Vienna and Promotion Prize from the Czibulka Foundation 2001 Vienna Symphony Orchestra Composition Scholarship and grants from the Alban Berg Foundation 2019 Recognition Prize from the State of Lower Austria Haselböck has organized significant academic events including the Friedrich Cerha Symposium (2004) and 'Sound Perspectives' (2009). Since 2010, he has organized the Viennese New Music concert series 'cercle.' He serves on boards of musicological organizations including the ÖKB, ÖGZM, and IGNM, and acts as a musicological advisor to the Wiener Collage ensemble. His dual career as composer and musicologist provides him with a unique perspective that informs both aspects of his professional life.
Arnold Jacobshagen is a Professor and Chair of Musicology at the University of Music and Dance Cologne since 2006. His academic career includes lecturing at the University of Vienna (2006) and Bayreuth University (1997–2006), where he also completed his habilitation on 19th-century Italian opera semiseria in 2003. Education: Studied musicology, modern history, and philosophy in Berlin, Vienna, and Paris; PhD at Freie Universität Berlin (1996). Jacobshagen specializes in opera studies and the history of music from the 18th to 20th centuries, with a focus on cultural transfer, performance practice, and historiography. His work explores the Rhinelands' musical legacy and interdisciplinary intersections between music, politics, and visual culture. His recent publications span opera semiseria, Romanticism, and modernist compositions. Notable contributions include analyses of Rossini, Verdi, Wagner, and Berlioz, emphasizing cross-cultural dialogues and evolving performance paradigms. Scientific Awards: Deutsches Historisches Institut Rome Fellowship (2001–2002); Deutsches Studienzentrum Venice Fellowship (2002); Member of Academia Europaea (2015). Jacobshagen serves as editor of Die Musikforschung and has co-edited 18 books, fostering scholarly discourse on opera and music history. His research bridges historical analysis and contemporary cultural critique.
