I am very grateful for the two years I spent doing a Master’s degree course in Music Theatre/Opera Performance at the Bavarian Theatre Academy August Everding. I was thrown into a very full and multifaceted schedule, something I had not previously experienced in Sweden, and I really learnt a great deal. Sometimes, perhaps, there was not enough time for self-reflection and for life going on around you, but if you can keep alert and healthy, you can benefit an incredible amount from this course. At any rate, there have not been many situations in my working life so far for which I did not feel well prepared.
2017: First engagement at the Staatsoper Berlin
2014/15-2015/16: Élève at the Staatsoper Stuttgart
2015: Debut at the Théâtre Royal de la Monnaie in Brussels
2014: Debut in Munich as Hérode in Antoine Mariotte’s Salomé
Nomination for best young singer of the year by Opernwelt magazine in its yearbook 2014
2013: Debut in Munich in the title role of Handel’s Imeneo and as Snaut in Michael Obst’s Solaris
It is with pleasure that I recall my time as a student at the Bavarian Theatre Academy August Everding.
I am very grateful to have been given the opportunity to gather my first stage experience there.
To be able to work together with such renowned conductors, directors and orchestras during your studies is probably unique in Germany.
2015: Debut at the Konzerthaus Berlin in Weill’s Der Silbersee
Since 2014/2015: Member of the Opera Studio at Frankfurt Opera
2014: Debut at Frankfurt Opera as Eurydice in Telemann’s Orpheus, Humperdinck’s Hänsel und Gretel and Weber’s Euryanthe
Lead female role at the Staatstheater am Gärtnerplatz, Munich in Wilfried Hiller’s ballad opera Der Flaschengeist
Debut at the Kurt Weill Festival Dessau as Jennie in Weill’s Down in the Valley
2013: Debut in Munich as the governess in Britten’s The Turn of the Screw
2012: Serpetta in Mozart’s La finta giardiniera with the Bamberg Symphony
Servilia in Mozart’s La clemenza di Tito in Munich,
Debut at the Prince Regent’s Theatre Munich as Antoinette in Oscar Strasnoy’s Le Bal
It is not without good reason that the Theatre Academy August Everding has established itself in recent years as one of Germany’s highest-profile and largest training facilities for stage professions of all kinds. As a former singing student at the University of Music and Performing Arts Munich, the many scenic and cross-genre music theatre productions and cooperations with various other institutions gave me an ideal introduction to the extremely demanding opera-singing profession. In addition, cooperation with outstanding, historically-versed orchestras and conductors such as the Hofkapelle Munich and the Baroque specialist Michael Hofstetter, and practically-orientated scenic development with directors such as Christoph Nel and Balász Kovalik have for me enhanced the synergetic process between theory and practice. It was always possible to be wonderfully experimental, both musically and scenically, to test one’s limits, mature as an artist and get to know all kinds of fantastic new colleagues. Thus, the Theatre Academy August Everding has had a major beneficial impact on my life and career path as a countertenor.
2013: Title role at the Deutsche Oper am Rhein in Handel’s Xerxes
Debut at the Festival International d'Art Lyrique d'Aix-en-Provence as Menelao in Cavalli’s Elena
2012: Role debut at Frankfurt Opera as Endimione in Francesco Cavalli's La Calisto
Debut at the Opéra Royal de Versailles with Hasse’s Didone abbandonata
Debut at the Semperoper Dresden in Martini’s intermezzo La Dirindina
2011: Role debut at the Prince Regent’s Theatre as Iarba in Hasse’s Didone abbandonata
Debut at the Staatsoper Berlin in Last Desire
2010: Debut at Frankfurt Opera as Ruggiero in Vivaldi’s Orlando Furioso
2009: Debut at the Prince Regent’s Theatre Munich in the title role in Vivaldi’s Orlando furioso
Debut at the Salzburg Whitsun Festival, the Ravenna Festival and the Opéra National de Paris as Adrasto in Jommelli’s Demofoonte
The Academy was a "good school" for me. As a newly-qualified opera singing student, I felt as if I had entered the “professional scene”. Everything was so real, so professional. Things like "How do I act at rehearsal when I have a cold?", respect for the work of the conductor, filling in holiday forms, getting to grips with the directorial concept, finding my role with the tools of the trade that I had been given – vocal technique, acting lessons, kinematics, elocution lessons – and all that within the real-life rehearsal period of about six weeks! Our professors and lecturers kept a watchful eye on us, and if there were any difficulties, we could also be given individual support. I realised how good this "good school" was for me, particularly when I moved on seamlessly after graduation to become a member of an ensemble – and already had acquired the tools of the trade. So the transition was not a particularly major one. Fortunately, because there was a lot to be learnt there, too, of course. The Theatre Academy? The best thing that could have happened to me! A good school that has been a firm foundation for turning my dream profession into reality.
2013: Debut at the Bavarian Staatsoper Munich as Blonde
2012: Debut at the Stadttheater Klagenfurt as Arsena in Der Zigeunerbaron
Role debut at the Deutsche Oper am Rhein in the title role in Stravinsky’s Nightingale
Debut at the Teatro dell'Opera di Roma as Papagena in Mozart’s Magic Flute
2010: Winner of the Bayerischer Kunstförderpreis 2010 in the Performing Arts section
Role debut at the Gärtnerplatztheater as Adele in Strauss‘ Die Fledermaus
Debut at the Deutsche Oper am Rhein as Blonde in Mozart’s The Abduction from the Seraglio
2009: Role debut at the Gärtnerplatztheater as Pamina in the Magic Flute
Role debut at the Gärtnerplatztheater as Eurydice in Orpheus in the Underworld
Debut at the Vienna Volksoper as Zerline in Fra Diavolo
2007 – 2011: Ensemble member at the Staatstheater am Gärtnerplatz
The course in Music Theatre/Opera Performance offered me the great opportunity to be allowed to work with a professional orchestra at an early stage in my studies and to get to know daily routines in the theatre under real-life conditions. This preparation helped me immensely in setting out on my career path.
2016: Debut at the Kölner Oper and Theater an der Wien as Leporello in Mozart’s Don Giovanni
2015: Tour with the Freiburger Barockorchester conducted by René Jacobs as Commendatore and Masetto in Mozart’s Don Giovanni
Since 2012/13: Permanent member of the ensemble of the Bayerische Staatsoper
2013: Sarastro in Mozart’s Magic Flute at Munich’s Prince Regent’s Theatre
2010/11-2012/13: Opera Studio at the Bayerische Staatsoper