Hanna-Elisabeth Müller2014 © Chris Gonz

Hanna-Elisabeth Müller

Hanna-Elisabeth Müller studied under Rudolf Piernay at the University of Music Mannheim, with whom she continues to work closely, following her graduation as a soloist. She applied the finishing touches to her training by attending master classes by Dietrich Fischer-Dieskau, Julia Varady, Edith Wiens, Elly Ameling, Thomas Hampson and Wolfram Rieger. Following first guest performances as Eurydike in Gluck’s Orpheus and Eurydice at the Kammeroper Rheinsberg – ‘Eurydice outclassed everyone else in stage presence: With her clear, yet expressive soprano, Hanna-Elisabeth Müller created the most touching moments of the evening’ Opernglas, June 2010 – she was a member of the Bavarian State Opera’s studio during the 2010/11 season. In March 2012 she had her debut as Pamina at the Teatro dell’opera di Roma. Since the 2012/13 season she has been a member of the ensemble of the Bavarian State Opera, where she could be seen in parts including Pamina, Zerlina or as Gretel in a new production of Hänsel und Gretel . At the end of her first season she received the Festival Award of the Society of Sponsorship of the Munich Opera Festival for her numerous performances. More debuts are waiting for Hanna-Elisabeth Müller in her second season: as The Guardian of the Threshold in Frau ohne Schatten under the direction of the new music director-general Kirill Petrenko, as Servilia in La Clemenza di Tito and as Princess and Dwarf in L’enfant et les Sortilèges (under Martin Brabbins). In 2014 she has her debut at the Salzburg Easter Festival, where she can be seen as Zdenka in a new production of Richard Strauss’s Arabella, alongside Renée Fleming and Thomas Hampson, under the direction of Christian Thielemann. The versatile young soprano is also a regular performer in recitals and concerts, if her busy opera activity leaves her enough time. Her concert repertoire reaches from Bach’s secular cantatas to The Creation by Haydn to Beethoven’s Missa solemnis or Mahler’s Symphony No 4, all of which she performed at the Ansbach Bach week, with the RIAS Kammerchor, on tours with the Orchestre des Champs Elysées under Philippe Herreweghe, the Oregon Bach Festival under Helmuth Rilling and at the European Music Festival in Stuttgart under Michael Sanderling. In April 2013 she sang with Robin Ticciati and the Bamberg Symphony Orchestra for the first time (Bruckner’s Mass in F minor – this was also recorded on CD for Tudor). In the autumn of 2014 she will take on the solo part in Brahm’s Requiem with the West German Radio Symphony Orchestra under the direction of Jukka Pekka Saraste. Following her debut recital at the Heidelberg Spring in 2011, she collaborated with the renowned accompanist Wolfram Rieger at the Schubertiade Vilabertran for the first time. Further recitals took her to the Schwetzinger Festival with Juliane Ruf, to the Cologne Philharmonic and to De Singel in Antwerp. Hanna-Elisabeth Müller has been the SWR2 New Talent since early 2013; this is the new official programme to promote young talent on the part of the broadcaster, which will accompany her for the next three years.


Maximilian Krummen © Jessica Meyer

Maximilian Krummen

German baritone Maximilian Krummen finished his studies at Music-University of Cologne in 2013. His teachers were Melinda Liebermann, Dieter Schweikard and Lioba Braun.
Currently he is a member of the operastudio at Deutsche Staatsoper in Berlin, where he is singing roles like Fiorello (Barber of Seville), Barone Douphol (Traviata) and modern-music-productions as Choregos (Punch and Judy, Harrison Birtwistle) and Marius (Tarquin, Ernst Krenek).
Most important stage performances were Papageno (Theater Aachen) and Guglielmo (Forum Musiktheater Hamburg). The same role he will be performing at the Bregenz Festival in summer 2015.
The young baritone sets a high value on Lieder singing. He took part in the Lied-Academies of Heidelberg Frühling in 2011 and 2012 and sang Schubert’s Schöne Müllerin in the Lied & Tanz – Project together with German Bundesjugendballet. Recitals led him to festivals among Europe, where he performed Schöne Müllerin, Winterreise and Schöne Magelone as well as concerts with various Lied repertoire.

Salome Kammer © Andreas Ludwig

Salome Kammer

To call Salome Kammer a great singer would be an understatement. In fact, she is a phenomenal
vocal acrobat who knows no limits between speaking and singing, humour and solemnity.
(Süddeutsche Zeitung)
Salome Kammer’s talent transcends musical boundaries. Her repertoire defies categorisation and is
comprised of a mix of avant-garde music, virtuoso voice experiments, classical melodrama, lieder
recitals, dada poetry and Broadway songs. Whether performing as a singing actress or as an acting
singer, Kammer’s stage presence in musical cabaret and theatre roles is fascinating. Numerous
contemporary music works have been dedicated to and premiered by her, both nationally and
internationally. Composers such as Helmut Oehring, Wolfgang Rihm, Georges Aperghis, Bernhard
Lang, Luca Lombardi and Jörg Widmann have dedicated works to her, inspired by the manifold facets
of her voice and her exceptional expressiveness.
Salome Kammer studied music from 1977 to 1984, majoring in cello and studying with Maria Kliegel
and Janos Starker in Essen. In 1983, she was engaged at the Heidelberg Theatre appearing in
countless plays, musicals, and operettas. In 1988, she moved to Munich to begin filming Die zweite
Heimat with director Edgar Reitz. While working on this monumental film project, she began her formal
vocal training, taking lessons from teachers such as Yaron Windmüller. She has been performing as a
vocal soloist in contemporary music concerts since 1990. Heimat 3, the next part of the Heimat series
which was premiered in Venice in 2004 and broadcast throughout Europe, also allowed her to exhibit
the breadth of her abilities in the role of Clarissa.
Her wide-ranging repertoire includes classics of modern music such as Schoenberg’s Pierrot Lunaire
and String Quartet No. 2, Seven Deadly Sins by Weill, La fabricca illuminata by Nono, works by
composers such as Cage, Berio, Zender, Rihm and Kurtág, Weill and Eisler Lieder, and the role of
Eliza Doolittle in My Fair Lady. Because of her expertise in interpreting Kurt Weill’s music, Salome
Kammer has been invited to appear at the Rheingau Music Festival and at the Kurt Weill Fest Dessau.
She is also a regular guest at the Beethovenfest Bonn, most recently in 2012 in Schönberg’s
Gurre-Lieder. For the first time in Japan, she gave several recitals and a master class at the invitation
of the Goethe Institute in June 2013.
Salome Kammer has wowed audiences in numerous productions of new operas including Helmut
Lachenmann’s Das Mädchen mit den Schwefelhölzern at the Stuttgart Opera and the Opéra National
de Paris, Jörg Widmann’s Das Gesicht im Spiegel at the Bavarian State Opera, and Isabel Mundry’s
Die Odyssee – Ein Atemzug at the Deutsche Oper Berlin. She sang in Peter Eötvös’s Lady Sarashina
at the Opéra national de Lyon, the Opéra Comique Paris and at the Polish National Opera in Warsaw
to great critical acclaim, as well as in Ligeti’s Aventures & Nouvelles Aventures in Munich. She
performed Kurtág’s Kafka Fragments with violinist Carolin Widmann in Paris, Strasbourg, Berlin, Oslo,
Salzburg and Milano and sang Brice Pauset’s solo work Exercices du Silence at the Berlin State
Opera in 2011. In January 2014, she made her successful debut as Elsa in Sciarrino’s chamber opera
Numerous radio and CD productions document Salome Kammer’s exceptional talent, among them a
recording of Schoenberg’s Jakobsleiter (Harmonia Mundi) as well as Lachenmann’s Mädchen mit den
Schwefelhölzern (Kairos). Her CDs I hate music, but I like to sing (Capriccio) with works by
Schoenberg, Weill, Bernstein and Britten amongst others, and salomix-max (wergo) received rave
reviews, as well as her recent album I’m a Stranger Here Myself, featuring music by the exiled
composers Kurt Weill and Hanns Eisler.
In the 2014/15 season, Salome Kammer will appear alongside Daan Vandewalle at the Ghent Festival
of Flanders in De Handelsbeurs interpreting lieder by composers such as Eisler, Berg, Scriabin and
Schwitters, The duo also has been invited to the Concertgebouw Brugge. She will give the world premieres
of works by Richard Rijnvos and Seung-Ah Oh at the Muziekgebouw aan ‘t IJ as part of the Cello Biennale
Amsterdam, and will once again perform with the Ensemble Contrechamps with Zender’s Cabaret Voltaire
and Schönberg’s Brettl-Lieder.
Salome Kammer teaches Theory and Performance of Contemporary Music at the Munich