Theresa Pilsl

Theresa Pilsl is a promising young soprano. In 2018 and 2019 she took part in the Lied Academy of Heidelberger Frühling and will come back in 2021 for a Fellow Concert. She was recently awarded the prestigious Emmerich Smola Förderpreis as part of the SWR Young Opera Stars 2020 programme. In this context the young soprano was also awarded the Prize of the German Radio Philharmonic Orchestra. This season she reprises her role as Ela Delahay with the Kammeroper München in the operetta Charleys Tante. In April she returns as a Fellow of the Lied Akademie to the Heidelberger Frühling Festival, where she will perform various recitals. Upcoming engagements include a Liederabend at Konzerthaus Blaibach, Bachs b-minor Mass with the Euridice Baroque Orchestra in Passau, and a Solorecital at the Tauberphilharmonie Weikersheim. In August 2018, Theresa won both the audience prize and the Vienna Konzerthaus prize at the 9th International Cesti Competition in Innsbruck. Later that year she was also awarded the special prize of the Walter Kaminsky-Stiftung at the Bundeswettbewerb Gesang Berlin. She was awarded the first prize at the Bundeswettbewerb Gesang Junior, 2014. Further career highlights so far include, a Schubert-Liederabend at the Pierre-Boulez-Saal, Berlin with Wolfram Rieger, a solo recital at the Vienna Konzerthaus, with the Impulsia Ensemble (both 2019), Bach Magnificat and Saint-Saëns Oratorio de Noêl with the Montreal Symphony Orchestra with Maestro Kent Nagano (2017). Theresa is alumna and scholar of the Heidelberger Frühling Festival Lied Akademie having worked with Thomas Hampson, Graham Johnson and Hartmut Höll (2018/19) and the Internationale Meistersinger Akademie 2019, where she worked closely with Edith Wiens, Malcolm Martineau and Brigitte Fassbänder. Since April 2018, she has been a scholar of the Yenudi Menuhin Live Music Now e.V. She is a graduate of UDK Berlin having studied with Julie Kaufmann. In August 2019 she finished her Masters of Arts in Opera at the HfM Hanns Eisler Berlin with Anna Korondi, whilst studying medicine concurrently at the Charité Berlin, as well as being a fellow of the Konrad-Adenauer-Stiftung.

Olga Pasichnyk

Olga Pasichnyk (Pasiecznik) born in Ukraine. She studied piano and musical pedagogy in native Rivne, voice at the Kiev Conservatory and at the Chopin Academy of Music in Warsaw (postgraduate studies). In 1992 she became a soloist of the Warsaw Chamber Opera.

She sang with success major roles in operas of Monteverdi, Pergolesi, Gluck, Handel, Mozart, Weber, Rossini, Verdi, Puccini, Bizet, Debussy, Tchaikovsky, contemporary composers in the most of the countries of Europe, in Australia, Canada, Japan, Australia and USA. Olga Pasichnyk performed at numerous concerts and international music festivals in the famous concert halls and theatres, incl. Opéra National de Paris – Opéra Bastille, Palais Garnier, Théâtre des Champs-Élysées, Théâtre Châtelet, Salle Pleyel (Paris), Concertgebouw (Amsterdam), Berliner Konzerthaus, Teatro Real, Auditorio Nacional de Música (Madrid), Bayerische Staatsoper, Palais des Beaux-Arts, Théâtre Royal de la Monnaie (Brussels), Theater an der Wien, Bregenzer Festspiele (Austria), Grand Théâtre de Genève, Finnish National Opera, Flemish Opera, Polish National Opera etc., collaborate with Belgium and Polish National Philharmonic Orchestra, Polish National Radio Orchestra, RTVE, Orquesta Nacional de España (Spain), Luxemburg Philharmonic Orchestra,  with orchestras Sinfonia Varsovia (Poland), National Philharmonic of Russia, of Teatro del Maggio Musicale Fiorentino (Florence), Wiener Symphoniker, L’Orchestre de Radio France, L’Orchestre National de France, Orchestre Colonne (Paris), Das Neue Orchester (Cologne), La Grande Ecurie et La Chambre du Roy and Les Musiciens du Louvre – Grenoble (France), The English Concert, European Union Baroque Orchestra, Academy of Ancient Music, Akademie für Alte Musik Berlin, Freiburger Barockorchester, Concerto Vocale, Collegium Vocale Gent, Collegium Novum Zürich, Orchestra of 18th Century conducted by H. Bicket, I. Bolton, F. Brüggen, J.-C. Casadesus, M. Creed, R. Jacobs, R. Goodman, H. Holliger, Ph. Herreweghe, K. Kord, J.-C. Malgoire, J. Maksymiuk, A. de Marchi, M. Minkowski, P. McCreesh, J. Nelsson, P. Neumann, K. Ono, S. Oramo, A. Parrot, K. Penderecki, T. Pinnock, M. Soustrot, A. Spering, C. Spering, M. Viotti, A. Wit, M. Zanetti.

Olga Pasichnyk is the Prizewinner of the International Vocal Competition in s’Hertogenbosch (the Netherlands, 1994 – II prize), Mirjam Helin International Singing Competition in Helsinki (Finland, 1999 – II prize) and The Queen Elisabeth International Music Competition (Belgium, 2000 – III prize, Special Oratorio Prize and Public Prize). She got twice the Fryderyk (the highest Polish phonographic award) for the best solo recordings on 1997 and 2004 (Szymanowski and Lutoslawski), Orfeusz (Warsaw Autumn Festival prize) on 1999, Golden Cross of merit of Poland (2001), A. Hiolski’s prize for the best female opera role of 2004 (Melisande, Debussy – Pelleas et Melisande – Polish National Opera). In 2005 she was nominated as the best opera singer of season 2004/2005 as Almirena (Handel, “Rinaldo”) and 2009-2010 as Roxana (Szymanowski, King Roger) by International Opera Magazine “Opernwelt”. In 2006 she got a Münchner Opernfestspiele prize. In 2011 – the annual Award of the Polish Minister of Culture and National Heritage, and in 2012 – Officer’s Cross of the Order of Merit of the Republic of Poland.

She recorded over 50 CD’s and DVD’s for different labels incl. DABRINGHAUS UND GRIMM, Harmonia Mundi, NAXOS, OPUS 111.

Martha Harreiter

Anna Lucia Richter & Michael Gees: »Extempore«

In cooperation with Heidelberg University

»Zugabe« Jörg Tröger talks to Anna Lucia Richter and Michael Gees

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Lied Late: Sarah Maria Sun

In Kooperation with UnterwegsTheater/Kunstlerhaus/HebelHalle

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A coproduction with PODIUM Festival Esslingen

In cooperation with UnterwegsTheater/Kunstlerhaus/HebelHalle

This concert will be tape-recorded by

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»The Hundred Colours of Exile and Love«

Anna Prohaska

Austrian-English soprano Anna Prohaska made her debut aged 18 at Berlin’s Komische Oper as Flora in Britten’s The Turn of the Screw and soon after with the Staatsoper Unter den Linden Berlin, entering the ensemble at age 23. She has since gone on to have an extraordinary international career with some of the world’s greatest opera houses and orchestras, though the Staatsoper remains her artistic home.

Noted for her diverse repertoire with the Staatsoper, her roles include Anne Trulove, Susanna, Sophie, Oscar, Blonde, Poppea, Euridice, as well as world premieres by Beat Furrer and Peter Ruzicka. Conductors she has worked with include Daniel Barenboim, Sir Simon Rattle, Philippe Jordan, Gustavo Dudamel and René Jacobs.

Operatic highlights include Theater an der Wien for Saul, La Scala Zerlina Don Giovanni; Royal Opera House Constance Les Dialogues des Carmélites and Nannetta Falstaff ; Paris Opera Blonde Die Entführung aus dem Serail; Festival d‘Aix-en-Provence Morgana Alcina; Baden-Baden Sophie Der Rosenkavalier; Amsterdam Iphis Jephtha; Theater an der Wien as Anne Trulove, Marzelline and in Purcell’s Fairy Queen; Bavarian State Opera Blonde and Adele Die Fledermaus and Phani in the 2016 Munich Opera Festival’s production of Les Indes Galantes. In the 2016/17 season Anna was the “Focus” artist at the Alte Oper Frankfurt.

A regular guest at the Salzburg Festival, Anna has appeared as Zerlina, Despina, Deola in Luigi Nono’s Al Gran Sole Carico d’Amore, Susanna, Cordelia in Aribert Reimann’s rendition of King Lear and in concert with the NHK Symphony and the Vienna Philharmonic Orchestras.

In high demand on the concert platform, Anna has performed regularly with the Berliner Philharmoniker since her debut with them aged 24, performing under Rattle, Harding and Abbado. Other orchestras include the Vienna Philharmonic under Boulez; the Bavarian Radio Symphony Orchestra under Jansons, Harding, Blomstedt and Nézet-Séguin; the LSO under Rattle; Los Angeles Philharmonic under Dudamel; the Cleveland Orchestra under Welser-Möst and the Boston Symphony Orchestra under von Dohnányi. Recent seasons have included artistic residencies at Konzertahus Dortmund, Alte Oper Frankfurt and the Philharmonie Luxembourg.

Last season Anna sang Susanna Le nozze di Figaro and Ännchen Der Freischütz, alongside four new productions all for the Staatsoper Unter den Linden: Rameau’s Aricie cond. Simon Rattle, the world premiere of Violetter Schnee by Beat Furrer dir. Claus Guth, HimmelErde with Musicbanda Franui and Pamina in Yuval Sharon’s new production of Die Zauberflöte. For the Theater an der Wien Anna sang Angelica Orlando dir. Claus Guth. On the concert platform Anna returned to the Pierre Boulez Saal in Kurtág’s cycle Kafka-Fragments with violinist Isabelle Faust, following her performance at the opening ceremony of the hall in 2017. Anna made her debut for John Eliot Gardiner with Schumann and Haydn arias with the Bavarian Radio Orchestra, as well as a series of recitals and recording her new album “Paradise Lost” with pianist Julius Drake.

Highlights of the 19/20 season include several notable role debuts: Anna Die lustigen Weiber von Windsor, cond. Daniel Barenboim and Ilia Idomeneo for the Deutsche Staatsoper; title role Pelléas et Mélisande and L’Ange St Francois d’Assise for Hamburgische Staatsoper and the world premiere of Kaija Saariaho’s opera Innocence at the Aix-en-Provence Festival. Also for Deutsche Staatsoper, Anna reprises the role of Silvia in Beat Furrer’s Violetter Schnee. On the concert platform Anna embarks on a Matthew Passion tour RIAS Kammerchor and appears in recital with Igor Levit at the Philharmonie Cologne. Tours next season include Camerata Bern & Patricia Kopatchinskaja, a further European tour of Anna’s “Paradise Lost” programme with pianist Julius Drake, concerts in Spain and Germany of Anna’s “Night Music” programme with Ensemble 1700 and joining La Folia Barockorchester in Weimar for their “Glorious Revolution” programme.

Anna’s extraordinary diversity as a performer sees her excel as an early music specialist as well as being in high demand as an interpreter of contemporary music. Collaborations have included Nikolaus Harnoncourt and the Concentus Musicus, the Academy of Ancient Music and Arcangelo with Jonathan Cohen, Les Violons du Roy and Bernard Labadie, the Freiburg Barockorchester with Andrea Marcon and Lawrence Cummings, Akademie für Alte Musik Berlin and René Jacobs and Il Giardino Armonico with Giovanni Antonini. Tours this season include her own programmes Serpent & Fire, Medea with Il Giardino Armonico and Shakespeare & Music with the Akademie für Alte Musik Berlin. Roles created for Anna include Inanna in Jörg Widmann’s Babylon, world premiered at the Bayerische Staatsoper, Rihm’s Mnemosyne and Requiem Strophen with the Berliner Philharmoniker and the Bavarian Radio Symphony Orchestra, Samothrake with the Leipzig Gewandhaus Orchestra and Giacomo Manzoni’s Il Rumore del Tempo with Maurzio Pollini.

Anna’s various recordings and music videos made her the subject of a documentary feature “The Fabulous World of Anna Prohaska” dir. Andreas Morell in 2013. She has ventured into narrative cinema in The Casanova Variations dir. Michael Sturminger alongside John Malkovich. Recordings include Rufus Wainwright’s setting of Shakespeare sonnets with the BBC Symphony Orchestra Take all my Loves for Deutsche Grammophon, Pergolesi’s Stabat Mater, Mozart’s Entführung with Yannick Nézet-Séguin and the Chamber Orchestra of Europe, Berg’s Lulu Suite with Vienna Philharmonic, Bach Cantatas with Collegium 1704 and Václav Luks and Mozart’s Requiem with the Lucerne Festival Orchestra and Claudio Abbado. Her first solo album, Sirène, was released in 2011 on the Deutsche Grammophon label, followed by Enchanted Forest in 2013 and Behind the Lines in 2014. Her most recent album, Serpent & Fire: Arias for Dido and Cleopatra for Alpha with Il Giardino Armonico and Giovanni Antonini entered the top of the German classical music charts immediately after release.

Anna studied interpretation, piano and music theory with Eberhard Kloke before attending the Hanns Eisler School of Music Berlin. She is the recipient of numerous awards, including the Kunstpreis from the Academy of Arts Berlin.

Sheida Damghani

Sheida Damghani was born in 1986 in Shiraz, Iran. At the age of ten, she received her first violin lessons. At the age of 18 she received singing lessons by Hasmik Karapetiyan and later by Vijay Upadhyaya in the Austrian Cultural Forum in Tehran. At the same time she studied physics at the University of Mazandaran. In 2008, she began her studies at the Hochschule für Musik und Theater Hamburg, where she attended numerous master classes, by Reri Grist, Margreet Honig and Rudolf Jansen among others.

In the Forum of HfMT Hamburg Sheida Damghani sang the Clizia in Handel’s Teseo, the Susanna in Mozart’s opera Le Nozze di Figaro and the title role in Poulenc’s opera Les Mamelles de Tirésias. While studying, the soprano performed as a Cupido in Orpheus in the underworld at the Kiel Theater and performed with Barock Hamburg as Venus in Mattheson’s Wedding Serenata. In 2014 she completed her master’s degree in opera with Prof. Carolyn G. James.

In October 2014, she sang Riehms Pasolini in Ostia at the Hamburg Staatsoper. »The loose manner in which Sheida Damghani used the coloratura acrobatics in Riehm’s »Micro-Oratorio« was a very artistic breakthrough.« (Hamburger Abendblatt)

During the seasons 2014/15 and 15/16 the young soprano was member of the operatic studio at the Komische Oper Berlin. Here she was seen, among others, as Papagena in The Magic Flute, Gerda in Valtinoni’s The Snow Queen, Frasquita in Carmen, and Barrie Kosky’s new production of Moses and Aron as the second naked virgin under the direction of Vladimir Jurowski. In February 2016 she could be heard as Ernestine at the KOB in Salon Pitzelberger at the Offenbach Festival.

As a member of the ensemble of the concert and theater St. Gallen since 2016/17, she is, among others, Pauline in the premiere of the first opera by David Philip Hefti Anna’s mask, Amore in Gluck’s Orfeo ed Euridice with Xavier Sabata as Orfeo and George Petrou as conductor, and as Anna In Loreley with David Alden as a director.

Magdalena Hinz

24-year-old soprano Magdalena Hinz, born in Laufen/Bavaria, has been studying with Gudrun Pelker since October 2015 and with Jan Philip Schulze at Hanover University of Music, Theater and Media. Master classes with Christine Schäfer and Edith Mathis complemented their training.

She began her vocal education at the age of 15. In 2008 she sang the role of “Maria” at the “Salzburger Adventsingen” in the Grand Theater and took over the part of the “Angel” in the following three years. She won the first prize in the “Prima la musica” competition in Salzburg in 2007 and 2010. Concert performances and Lieder recitals at the State Theater Darmstadt and the world premiere of the song cycle “El gorrión” by Daniel Vargas (* 1986) in the Jagdschloss Kranichstein followed.

Her first guest performance led her to Osnabrück Theatre, where she was to be seen as a bride “Quiteria” by G. Ph. Telemann in the children’s opera “Don Quixotte at the wedding of Comacho” in the 2015/16 and 2016/17 season.