A Failed Film Project in Austria: Interwar Star Franziska Gaal’S Unmade Post-War Comeback 23 April 2021, 2 Pm (BST)

Total Page:16

File Type:pdf, Size:1020Kb

A Failed Film Project in Austria: Interwar Star Franziska Gaal’S Unmade Post-War Comeback 23 April 2021, 2 Pm (BST) H-Announce BAFTSS New Connections Talk: A Failed Film Project in Austria: Interwar Star Franziska Gaal’s Unmade Post-War Comeback 23 April 2021, 2 pm (BST) Announcement published by Hanja Daemon on Friday, April 9, 2021 Type: Seminar Date: April 23, 2021 Subject Fields: Film and Film History, German History / Studies, Humanities, Research and Methodology, Contemporary History Dr Hanja Dämon’s talk intercedes in the growing field of unproduction studies, which focuses on the study of the unmade, unseen, and unreleased. It does so through a case study of post-war European production cultures and celebrity. A project prominently advertised in Austria between the end of 1946 and spring 1947 promised the return of a beloved star of the 1930s to Vienna: The Hungarian- born Jewish actress Franziska Gaal. Extremely popular in interwar German-language cinema, she left for Hollywood once she was no longer welcomed in Nazi Germany and Austria. Her post-war comeback was to be produced by the company ‘Kollektiv-Film’, founded by Franz Antel, who was to become a prolific Austrian director over a decades-spanning career. Other names associated with the project were Adolf Wohlbrück/Anton Walbrook, slated to return from Great Britain to Austria, and star composer Robert Stolz. The talk explores why the film remained unmade, touching on the conditions of filmmaking in Austria in this period, and providing a backstory to the ‘Kollektiv-Film’, which, in the end, only ever made one film, the musical comedyDas Singende Haus (The Singing House, dir. by Franz Antel) and soon collapsed. This talk is hosted by Dr James Fenwick (Sheffield Hallam University, Centre for Culture, Media and Society) and sponsored by the BAFTSS New Connections programme. Contact Info: Please join us for a forthcoming talk on unmade film by Dr Hanja Dämon, sponsored by the BAFTSS New Connections programme and hosted by James Fenwick (Sheffield Hallam University), taking place on Friday 23 April 2021 (1400-1530). Make sure to sign up on Eventbritehere to receive an invitation to this online event. Attendance free Contact Email: [email protected] URL: https://blogs.shu.ac.uk/c3riimpact/baftss-new-connections-dr-hanja-daemon-a-failed-film-project/ Citation: Hanja Daemon. BAFTSS New Connections Talk: A Failed Film Project in Austria: Interwar Star Franziska Gaal’s Unmade Post- War Comeback 23 April 2021, 2 pm (BST). H-Announce. 04-09-2021. https://networks.h-net.org/node/73374/announcements/7542686/baftss-new-connections-talk-failed-film-project-austria Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1.
Recommended publications
  • ARSC Journal
    HISTORICAL VOCAL RECORDINGS ROSSINI: Le Comte Ory. Michel Roux, basso (Robert); Jeannette Sinclair, soprano (Alice); Juan Oncina, tenor (Count Ory); Monica Sinclair, con­ tralto (Ragonde); Ian Wallace, baritone (The Governor); Cora Canne­ Meijer, mezzo-soprano (Isolier); Sari Barabas, soprano (Countess Adele); Dermot Troy, tenor (A Young Nobleman); The Glyndebourne Festival Or­ chestra and Chorus; Vittorio Gui, conductor. EMI RLS 744. "The delicious Comte Ory," wrote Chorley in 1854, "has, with all the beauty of its music, never been a favorite anywhere. Even in the theater for which it was written, the Grand Oplra of Paris, where it still keeps its place - when Cinti-Damoreau was the heroine - giving to the music all the playfulness, finish, and sweetness which could possibly be given - the work was heard with but a tranquil pleasure ••• " He goes on to blame the libretto (by Scribe and Delaistre-Poirson) which in its day was indeed rather shocking, with Count Ory's "gang" gaining admission, disguised as nuns, to the castle of the Countess he is pursuing - male voices and all! The opera was rediscovered in the 1950's and enjoyed a real success at Glyndebourne in 1954. The recording was made two years later. The New York City Opera finally got around to Le Comte Ory a year or so ago. There are several obvious reasons for the neglect of this gem of an opera. Though the score is full of delights there is no Largo al facto­ tum or Una voce poco fa. The arias are brilliant but not sure fire. It is not a vehicle; the soprano and tenor roles call for virtuosity of a high order, but this is an ensemble opera and no one can take over the spotlight.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • Robert Stolz Vienne En Flânant Mp3, Flac, Wma
    Robert Stolz Vienne En Flânant mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Vienne En Flânant Country: France Released: 1981 Style: Romantic, Operetta MP3 version RAR size: 1631 mb FLAC version RAR size: 1942 mb WMA version RAR size: 1490 mb Rating: 4.1 Votes: 998 Other Formats: VOX MP3 WAV DXD VQF AU MPC Tracklist Hide Credits La Chauve Souris Composed By – Johann Strauss (Fils)* A1 Ouverture 8:00 Le Baron Tzigane Composed By – Johann Strauss (Fils)* A2 Ouverture 7:30 Le Pays Du Sourire Composed By – Franz Lehár A3 Ouverture 8:00 Die Romantiker, Op. 167 (Valse) B1 7:10 Composed By – Joseph Lanner* Abend Sterne Op. 180 (Valse) B2 5:40 Composed By – Joseph Lanner* Hans Jorgel Polka Op. 194 B3 2:30 Composed By – Joseph Lanner* Die Schönbrunner Op. 200 (Valse) B4 7:20 Composed By – Joseph Lanner* Paris Walzer Op. 101 B5 5:20 Composed By – Johann Strauss (Père)* Extempore Op. 241 (Polka Française) C1 3:00 Composed By – Joseph Strauss* Schützen Quadrille C2 5:00 Composed By – Johann Strauss (Fils)*, Joseph Strauss* Bad'ner Mad'In Op. 257 (Valse) C3 6:00 Composed By – Karl Komzak* Opernball Walzer C4 7:30 Composed By – Richard Heuberger L'Or Et L'Argent Op. 69 (Valse) C5 8:00 Composed By – Franz Lehár Hommage À Robert Stolz D1 Parade De Printemps (Marche) 2:46 D2 Adieu Mon Petit Officier (Marche) 3:06 D3 Quand Fleurissent Les Violettes (Fox Trot) 3:33 D4 Deux Cœurs, Une Valse (Valse) 2:38 D5 Printemps A Vienne (Lied) 3:03 D6 Hallo Hallo (Fox Trot Rapide) 1:58 D7 Mon Chant D'Amour Est Une Valse 3:05 D8 Viens (Slow) 3:21 D9 Salomé (Roméo) (Fox Trot Oriental) 3:27 Companies, etc.
    [Show full text]
  • After 25 Years of Common EU Membership - Working Together for a Greener European Future OPENING WORDS
    After 25 years of Common EU Membership - Working Together for a Greener European Future OPENING WORDS Gunvor Kronman, CEO, Hanaholmen – Swedish-Finnish Cultural Centre Excellencies, Ladies and gentlemen, It’s my great pleasure to wish you all warmly welcome to this seminar celebrating the 25th anniversary of Austrian, Finnish and Swedish EU-membership. Hanaholmen is an institution where normally two countries, Sweden and Finland, are brought together to create added value from co-operation in the fields of culture, society and business. Today, we In the early membership phase, the Lisbon are honoured and delighted to include Strategy set as aim to make the EU the Austria as partner in our programme. most competitive and dynamic knowl- edge-based economy in the world by 2010. We had a genuine challenge, when deter- It was succeeded by the Europe 2020 strat- mining the topic of the seminar, which egy, an agenda for growth and jobs for the included a multitude of candidates, among next decade, emphasizing smart, sustain- others: able and inclusive growth. In December • the future of multilateral 2019, the European Commission presented co-operation the European Green Deal for making the • reflections on EU negoti- EU’s economy sustainable by turning ations and membership climate and environmental challenges into from key EU-profiles opportunities. • the successes and chal- lenges of free mobility The programme is the result of fruitful co-op- • effects on border-regions eration between the Austrian Embassy, from EU-membership the Swedish Embassy, the Finnish Ministry for Foreign Affairs, the Finnish Institute for It was clear that we wanted to have a strong International Affairs and Hanaholmen – the focus on the future of the EU, so in the end, Swedish-Finnish Cultural Centre.
    [Show full text]
  • People's Life and Music in Vienna in Early 20Th Century
    People's Life and Music in Vienna in early 20th Century Yoshio MASUDA and Elisabeth HUBL* (*Department of Chemistry, University of Vienna) Vienna is a unique city in Europe, located in the "Mitteleuropa," the former territory of the Habsburg Empire. It was the center of politics and culture, keeping the throne of Holy Roman Empire of Germany for several hundred years, dominating the whole of Ger­ many, until the Napoleon War early in 19th century. In fact, Viennese culture devel­ oped afterward through the century, as can be seen in science, literature, philosophy, arts, music, etc., It was the case after the Empire had lost its political influence on the whole Europe, therefore the time, the 19th century, being called "Golden Autumn"(H. Spiel, 1987). It is said that the 19 th century continued until 1914 in Vienna, when World War I broke out. Kaiser Franz-Josef ascended the throne in 1848 during the time of revolution and stayed as Kaiser even after the unification of all Germany by Prussia, until 1916 when he died. It thus can be said that the period of Kaiser Franz-Josef was the high time for Vienna which, under hard situation of wars and revolutions, fostered its unparalleled culture. In order to look at this unique Viennese culture, we describe Wienerlieder and related music and discuss them in connection with people in Vienna during the time of turning of the century until Anschluss. 1. Wiener Lieblinge aus seinerzeit. In 1934 there was a song "Der Doktor Lueger hat mir die Hand gereicht (Once Doc­ tor Lueger gave me his hand)'' which was among "Wiener Lieblinge von seinerzeit" sung by the people of Vienna at the time.
    [Show full text]
  • ABSTRACT Developments in Viennese Operetta in Johann
    ABSTRACT Developments in Viennese Operetta in Johann Strauss, Franz Lehár, and Robert Stolz Joanie Brittingham. M.M. Thesis Chairperson: Laurel E. Zeiss, Ph.D. The first immensely popular composer of Viennese operetta was Johann Strauss. Later composers, including Franz Lehár and Robert Stolz, became famous and wealthy for continuing the traditions of the genre as codified by Strauss. The most notable works of these composers either became part of the standard repertory or are considered historically important for the development of light opera and musical theatre in some way. Therefore, I studied the most important elements of the genre, namely the waltz, exoticism, and local color, and compared how each composer used these common building blocks in their most successful operettas. Developments in Viennese Operetta in Johann Strauss, Franz Lehár, and Robert Stolz by Joanie Brittingham, B.M. A Thesis Approved by the Department of Music ___________________________________ William V. May, Jr., Ph.D, Dean ___________________________________ David W. Music, D.M.A., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee ___________________________________ Laurel E. Zeiss, Ph.D., Chairperson ___________________________________ Jean Ann Boyd, Ph.D. ___________________________________ Deborah K. Williamson, D.M.A ___________________________________ Daniel E. Scott, D.M.A. ___________________________________ Wallace
    [Show full text]
  • Podium Operette
    Podium Operette OPERETTEN ORTE.WIEN Klingende „Stolpersteine“ für Komponisten, Librettisten und SängerInnen Mit Studierenden des Universitätslehrgangs Klassische Operette. Montag, 23. Mai 2016 18.00 Uhr Musik und Kunst Privatuniversität der Stadt Wien MUK.podium Johannesgasse 4a 1010 Wien ProGRAMM Johann Strauss (1825–1899) aus Die Fledermaus (Friedrich Zell / Richard Genée), 1874, Theater an der Wien Im Feuerstrom der Reben Ensemble aus Wiener Blut (Arr.: Adolf Müller, jun.; Leo Stein/Victor Léon), 1899, Carl-Theater Grüß’ dich Gott, du liebes Nesterl Adriana Hernandez-Flores, Sopran aus Der Zigeunerbaron (Ignatz Schnitzer), 1885, Theater an der Wien Werberlied Wonbae Cho, Bariton Frühlingstimmen-Walzer (Richard Genée), 1883, Musikverein Junga Kang, Sopran Franz Lehár (1870–1948) aus Der Graf von Luxemburg (A. M. Willner/Robert Bodanzky), 1909, Theater an der Wien Ich bin verliebt Philipp Landgraf, Bariton aus Frasquita (A. M. Willner/Heinz Reichert), 1922, Theater an der Wien Schatz, ich bitt dich, komm’ heut Nacht Eiji Yokoo, Tenor aus Die lustige Witwe (Viktor Léon/Leo Stein), 1905, Theater an der Wien Vilja-Lied Adriana Hernandez–Flores, Sopran 2 aus Der Libellentanz (Carlo Lombardo/A. M. Willner), 1923, Stadttheater, Wien Gigolette (Ich hol’ dir vom Himmel das Blau) Richard Peter, Tenor aus Das Land des Lächelns (Ludwig Herzer/Fritz Löhner-Beda), 1929, Berlin, Metropoltheater/Wiener EA: 1930, Theater an der Wien Im Salon zur blauen Pagode Eliza Mandzik, Sopran aus Giuditta (Paul Knepler/Fritz Löhner-Beda), 1934, Wiener Staatsoper
    [Show full text]
  • Erwin SCHULHOFF CHAMBER MUSIC String Sextet • Violin Sonata No
    Erwin SCHULHOFF CHAMBER MUSIC String Sextet • Violin Sonata No. 2 • Duo • Cinq Études de jazz Spectrum Concerts Berlin Erwin Schulhoff (1894-1942) popular entertainment culture of European origin. He adopting Janáček’s procedure for composing melodies, Chamber Music dedicated each piece to a musican active in that field and he also takes over the Czech’s art of fluid but included Robert Stolz and Eduard Künneke, whom one nevertheless clearly delineated structure. This finds Since the 1980s, when his work experienced a cautious held in a different location each year, famous musicians, associates more with operetta and popular song, expression in the numerous changes of tempo in the international renaissance, the compositions of Erwin in particular from Czechoslovakia, often performing them alongside the ragtime and novelty virtuoso Zez Confrey outer movements, among other things. Schulhoff, who died in 1942 in the Wülzburg internment with Schulhoff himself at the piano. and Paul Whiteman. But then, Stolz and Künneke also camp near Weißenburg in Bavaria, have gradually been In terms of composition, 1924 was a fruitful year for used the fashionable American dances of the day in their Sonata No. 2 for Violin and Piano (1927) finding their way back into the concert hall. Nevertheless, Schulhoff. Among other works, he completed the Sextet cabaret and revue numbers. his work has not yet become part and parcel of the that had been lying unfinished since 1920. That same The Sonata No. 2 for Violin and Piano, composed in 1927 professional solo, ensemble and orchestral repertoires. year he published an article to mark Leoš Janáček’s 70th Duo for Violin and Cello (1925) and premièred at the ISCM Festival in Geneva on 7th One of the signs that a composer’s œuvre has become an birthday in the Viennese music journal Der Anbruch.
    [Show full text]
  • Commencement Concert 2016
    COMMENCEMENT CONCERT 2016 CO16-210 COMMENCEMENT CONCERT PROGRAM FRIDAY, june 10, 2016 • 8 P.m. Lawrence Memorial chapel Habanera, op. 21, no. 2 Pablo de Sarasate (1844–1908) Joseph Connor ’16 Sofie Yang ’16, violin Alexandra Damisch ’16 Juan Sebastián Avendaño, piano Jacob Fernandez ’17 Nathan Gornick ’18 Hallie Hillemann ’16 Annaeka Johnson ’16 From Falstaff Giuseppe Verdi “Sul fil d’un soffio etesio” (1813–1901) Craig Jordan ’19 Elena Stabile ’16, soprano Matthew Kierzek ’17 David Voss ’16, piano Brandin Kreuder ’16 Laetitia Lehman-Pearsall ’16 Jacinda Martin ’16 Katie Mueller ’16 Escape Wisconsin Caleb Burhans (b. 1980) Colin Parsons ’16 Colin Parsons ’16, saxophone Kayla Siembieda ’16 Elena Stabile ’16 Leo Sussman ’16 Kennison Ther ’16 From Concert Album for Left Hand Alone Leopold Godowsky David Voss ’16 Meditation (1870–1938) Laetitia Lehman-Pearsall ’16, piano Stephen Weikel ’16 Sofie Yang ’16 Dylan Younger ’16 Loops I Philippe Hurel (b. 1955) Leo Sussman ’16, flute Warp and Weft Paul Dooley (b. 1983) Annaeka Johnson ’16, oboe Nathan Gornick ’18, clarinet Colin Parsons ’16, saxophone Dylan Younger ’16, bass clarinet Jacob Fernandez ’17, bassoon 1 2 COMMENCEMENT CONCERT PROGRAM FRIDAY, june 10, 2016 • 8 P.m. Lawrence Memorial chapel Habanera, op. 21, no. 2 Pablo de Sarasate (1844–1908) Joseph Connor ’16 Sofie Yang ’16, violin Alexandra Damisch ’16 Juan Sebastián Avendaño, piano Jacob Fernandez ’17 Nathan Gornick ’18 Hallie Hillemann ’16 Annaeka Johnson ’16 From Falstaff Giuseppe Verdi “Sul fil d’un soffio etesio” (1813–1901) Craig Jordan ’19 Elena Stabile ’16, soprano Matthew Kierzek ’17 David Voss ’16, piano Brandin Kreuder ’16 Laetitia Lehman-Pearsall ’16 Jacinda Martin ’16 Katie Mueller ’16 Escape Wisconsin Caleb Burhans (b.
    [Show full text]
  • Ayn Rand's Counter-Worlds Claudia Franziska Brühwiler
    From a Society of Second-Handers to Galt's Gulch: Ayn Rand's Counter-Worlds Claudia Franziska Brühwiler Suggesting a contribution on Am Rand (1905-1982) usually calls for justifications, disclaimers, and caveats. Thus William O'Neill calls "[w]riting about Ayn Rand [ ...] a treacherous undertaking" (3); Lester Hunt observes how many professors feel agonized by the passion Rand evokes in their students ("Book Reviews" 394) and opens his own inquiry into her ideas with a plea "to bear with [him]" ("Thus Spake" 79). Why the agony? Hardly read in Europe generally, hardly read by most literary scholars, Rand is known in the United States of America as "the ultimate gateway drug to life on the right" (4), as historian Jennifer Burns put it. Originally born under the name Alisa Rosenbaum in pre-revolutionary Russia, Rand came to the US at the age of twenty-one and first tried her hand at screen writing in the studios of Cecil B. DeMille.' Her third novel, The Fountainhead (1943), brought her to national attention; not so much because critics praised it—in fact they did not—but thanks to word of mouth. The novel celebrates stark individualism, resistance to the needs of society, and it divides the world neatly into creators and second- handers. These themes are further developed in Atlas Shrugged (1957), the tale of, as Rand put it, the man who stops the motor of the world because the latter does not appreciate its most creative minds. Together with other great innovators who no longer want their talent to serve an ever greedy, demanding government and a desolate, dependent yet Biographic information can be obtained from a variety of sources, but the two most important biographies on Ayn Rand to date are Jennifer Bums's Goddess of the Market (2009) and Anne C.
    [Show full text]
  • Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940
    Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940 This appendix lists only operettas that appeared on both German-language and English-language stages. Whenever possible the number of perfor- mances of the first production in Vienna, Berlin, London, or New York has been checked from several sources. These include: J. P. Wearing, The London Stage, 8 vols., covering the period 1900–39 (Metuchen, NJ: Scarecrow Press, 2nd edn 2013–14); Burns Mantle, The Best Plays of 1909–19, and annual vols. 1920–25 (Boston: Small, Maynard) and 1926– 40 (New York: Dodd, Mead); Kurt Gänzl and Andrew Lamb, Gänzl’s Book of the Musical Theatre (London: The Bodley Head, 1988); Anton Bauer, 150 Jahre Theater an der Wien (Vienna: Amalthea-Verlag, 1952); Richard C. Norton, A Chronology of American Musical Theater, 3 vols. (New York: Oxford University Press, 2002); Gerald Bordman, American Operetta: From H.M.S. Pinafore to Sweeney Todd (New York: Oxford University Press, 1981), Appendix, 185–94; Stanley Green, Encyclopedia of the Musical Theatre (New York: Dodd, Mead, 1976); Robert Ignatius Letellier, Operetta: A Sourcebook (Newcastle upon Tyne: Cambridge Scholars, 2015); the Internet Broadway Database www.ibdb.com/index.php; The Guide to Light Opera & Operetta www.musicaltheatreguide.com/menu/ introduction.htm; the Operone database www.operone.de/ and the Ovrtur database of musicals www.ovrtur.com/. Note that performance statistics in Table II, 427–35 of Otto Keller, Die Operette in ihrer Geschichtlichen Entwicklung: Musik, Libretto, Darstellung (Leipzig: Stein Verlag, 1926) give the total number of performances on the German stage up to 1921 of operettas dating from 1900 and later.
    [Show full text]
  • Gruß Aus Wien
    ORCHESTERVEREIN DORNBACH-NEUWALDEGG Frühlingskonzert Gruß aus Wien Samstag, 11. Mai 2019, 16:00 Uhr Clemens-Hofbauer-Saal Kulmgasse 35, 1170 Wien Gefördert von der Gemeinde Wien, MA 7 ORCHESTERVEREIN DORNBACH-NEUWALDEGG Karin Kraftl 1983 in Wien geboren, erhielt Karin Kraftl neben Klavier- und Violinstunden auch ihren ersten Ge- sangsunterricht an der Musikschule Biedermanns- dorf/Laxenburg. Nach der Matura begann sie mit Musik- und Gesangspädagogikstudien an der Uni- versität für Musik und darstellende Kunst Wien bei Prof. Georgia Michaelides und schloss diese Studi- en in weiterer Folge mit Auszeichnung als zweifa- che Magistra artium ab. Wichtige pädagogische und künstlerische Impulse erhielt sie durch Meister- kurse bei Helene Schneiderman, Barbara Bonney, Noelle Turner und Sascha Wienhausen. 2007 sammelte sie mit der Partie der Baronin Frei- mann ( „Der Wildschütz“ von Albert Lortzing) erste Bühnenerfahrung in einer Inszenierung der Univer- sität für Musik und darstellende Kunst Wien unter der Leitung von Prof. Helga Meyer-Wagner. 2008 nahm sie an der Opernproduktion „Madame Butterfly“ im Rahmen des Musikfestival Steyr teil. Durch ihre rege Konzerttätigkeit (u.a. im Großen Saal des Wiener Musik- vereins) durfte sie bereits mit namhaften Dirigenten wie Prof. Ernst Würdinger, Prof. Conrad Artmüller und Nils Muus zusammenarbeiten. 2013 war sie in einer Produkti- on von Prof. Helga Meyer-Wagner als Gräfin Almaviva in Mozarts „Die Hochzeit des Figaro“ zu hören. Neben ihrer solistischen Tätigkeit war sie bis 2013 Mitglied diverser Chöre und En- sembles wie im Wiener Kammerchor, Wiener Singverein sowie im Zusatzchor der Staatsoper Wien und hat mit diesen viele große Werke der Chorliteratur aufgeführt. Seit 2006 arbeitet sie als Stimmbildnerin und Gesangspädagogin (u.a.
    [Show full text]