music theatre

Der Besuch vom kleinen Tod

based on „La visite de Petite Mort“ by Kitty Crowther, 2005, German translation by Maja von Vogel. Carlsen Verlag, Hamburg 2011

2.-6.11.2021 Vienna, Dschungel, Museumsplatz 1

Klaus Lang – music
Michael Scheidl – text & direction
Nora Scheidl – stage & costumes

with Rino Indiono & Jasmin Steffl &


Sylvie Lacroix, Flöte
Doris Nicoletti, Flöte
Stefan Obmann, Posaune
Thomas Märzendorfer, Posaune
Georgios Lolas, Akkordeon
Berndt Thurner, Schlagwerk
Thomas Wally, Violine
Daniele Brekyte, Violine
Rafal Zalech, Viola
Roland Schueler, Cello
Maximilian Ölz, Kontrabass

Eine Produktion von netzzeit im Dschungel Wien.
Kompositionsauftrag von netzzeit, gefördert durch die Ernst von Siemens Musikstiftung


Der Besuch vom kleinen Tod
music theatre by Klaus Lang (music) & Michael Scheidl (direction, libretto)

…Little Death is desperate: The people he brings to the realm of the dead are sad. They sigh. They freeze. They are scared. No one ever speaks to him …Until the evening when Little Death visits Elisewin. “You are finally here!” she says with a smile … Elisewin is happy: Little Death takes away all her pain…

more infos & tickets – website of NETZZEIT:

music theatre

Der Fremde

06. / 07. / 08. / 09. Oktober 2020 //  20:30
F23 Kulturzentrum
Breitenfurter Str. 176, 1230 Wien


Gerhard Winkler, music
Martin Horvarth, text
Kristine Tornquist, director 
François-Pierre Descamps, conductor

Romana Amerling. Bernd Fröhlich. Johanna Krokovay
Johannes Schwendinger. John Sweeney. Harald Wink


 Alessandro Baticci, flute
Reinhold Brunner, clarinet

Alvaro Collao Leon, saxophone
Spiros Laskaridis, trumpet
Stefan Obmann, trombone
Marwan Abado, oud
Georgios Lolas, accordion
Mathilde Hoursiangou, piano
Berndt Thurner, percussion
Ivana Pristasova, violin
Sophia Goidinger-Koch, violin
Petra Ackermann, viola

Roland Schueler, cello
Maximilian Ölz, double bass



Jury Everhartz
Sirene Operntheater


Der Fremde / The Stranger
Text. Martin Horváth | Music. Gerhard E. Winkler

A stranger asks for shelter. The father of the family welcomes the stranger, invoking the law of neighborly love. The son is outraged because harboring a stranger is against the law. The mother is irritated by the foreign culture and, above all, does not like the fact that the stranger and the daughter get closer. Only the blind daughter sees the stranger with the eyes of the heart – compassionate and without prejudices.

in the frame of
Die Verbesserung der Welt – ein Kammeropernfestival in sieben Runden
1.9.-13.11.2020 / by Sirene Operntheater

music theatre


Oct. 24. 2019
further performances: Oct. 26./31. & Nov. 01./02. 2019

OFF Theater Wien
Kirchengasse 41
1070 Wien


a production by netzzeit, in Coproduction with the Haydn Foundation

Creative Team

Arturo Fuentes, composition
Petra Weimer, direction
Ernst Kurt Weigel, Ilse Helbich, Lukas Meschik & Ensemble, text
Nora Scheidl, scenography
Florian Bach, sound design

Alexander Riff, assistent to director
Caroline Wiltschek, assistent to scenographer
Barbara Vanura, press


Kristina Bangert, May Garzon, Valentin Ivanov, Peter Raffalt, Jutta Schwarz, Tamara Stern


Sylvie Lacroix, flute
Spiros Laskaridis, trumpet

Dying is distressing. Even in Vienna, where according to a folkloristic cliche, a very familiar handling with the ultimate concerns is cultivated, dying doesn`t fit into the concept of neoliberal performance society. The mexican incarnation of death, La Catrina, stirs up a Viennese wedding party, who don`t suspect that on their reputed best day of their life they are entering the last path.  Santa Catarina leads and seduces the partying people to an excess, with different aspects of transcendences. Live music and sound clouds enable an ambiance for a narration out of monologues, dialogues, surreal images and tweets.


Tickets: zu € 20.- (StudentInnen, SchülerInnen, Zivildiener: € 13.- / Ö1-Club-Mitglieder und Standard-AbonnentInnen € 17.-)

music theatre


25.Jun.2021 // 19:30
Brucknerhaus, großer Saal

30.Jun.2021 // 19:30
Radiokulturhaus Wien

31.Jan.2021 // 19:30
Brucknerhaus, großer Saal
(cancellation due to Covid-19)

13.Feb.2021 // 19:30
Radiokulturhaus Wien
(cancellation due to Covid-19)

10.March 2020 // 19:30
Brucknerhaus, großer Saal
(cancellation due to Covid-19)

Franzobel | Libretto
Gerald Resch | composition
Alexander Hauer | direction
Julia Klug |  stage / costumes


Maxi Blaha | actress & voice
Wolfgang Kogert | organ


Walter Seebacher | clarinet & bass clarinet
Spiros Laskaridis | trumpet & flugelhorn
Ursula Fatton | harp
Maximilian Ölz | double bass



Hanni. Monologue with music (2018/19) (world premiere)

Gerald Resch
music for »Hanni. Monologue with music« for clarinet, trumpet, harp, double bass and organ   (2018/19) (UA)

commissioned by Brucknerhaus Linz

music theatre


public performances cancelled due to Covid19
13.Nov. 2020 // 19:00
14.15.Nov. 2020 // 17:00
Wien Modern
WUK Projektraum
Währinger Straße 59, 1090 Wien 

a project by Pia Palme, Paola Bianchi, Juliet Fraser, Irene Lehmann, Christina Lessiak −
an artistic research collaboration group as part of the Austrian Science Fund
PEEK Project »On the fragility of sounds« [AR 537]


Lars Mlekusch – conductor
Pia Palme – concept, composition, text, bass recorder
Juliet Fraser − voice (soprano), dance
Paola Bianchi − choreography, dance
Molly McDolan − oboe da caccia
Sonja Leipold – harpsichord


Christina Bauer – sound design, recording
Christina Lessiak − artistic assistant, research, production
Irene Lehmann − dramaturgy
Veronika Mayerböck – light
Christian Sundl – event assistant

For the video & trailer
Martin Siewert – sound editing
Michaela Schwentner – film direction and concept, editing
Martin Putz – camera

Funded by the FWF Austrian Science Fund
The project is hosted by the KUG University of Music and Performing Arts Graz, Centre for Gender Studies
Produced in cooperation with Wien Modern 2020


The performances will be carried out at the announced time in an adapted form as part of the research project of the Art University Graz. The filmmaker Michaela Schwentner will film the performances. The film will be made publicly available free of charge at at the earliest possible point in time; the release date will be announced as soon as possible.


Pia Palme

music theatre for soprano and ensemble (2019/20) world premiere 70’

Combining the distinctive creative process of choreographer Paola Bianchi with the compositional practice of Pia Palme, the piece is being devised in an experimental, non-hierarchical, collaborative way, using both devised material and improvisation. The question of transmission between disciplines is woven into the process, embracing the particularities of each individual. Soprano Juliet Fraser brings in her expertise as performer, bringing together Palme’s score with Bianchi’s oral instructions, giving feedback at every step during the process. The theatre scholar Dr. Irene Lehman and Christina Lessiak, musicologist and cultural worker, join the group and further enrich the collaborative practice and discourse. The results explore the consonance, dissonance and interferences between voice and body, a polyphony in which movement shapes music, sound shapes bodies.

The piece is an experiment, an experimental opera, a music theatre work in the widest sense. Pia Palme: ‘I began with some devised material which I knew would form only a starting point; the process is like walking into a room with a blindfold on.’

Paola Bianchi uses her archive of postures to work from: ‘I have been using my archive of postures (or non-postures, collective images), which I am interested to share with others to see how they are transformed. These are my tools. It is like seeing how different ingredients fit together or can be destroyed.’

More information about the piece can be found under

production of FWF PEEK project »On the fragility of Sounds« AR 537, supported by Kunstuniversität Graz
co-production Wien Modern

music theatre

Lies of Civilization

18.Jul.2019 // 20:00 (world premiere)
19.Jul.2019 // 19:00
Stuttgart, Theaterhaus – Südseite P1


Musiktheatertage Wien
13.Sept.2019, 19:00 (austrian premiere)
14.Sept.2019, 19:00
WUK Projektraum
Währinger Str. 59, 1090 Wien

Neue Vokalsolisten Stuttgart

Truike van der Poel, Mezzosopran
Martin Nagy, Tenor
Guillermo Anzorena, Bariton
Andreas Fischer, Bass

Soloists of PHACE

 Mathilde Hoursiangou, keyboard/sampler
Reinhold Brunner, clarinet(s)
Berndt Thurner, percussion


Staging: Gable & Romy Roelofsen / Het Geluid Maastricht
Equipment: Davy van Gerven;
Light: Luc Schaltin
Dramaturgy: Georg Steker, Christine Fischer, Het Geluid
Idea and Concept: Georg Steker
Production Manager: Jakob Berger / Music of the Centuries Stuttgart


a coproduction by Musik der Jahrhunderte Stuttgart (DE), Musiktheatertage Wien (AT), Operadagen Rotterdam (NL), National Opera Bergen (NO) und Het Geluid Maastricht (NL).

“In the name of civilization, Western values, democracy and peace …”

LIES of CIVILIZATION investigates the fractures of the “myth of civilization”, which is deeply woven into the values ​​of Western cultural history. Four representatives of a young generation of composers formulate their positions on CIVILIZATION LIES and know that the euphoria over civilization achievements all too often obscures the inhumane machinations and crimes behind it.
All four short pieces are staged by Het Geluid Maastricht and put into a full-length musical theater. With the Neue Vocalsolisten Stuttgart and the Ensemble PHACE, two internationally renowned artist groups are ready for this.



Yiran Zhao: THE SINGLE DAY (working title)*
for mezzo soprano and three instruments wp

“I invite you to think more carefully about what we believe we know and what the real reality of the relationship between us and our environment is.” (Yiran Zhao)

Natalia Domínguez Rangel: The Invisible
for tenor, bass, percussion, synthesizer and electronics wp

“Political power is exercised on the individual so that he must obey the laws and rules himself – usually without using force. I like this idea of ​​invisibility. An underlying force, invisible and effective (good or bad). “
(Natalia Domínguez Rangel)

Øyvind Mæland: Part of the Job
for four voices, clarinet and percussion wp

“What worries me is the extent to which people are actually habit animals: today with all the knowledge acquired about human psychology, the causes of climate change and social inequality … even the well educated people among us are part of this spiral.” (Øyvind Mæland)

Malte Giesen: white border
for three male voices, three instruments and electronics wp

“I’m interested in frames, framing, contexts, framing – in particular, the mediatedness of any communication.” (Malte Giesen)


Duration: 75 minutes, no break – In English with German subtitles

Composition commissioned by the Musiktheatertage Wien, financed by the Ernst von Siemens Music Foundation

music theatre

Dionysos Rising

by Roberto David Rusconi


Sept. 19./20./21. 2019 MQ, Halle G


a production by netzzeit, in Coproduction with the Haydn Foundation

Creative Team

Roberto Rusconi, music
Roberto Rusconi, Michael Scheidl, libretto
Michael Scheidl, direction
Timothy Redmond, musical direction
Nora Scheidl, scenography
Elias Kern, sound design
Florian Bach, sound engineer
Claire Lefèvre, choreography
Niki Neuspiel,production manager
Alexander Riff, assistant director
Angela Karpouzi, sceno­graphy assistant


Zachary Wilson, Dionysos
Ray Chenez, Ampelos
Cho Da Yung, Telete
Anna Quadrátová, Semele


Britt Kamper-Nielsen, Juliette Rahon, Evandro Pedroni, Luan de Lima


Sylvie Lacroix, flute
Doris Nicoletti, flute
Heri Choi, oboe
Peter Tavernaro, oboe
Reinhold Brunner, clarinet
Walter Seebacher, clarinet
Edurne Santos, bassoon
Christian Walcher, bassoon
Ivana Pristasova, violin 1
Manon Stankovski, violin 2
Valerie Gahl, violin 3
Daniele Brekyte, violin 4
Petra Ackermann, viola
Roland Schueler, cello
Maximilian Ölz, double bass

Dionysos Rising is an opera-ritual without gods and mythological creatures. It is the story of ordinary humans, who are marked by the sufferings of life and driven by fear: A mother, who has lost her son; a lonesome daughter; a young man, deluded by grandeur, unable to fulfil his roles as a son, father and companion. All of them struggle with their inner spirits and desperately try to escape their sorrow for just an instant, alleviating their pain with drugs. For his composition, Roberto David Rusconi makes use of the impressive hyperreal sound space – an immersive sound experience created with L-ISA technology by L-Acoustics.


Tickets zu € 29.- (SchülerInnen, StudentInnen, Zivildiener € 15.- / Ö1-Club-Mitglieder und Standard-AbonnentInnen € 22.-)

music theatre

Ephémère Enchainé

Donaueschinger Musiktage

16. & 17. Aug 2019
Bregenzer Festspiele


Alvaro Collao Leon, saxophone
Spiros Laskaridis, trumpet
Stefan Obmann, trombone
Samuel Toro Perez, guitar
Mathilde Hoursiangou, keyboard, piano
Ivana Pristasova, violin
Sophia Goidinger-Koch, viola
Roland Schueler, cello (Bregenz)
David Unterhofer, cello (Donaueschingen)
Berndt Thurner, percussion
Maximilian Ölz, (electric) bass
Florian Bogner, sound design (Bregenz)

& Something Out There

Frederick Sakham, Bass
Jennifer Torrence, Percussion
Adam Rosenblatt, Percussion
Primoz Sukic, Guitar
Gwen Rouger, Keyboards & Electronics (Bregenz)
François Sarhan, Voice


Ephémère Enchainé
a music theatre by Francois Sarhan
– a production by Bregenzer Festspiele together with the Donaueschinger Musiktage and  La Muse en Circuit

A unique cosmos full of music, stories, pictures and films fills the workshop stage on two consecutive evenings. The French artist François Sarhan seduces the audience with real and deceptively real stories, enigmatic figures and mysterious sounds.

Inspired by the Russian avant-garde and wondrous finds of European cultural history, grotesque and humorous worlds emerge. Again and again, figures such as Fjodor Dostojewski’s fantastic narrator Bobok or the peculiar Professor Henry Glaçon emerge.

In Sarhan’s self-designed and collaged stage sets of paper, his music and lyrics resound. Musicians of the international ensemble Something Out There and the Ensemble Phace from Vienna play on different stages within the space. The audience is invited to move freely in this cosmos on one or both evenings, which have different contents, and to leave it again and again during the several-hour performances. The fleeting nature of music, of the performing arts, can be experienced directly and at the same time enclosed in a space, as the French title of these evenings expresses: Éphémère Enchainé.

Music | Text | Concept | Space     François Sarhan

Press commentaries

“The Ensemble Phace, probably one of the most renowned contemporary ensembles for new music in Austria, shone with remarkable enthusiasm and wit. The musicians, all of them splendid soloists, also knew how to convince in their perfect interplay.” Kulturzeitschrift, Dagmar Ullmann-Bautz

“What is Sarhan doing? With the Ensemble Phace he has gathered versed musicians who turn his composition into the most impressive element of the evening. One can navigate through the music of the late 20th century, discovering numerous quotations from jazz, and yet never get the impression that Sarhan is an eclectic.” Vorarlberger Nachrichten, Christa Dietrich

“Highly virtuoso and partly improvising, his performers – most of them musicians – perform the dreamlike sequences. […] As they walk and stumble through wondrous worlds, they themselves become integral parts of a work of art that makes the boundaries between genres, places and times disappear in a revealing and highly entertaining way.” Der Westallgäuer

“Sarhan narrates through all these stories, loosely entwining them as his two music ensembles move through the genres with breath-taking certainty. On the one hand, there are the ten musicians of “Ensemble Phace”, who prove themselves as a rock band as well as in romantic-symphonic euphony.
The spectators explore the world of changing wonders (Wunderwandelwelt), closely listening, because now it is evident: no one can fully grasp this world, it is about picking up fragments and combining them. Maybe the infinitely filigree rhythm game of Jennifer Torrence and Adam Rosenblatt with the soundscapes of the guitarist Samuel Toro Perez? Or the stupendous versatility of the violinist Ivana Pristasova with the expressionist film sequences?” ORF, Ingrid Bertel

“The spectators are invited to move freely within the three hours, leaving for breaks at one’s own discretion. But in the end, only a few choose to leave Sarhan’s cosmos, spellbound by the evening’s proceedings. Wonderful world of changing wonders.” Südkurier, Elisabeth Schwind

Music Theatre

Reise nach Comala

Germán Toro Pérez (music)

(world premiere) “Theater der Künste” (Bühne A) der ZHdK
May 16th, 2017

Theater der Stimmen nach dem Roman “Pedro Paramo” von Juan Rulfo für Sopran, Vokalensemble (8), Kammerensemble (9), Schauspieler (7) und Elektronik (2)


production by VEZ, in co-operation with PHACE, supported by City of Zürich



Stefan Nolte


Peter Siegwart


Matthis Neidhardt


Florian Bogner


Doris Nicoletti, flute
Michael Krenn, saxophone
Daniel Riegler, trombone
Berndt Thurner, percussion
Ivana Pristasova, violin
Petra Ackermann, viola
Roland Schueler, cello
Alexandra Dienz, double bass


“We have to dig up the dead again and again, because only from them can we obtain a future.” (Heiner Müller)

The music theatre Reise nach Comala (Journey to Comala) is a conversation with the dead. The fallen Mexican village Comala is a place where the voices of the unredeemed are preserved and continue to resonate.

The work is based on Juan Rulfo’s only novel, Pedro Páramo (1955), which is nowadays acknowledged as a classic of modern Latin-American literature and regarded as a solitary, bold pioneer of Magic Realism. Highly symbolic and allegorical, Rulfo reviews the revolutionary era in Mexico and its social and individual preconditions.  The drama portrays a rigid community trapped in a system of dependency and complicity, self-deception and corruption. Unable to struggle for renewal, memory fragments about Comala and its story under Páramo’s autocracy are told, interwoven at various time levels. The more and more disoriented reader is invited to reconfigure the story for himself.

Germán Toro Perez’ work is a “theater of voices”, a multi-layered sound space, in which the clear boundary between audience and stage will be blurred. Generally inspired by aspects of life and reality that are transformed into musical forms by means of abstraction processes, the composer Germán Toro Pérez has been focusing on the Mexican author, his literary devices and his existential issues for several years: “The contradictory, prismatic identity of modern man and the word as a base for creating worlds.” (Germán Toro Pérez). In almost tangible presence, speaking or singing voices, visible or disembodied, create a hallucinatory and labyrinthine compartmentalized sound cosmos.


Germán Toro Pérez (*Bogotá, 1964)

His body of work includes instrumental, electroacoustic and mixed compositions, as well as works in collaboration with graphic design, painting and experimental video. Numerous assignments, prizes and international performances at festivals (such as Wien Modern, Klangspuren Schwaz, Synthèse Bourges, Sonorities Belfast, Archipel Genf and ISCM Weltmusiktage) and co-productions with the ensembles Mondrian Basel, Mosaik Berlin, New Century Players L.A., die Reihe, PHACE, Vokalensemble Zürich und Klangforum Wien. Co-founder of the NewTonEnsemble, Vienna. He was director of the computer music course and guest professor of electroacoustic composition at the University of Music in Vienna. Since 2007 he is director of the ICST and professor for electroacoustic composition at the Zurich University of the Arts. He was professor for composition at the International summer courses in Darmstadt 2012. Publications and texts on artistic research, composition theory and aesthetics of electroacoustic music as well as on history and identity of Latin American music.

Stefan Nolte

The theatre director is an expert on large-scale and site-specific works including “Orpheus in der Unterwelt” (world premiere of the libretto by Peter Hacks) in the decommissioned Bitterfelder Kulturpalast and his transcription of Wagner’s Parzival performed at the former V2 research area in Peenemünde. In 2011 he won the audience award at the theatre of Dortmund. So far, he has staged works by Georg Büchner, Bertold Brecht, J.W. Goethe, Rainald Goetz, Peter Handke, Elfriede Jelinek and Heiner Müller and several music theatres by the Swiss composer Daniel Mouthon. Aartistic research on “Disembodied Voice” at the Zurich University of the Arts (ZHdK / Swiss National Science Foundation) together with Germán Toro Pérez.

Vokalensemble Zürich

The professional vocal ensemble founded by Peter Siegwart has been staging selected productions beyond the established repertory for 20 years. In addition to historical rarities the ensemble also dedicates itself to contemporary music. So far, a number of composers such as Dieter Ammann, Daniel Glaus, Hans-Jürg Meier, Thomas Müller, Andreas Nick, Philipp Racine, Alfred Zimmerlin have written for the Vokalensemble Zürich. The ensemble has been invited to numerous festivals and cooperated with the Luzerner Sinfonieorchester, the L’Orfeo Barockorchester, the Ensemble Contrechamp and the Ensemble Recherche. The Vokalensemble Zürich has been awarded the «Year for Musical Interpretation 2007» by the City of Zurich.


PHACE has been active in the contemporary music scene for many years, and is one of the most innovative and versatile Austrian ensembles for new music. Alongside the focus on classical contemporary chamber music, the artistic range reaches from music theatre productions all the way to multidisciplinary projects comprising dance, theatre, performance, electronics, video, DJs, turntablists, installation art and many more. Since 2010, PHACE has placed a special focus on staged productions (dance theater, music theater). The ensemble, currently comprised of eleven active members, regularly invites musicians and guests from a variety of artistic backgrounds for collaborative performances.

Since the mid-1990s, the ensemble has appeared in the most renowned concert halls and festivals in Austria and abroad, including Wien Modern, Klangspuren Schwaz, deSingel, rainy Days Luxembourg, Stadsschouwburg Amsterdam, Festival d’Avignon, Le Parvis Scène nationale Tarbes Pyrénées, Festival d’Automne à Paris, Salzburger Festspiele, King’s Place, Carinthischer Sommer, Philharmonie Luxemburg, Osterfestival Tirol, Osterfestival Krems, Wiener Festwochen, generator, Wiener Konzerthaus, Transart Bozen, Berliner Festspiele, Ultraschall Berlin, Salihara Festival Indonesien, SonEMUS Festival, Bludenzer Tage zeitgemäßer Musik, Festival Musica Strasbourg, Thaliatheater Hamburg, MarchMusicDays Ruse, etc.

Since the 2012-13 season, PHACE has produced its own concert cycle at the Wiener Konzerthaus. Beginning in 2015, the ensemble releases recordings under a label of the same name, PHACE.

Music Theatre

Whatever Works

Satirical opera composed
by Manuela Kerer and Arturo Fuentes

Commissioned by netzzeit and WIEN MODERN
A coproduction by netzzeit, WIEN MODERN and Rabenhof Theater

07/08/12.Nov.2015 // 20:00
Rabenhof Theater



Dimitré Dinev, based on a plot by Michael Scheidl

Musical director

Simeon Pironkoff


Michael Scheidl

Stage design

Nora Scheidl

Light design

Norbert Joachim


Sarah Maria Sun, soprano
Shira Karmon, soprano
Belinda Loukota, soprano/trouser role
Stefan Bleiberschnig, tenor
Martin Busen, bass
Vasily Koroshev, countertenor
Bibiana Nwobilo, soprano

Klaus Haidl, lute & guitars
Caroline Mayrhofer, Petzold recorder
Thomas Wally, violin
Roland Schueler, cello
Stefan Obmann, trombone
Berndt Thurner, percussion & noise-man

What is missing?:  „A good politician will hold on to his deepest inner conviction, even if he runs the risk to be voted out for it.”

Minister for foreign affairs of the BRD, Hans Dietrich Genscher

Following Woody Allen´s film title „Whatever Works“ – but using the phrase in a satirical way in its opposite meaning, the opera deals with the subject of how a real public demand provokes a series of political actions that are not at all related to the initial problem, and that are completely useless for anybody, except for the career of one or more politicians, who use the occasion to accumulate more power, influence, reputation and to attract more media attention.

A story that stands as an example for a widespread way of political action – globally and regionally.

choir of victims:

We thank for aid,
we thank for benevolence,
we thank our party,
we thank our leaders,
we thank all donors,
they are like our brothers,
we thank all your countries,
we thank all your controllers.

choir of donors:

It is so great to help,
In light as well as in darkness,
It really gives us good vibes,
to know there are people
who are much worse off,
than we are.

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