Thomas Quasthoff (Chair)
For almost four decades, Thomas Quasthoff has set the standard on international stages, moving the hearts of countless listeners with his artistry. He ended his outstanding career as a singer in 2012. However, he has retained his close ties to singing and music as a teacher at the Hanns Eisler Music Academy in Berlin and in various master classes, as a recitalist and speaker at concerts, readings, and new projects.
One of the most remarkable singers in his field, Quasthoff was a frequent guest of such orchestras as the Berlin and the Vienna Philharmonics and many other fine ensembles. He could regularly be enjoyed at all major music venues, working closely with conductors such as Claudio Abbado, Daniel Barenboim, Christoph Eschenbach, James Levine, Bernard Haitink, Mariss Jansons, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Sir Simon Rattle, Helmuth Rilling, Christian Thielemann, and Franz Welser-Möst.
Thomas Quasthoff was a professor at the Hochschule für Musik in Detmold from 1996 until 2004, and has taught at the Hanns Eisler School of Music in Berlin ever since, where he dedicates himself passionately to the upcoming generation of singers. This devotion inspired him to launch the „Das Lied“ international song competition.
Few artists of her generation are as successful in so many spheres and with such varied repertoire as Juliane Banse. Her extremely broad opera repertoire ranges from the Countess in Figaro, Fiordiligi, Donna Elvira, Vitellia (La clemenza di Tito), Genoveva (title role), Leonore, Tatyana (Eugene Onegin), Arabella (title role), to Grete (Schreker’s Der ferne Klang). She made her stage debut as a twenty-yearold in the role of Pamina at the Komische Oper Berlin. Juliane Banse was born in southern Germany and grew up in Zurich. She took lessons first with Paul Steiner and later with Ruth Rohner at the Zurich Opera House, completing her studies under Brigitte Fassbaender and Daphne Evangelatos in Munich. From the winter semester 2016/2017 Juliane Banse herself took on a guest professorship at the Robert Schumann Academy in Dusseldorf. Opera engagements have taken her to many of the big opera houses e.g. in Zurich, Cologne, Chicago and to the MET. Juliane Banse is also highly in demand as a concert singer. She has worked together with many renowned conductors, including Lorin Maazel, Riccardo Chailly, Bernard Haitink, Franz Welser-Möst, Mariss Jansons, Zubin Mehta and Manfred Honeck.
Lied recitals feature regularly in her calendar. She was recently a guest at the Schubertiade Vilabertran, in Oxford, at the lied week in Schloss Elmau singing Wagner’s Wesendonck lieder and she also performed during the first concerts in the new Boulez Hall in Berlin, giving a recital accompanied by Wolfram Rieger. At present she is concentrating on Hindemith’s Marienleben, in which she can be heard in the current season together with Martin Helmchen in Passau, Bremen and Berne; a CD is in preparation for the alpha label. Many of her CD recordings have won awards, Braunfels’s Jeanne d’Arc with the Swedish Radio Symphony Orchestra under Manfred Honeck and Mahler’s 8th Symphony with the Tonhalle Orchester Zurich under David Zinman being two of them.
John Gilhooly became Director of Wigmore Hall in 2005, making him, then, the youngest leader of any of the world’s great concert halls. He had been Executive Director of Wigmore Hall since December 2000 and has overseen the artistic, financial and administrative transformation of the Hall over the past 16 years. His tenure has produced record box office returns and the Hall’s highest ever membership levels and annual fundraising. As Artistic Director of Wigmore Hall, he programmes the largest chamber music and song series in the world, and he is noted for his commitment to outstanding emerging artists, diversity and contemporary music. John Gilhooly has been honoured by heads of state and academic institutions. In 2013 he was awarded an OBE by Her Majesty Queen Elizabeth II and in 2015 was made a Knight of the Order of the White Rose of Finland by the President of Finland. John has also received the prestigious Austrian Cross of Honour for Science and Art, and the Order of the Star of Italy (Cavaliere), awarded by the President of Italy. In 2016 he was awarded the German Order of Merit, which is Germany’s highest civilian honour. He is a recipient of Honorary Fellowship of the Royal Academy of Music (2006), Honorary Membership of the Royal College of Music (2012), Honorary Fellowship of the Guildhall School (2015), and Honorary Fellowship of the Royal Irish Academy of Music (2016).
Charlotte Lehmann studied at the college of music and the university of the Saarland with Sibylle Ursula Fuchs and privately with Paul Lohmann. She was prize-winner of international competitions such as „L’Amour du Chant” and the UFAM and concentrated in Europe and America. Charlotte Lehmann has appeared with all German broadcasting corporations, as well as in France, Switzerland, Belgium, the Netherlands and Turkey. On television, she appeared with both ARD and ZDF. She has participated in CD recordings for labels such as Camera, Vox, Corona, Bayer Records and EMI. In 1982 she received the prize of the German Record Critics (Debussy and A. Schoenberg, EMI).
In 1972, Charlotte Lehmann took up her teaching activity at the University for Music Hannover. Since 1988, she has the chair for singing at the University for Music of Würzburg. She was a teacher of international prize winners such as Lioba Brown, Grammy winner Thomas Quasthoff and Professor Maria Kowollik. Charlotte Lehmann led international master courses and regularly gives classes at Haus Marteau (Lichtenberg/Bayreuth). She is editor of aria-books by J.S. Bach and W. A. Mozart for all types of voices (Bärenreiter-Verlag), and is internationally in demand as juror and lecturer.
Helga Machreich was born in Villach, Austria and grew up in a musical family. After graduating from high school, she decided to live in France for an extended period of time. She studied French at the University of Rennes in Brittany, then returned home to attend the Vienna University of Economics and Business, majoring in Commercial Science. While there, she built up the economic university’s amateur orchestra, participating herself as clarinetist and organizing numerous tours throughout Europe for the group.
In 1997, she decided to give up her studies to take up a position in the Dr. Raab & Dr. Böhm Artist Agency, eventually making her hobby and great passion for classical music her chosen profession. Dr. Horst Böhm promoted her to senior management in 2001, which allowed her to promote the careers of young, talented artists with great competence and personal care. During the course of her 14-year long career, she succeeded in bringing renowned singers like Patricia Petibon, Bernarda Fink, Michael Schade, Florian Boesch and Thomas Quasthoff to the agency. In May 2011, Helga Machreich-Unterzaucher founded the Machreich Artists Management agency, which she runs independently.
Helga Machreich-Unterzaucher is a regular guest at Singing Competitions such as DAS LIED Internatoinal Song Competition or Stella Maris International Singing Competition. She also held a lecture about “Artist Management” at the University of Music in Vienna.
Recognised as one of the leading accompanists of his generation, he has worked with many of the world’s greatest singers including Sir Thomas Allen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge, Angela Gheorghiu, Susan Graham, Thomas Hampson, Della Jones, Simon Keenlyside, Angelika Kirchschlager, Magdalena Kozena, Solveig Kringelborn, Jonathan Lemalu, Dame Felicity Lott, Christopher Maltman, Karita Mattila, Lisa Milne, Ann Murray, Anna Netrebko, Anne Sofie von Otter, Joan Rodgers, Amanda Roocroft, Michael Schade, Frederica von Stade, Sarah Walker and Bryn Terfel.
He has presented his own series at the Wigmore Hall (a Britten and a Poulenc series, Decade by Decade – 100 years of German Song and Songlives broadcast by the BBC) and at the Edinburgh Festival (the complete lieder of Hugo Wolf). He has appeared throughout Europe (including London’s Wigmore Hall, Barbican, Queen Elizabeth Hall and Royal Opera House; La Scala, the Chatelet, the Liceu, Berlin’s Philharmonie and Konzerthaus; Amsterdam’s Concertgebouw and Vienna’s Konzerthaus and Musikverein), North America (including in New York both Alice Tully Hall and Carnegie Hall), Australia (including the Sydney Opera House) and at the Aix en Provence, Vienna, Edinburgh, Schubertiade, Munich and Salzburg Festivals.
Recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel; Schubert and Strauss recitals with Simon Keenlyside and Songs of War which won a Grammy Award; recital recordings with Angela Gheorghiu, Barbara Bonney, Magdalena Kozena, Della Jones, Susan Bullock, Solveig Kringelborn; Amanda Roocroft; the complete Fauré songs with Sarah Walker and Tom Krause; the complete Britten Folk Songs; the complete Beethoven Folk Songs; the complete Poulenc songs; and Britten Song Cycles as well as Schubert’s Winterreise and Schwanengesang with Florian Boesch; Heimliche Aufförderrung and Scene! with Christiane Karg and Portraits with Dorothea Röschmann.
This season’s engagements include appearances with Elina Garanca, Christiane Karg, Michael Schade and Florian Boesch, recitals at the Wigmore Hall with Sylvia Schwartz, Simon Keenlyside and Sarah Connolly and a US tour with Dorothea Röschmann.
He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in 2004, and appointed International Fellow of Accompaniment in 2009. Malcolm was the Artistic Director of the 2011 Leeds Lieder+ Festival. He was made an OBE in the 2016 New Year’s Honours.
Thorsten Schmidt is co-founder and artistic director of the “Heidelberger Frühling” (Heidelberg Sping) music festival. After graduating in economics and working in culture management positions in Frankfurt and Mainz, he developed the festival into the most successful German festival founded within the last 25 years with over 47,000 visitors annually. In addition, Schmidt founded the Heidelberg String Quartet Festival in 2005, the concept of which has since found several imitators. With the Lied Akademie under the direction of Thomas Hampson, Schmidt has revived Heidelberg’s great tradition as a “city of song” since 2011; international academies for chamber music (Igor Levit), composition and music journalism (Eleonore Büning) followed. The “Classic Scouts” youth project he conceived was awarded an ECHO Klassik in 2015, and in February 2016 Schmidt founded the Heidelberg International Song Centre, which together with partner institutions and protagonists of the art song scene would like to set impulses for the future of a genre that has its cradle in Heidelberg. Since 2017, the “DAS LIED” international song competition founded by Thomas Quasthoff in 2009 is being held under the umbrella of the Liedzentrum.
Richard Stokes is Professor of Lieder at the Royal Academy of Music, London, and has given many lectures and masterclasses on Lieder and art song at St John’s Smith Square, Wigmore Hall, Queen Elizabeth Hall and the Edinburgh and Aldeburgh Festivals. For the operatic stage, he translated Wozzeck and La voix humaine (Opera North), Parsifal, Lulu and L’Amour de loin (ENO) and has also produced a singing translation of Wolfgang Rihm’s Jakob Lenz for performance at ENO in 2012.
Other books include The Penguin Book of English Song, Seven Centuries of Poetry from Chaucer to Auden, The Spanish Song Companion (with Jacqueline Cockburn), J.S. Bach – The Complete Cantatas (Scarecrow Press), A French Song Companion (with Graham Johnson (OUP)), and The Book of Lieder (Faber). With Alfred Brendel he collaborated on the latter’s collected poems: Playing the Human Game, recently published by Phaidon.
His translations of Kleist’s Die Marquise von O… and Kafka’s Der Prozess and Die Verwandlung have been published by Hesperus Press, Alma Books published his translation (with Hannah Stokes) of Kafka’s Brief an den Vater. His translation of Jules Renard’s complete Histoires Naturelles has recently been published by One World Books.
The participants are awarded points from one to five by the jury in the following categories: voice quality, technical ability, musical presentation (rhythm, phrasing, expression), diction and artistic presence. No jury member will judge a current or former pupil.