Artistic & Technical
I love theater; not just the actual performance on the many stages of this world, but especially all of the theater behind the scenes. I thoroughly enjoy that special moment with each of my productions when we reach the point of no return. The doors are about to open to the audience, the curtain is waiting to be flown out, the lights are dimming, and everyone on stage can focus on their performance and not worry about anything else. That's when the many people in the wings have done an excellent job!
It's great fun, and I now have a lot of experience in coordinating the "madness" behind the scenes. For me, there's only one goal: to facilitate the implementation of the creative vision; with enthusiasm, strive for perfection, room for improvisation, an eye for health & safety and without breaking the bank!
It would be my pleasure to take on one or more of the following tasks:
Liaison/conduit between Producer/Management, Creatives, Artists, Agencies and Technical Departments.
Production and rehearsal scheduling.
Identification and selection of potential partners (creatives, suppliers,..)
Budgeting and budget supervision
Organization and logistics
Personnel planning, recruitment and training
Contract negotiations, administration and execution (artists, technical and partners)
Co-Production negotiations, coordination advancing and administration (from concept to completion).
Tour and On-site Management
and all the other things that you on your mind and I can provide together with my extensive international network.
WORLD PREMIERE OF THE OPERA “170 DAYS IN NANKING” &
OPENING OF THE jiangsu center for the performing Arts
When the producer called, there were about three months left until the premiere. Three months. Unfathomable, nothing was prepared, let alone built. Nada. No set, no props, no costumes, no production schedule, no rehearsal schedule, and so forth. Ah, and the main stage of the auditorium had not yet been turned over to the client, so staff trainings couldn't take place, the machinery couldn't be used, you name it. You don't experience a situation like that every day; thus I accepted the offer. I could assemble a team of local experts, who worked their butts off to prepare bid documents, make drawings, visit potential builders, recruit staff and train people on the job. It was a spectacularly wild ride, but we made it. We pulled it off in only three months and most everyone was pulling together to get this production up and running.
Music: Tang Jianping; Libretto: Zhou Ke; Conductor: Lü Jia; Production: Elijah Moshinsky; Stage Director & Lighting Design: Nigel Levings; Set Design: Wang Jing; Costume Design: Simon Holdsworth; Projection Design: Tal Yarden & Mikaela Liakata; Choreography: Yin Mei; Assistant Directors: Derek Walker, Marie Steiner; House Producer: Bian Chao
“DREAM of the red chamber” China Tour
This tour was exceptional in the world of opera. Because only one in I don’t know how many new works produced in the West get the chance for additional exposure in Asia directly after its premiere. “Dream of The Red Chamber” was commissioned by San Francisco Opera and the Chinese Heritage Foundation immediately went on tour. Bright Sheng and David Henry Hwang created an opera that was shown at the Hong Kong Arts Festival (HKAF) and then went on to be taken on tour through China by Armstrong Music & Arts International.
I had the privilege to accompany the creation process from (almost) day one, attended the first workshop at HKUST and all creative team meetings, looked after the build and completion in San Francisco, was invited to Hong Kong with the production in March 2017 for rehearsals and performances at HKAF and was than asked by Wray Armstrong and Evita Zhang to take on the role as Production Director for the China tour. We rehearsed in Tangshan and performed at the Poly Theatre Beijing, dem Meixihu International Culture and Arts Center in Changsha und dem Qintai Grand Theater in Wuhan.
This tour was exceptional in the world of opera. Because only one in I don’t know how many new works that are produced in the West, as in this case, "Dream of the Red Chamber" right after its premiere (San Francisco Opera) on tour. However, Bright Sheng and David Henry Hwang have created a work that was first invited to co-produce the opera, the Hong Kong Arts Festival (HKAF), and was then toured by Armstrong Music & Arts International in China. I was (nearly) able to follow the creation from the beginning, attended the workshops in Hong Kong, coordinated the creation in San Francisco, was on site in Hong Kong in March 2017, and then became production manager of Wray Armstrong and Evita Zhang is committed to preparing and conducting the tour, giving us rehearsals to Tangshan and performances at Poly Theater Beijing, Meixihu International Culture and Arts Center Changsha, and Qintai Grand Theater in Wuhan.
Regieteam: Komposition: Bright Sheng, Libretto: David Henry Hwang & Bright Sheng, Musikalische Leitung: Bright Sheng, Regie: Stan Lai, Bühne & Kostüme: Tim Yip, Licht: Wang Tien Hung, Choreographie: Ran Arthur Braun, Regieassistenz: Reed Fisher
“ANDREA CHÉNIER” – Bregenzer Festspiele
Künstlerisch sicher eine der erfolgreichsten Produktionen während meiner Zeit als künstlerischer Produktionsleiter und Company Manager bei den Bregenzer Festspielen. Keith Warner (Regie), David Fielding (Bühne) und Constance Hoffman (Kostüme) haben es verstanden diese eher unbekannte Oper in großes Kino auf dem See umzuwandeln. Gepaart mit guten Sängerinnen und Sängern, Stunt-Leuten, Artisten, Chor, Statisten und Orchester erlebten zehntausende von Besuchern allabendlich die französische Revolution erneut.