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Ensemble - Deutsche Oper Berlin

Frauke Aulbert

Frauke Aulbert

© AKA
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Die Sängerin und Multivokalistin Frauke Aulbert gilt als eine der aktivsten und vielseitigsten Performerinnen in der Neuen und Experimentellen Musik. Neben Interpretation, Kuratierung und Inszenierung ihrer Konzerte beinhaltet Aulberts künstlerische Tätigkeit auch die Entwicklung von Stimmperformances an der Grenze zur Bildenden Kunst und zum Theater.

Nach einer klassischen Ausbildung liegt der Schwerpunkt der Arbeit von „Hamburgs Avantgarde-Queen“ auf der Erforschung der menschlichen Stimme an sich und der Betrachtung all derer Möglichkeiten als künstlerisch gleichwertig. Zur Kreation neuer musikalischer und stimmtechnischer Grenzbereiche nutzt sie ihren imposanten Stimmumfang von vier Oktaven sowie viele weitere Gesangstechniken wie z. B. Ober- und Untertongesang, Multiphonics, Beatboxen, Klänge aus Bulgarischer Volksmusik und Gamelan, Gugak, Gamelan, Dhrupad, Hoomii, Jazz, Chanson, oder Pop.

Als Spezialistin für Neue Musik sang Frauke Aulbert nach dem Diplom viele der wesentlichen Werke der zeitgenössischen Musik. Konzertreisen führten sie durch ganz Europa, nach Australien, Brasilien, Georgien, Tunesien, Süd-Korea und in die USA, zu Radio France/Festival Présence, Elbphilharmonie Hamburg, Casa Giacinto Scelsi Rom, Greek National Opera Athens, ZKM, Onassis Centre Athen, Darmstädter Ferienkurse, Warschauer Herbst, LIG Art Hall Seoul, Resonant Bodies New York, Deutsche Oper Berlin, Ear Taxi Chicago, Sommerliche Musiktage Hitzacker, Internationale Stockhausen-Sommerkurse, Hamburger Klangwerktage, Festspiele Mecklenburg-Vorpommern, Klang Kopenhagen, What’s next Brüssel, Berghain Berlin etc. Sie sang für Film ('The Future', Miranda July), Radio (Deutschlandradio, RAI, Radio France etc.), und CD (Decoder Ensemble, Magic Malik etc.). Zu ihrem Repertoire gehören Lieder, Kammermusik, Musiktheater, Soli, elektronische Musik, von arrivierten KomponistInnen und vielen jungen KünstlerInnen, sowie über 70 Uraufführungen.

Zahlreiche Crossover-Projekte zeigen Aulberts Neugierde und Vielseitigkeit. Parallel zum Gesang durchziehen zirzensische Künste, Tanz und Körperarbeit ihre Laufbahn. Von 2002 bis 2004 arbeitete sie parallel zu ihrem Gesangsstudium auf Teneriffa als Profi-Akrobatin, von 2007 bis 2010 erhielt sie eine Ausbildung in Indischem klassischen Tanz (Odissi). Aulbert ist künstlerische (Mit-) Leiterin ihrer Ensembles Collect/Project (Hamburg/Chicago), Forum Neue Vokalmusik (Hannover), sowie Gründungsmitglied und ständiger Gast von Decoder Ensemble (Hamburg).

Frauke Aulbert erhielt u. a. den 1. Preis der Stockhausen Stiftung, sowie Künstlerresidenzen an der Cité Internationale des Arts Paris, Goethe Institut Rom und an der Akademie Schloss Solitude. Sie studierte in Kiel, Santa Cruz de Tenerife und Hamburg; ihre Diplomarbeit schrieb sie zum Thema „Obertongesang in zeitgenössischer Musik“.

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22
DEC

Advents-Verlosung: Das 22. Fensterchen

On 7 March 2025, the first part of Tobias Kratzer's Strauss trilogy, ARABELLA, celebrates its revival as part of our ‘Richard Strauss in March’ weeks, with Jennifer Davis as Arabella , Heidi Stober as Zdenka/Zdenko, Thomas Johannes Mayer as Mandryka, Daniel O'Hearn as Matteo and, as in the premiere series, Doris Soffel and Albert Pesendorfer as the Waldner couple. Today we are giving away our DVD, which will not be available in shops until 14 February 2025. We would like to express our heartfelt thanks to NAXOS for giving us the very special opportunity to put ARABELLA in our lottery pot for you almost eight weeks before the official sales launch.

In today's Advent Calendar window, we are giving away two DVDs of ARABELLA – a lyrical comedy in three acts by Richard Strauss and Hugo von Hofmannsthal. If you would like to win one of the two DVDs, please write an e-mail with the subject ‘The 22nd window’ to advent@deutscheoperberlin.de.

Vienna, circa 1860. The financially strapped Count Waldner is lodging with his family in a Viennese hotel. His only path to solvency is for him to secure an advantageous marriage for one of his two daughters – and the family can only afford to present Arabella, the eldest, in the upper circles of society. To conceal the family’s indigence, the parents have raised Zdenka as a boy, dressing her accordingly. Arabella is not short of suitors but has resolved to wait for ‘Mr Right’. When Mandryka, an aristocrat from a distant region, arrives, he and Arabella are instantly smitten. Arabella only asks to be able to bid farewell to her friends and suitors at the Fasching ball that evening. At the ball, Arabella says goodbye to her admirers. There is also the young officer Matteo, with whom Zdenka is secretly in love and with whom she has formed a friendship under the guise of her disguise as a boy. Matteo, however, desires Arabella and is distraught when he realises the hopelessness of his love. Zdenka devises a plan: she fakes a letter from Arabella in which she promises Matteo a night of love together. But instead she wants to wait for him herself in the darkness of the hotel room. Mandryka learns of Arabella's alleged infidelity and goes to the hotel with the ball guests to surprise Arabella in flagrante delicto. Arabella, innocent of this, is initially shocked and saddened by Mandryka’s suspicions but forgives him when the mix-up is revealed for what it is. The two agree to marry, as do Zdenka and Matteo.

Richard Strauss’s orchestral richness and opulence coupled with the period Viennese setting of the work led to ARABELLA being falsely pigeonholed as a light-hearted comedy of errors from its 1933 premiere onwards. In the estimation of Tobias Kratzer, however, who triumphed at the Deutsche Oper with his production of Alexander von Zemlinsky’s THE DWARF, this final collaboration between Strauss and Hugo von Hofmannsthal marks a collision of two world views: the traditional roles of men and women on the one hand – as expressed in Arabella’s famous solo “Und du sollst mein Gebieter sein” – and a modern idea of social interaction on the other – as illustrated by Zdenka with her questioning of gender-based identities. Here, Kratzer turns the spotlight on this disunity between the various character portrayals in ARABELLA and explores these role-specific tensions on a continuum stretching from 19th-century Vienna to the present day. In the category of stage design, Manuel Braun, Jonas Dahl and Rainer Sellmaier were honoured with the renowned German Theatre Award DER FAUST 2023 for this production.

In this recording, under the baton of Sir Donald Runnicles, you will experience Albert Pesendorfer, Doris Soffel, Sara Jakubiak, Elena Tsallagova, Russell Braun, Robert Watson, Thomas Blondelle, Kyle Miller, Tyler Zimmerman, Hye-Young Moon, Lexi Hutton, Jörg Schörner and others, as well as the chorus and orchestra of the Deutsche Oper Berlin. The performances on 18 and 23 March 2023 were recorded by rbb Kultur and Naxos for this DVD.

We would like to thank the Naxos label for the great collaboration over the past few years, which documents recordings of DER ZWERG, DAS WUNDER DER HELIANE, FRANCESCA DA RIMINI, DER RING DES NIBELUNGEN, DER SCHATZGRÄBER, DIE MEISTERSINGER VON NÜRNBERG and ANTIKRIST. Richard Strauss' ARABELLA and INTERMEZZO will be released in the course of 2025.


Closing date: 22 December 2024. The winners will be informed by email on 23 December 2024. The DVDs will then be sent by post. There is no right of appeal.