Mensch, Musik! #6.1 – Return to the Unknown

Born in Saarbrücken, conductor Ruth Reinhardt composed and conducted a children’s opera for children and young people in her home town when she was only 17. After graduating from high school, she began conducting studies in Zurich with Constantin Trinks, which she supplemented with additional training with Johannes Schlaefli in Zurich. She also took part in conducting master classes with Bernard Haitink, Michael Tilson Thomas, David Zinman and James Ross, among others. Already during her studies, Ruth Reinhardt conducted two chamber operas for children: “The Little Mermaid” by the Swiss composer Michal Muggli and “Wassilissa” by the German composer Dennis Bäsecke. After earning her Master’s degree in conducting at The Juilliard School with Alan Gilbert, Ruth Reinhardt earned conducting fellowships with the Boston Symphony Orchestra’s Tanglewood Music Center (2015) and the Seattle Symphony Orchestra (2015-2016). She was an Associate Conducting Fellow with the Taki Concordia Program (2015-2017) and a Dudamel Fellow with the Los Angeles Philharmonic (2017-2018). In 2018 and 2019, she also served as Assistant Conductor of the Lucerne Festival Academy Orchestra and with the Dallas Symphony Orchestra.
Highlights of recent seasons include debuts with the Cleveland, San Francisco, Dallas, Detroit, Houston, Orlando, Milwaukee, and Portland symphonies; the Blossom Music Center and Wolf Trap summer festivals in Virginia; and the Los Angeles and St. Paul chamber orchestras. In Europe, she has made debuts with the Frankfurt Radio Symphony Orchestra, the Tonkünstler Orchestra in Austria, the Grosses Orchester Graz, and in Scandinavia with the Royal Stockholm Philharmonic and the symphony orchestras in Gävle and Kristiansand, and in Germany with the Impuls Festival, the DSO Berlin, the Orchestre National de Radio France, the MDR Radio Symphony Orchestra Leipzig and the Konzerthausorchester Berlin. She will conduct the RSB for the first time in 2023.

Since 2007 tauchgold (Heike Tauch and Florian Goldberg) have been realising plays at the interface of radio and stage. Their works include social satires, historical dramas and philosophical material. However, specially composed music always plays a central role. In 2019, her stage work “Das Gläserne Meer – Ein Narratorium für Streicher und Stimmen” (The Glass Sea – A Narratorio for Strings and Voices) premiered in Munich, with a composition by Cathy Milliken based on the radio play “Metamorphoses”. For “Borrowed Landscape – A Narratorio for Piano Trio and Voices”, composer Dai Fujikura wrote the music (2022). In June 2022, tauchgold already realised the RSB’s “Mensch, Musik!”#4 project entitled “Wanderungen”. The two following “Mensch, Musik!” projects in spring 2023 will also be created together with tauchgold.

His voice surprises with its bright clarity and fascinates with its intensity: Georg Rudiger has acclaimed its “radiance about which one can only marvel…” (Badische Zeitung) and Richard Lorber has celebrated its “irritatingly-beautiful, bell-clean naivety” (WDR3 Opernblog).

Soprano Philipp Mathmann is one of the most sought-after countertenors in the world today. During the course of his still-young career he has taken on numerous leading roles in highly-acclaimed productions such as Anastasio in “Giustino” (Handel), Abel in “Cain and Abel” (Scarlatti), Mirtillo in “Il pastor fido” and La Bellezza in “Il Trionfo del Tempo e del Disinganno” (Handel). These productions attracted national attention and were nominated for notable prizes, such as the Faust Prize and the Golden Mask Award. Mathmann’s opera engagements have taken him to the Teatro Real Madrid, the Aalto-Theater Essen, the Theater an der Wien, the Stanislawski Theater Moscow and numerous other renowned music festivals.

Mathmann does not just limit himself to baroque repertoire. In 2021/22, for example, he sang the part of the Angel at the Semperoper Dresden in the world premiere of Thorsten Rasch’s “Die andere Frau”, and the part of the Scorpion Man in Jörg Widmann’s opera “Babylon” at the Staatstheater Wiesbaden. Mathmann has worked in concert with some of the most renowned early music ensembles, such as the Freiburger Barockorchester, the Akademie für Alte Musik Berlin, Concerto Köln and conductors such as Christophe Rousset, Gianluca Capuano and Diego Fasolis. His first CD (“La deposizione dalla croce di Gesu Cristo” by F. X. Richter) was released in 2017 and was followed in 2020 by his first solo CD (“Tormenti d’Amore”) which featured 3 world premiere recordings.

Nadine Contini, principal second violin, has been a member of the Rundfunk-Sinfonieorchester Berlin since March 2005.

She was born in 1979 in Saarbrücken and received her first violin lessons at the age of 5 years with Ms Christa Schmitt-Rink. Later she studied under Ulrieke Dierick. In 1996 she was admitted to the Pflüger-Stiftung Freiburg and the Spohr-Akademie for the promotion of highly gifted young violinists, where she was trained by Wolfgang Marschner and Ariane Mathäus. In 2000, she began her studies at the Musikhochschule “Hanns Eisler” in Berlin with Antje Weithaas, where she graduated with the concert exam of 2008. She attended master classes with Antje Weithaas, Wolfgang Marschner, Christian Tetzlaff, Guy Braunstein, and Boris Pergamenchikov.

Nadine Contini has won awards in numerous competitions: In 1998, she was awarded with the first “Young Musicians” federal prize. In addition, she received a second prize at the International Max Reger Competition and a special prize for the best interpretation of a solo work by Max Reger. In 2004, she won the competition of Ibolyka-Gyarfas-Stiftung. She was awarded with prizes for cultural promotion by the Casino Gesellschaft Saarbrücken and the Saarländischen Rundfunk. In addition, she was the prize winner and scholarship holder of the Deutsche Stiftung Musikleben.

As a soloist, she has performed with the Landesjugendorchester of Saarland, the Cairo Chamber Orchestra, the Cairo Opera Orchestra, the Deutsche Spohr Philharmonie, the Symphonieorchester des Saarländischen Rundfunks as part of the concerts of young artists, the Max Bruch Philharmonie and the Brandenburger Symphoniker.

Nadine Contini plays a violin made by master violinmaker Stefan-Peter Greiner from Bonn and is involved as a mentor in the orchestra academy of the Rundfunk-Sinfonieorchester Berlin.

Alejandro Regueira Caumel, born in 1991 in Málaga/Spain, began playing the violin and piano at the age of six. In Madrid, he studied with Anna Baget and moved to Dionisio Rodríguez as a violist in 2008. In 2009 he came to Germany and studied at the Hochschule für Musik “Hanns Eisler” with Pauline Sachse and Tabea Zimmermann. Master classes with Wilfried Strehle, Andreas Willwohl, Roberto Díaz, Felix Schwartz and Jean Sulem complemented his education.

Chamber music has been a particular focus of his career to date. He participated in the chamber music festival of the “Kronberg Academy” and in the “Seiji Ozawa International Academy Switzerland”, performed repeatedly with the Frielinghaus Ensemble and can be heard regularly at chamber music festivals such as the “Festival Ribeira Sacra” or in the Nikolaisaal Potsdam. He also won first prizes at various competitions, including the “Concurso Ibérico de Música de Cámara con Arpa” (in duo with harpist Maud Edenwald), the XII. International Competition for Viola and Cello “Villa de Llanes”, at the “Concurso María Cristina” for young soloists and at the competition of “Jeunesses Musicales” in Spain.

Alejandro Regueira Caumel gained orchestral experience as a member of the Gustav Mahler Youth Orchestra and the Spanish National Youth Orchestra, as well as through substitute work with the Berlin Philharmonic Orchestra and as principal violist with the Bamberg Symphony Orchestra, the NDR Radiophilharmonie Hannover, the NDR Elbphilharmonie Orchestra, the Philharmonia Orchestra London, the Orquestra de la Comunitat Valenciana and the Orquesta Nacional de España.

From 2010 to 2012 he was an academist with the Rundfunk-Sinfonieorchester Berlin and has been its principal violist since 2015.

Hans-Jakob Eschenburg received his first cello lessons at the Rostock Conservatory. After studying with Josef Schwab at the Hochschule für Musik “Hanns Eisler” Berlin, he was principal cellist of the Leipzig Radio Symphony Orchestra from 1984 to 1988.

With the renowned Petersen Quartet, of which he was a founding member until 2000, he won several international competitions (Prague, Evian, Florence, Munich) and appeared on the major concert stages and at numerous festivals in Europe, North and South America, Asia and Australia. Several of the Petersen Quartet’s numerous CD recordings have won international awards.

Since 1999 Hans-Jakob Eschenburg has been principal cellist of the Rundfunk-Sinfonieorchester Berlin. He held the same position in the chamber orchestra “Carl Philipp Emanuel Bach”. He frequently appears as a soloist and chamber musician, including as a member of various chamber ensembles such as the Gideon Klein Trio. Hans-Jakob Eschenburg teaches as an honorary professor at the Hochschule für Musik “Hanns Eisler” Berlin. He is also involved as a mentor of the Orchestra Academy of the Rundfunk-Sinfonieorchester Berlin.

Mohamed Gamal is an Egyptian trombone player. He is a graduate of the Cairo Conservatoire in Egypt and the Barenboim-Said Akademie in Berlin. At the early age of 17, while completing his studies, he joined the Cairo Symphony Orchestra as a Co-Principal Trombone. In 2010 he won the First Prize at the 9th International Summer Festival in Egypt. He toured extensively throughout the Middle East, South America, Europe, Africa and Asia During 2011 to 2015 he played several solo concerts with the Cairo Symphony Orchestra. 2013, he was honoured to join the West Eastern Divan Orchestra, conducted by Daniel Barenboim, and he has since been playing with West-Eastern Divan Orchestra around the world. In 2015, he joined the Barenboim-Said Academy in Berlin where he studied with Prof. Stefan Schulz and Filipe Alves and graduated in 2019.

Richard Scott is a composer and improvisor residing in Berlin, who has been navigating the nether regions of free improvisation, jazz and avant-garde composition for some four decades. For the last few years he has been mostly focused on developing a personal and quite visceral approach to the compositional and improvisational possibilities of modular synthesis, working with collaborators including Audrey Chen, Kazuhisa Uchihashi, Phil Minton, Axel Dörner, Jon Rose, Shelley Hirsch, Thomas Lehn, Michael Vorfeld, Ute Wassermann, Jan Croonenbroeck and the Seicento Vocale choir, Trio Abstrakt, Pitchshifting Group,Richard Barrett, Evan Parker and Frank Gratkowski. He creates solo electronic compositions and performs in many ensembles, including many performances at international festivals and conferences such as Moers Music, Wels Music Unlimited, Festival International de Musique Actuelle de Victoriaville, Bratislava Next Festival of Advanced Music, London Jazz Festival, Nickelsdorf Konfrontationen, ICMC (International Computer Music Conference), Impakt Berlin, SMC (Sound Music Computing), Berliner Festspiele Immersion, Ulrichsberger Kaleidophon, Ars Electronica Forum Wallis and the Tokyo Electroacoustic Music Festival.

He is the author of several articles on the subjects of free improvisation, modular synthesis and post-acousmatic music, and he recently edited an issue of eContact! journal dedicated to analogue and modular synthesis. He currently leads the Masters Degree in Creative Production at Catalyst Institute for Creative Arts and Technology in Berlin.

Gustavo Llano was born in Medellín, Colombia. He studied theatre at the EPA (Escuela Popular de Arte de Medellín, now ITM) and visual arts at the University of Antioquia before finally turning to dance. His dance teachers included Jorge Holguín, Álvaro Restrepo, Beatriz Gutiérrez, Peter Palacio, Silvia Rolz.
Since 1998 Gustavo Llano has been living in Berlin in self-exile, as he calls it. Like many other dancers of his generation, he left the country because of the violence. The final straw was the murder of his friend and teacher José Manuel Freidel, a visionary of socially critical Colombian theatre.
In Germany, Gustavo Llano first danced in Ismael Ivo’s company. Through him he met Johann Kresnik, with whom he worked for several years, first as a dancer and later as artistic assistant. With Kresnik he staged, among others, Plan Vía in Bogotá, a choreographic reflection on Colombia’s present, and Die Fledermaus for the Wuppertal Opera. His own choreographic works include Tchaikovsky’s Queen of Spades for the Los Angeles Opera as well as the pieces Agua, Zeitlos, Cinco Danzas Cotidianas , Nadie en el Mundo es Eterno, La Fiesta and many others, which he has staged in Europe, the USA and Latin America.
Gustavo Llano’s work is oriented towards the idea of choreographic theatre, which differs from dance theatre in its political motifs as well as its socially critical content and seeks the greatest possible expression with the simplest, most everyday means.

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