{"id":24918,"date":"2026-09-17T13:00:19","date_gmt":"2026-09-17T11:00:19","guid":{"rendered":"https:\/\/www.neukoellneroper.de\/?page_id=24918"},"modified":"2026-09-21T17:10:40","modified_gmt":"2026-09-21T15:10:40","slug":"booklet-vox-humana","status":"publish","type":"page","link":"https:\/\/www.neukoellneroper.de\/en\/booklet-vox-humana\/","title":{"rendered":"Booklet: VOX HUMANA"},"content":{"rendered":"\n
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\u00a9 Peter van Heesen<\/figcaption><\/figure>\n\n\n\n

What can be done with the human voice? In the summer of 2026, a group of Ukrainian artists living under the daily threat of Russia\u2019s war of annihilation meets with Neuk\u00f6llner Oper to plan the opening production of the new season. As a gesture of gratitude to Germany for its political support and air defence systems, the Ukrainians decide to offer the country the best thing they have \u2013 their voices. Their promise: to prepare Germany for victory at the Eurovision Song Contest 2027 by developing a radical political hyperpop project.<\/p>\n\n\n\n

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Introduction<\/h2>\n\n\n\n
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\u00a9 Peter van Heesen<\/figcaption><\/figure>\n\n\n\n

LOVE in Europa<\/strong><\/p>\n\n\n\n

By Dennis Depta, dramaturg at the Neuk\u00f6llner Oper and of VOX HUMANA<\/em><\/p>\n\n\n\n

\u201cI sing my song out of fear of the dark
And hope for nothing to happen\u201d
Nicole \u2013 A Little Peace<\/em><\/p>\n\n\n\n

For the first time since its founding in 2020, Opera Aperta is developing a production outside Kyiv. Normally, they create their new operas, such as Chornobyldorf<\/em> or M\u014ddraniht<\/em>, Songs of Winter War<\/em> for people in Ukraine and only afterwards send them across Europe or across the pond to New York, to the Wiener Festwochen, and so on. This time, everything is different. And it means a damn lot to them to be away from Ukraine for a while \u2013 you can tell. This is no pleasure trip for them. The focus is entirely on the shared project on stage. By now, a large part of the travelling group consists of performers, musicians, dramaturgs and producers. The three male companions are either still studying or unfit for military service. During the drive to the Baltic Sea, Illia tells me that almost all of his friends from the theatre are either at the front or working at state theatres. There has been no independent scene since 2022. Only the state theatres are still operating; the rest of the cultural funding is being channelled into the defence against Russia\u2019s war of aggression. All the more astonishing, then, is what kind of team has come together here, bringing together such different talents. An opera singer who plays drums, a cellist who plays bass, a dramaturg who sings: these are the foundations for the broad stylistic mix of VOX HUMANA.<\/p>\n\n\n\n

24 August 2026: We drive my car to the Ghost Forest near Nienhagen on the Baltic Sea to film the sunset for the finale of the production. Almost all Ukrainian rivers flow into the Black Sea or the Baltic Sea. Access to the beaches on the Black Sea has become scarce and, in some places, dangerously difficult. Sixteen hours of effort for sixteen seconds of production, nine people in a minibus \u2013 I like that. When Opera Aperta was still performing under the name Nova Opera in the 2010s, the quality of production in Ukraine was unique by European standards. Anything was possible. When they needed rotor blades from two aircraft for a score, they simply moved the entire production into an old stadium and borrowed the planes at a friendly rate. Here in Germany, they appear with their VOX HUMANA organ pipes, naked among the Baltic Sea bathers, on the balcony of the Neuk\u00f6llner Oper and in the temporary public swimming pool of the Volksb\u00fchne \u2013 the Ferris wheel at their backs. Everyone involved is trying to recreate the production conditions they once had in Ukraine. And the German capital, so dead that nothing seems possible anymore, suddenly surprises them.<\/p>\n\n\n\n

What do the people of Kyiv, Berlin and Neuk\u00f6lln want to see from Opera Aperta in Berlin? They ask this question themselves, disguised as Ukrainian care workers, to passers-by on the street. And then they play with these expectations on the stage of the Neuk\u00f6llner Oper. \u201cI want to cry,\u201d says a Berliner in front of the Volksb\u00fchne Ferris wheel. He wants it to be tragic, too. Emotional. He also wants to be angry with the people who are so close to him, even though he knows little about Ukraine. A man in Kyiv states for the record: \u201cWe know we have a common history.\u201d Ukrainians and Germans have to defend themselves against the fascists. Hitler \u2013 Putin \u2013 perfume salesman. But how can this succeed on stage if the horrific should not be made consumable after all, as Monsieur Adorno later demands on the video screen?<\/p>\n\n\n\n

The production begins with images of a bombed-out flea market in Kyiv. Then a chorus on stage calls forth spring with a traditional Ukrainian folk song. According to some sociologists, humans are supposedly capable of thinking no further than the next spring. That explains quite a lot, of course\u2026 But even that is difficult for Ukrainians, because the last winter without heating was sheer horror. Opera Aperta had four degrees Celsius in their rehearsal room.<\/p>\n\n\n\n

As the production continues, Illia Razumeiko becomes the storyteller at the live surtitles, providing all the background information (which means I can conveniently leave it out of this text), helping us take in the panorama of VOX HUMANA. And suddenly we find ourselves right in the middle of the Vocal Healing School according to Alfred Wolfsohn, a Jewish Berlin psychotherapist who returned from the First World War with an acoustic trauma caused by the screams of war and healed himself through vocal exercises. \u201cWhat you cannot yet say, perhaps you can already sing,\u201d a certain H. M\u00fcller knew long ago, and so in Act I we see the naked human voice struggling for existence: VOX HUMANA. Voices at the breaking point. It whispers, scratches, smacks, shrieks, saws. Absurd. Dada. The voice as an instrument, free from language. Until Ralph Siegel\u2019s A Little Peace<\/em> spreads hope. Can hope come from Germany?<\/p>\n\n\n\n

After the voices have experienced healing, in Act II Opera Aperta searches for \u201cLove in Europe\u201d, or, in Wagnerian terms, for the longing for a peaceful womb. For this, the stage becomes a rock show, and the self-written fragments of pop rock, poison rock and death folk saw into the brain. For that little bit of love, that little bit of peace, the Ukrainians share their expertise in successfully competing in the EUROVISION Song Contest with us. In rapid success<\/p>\n\n\n\n

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Structure<\/h2>\n\n\n\n
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\u00a9 Peter van Heesen<\/figcaption><\/figure>\n\n\n\n

PRELUDIA<\/strong>
– Vox Populi Part I. Theater and War
– Ukrainian Choir \u201eOi dai Bozhe vesnu pochat” (traditional spring song)
– Vox Presentation (Illia Razumeiko)<\/p>\n\n\n\n

ACT I VOX HUMANA. Alfred Wolfson – Vocal Healing School <\/strong>
1.1 Vox Humana Chor & Guzheng
1.2 Microrequiem (composition: Roman Grygoriv & Illia Razumeiko)
1.3 Bells 
1.4 Duetto
1.5 Cello, Voice
1.6 Chor & Individuum
1.7 Konzert. Performance (composition: Roman Grygoriv)
1.8 Ein bisschen Frieden (Nicole-Cover)

ACT II LOVE<\/strong>
2.1 Vocal Workshop
2.2 Love (composition: Roman Grygoriv, Illia Razumeiko, Marichka Styrbulova, text: Marichka Styrbulova)
2.3 Poison (Rock) (composition: Roman Grygoriv, text: Sofia Pavlichenko)
2.4 Busy Girl (composition: Roman Grygoriv, Marichka Styrbulova, text: Marichka Styrbulova)
Repeat<\/em>
2.5 Death Folk (composition: Roman Grygoriv, Illia Razumeiko, text based on a traditional Ukrainian Spring song)
2.6 Wozzeck \/ Liebestod, based on Alban Berg’s Wozzeck <\/em>and Richard Wagner’s Tristan und Isolde<\/em>) 

ACT III EUROVISION IN NEUK\u00d6LLN<\/strong>
3.1 Vox Populi Part II. Opera and Drama
3.2 Albania (composition: Valeriya Vinogradova, Marichka Styrbulova, text: Marichka Shtyrbulova)
3.3 Folktronia (composition: Valeria Vynohradova, text: traditional song)
3.4 Bosnia (Komposition: Roman Grygoriv, Musik: Sofia Pavlichenko, arrangement: Valeria Vynohradova)
3.5 Say Yes to No (composition: Valeria Vynohradova, music: Marichka Shtyrbulova)
3.6 Adorno 
3.7 How are you? (composition: Valeria Vynohradova, music: Marichka Shtyrbulova)<\/p>\n\n\n\n

POSTLUDIA<\/strong>
– Vox Dei <\/p>\n\n\n\n

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Lyrics<\/h2>\n\n\n\n
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\u00a9 Peter van Heesen<\/figcaption><\/figure>\n\n\n\n

SAY YES TO NO<\/strong><\/p>\n\n\n\n

NO human NO voice<\/p>\n\n\n\n

NO freedom NO choice<\/p>\n\n\n\n

NO risk NO fun<\/p>\n\n\n\n

NO Thomas NO Mann<\/p>\n\n\n\n

NO love NO pain<\/p>\n\n\n\n

NO cloud NO rain<\/p>\n\n\n\n

NO pain NO love<\/p>\n\n\n\n

NO woof NO meow<\/p>\n\n\n\n

NO human NO rights<\/p>\n\n\n\n

NO black NO white<\/p>\n\n\n\n

NO day NO night<\/p>\n\n\n\n

NO left NO right<\/p>\n\n\n\n

NO lie NO truth<\/p>\n\n\n\n

NO age NO youth<\/p>\n\n\n\n

NO rumour NO fame<\/p>\n\n\n\n

NO match NO flame<\/p>\n\n\n\n

NO weapon NO peace<\/p>\n\n\n\n

NO sorry NO please<\/p>\n\n\n\n

[peace please peace please peace please]<\/p>\n\n\n\n

Say YES to NO<\/p>\n\n\n\n

Say YES to NO<\/p>\n\n\n\n

Say YES to NO<\/p>\n\n\n\n

Say YES to NO<\/p>\n\n\n\n

NO start NO end<\/p>\n\n\n\n

NO try NO friend<\/p>\n\n\n\n

NO gay NO straight<\/p>\n\n\n\n

NO seven NO eight<\/p>\n\n\n\n

NO stress NO joy<\/p>\n\n\n\n

NO game NO toy<\/p>\n\n\n\n

NO zero NO ten<\/p>\n\n\n\n

NO women NO man<\/p>\n\n\n\n

NO silence NO sound<\/p>\n\n\n\n

NO falling NO ground<\/p>\n\n\n\n

NO life NO fight<\/p>\n\n\n\n

NO dark NO light<\/p>\n\n\n\n

NO risk NO fun<\/p>\n\n\n\n

NO Thomas NO Mann<\/p>\n\n\n\n

NO sorry NO please<\/p>\n\n\n\n

NO weapon NO peace<\/p>\n\n\n\n

[peace please peace please peace please]<\/p>\n\n\n\n

Say YES to NO<\/p>\n\n\n\n

Say YES to NO<\/p>\n\n\n\n

Say YES to NO<\/p>\n\n\n\n

Say YES to NO<\/p>\n\n\n\n

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Team<\/h2>\n\n\n\n
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\u00a9 Peter van Heesen<\/figcaption><\/figure>\n\n\n\n

WITH<\/strong> Oleksandr Chyshii, Kateryna Hordiienko, Karolina Muzychenko, Sofiia Pavlichenko, Yuliia Vitraniuk, Marichka Styrbulova, Roman Grygoriv, Valeriia Vynogradova, Illia Razumeiko<\/p>\n\n\n\n

TEXT, THEORY AND SPACE<\/strong> Illia Razumeiko COMPOSITION AND MUSICAL DIRECTION<\/strong> Roman Grygoriv DRAMATURGY<\/strong> Marichka Styrbulova, Dennis Depta ELECTRONIC MUSIC<\/strong> Valeriia Vynogradova COSTUME<\/strong> Kateryna Markush VIDEO<\/strong> Ivanna Yakovyna CINEMATOGRAPHY AND EDITING<\/strong> Liubov Ploskonosova, Sophia Gera SOUND EDITING<\/strong> Olha Goncharenko SET & STAGE DESIGN ASSISTANT<\/strong> Marcus Barros Cardoso ASSISTANT DIRECTOR \/ PRODUCTION MANAGEMENT<\/strong> Cara Freitag PROCUCTION MANAGEMENT UKRAINE<\/strong> proto produkciia (Olia Diatel, Yulia Parysh)<\/p>\n\n\n\n

TECHNICHAL PRODUCTION MANAGEMENT <\/strong>Helmut Topp, Kim Titzmann SOUND <\/strong>Michael Tuttle LIGHT<\/strong> Friedrich Schmidt VIDEO <\/strong>Torsten Litschko TECHNICAL EVENING MANAGEMENT SOUND <\/strong>Michael Tuttle, S\u00f6ren Schwedler, Sebastian Vivas Sanchez TECHNICAL EVENING MANAGEMENT <\/strong>LIGHT<\/strong> Friedrich Schmidt STAGE CONSTRUCTION <\/strong>Gregor von Glinski, Marc Schulze, Rui Wegener, Ralf Mauelshagen, Pet Bartl-Zuba, Anne Wundrak, Zora H\u00fcnermann COSTUME DEPARTMENT <\/strong>Christina K\u00e4mper (team lead), Frank Schelhase, Kathy Tomkins HAIR & MAKE-UP <\/strong>Anne-Claire Meyer EVENING MANAGEMENT <\/strong><\/strong>Sophie Reavley, Regina Triebel SERVICE MANAGEMENT <\/strong>Vanda Hehr<\/p>\n\n\n\n

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Biographies<\/h2>\n\n\n\n
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Illia Razumeiko<\/strong> | Composer, director<\/h2>\n\n\n\n
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Ukrainian composer, director, performer and art-manager. Born in 1989 in Zaporizhzhia. Studied composition in the Vienna University for music and performing arts. PhD student at the Artistic Research Center of the University of Music and Performing Arts, Vienna.  Co-founder of PORTO FRANKO festival.  Co-founder of Opera aperta contemporary opera laboratory in Ukraine. Laureate of Shevchenko national Ukrainian art prize. Author of one of the best operas in the world according to Music Theater Now. Since 2015 together with Roman Grygoriv have created 11 music theatre works.<\/p>\n\n\n\n

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Roman Gryhoriv<\/strong> | Composer, director<\/h2>\n\n\n\n
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Ukrainian composer, conductor, director, performer, and art manager. Author of operas, chamber, vocal and symphonic works, music for plays and movies.  Born in 1984 in Ivano-Frankivsk. Since 2007 he has studied composition at the National Music Academy of Ukraine. Co-founder of PORTO FRANKO festival.  Co-founder of Opera aperta contemporary opera laboratory in Ukraine. He’s composing music for cinema, symphonic and chamber orchestras, vocals and choirs. Laureate of Shevchenko national Ukrainian art prize. Author of one of the best operas in the world according to Music Theater Now. Since 2014 he has been a member of the National Union of Composers of Ukraine. Since 2015 together with Illia Razumeiko have created 11 music theatre works.<\/p>\n\n\n\n

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Olga Diatel<\/strong> | Producer General<\/h2>\n\n\n\n
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Producer, cultural manager, co-founder of cultural and educational organisations in Ukraine. Was born in Crimea. Specializes in organizational development, project management, strategic planning, fundraising. General producer of Opera Aperta laboratory.  Co-founder of proto produkciia agency and NGO Insha Osvita. Co-founder of Antonin Artaud Fellowship for performing artists in Ukraine. Currently, exploring different formats of residencies and fellowships for upcoming artists – especially for those, who continue their work in Ukraine.<\/p>\n\n\n\n

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Yuliia Parysh<\/strong> | Production Coordinator<\/h2>\n\n\n\n
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Performing arts producer based in Ukraine. Coordinator of the Antonin Artaud Fellowship for performing artists. Production coordinator and assistant director of the contemporary opera laboratory Opera Aperta, including productions GAIA-24. Opera del Mondo<\/em> and M\u014cDRANIHT. Songs of Winter War<\/em>, as well as international presentation of Ukrainian artistic projects.<\/p>\n\n\n\n

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Kateryna Markush<\/strong> | stage and Costume designer<\/h2>\n\n\n\n
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Born in Zaporizhzhia, Ukraine.<\/p>\n\n\n\n

Develops and implements scenographic and costume concepts for drama, documentary theatre, as well as modern opera and ballet. Her portfolio includes collaborations with numerous venues across Ukraine and internationally, such as the Franko National Academic Drama Theater, Kyiv Academic Theater for Young Spectators in Lypky, Lesia Ukrainka Drama Theatre in Lviv, New Theatre on Pechersk, and Theatre Actor in Kyiv.<\/p>\n\n\n\n

Currently, her practice is actively focused on the Ukrainian independent arts scene, alongside recurring collaborations with German theatres and collectives, including Theater der Keller, Theater Bonn, XXTANZTHEATER, Paradeiser Productions, Futur3, and others.<\/p>\n\n\n\n

She has been working as a resident set and costume designer with Opera Aperta since its inception. Among her notable projects is the archaeological opera Chornobyldorf<\/em> (directed by composers Roman Grygoriv and Illia Razumeiko), which was selected by Music Theatre NOW (MTNow) as one of the best contemporary operas worldwide.<\/p>\n\n\n\n

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Marichka Shtyrbulova<\/strong> | Actress, singer<\/strong><\/strong><\/h2>\n\n\n\n
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Actress, singer, musician, voice-over actress, teacher, literary editor, Ukrainian language coach. Graduated from Kyiv national university of theatre, cinema and television (2015, acting) and Veriovka vocal school (2011, folk singing). Is co-owner of Gur-Gury Recording studio in Kyiv and co-founder of voice-over school.<\/p>\n\n\n\n

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Karolina Muzychenko<\/strong> | Musician, performer<\/h2>\n\n\n\n
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In 2021, she graduated from the R. Glyera Academy of Music, currently a student at the Kyiv National Music Academy. In 2022, she studied under the Erasmus program at Hochschule f\u00fcr Musik Karlsruhe. She performed as part of the Youth Symphony Orchestra of Ukraine, the Central European foreign youth orchestra, was an assistant of the German quartet “delian::quartett”, cellist of chamber ensembles such as “Mondestrunken”, “Druzi Baroko”, “Petrichor.quartet”.<\/p>\n\n\n\n

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Oleksandr Chyshii<\/strong> | Singer, performer<\/strong><\/strong><\/h2>\n\n\n\n
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Singer, graduated from the R. Glyer Academy of Music. Studied at the National Music Academy of Ukraine. Furthermore, has been teaching vocals since 2023. Director of the public organization “44700”, where I have been volunteering since 2022, organizing cultural charity events: concerts (“Classical concert on Spaska Street”, “Music of Unity”, etc.), film screenings, group vocal improvisations, in which I take a direct part as a singer or mentor.<\/p>\n\n\n\n

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Sofiia Pavlichenko<\/strong> | Singer, performer<\/h2>\n\n\n\n
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Sofia Pavlichenko is a Ukrainian singer, actress, and musical theatre performer with over 12 years of international stage experience. She works across jazz cabaret, musical theatre, and contemporary vocal performance.<\/p>\n\n\n\n

A former lead vocalist of Freedom Jazz Band, Sofia was a finalist in the 2019 Ukrainian Eurovision National Selection. She is currently a performing actress at the Kyiv National Academic Operetta Theatre, a performer in Opera Aperta projects, and a soloist with Legendary Rock Voices.<\/p>\n\n\n\n

Her international performance experience includes stages across Europe, the United States, and beyond, combining powerful vocals, theatrical expression, and a distinctive contemporary stage presence.<\/p>\n\n\n\n

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Yuliia Vitraniuk<\/strong> | Singer, Performer<\/h2>\n\n\n\n
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Yuliia Vitraniuk is a folk music performer and singer, was born in Kyiv, Ukraine. From 2017 to 2023, she studied at the Faculty of Musical Arts at Kyiv National University of Culture and Arts, specializing in folklore. During her studies, she initiated her career as a folk vocalist, standing out not only by reproducing authentic songs but also by working with them, giving new forms to their sound. She participated in the 11th season of ‘The Voice of Ukraine’ and now she is a soloist in the folk-band Zgarda, a vocalist in the pop-folk musical project Authentix, and a member of the rock-folk band The Doox. In May 2023 Yuliia joined the team of the archaeological opera Chornobyldorf and has already performed with the opera  participants at a contemporary art festival in Frankfurt. Also in January 2024, she was on tour as part of the Chornobyldorf  opera at the Prototype festival (New York City, USA).<\/p>\n\n\n\n

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Valeria Vynohradova<\/strong> | Electronic artist, Performer<\/h2>\n\n\n\n
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Valeria Vynohradova is a Ukrainian composer, performer of electronic music, and creator of audiovisual installations, originally from Berdyans\u2019k. She is a graduate of the National Music Academy of Ukraine and the Hochschule f\u00fcr Musik Freiburg. Her works have been premiered in numerous countries and performed by ensembles and studios including Ensemble Recherche and SWR in Freiburg, the Hypnos at Conservatoire de Paris, and Ensemble 24. Valeriia is currently also active as a live-electronics artist and performer with Opera Aperta. In her artistic practice, she combines mathematical models with musical programming, exploring new forms of sound organization. Her approach has been shaped by the experimental ideas of Alvin Lucier and Harry Partch.<\/p>\n\n\n\n

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Kateryna Hordiienko<\/strong> | Performer<\/h2>\n\n\n\n
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\u00a9 Arthur Buchholz<\/figcaption><\/figure>\n\n\n\n

An actress, dancer, performer, movement coach. Toured through over 60 cities in China, Switzerland, Turkey with a dancing team as a choreographer and performer. For the last 5 years, continues her journey by exploring the world of the theatre. Actress-transformer, capable of impersonation both internally and externally. Dramatic, documentary, physical theater, opera – confidently transforms into any genre and any role. She is also a voice-over actress, working on educational health projects , projects for English learning, podcasts on cultural appropriation, as well as voice-over for TV series. Constantly touring through Europe with mono plays and movement laboratory workshops.<\/p>\n\n\n\n

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Marcus barros Cardoso | SET & STAGE DESIGN ASSISTANT<\/strong> <\/strong><\/strong><\/h2>\n\n\n\n
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\u00a9 Marcus Barros Cardoso<\/figcaption><\/figure>\n\n\n\n

Originally from Brazil, I moved to Lisbon in 1996 and have lived in Berlin since 2003. After training as a Video and Television Producer and attending fine arts workshops, I began my career in costume at the Schaub\u00fchne Berlin in 2007. Since then, I have worked as a Costume and Props Assistant, supervisor, and Costume and Stage Designer with artists and institutions including Pina Bausch, Robert Wilson, Gob Squad, Constanza Macras\/Dorky Park, Hebbel am Ufer, Maxim Gorki Theater and Thalia Theater. My work has been presented at renowned venues and festivals including Akademie der K\u00fcnste, Haus der Berliner Festspiele, Volksb\u00fchne, BAM New York, Bauhaus Dessau, Charleroi Danse, Dansens Hus Oslo and Tanz im August. In 2012, I founded my own fashion label, MBC Berlin. Since 2019, I have worked mainly as a Costume and Stage Designer and have contributed to more than 50 productions, most recently Linie 1<\/em> at GRIPS Theater, Back to the Present<\/em> at Volksb\u00fchne, Wahnsinn \u2013 Die Show<\/em>, and VOX HUMANA<\/em> at Neuk\u00f6llner Oper.<\/p>\n\n\n\n

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Dennis Depta | Dramaturg<\/strong>y<\/h2>\n\n\n\n
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\u00a9 Peter van Heesen<\/figcaption><\/figure>\n\n\n\n

DDennis Depta, born in Cottbus in 1988, is a dramaturg, performer, and musician. Since 2014, he has been part of the Berlin-based (music) theatre group glanz&krawall<\/em>, with which he has been boldly seeking confrontation with the rest of society\u2014from the high culture of opera to the poetic lostness of a solo entertainer in a village disco. Together with director Marielle Sterra, he brings formats from popular culture such as wrestling, circus, punk concerts, and horse racing into the theatre, while also increasingly taking theatre into urban spaces such as clubs, beach baths, and psychiatric institutions.<\/p>\n\n\n\n

Since 2019, Depta and Sterra have initiated the inclusive theatre and music festival series BERLIN is not\u2026<\/em>, for which music acts and performing arts groups alike adapt operas by Richard Wagner & Co. KG for a broad audience. Since the 2025\/2026 season, Depta has been dramaturg at the Neuk\u00f6llner Oper in Berlin. He is also guitarist in the bands SCHROTTI STAR ORCHESTER and KANAL. Depta believes that art comes from wanting, not from ability.<\/p>\n\n\n\n

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Cara Freitag | Assistant Director, Production manager<\/h2>\n\n\n\n
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\u00a9 Kathrin Grzeschniok<\/figcaption><\/figure>\n\n\n\n

Cara Freitag, born in Mainz, completed internships and worked as an assistant at Oper Wuppertal after finishing high school in 2016. She then studied theatre studies and philosophy in Berlin, while also working in the independent scene in the areas of directing and stage design. This was followed by various guest assistant positions, including in Dresden, Wuppertal, and Lucerne.<\/p>\n\n\n\n

At the Neuk\u00f6llner Oper, she is now accompanying VOX HUMANA as assistant director and production manager for her seventh production.<\/p>\n\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

What can be done with the human voice? In the summer of 2026, a group of Ukrainian artists living under the daily threat of Russia\u2019s war of annihilation meets with Neuk\u00f6llner Oper to plan the opening production of the new season. As a gesture of gratitude to Germany for its political support and air defence […]<\/p>\n","protected":false},"author":15,"featured_media":24908,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_teasertitle":"","_hidetitle":false,"_titletag":"","_marqueeTitle":false,"_subtitle":"A Singspiel

Text and Music: Opera Aperta
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