{"id":2821,"date":"2019-02-05T12:30:11","date_gmt":"2019-02-05T11:30:11","guid":{"rendered":"https:\/\/www.neukoellneroper.de\/?page_id=2821"},"modified":"2026-02-13T08:38:46","modified_gmt":"2026-02-13T07:38:46","slug":"berliner-opernpreis","status":"publish","type":"page","link":"https:\/\/www.neukoellneroper.de\/en\/young-actors\/berliner-opernpreis\/","title":{"rendered":"Berlin Opera Award"},"content":{"rendered":"\n
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ANNA & EVE \u00a9 Philipp Blum<\/figcaption><\/figure>\n\n\n\n

Founded in 1997, the Berlin Opera Award has established itself as a major young talent award in the field of music theatre within Berlin\u2019s cultural landscape and beyond. It supports and honors world premieres that open up new paths for music theatre \u2014 exploring the boundaries of the genre while remaining sensual, emotional, and direct. For years, the Neuk\u00f6llner Oper and GASAG have shared an interest in new, innovative, and at the same time accessible compositions specifically for the music theatre stage. With the Berlin Opera Award, they create a platform where young composers can experiment, for example between pop and avant-garde, and in particular expand their expertise in composing for the stage, dramatic action, and the human voice. The Berlin Opera Award brings selected works to the stage in front of an expert audience and a professional music theatre network.<\/p>\n\n\n\n

The BERLIN OPERA AWARD 2027<\/strong> is organized by the Neuk\u00f6llner Oper and GASAG Berlin in cooperation with the University of Music and Theatre Munich and the Hanns Eisler School of Music Berlin. More than 50 applicants from Germany and abroad participated in the current call for submissions.<\/p>\n\n\n\n

Based on concepts inspired by Brecht\u2019s Baal<\/em>, a jury consisting of Dorothea Hartmann (Artistic Director of the Hessisches Staatstheater Wiesbaden), Brigitta Muntendorf (composer and Artistic Director of the Kunstfestspiele Herrenhausen 2026), as well as representatives of the Hanns Eisler School of Music Berlin, the University of Music and Theatre Munich, and the Neuk\u00f6llner Oper, selected the following three finalists<\/strong>:<\/p>\n\n\n\n

ADRIAN LAUGSCH: BAAL BAAL BAAL<\/em> (working title)<\/h3>\n\n\n\n

Adrian Laugsch writes music for concert, stage, and film. His work is characterized by an interest in expanding sound both conceptually and formally through theatrical, interdisciplinary, and multimedia strategies, as well as by the search for new forms of expression between post-digital artificiality and queer opulence. Adrian\u2019s music has been performed by renowned interpreters (MDR Symphony Orchestra, JACK Quartet, Ensemble Musikfabrik, among others) and has received numerous awards (including a scholarship from the Wilfried Steinbrenner Foundation, 1st Prize at the Osnabr\u00fcck Composition Competition, and 2nd Prize at the International Gustav Mahler Competition in Klagenfurt).<\/p>\n\n\n\n

MINAMI NAGAI: Short Opera after Baal<\/em><\/h3>\n\n\n\n

Minami Nagai is a Japanese composer from Osaka. After studying composition at Tokyo University of the Arts, she moved to Germany in 2022 and is currently completing her master\u2019s degree in composition with Moritz Eggert at the University of Music and Theatre Munich. Her works include opera, orchestral, chamber, and vocal music; in 2026 she was Artist-in-Residence at Plein Theater in Amsterdam.<\/p>\n\n\n\n

Yasuhiro Ito, after studying at the University of Tokyo, is currently enrolled as a doctoral candidate at the University of Strasbourg, specializing in French literature and comparative literature. He has worked as a dramaturge for the Japanese young opera company Novanta Quattro, including on the world premiere of the new opera The Ship Eventually Fell Asleep<\/em> by Minami Nagai.<\/p>\n\n\n\n

ALINE SARAH M\u00dcLLER: IN THE DATA RUSH \u2013 after Baal<\/em> (working title)<\/h3>\n\n\n\n

Aline Sarah M\u00fcller (2001) is a composer and violinist. She is currently completing her master\u2019s degree in composition at the Cologne University of Music and Dance with Brigitta Muntendorf and Oxana Omelchuk. Her music has already been presented at festivals such as Acht Br\u00fccken \u2013 Music for Cologne, the LIMINA Festival Salzburg, and the Darmstadt Summer Course. She has collaborated with artists and ensembles such as Ensemble Proton, Ensemble Musikfabrik, the Asasello Quartet, and HyperDuo. Aline is the managing director of the Swiss Music Edition (SME) and in 2025 was awarded the Bernd Alois Zimmermann Scholarship of the City of Cologne.<\/p>\n\n\n\n

Taking part already means winning: the three composers are intensively supported during the development of their compositions by the mentors Moritz Eggert (composition) and Bernhard Glocksin (libretto) through workshops and coaching sessions. Together with directing teams, singers, and musicians from the Hanns Eisler School of Music, the three newly composed short operas will be staged in April 2027. The selected projects will receive tiered prize money sponsored by GASAG Berlin.<\/p>\n\n\n\n

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Previously<\/h2>\n\n\n\n
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ANNA & EVE \u00a9 Philipp Blum<\/figcaption><\/figure>
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2024: Anna & Eve<\/h2>\n\n\n\n

AI Music Theatre by Marie Kilg (Text) and Eva Kuhn (Music), Text version: Fabian Gerhardt<\/p>\n\n\n\n

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2024: Lisas Land des L\u00e4chelns<\/h2>\n\n\n\n

A Dating-Operetta after Franz Leh\u00e1r by Abig\u00e9l Varga (Music) and Elisabeth Pape (Text)<\/p>\n\n\n\n

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Ein hellblauer Tag\/A light Blue Day von Andys Skordis (Komposition) und Jelena Vuksanovic (Libretto)<\/figcaption><\/figure>
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2020\/2022: comPOSITION<\/h2>\n\n\n\n

1. Prize: A LIGHT BLUE DAY \/ EIN HELLBLAUER TAG<\/strong> (Andys Skordis\/Jelena Vuksanovic)
2. Prize: SUBOTNIK<\/strong> (Samuel Penderbayne\/Theresa von Halle)<\/p>\n\n\n\n

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2018: Take it or leave it<\/h2>\n\n\n\n

1. Prize: ARIANNA, ARIADNE, ARIANE<\/strong> (Tom Smith\/Caitlin van der Maas)
1. Prize: PROTHESEN DER AUTONOMIE<\/strong> (Thierry Tiedrow\/Zs\u00f3fia Ger\u00e9b\/Franziska vom Heede)<\/p>\n\n\n\n

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Game over<\/figcaption><\/figure>
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2016: GAME OVER # GO ON!<\/h2>\n\n\n\n


1. Prize: POST-NUCLEAR LOVE<\/strong> (Yuval Halpern\/Svenja Viola Bungarten\/Anja Kerschkewicz)
2. Prize: WESENDONCK-LIEDER HEUTE <\/strong>(Het Geluid\/Annelies van Parys)<\/p>\n\n\n\n

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2014: Night in Europe<\/h2>\n\n\n\n


1. Prize: GO, AENEAS, GO! <\/strong>(Xavier Bonfill, Raquel Garc\u00eda-Tom\u00e1s, Octavi Rumbau, Cristina Cordero Crespo)
Scholarship: LUFT_SCHLOSS, ERD_REICH<\/strong> (Verena Marisa)<\/p>\n\n\n\n

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2012: New Deal<\/h2>\n\n\n\n


1. Prize: HONOLULU VAGAMAM<\/strong>I (Kompanie [zwischen])
2. Prize: MEIN CHINESISCHES HERZ SINGT DIR EIN LIED<\/strong> (Anna Peschke)<\/p>\n\n\n\n

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2010: Verbotene Liebe<\/h2>\n\n\n\n


1. Prize: DER UNFALL<\/strong> (Heera Kim\/Julia Langkau)
2. Prize: WEST SIDE STORNO<\/strong> (Simon Frei)
3. Prize: 20 MINUTEN<\/strong> (Michaela von der Nahmer\/Andreas Bisowski)
4. Prize: ROMEO UND JULIA HEUTE<\/strong> (Markus-Lehmann Horn\/Andrea Heuser)<\/p>\n\n\n\n

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2008: Der Sonderermittler<\/h2>\n\n\n\n


1. Prize: Constantin B\u00f6mers
2. Prize: Robert Krampe<\/p>\n\n\n\n

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2007: Tod eines Schneiders<\/h2>\n\n\n\n

1. Prize: Bruno Nelissen
2. Prize: Adrian Sieber
3. Prize: Nikolai Zinke<\/p>\n<\/div><\/div>\n\n\n\n

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2004: Putzfrauen<\/strong>
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1. Prize: WISCHEN \/ NO VISION <\/strong>(Gerd Noack\/Marc Seitz\/Andreas Bisowski)<\/p>\n\n\n\n

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2002: M\u00fcnchhausen \u2013 Herr der L\u00fcgen<\/strong><\/strong>
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1. Prize: Dan Dediu
2. Prize: Maxim Selojanov
3. Prize: Uri Rom<\/p>\n\n\n\n

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2000: Hundeherz
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1. Prize: Antonis Anissegos
2. Prize: Roland Merz
3. Prize: Torben Maiwald<\/p>\n\n\n\n

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1999: Alice
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1. Prize: <\/strong>Hanno Siepmann
2. Prize: Torben Maiwald
3. Prize: Bj\u00f6rn Rabenstein<\/p>\n<\/div><\/div>\n\n\n\n

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1997: Der Wurm
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Award Winner: Ren\u00e9 Arnold, Ulrich Kallmeyer, Stefan Schneider-Uerdinger, Benjamin Rinnert,  Johannes Martin Kr\u00e4nzle, Alexander Wagendristel\/Robert Wiche<\/p>\n\n\n\n

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Berliner Opernpreis by Neuk\u00f6llner Oper and<\/p>\n\n\n\n

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Founded in 1997, the Berlin Opera Award has established itself as a major young talent award in the field of music theatre within Berlin\u2019s cultural landscape and beyond. It supports and honors world premieres that open up new paths for music theatre \u2014 exploring the boundaries of the genre while remaining sensual, emotional, and direct. […]<\/p>\n","protected":false},"author":5,"featured_media":23075,"parent":97,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_teasertitle":"","_hidetitle":false,"_titletag":"","_marqueeTitle":false,"_subtitle":"Competition by Neuk\u00f6llnER Oper and Gasag","_locale":"en_US","_original_post":"2512","_onepager":[],"_onepager_single":false,"_pinkie_id":23075,"footnotes":"","_post-color":[]},"class_list":["post-2821","page","type-page","status-publish","has-post-thumbnail","hentry","en-US"],"_links":{"self":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/pages\/2821","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/comments?post=2821"}],"version-history":[{"count":44,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/pages\/2821\/revisions"}],"predecessor-version":[{"id":23371,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/pages\/2821\/revisions\/23371"}],"up":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/pages\/97"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/media\/23075"}],"wp:attachment":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/media?parent=2821"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}