{"id":7805,"date":"2021-02-12T16:14:16","date_gmt":"2021-02-12T15:14:16","guid":{"rendered":"https:\/\/www.neukoellneroper.de\/?p=7805"},"modified":"2021-03-24T11:58:24","modified_gmt":"2021-03-24T10:58:24","slug":"berliner-opernpreistraegerin-auf-fedora-shortlist","status":"publish","type":"post","link":"https:\/\/www.neukoellneroper.de\/en\/berliner-opernpreistraegerin-auf-fedora-shortlist\/","title":{"rendered":"Berliner Opernpreis winner on Fedora-Shortlist"},"content":{"rendered":"<p>Do you still remember the electro-acoustic satire of the EU knight on odyssey through the EU&#8217;s control centers? <strong><a href=\"https:\/\/www.neukoellneroper.de\/play\/night-in-europe\/\">Go, \u00c6NEAS, go!<\/a><\/strong> by Spin Off Collective won the <a href=\"https:\/\/www.neukoellneroper.de\/en\/young-actors\/berliner-opernpreis\/\">Berliner Opernpreis<\/a> in 2014. Composer Raquel Garc\u00eda-Tom\u00e1s was part of the award-winning collective at the time, and her works are now performed in opera houses, concert halls and theaters from Luxembourg to Argentina.<!--more--><\/p>\n<p>Now the versatile composer and video artist has been nominated for the European <strong>Fedora<\/strong> Award with her commissioned composition <strong>Alexina B.<\/strong> &#8230; and is happy about your support: Here you can vote for her piece, which is expected to premiere at the Gran Teatre del Liceu\/Barcelona in 2022\/23. We keep our fingers crossed!<\/p>\n<p>Everything about the upcoming Berlin Opera Prize in summer 2021 can be found <a href=\"https:\/\/www.neukoellneroper.de\/en\/play\/composition-berliner-opernpreis-2020\/\">here.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Do you still remember the electro-acoustic satire of the EU knight on odyssey through the EU&#8217;s control centers? Go, \u00c6NEAS, go! by Spin Off Collective won the Berliner Opernpreis in 2014. Composer Raquel Garc\u00eda-Tom\u00e1s was part of the award-winning collective at the time, and her works are now performed in opera houses, concert halls and [&hellip;]<\/p>\n","protected":false},"author":14,"featured_media":7810,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_locale":"en_US","_original_post":"https:\/\/www.neukoellneroper.de\/?p=7794","_post_author":"","_pinkie_id":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-7805","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-allgemein","en-US"],"_links":{"self":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/posts\/7805","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/comments?post=7805"}],"version-history":[{"count":2,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/posts\/7805\/revisions"}],"predecessor-version":[{"id":7987,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/posts\/7805\/revisions\/7987"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/media\/7810"}],"wp:attachment":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/media?parent=7805"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/categories?post=7805"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/tags?post=7805"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}