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Kassandra rehearsal. With chorus master Hagen Enke.

KASSANDRA

World premiere: Sat, 21 February
Further performances: 27 Feb, 3 Mar, 7 Mar, 17 Mar, 12 Apr, 24 Apr, 19 May.
Info & tickets: https://www.buo-bielefeld.de/theater/veranstaltung/kassandra

Kassandra in Bielefeld is, for me, a rare example that music theatre can truly emerge as a shared process: not as a finished work you simply deliver, but as a collaborative development between directing, acting, choir, and orchestra.

I described the making of this evening in a blog post.

Yeah, yeah, Bielefeld doesn’t exist. And Bielefeld does exist after all. I can promise you: I’m here. And I’ll be here for the next four weeks.

On February 21, we will premiere KASSANDRA by Christa Wolf. With Christina Huckle as Kassandra, directed by Nadja Loschky, who is also the artistic director here, in the adaptation by Yvonne Gebauer and Nadja.

And of course – yes – the music is conceived by me. But not only by me, rather above all by my composition partner Stefan Behrisch.

And in fact, the whole thing is a team effort anyway: Mathis Meyer on cello, improvising through the evening, connecting everything; Jörg Hüttner in the composition team, responsible for synthesis and electronic sound spaces; and the whole thing is held together by our musical director Anne Hinrichsen, who conducts it.

This is not classical drama and not classical music theatre. It is a dramatic monologue with orchestra and choir – exactly the kind of format that is actually not foreseen in the logic of theatre institutions.

When Nadja asked me whether I wanted to do this, I had serious reservations. Not because I didn’t want to – on the contrary. I’ve been dreaming for years of truly bringing drama and music theatre together. But I also know how differently these two fields function, organisationally, structurally, mentally.

And then I came here for the first preliminary meetings and found a theatre that has not been voted Theatre of the Year more than once without reason. I understood very quickly why.

People here actually want to make something. They don’t complain that there is no bound score, only a loose-leaf collection. Everyone knows that this is risky. And everyone is willing to take exactly that risk.

Rehearsals have been running for two weeks. I was in Munich for a few days in between. And from tomorrow on, the final sprint begins: four weeks until the premiere.

I’m curious.

Theatre Bielefeld website with further performance dates:
https://www.buo-bielefeld.de/theater/veranstaltung/kassandra

Today, the new production of Cabaret, directed by Claus Guth at the Residenztheater Munich, premieres. I was responsible for the sound compositions — the sound in the moments between the songs, connecting the individual numbers without becoming a song itself.

More here

The Future of Music Licensing in the Age of AI – Explained in One Evening

If you’ve heard of CORPUS before, probably not much. And what you’ve heard might have sounded complex. It is.

We’re building a complete ecosystem – one that connects musicians, authors, and creators with users, industrial partners, and AI developers. All within a shared data and value cycle.

The diagram below shows exactly that: how music becomes data, how data turns into value – and how that value flows back to the people who make it possible.

On October 27, we’ll present the full system at CORPUS LIVE at Munich’s Schwere Reiter. With a keynote by Matthias Hornschuh, music by Tetra Brass and the Paranormal String Quartet, and insights into the Contribution Platform.

Free entry, please register here: https://rausgegangen.de/en/events/corpuslive-0/

Full programm: https://crps.ai/live

CORPUS is here — a new project for anyone who believes that the future of music should be shaped with artists, not against them.

I’ve spent my life exploring how new technologies can open artistic spaces — from opera and sound installations to immersive environments. Now, with AI changing the rules of creative work, the question becomes urgent: how do we make sure this shift benefits musicians?

CORPUS is our answer. We’re building the first high-quality, ethical, and legally compliant music corpus for AI training — created by real musicians who are fairly rewarded for their work. No scraping. No exploitation. Just a system where artists are at the center of innovation.

AI can’t replace creativity — but it can unlock new forms of expression. With the right foundation, we can build tools that expand what’s possible, not just automate what already exists.

CORPUS is not just a dataset. It’s a movement. A way to make sure that AI in music reflects real artistic values — and remains rooted in the human practice of sound.

Read my blog post and visit the CORPUS website.

Today, the opera “Samson” by and after Jean-Philippe Rameau (1683-1764) celebrates its world premiere at the Theatre L’Archêveché in Aix-en-Provence.

Info: https://festival-aix.com/en/programmation/opera/samson

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SAMSON