Christina Poulitsi, Thomas Ebenstein, Teresa Romano join Felsner Artists
Greek soprano Christina Poulitsi has joined Felsner Artists for worldwide general management. Praised for her crystal clear coloraturas, high notes and warm lyric colour in all of her registers, Christina Poulitsi recently appeared in the title role of Lucia di Lammermoor at the Royal Opera House Covent Garden/Greek National Opera co-production and as Violetta in the Hamburg Staatsoper production of La Traviata, underlining her position as one of the most exciting sopranos of our time.
Also joining the roster of Felsner Artists is Italian mezzo-soprano Teresa Romano. "Amneris triumphs: Teresa Romano in the role of the Egyptian princess. She has got everything it takes for Amneris: charisma, a mezzo full of energy and a passion for aplomb.” (Münchner Merkur): The BBC Cardiff Singer of the Year 2013 finalist Teresa Romano, who had celebrated her début at Teatro alla Scala as a soprano at age 21, has become one of the most fascinating vocal artists of the Italian mezzo repertoire.
Austrian tenor Thomas Ebenstein has also joined Felsner Artists for worldwide general management. „Thomas Ebenstein as Mime in Rheingold was one of the highlights of the entire season“ (Opernmagazin) - „A phenomenally repulsive spy in Andrea Chenier“ (Wiener Zeitung): Tenor Thomas Ebenstein has established himself as one of the world's leading artists of his character tenor field. A member of the Vienna Staatsoper ensemble, he also appeared at the Metropolitan Opera, Bayerische Staatsoper, Berlin Staatsoper, Semperoper, and at Carnegie Hall and Berlin Philharmonie.
An IAMA interview with Marcus Felsner
Your curriculum vitae has a skill set and training that is different to the average manager in the classical music world. What made you change your career path from practicing law to artist management in the classical music industry?
I had a vocal training and had regularly performed as a teenager and young adult but then became a business lawyer and eventually the managing partner of a global professional service firm and some sort of business diplomat. Still, all my friends continued to be musicians, I wrote essays and books about music etc. It may sound lofty but I felt that, having reached a certain age and a level of despair in light of the ramping intolerance and ignorance in our societies, art was the only thing that could save us from falling back into barbarism. What artists do, matters in that struggle; what bankers and business lawyers do, does not.
What do you think classical music managers can adapt from other sectors to improve their business?
We operate in an extremely conservative environment and tend to ignore the fact that our total market volume is stagnant at best. Like all service providers we are additionally faced with business risks coming from both changing service needs among artists and the increasing scarcity of qualified people willing to work under the conditions which the industry currently offers. In profit-oriented industries, management and staff are used to constant critical reviews of mission statements, strategies, and business processes. That is an attitude I find extremely useful also for us.
Do you have a personal vision you can share about the business of classical music?
As a business person I will say this: Classical music is not a business. The steps that make its performance, broadcast, recording etc possible, may be a business, but this is a small part of relatively minor importance, also in terms of the financial stakes compared to real business sectors. I do not preach the ivory tower when I say that what matters is that the performance of true art, worthy to be remembered ideally by generations to come, is being made possible thanks to a professional environment that helps exceptionally gifted artists meet sufficiently receptive audiences.
What do you enjoy doing in your free time?
Only recently did I realize that not everybody in our field genuinely enjoys going to concerts and performances for the simple joy of discovering something new, without having any second thought about the business. I cherish my childlike curiosity and feel protective about it - other than that, I read, I write.
Interview by Marlena Radaschitz, Manager IAMA Membership Services
Live Concert Honouring the 100th Anniversary of John Paul II
What a great honour - and a rare live performance in times of the pandemic: German soprano Sarah Traubel and countertenor Andreas Scholl sang the only concert celebrating the 100th birthday of the late Pope John Paul II, on Sunday 14 June in Kraków, with the amazing Morphing Chamber Orchestra and flutist Ory Schneor. To watch the catch-up live-stream, please follow
Quand le coeur du réacteur surchauffe
Marcus Felsner est conscient que « cette période est une torture à la fois pour un certain nombre d’artistes expérimentés qui n’ont pas besoin de se produire pour vivre mais ont besoin de sentir le public pour exprimer leur art et pour d’autres, plus jeunes, qui ont des hypothèques, des enfants et des besoins existentiels ».