Proj
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In addition to classical engagements in opera and concert, Denise Felsecker develops her own art-uniting projects. Below you can find a selection of these cross-genre projects.

The miller’s wife

The idea emerged during rehearsals for the opera Carmen in spring 2018. Denise Felsecker and the pianist Ulrich Pakusch were enthusiastic about turning the idyllic Fuchsenmühle (Fox Mill) in Horsdorf (Upper Franconia, Germany) into a cultural venue. They called in the actor and dramaturge Bernhard Stengele, and this is how the idea of the mill cycle was born. The programs of the three artists center around the different seasons, lovingly approaching the themes of home, romance, the mill, and their life experiences. Songs and poetry combine with nature and the old, still functioning mill. The first two programs, “Miller’s wife, where are you – Mysteries things from the Fuchsenmühle” & “It’s getting dark soon – Christmas treats from the Fuchsenmühle,” have been sold out. The success and positive reviews encouraged Denise Felsecker to plan further programs with her colleagues.

Denise Felsecker

The mill choir

In 2020, the Fuchsenmühle in Horsdorf will also be the venue for a new mill choir. The project is financed by the “Musik vor Ort” (Music on Site) program of the German Federal Music Association for Choir and Orchestra. Denise Felsecker, Ulrich Pakusch, and Bernhard Stengele are working on a dramatic choir performance with singers from Upper Franconia. The joy of singing, playing music together, performing arts, and an understanding of the compositions are key ingredients of the project. The participants should experience the mill and nature as creative spaces.

Opera to go

The ensemble used new formats and perspectives to develop crisp opera performances. With their programs, Denise Felsecker, Nina Laubenthal, Elisabeth Thöni, and Kathrin Walder toured Germany, Austria, and Italy. In “The Magic Flute – Three Ladies on a Secret Mission,” for example, the three ladies became the heroines of the opera and set out on their own to free Pamina. In doing so, they defied the dangers, stood up to the patriarchy, and stumbled over their weaknesses. Pieces from other operas and operettas completed the production and gave the audience an entertaining insight into Mozart’s opera.

Denise Felsecker

Interlacing voices

Three women, three countries, four languages, four arts met in Italy and created a poetic musical evening: Interlacing voices. Anjula Semens from England at the piano with her compositions and graphic design, Chantal Majoud from France/ Corsica with French poetry, and Denise Felsecker from Germany with songs and arias interweaved their voices, languages, and arts into a unique performance.

The extraordinary tranquillity of things

Denise Felsecker played the role of Samia in “L’extraordinaire tranquillité des choses” by the authors Lancelot Hamelin, Sylvain Levey, Philippe Malone, Michel Simonot.In French, Italian and German, with opera and pop singing, she developed this strong female character. Under the direction of Chantal Majoud, the international ensemble of the L’atelier francophone brought this socio-critical theatre play to the stage of the Teatro Cestello in Florence, Italy.

Marat/ Sade

(The persecution and assassination of Jean Paul Marat, performed by the drama group of the Hospice of Charenton under the direction of Monsieur de Sade)

The bilingual co-production of Peter Stein’s play was performed at the Lessja Ukrainka Theater in Kiev and the Reithalle Munich. The role of an opera singer within the patient group was specially written for Denise Felsecker. She commented on the events on stage through sound clusters, vocalizes, and song passages.

Denise Felsecker

Koons’ family

Denise Felsecker traveled around the world with the theatre collective Koonsfamilie (Koons’ family). Performing the Ursonate by Kurt Schwitters brought her to Moscow, Los Angeles, and Agadir, among other places. The Dadaist text was presented as a spectacle of a Bavarian light meal. Entertaining and humorous, it was the main play of a theatre group eager to explore new forms and ways of expressing themselves.

With “Kein Tag kein Drama” (No day no drama), for example, the theatre group developed a week of performances. Every day, for one week, current news was interwoven and performed in a play.

Süßstoff (Sweetener)

The joy of singing pop and jazz music brought Anne Katrin Müller, Beate Summer, Denise Felsecker, and Nina Laubenthal together as an a capella ensemble. The pianist Veronika Klinger later complemented the four voices. Besides live performances, the ensemble recorded the CD “Frau Magister.”