Opera / Music theatre:

Georges Aperghis Zeugen (WP)
Moritz Eggert Bordellballade (Puffmutter Rosl)
Peter Eötvös Lady Saraschina („Mezzo“, WP)
György Kurtág Kafka-Fragmente (scenic version)
Helmut Lachenmann Das Mädchen mit den Schwefelhölzern (Zwei Gefühle)
Bernhard Lang I HATE MOZART (Franziska, WP)
Helmut Oehring Die Wunde Heine (WP)
Brice Pauset Exercices du Silence (WP)
Josef Schuster (1779) Amor & Psiche (Psiche)
Salvatore Sciarrino Lohengrin (Elsa)
Jörg Widmann Das Gesicht im Spiegel (Patricia, WP)

Concert (selection):

Georges Aperghis Dark Side
Carola Bauckholt Emil will nicht schlafen (WP)
Georg Benda Medea (Melodrama), Ariadne auf Naxos (Melodrama)
Luciano Berio Folksongs, Sequenza III
Harrison Birtwistle 9 Settings by Paul Celan – Pulse Shadows
Carl Eberwein / Goethe Proserpina (Melodrama)
Oskar Fried Die Auswanderer (Melodrama)
Georg Friedrich Haas Das Kleine Ich bin Ich 
Roman Haubenstock-Ramati Credentials
Johannes Kalitzke Ortswechsel (WP)
György Kurtág Kafka-Fragments
Helmut Lachenmann temA
Bernhard Lang Differenz und Wiederholung 2 (WP), DW 9 Puppe/Tulpe (WP), ICHT (WP)
Thomas Larcher HEUTE (WP)
György Ligeti Aventures & Nouvelle Aventures (Mezzo-soprano)
Felix Mendelssohn-Bartholdy Sommernachtstraum (narrator of the melodrama)
Isabel Mundry Penelopes Atem (WP)
Samir Odeh-Tamimi Alif (WP)
Helmut Oehring/Iris ter Schiphorst Live (aus: Androgyn) (WP), Verlorenwasser (WP)
Wolfgang Rihm Responsorium (WP), Trigon (WP)
Iris ter Schiphorst passion 13 – Melodram (WP), Das Imaginäre nach Lacan (WP)
Arnold Schönberg Die Jakobsleiter (Die Sterbende), Gurrelieder (narrator), Ode to Napoleon, Pierrot Lunaire
Tobias Schencke Weihnachtsmelodram (UA)
Rodion Shchedrin Meine Zeit, mein wildes Biest (WP)
William Walton Façade
Anton Webern Fünf Canons, op. 16
Kurt Weill Die Sieben Todsünden (Anna), Mahagonny Songspiel (Jessie)
Jörg Widmann Dunkle Saiten (WP), Sphinxensprüche und Rätselkanons
Hans Zender ¿Adónde?, Cabaret Voltaire (WP), Hölderlin lesen I-III, Hölderlin lesen IV „Mnemosyne“ (WP)

Aria (Solo-Programme)

Salome Kammer sings, lilts, speaks, purrs, tells, recites, bawls, reads and works with her mouth.

Programme:
Hildegard von Bingen – O quam praetiosa
Luciano Berio – Sequenza III
Hugo Ball – Sechs Laut- und Klanggedichte
John Cage – Aria
Georges Aperghis – Récitations
Tarquino Merula – Hor ch’è tempo di dormire

The past is still ahead of us (Rilke and Russia – an echo in text and music)

During a journey in 1899, Russia becomes an initial experience for Rainer Maria Rilke: the sound of the language infatuated the young poet as did the width of the landscape and a great love. For it is Lou Andreas-Salomé that leads him to the Volga. Without Russia and this woman, Rilke might never have become this phenomenal poet. An evening with letters and compositions by Lou Andreas-Salomé, Paul Hindemith, Hans Krása, Dmitri Shostakovich, Alexander Skrjabin, Ernst Toch, Winfried Zillig, Bernd Alois Zimmermann, Marina Zwetajewa – and of course Rilke himself.

Cast:
Salome Kammer (vocals und reading)
Rudi Spring (at the grand piano)

I’m a stranger here myself

The foreign
fascinates us.
The foreign
awakens desire in us.
In the foreign
fear, uncertainty is our company.

The composers Kurt Weill, Hanns Eisler and the poet Bertolt Brecht all have experienced these fascinations and abysses of the far and foreign. What a fortune is must have been when in Berlin’s 1920s Weill and Brecht met such great success with their songs, which repeatedly described the far and the foreign. Hanns Eisler, a politically active fighter for the labour movement, had set Brecht’s writings to music in a very simple, almost Schubertian manner and included the subtle allusions to the class struggle in his songs, whose vigour stands the test of time.

When the circumstances in Nazi Germany turned out to be catastrophic, Brecht, Weill and Eisler were forced to leave their home country. The political exile began to be a dangerous journey into the unknown. The yonder that once was longingly sung of now became the foreign, where previous accomplishments no longer were valid. Thus, the most opposed artists came together in California. Their shared destiny brought them together in a new way.

Cast:
Salome Kammer (vocals)
Rudi Spring (at the grand piano)

As you make your bed, so you must lie in it (Songs from all love situations)

Bertolt Brecht, the title giving word-artist of this programme, has repeatedly dedicated himself in his poetry to the incomprehensible drive of desire. But both before and after Brecht, this subject had and has moved all large and little minds. During this song recital the most widely varying perspectives of love are found: a woman’s and a man’s point of view, of paradise’s snake to the fall into the earthly hell, of a fatuous belittlement to coarse realism, of decency and moral, of seduction and drive, of fluffy red chambers and of misery in the gutter, of easy girls and of bawds, of beauty and of aging, of lust and of money, of alcohol and of violence, of closeness and of loneliness, of condemnation and of illegitimate children, of love and of sorrow… .

And just as love appears in its dazzling dress, the song will also sound in all its stylistic diversity: in a lied of romanticism and early modernism, in “Brettl”-songs, in the ballad, in a blackletter ballad, in a chanson, in a song.

Cast:
Salome Kammer (vocals)
Rudi Spring (at the grand piano)

Salome Kammer is instantly mesmerising as Elsa through her stage and vocal presence. She purrs with her vocal cords, bills and coos, whispers, breathes fast text passages, makes rhythmic plopping sounds with her lips. What at first seems strange soon has the audience under its spell: just as words are formed from letters, so too does this vocal landscape, at first so unfamiliar, develop into a very clear and heartfelt narrative style.
Neue Presse, Coburg, 2014

Kammer generates a breath-taking psycho-acoustic portrait of Elsa through gasping, whispering, snorting, chortling, speaking, chirruping and finally also singing. She switched virtuously between situations and characters and in so doing, allowed a uniquely vibrant world to be portrayed on stage.
NWZonline.de, Jan 27, 2014

Biography Salome Kammer 22/23 111.63 KB

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Website:
www.salomekammer.de