Transferability of the «Community-Opera»

The quality and the success of the genre depend on detailed preparation and the willingness to take the work process as seriously as the product. It can be conducted even with a very small number of participants. The orchestra and the attitude of its musicians play a key role in the degree of «professionalism» as described above. Many recent chamber ensembles whose members work as freelancers show a similar eagerness to involve in extra-musical work and who bring the degree of entrepreneurship that is necessary to invest in such a programme. Complementary, more and more schools and other educational institutions explore the possibilities of collaboration with the arts sector (Linke, 2015). In Germany, various programmes funded by both public and private sources support a wide range of networks between the arts and the public school system (Beckers 2008). However, there is one criterion that is as fundamental as the unambiguous stance of the orchestra: Reliability. It is this simple human principle which allows building relationships – and relationships are undeniably the most essential part in learning and developing. Considering the social background of a high percentage of the student body and the presumed side effects from lack of care and rejection of the parental home in even only a small number of cases, this argument becomes even more valid. The biggest challenge to transfer the format lies within its establishment in the long-run.

 

 

 

 

 

Literature

 

Arbeitnehmerkammer Bremen: Armutsbericht der Stadt Bremen 2007, http://www.arbeitnehmerkammer.de/presse/2007/armutsbericht-2007.html (accessed Jan. 4th, 2016) – State of Bremen poverty record 2007

 

Beckers, Erich; Beckers, Renate: Faszination Musikinstrument - Musikmachen motiviert: Bericht über die zweijährige Evaluationsforschung zum Bochumer Projekt «Jedem Kind ein Instrument», Theorie und Praxis der Musikvermittlung Vol. 7, Berlin 2008

Boehnke, Klaus: The Intergenerational Transmission of Interpersonal Problems: An Exploration. Journal of Child and Family Studies, October 2015, Volume 24, Issue 10, pp. 2999–3008.

 

Deutscher Gründerpreis: https://www.deutscher-gruenderpreis.de/preistraeger/siegerbibliothek/ (accessed Jan. 4th, 2016)

Goldschmidt, Nikolai: Quartiersmanagement Am Beispiel Bremen Tenever: Das Quartiersmanagement zwischen,Projektionismus", Quartierskoordination und Empowerment, Hamburg 2009

 

Linke, Sybille; Forum K&B GmbH (Ed.); Auftrag Vision. Kulturfahrpläne von kreativen Schulen, Berlin 2015.

 

Meadows, D. H.; Meadows, D. L.; Randers, J.; Behrens III, W. W.: The Limits to Growth: a report for the Club of Rome's project on the predicament of mankind, New York 1972

 

MIZ - Deutsches Musikinformationszentrum, Statistik der Planstellen der öffentlich finanzierten Orchester, http://www.miz.org/statistiken/konzerte-musiktheater-s1511 (accessed Jan. 4th, 2016) – German Music Information Centre statistics showing the number of established posts in public orchestras from 1992 to 2016

 

Mitscherlich, Alexander: Die Unwirtlichkeit unserer Städte, Frankfurt a.M. 1965

 

Organisation for Economic Co-operation and Development: Education at a Glance 2015: OECD Indicators, Paris 2015

 

Scholz, Christian; Schmitt, Albert: Hochleistung braucht Dissonanz. Was Teams vom 5-Sekunden-Modell der Deutschen Kammerphilharmonie Bremen lernen können, Weinheim 2011

 

Statistisches Landesamt Bremen, http://www.statistik-bremen.de/tabellen/kleinraum/stadt_ottab/137.htm (accessed Jan. 4th, 2016) – official statistics published by the State of Bremen

 

Pictures (all Community-Opera 2015 «Longing for Isfahan» copyright by Wolfgang Russek, Priority from top to bottom)

 

Community-Opera in the heart of Osterholz-Tenever

Applause for 200 musicians and singers, 100 actors and 100 backstage

The Deutsche Kammerphilharmonie Bremen on a rehearsal day for the community-opera

Workshop on building the Persian drum daf

Students act together with professional opera singers

Costume Workshop

 

Biography

 

Lea Fink studied piano and music theory in Rostock, Boston and Vienna before establishing and leading music theatre projects on the freelance scene and taking up a position as music educator at the Gewandhausorchestra Leipzig. She has been Head of Artistic and Education of the Deutsche Kammerphilharmonie Bremen’s Future Lab since 2014. She is particularly interested in large-scale participative projects and the communication of contemporary music.

 

 

Секция 2.

«Учитель в искусстве: вчера – сегодня – завтра»

УДК 37.03