Getting to know Anne Krickeberg means constantly being amazed by what she can still do. Since we first met, every reunion has been a discovery. Most recently, at the Consol Theater in Gelsenkirchen, I had the opportunity to admire how easily and willingly she eavesdrops on a musical quality from a seemingly randomly generated sound and finds a deliberate refinement. A truly fine musician, thoroughly interested in refinement, working with her creates and signifies a quiet, ever-precious web of privileged partnership.

ConcertMeditation

Consol Theater

Howling wolves, whispering winds, wailing whales, banging doors, ships searching for their way and grinding engines - we listen to the sounds of our fellow world, think they are melodies - intentionally - and "get into conversation" with them. As we did recently with Margarita Rumyantseva's electric violin and George Warren's synthesizer, in the KROHNE Auditorium we find the ideal acoustic and technical conditions for the playback of the sounds - and with the recently overhauled Steinway concert grand piano D, we have a wonderfully suitable correspondence partner.

Messtechnik event hall

And another first: Jule Weber writes that “since she could write, she has moderated events, led stage and writing workshops for people of all ages, and is sometimes accidentally very funny” and is also no stranger in Duisburg: she was most recently a guest at the “Philharmonic Slam II” on March 2, 2024. Tonight she will be thinking and speaking, alternating between duetting with Michael Gees on the piano – we have never seen anything like it before.

The open ensemble for collective vocal musical invention under the direction of Dagmar Boecker explores and practices a different kind of chamber music making: the young singers (students and graduates of the Cologne University of Music and Dance) do not sing notes today, but listen to and make music of what is "in the air". In compositional dialogue, they set poems, texts, concepts, images, places and situations to song-like, floating forms. They create musical figures from their own creative imagination, in responsibility for themselves and for what they leave to others.

KOMED is a format for the spontaneous, collaborative invention of contemporary music. In the text, in the noise, in the moment, we listen to sounds, put them under the magnifying glass of attention (meditation) and create connections.

We commit ourselves to starting something together for about an hour, to staying in touch and letting ourselves be guided by the idea we recognize as shared. Every acoustic event counts and contributes to the whole. The unexpected can happen at any time and challenge us to integrate. Ideally, and not infrequently, we discover music that none of us would have thought of on our own. Those present increasingly experience themselves and each other as participants: without them and their intentional listening, nothing would have been heard. After all, who would want to bear witness to the present if not those who are there?

KROHNE Messtechnik event hall or auditorium

His 2024 guest performance in Blaibach was a truly magnificent moment of vocal artistry. We are delighted to welcome Christoph Prégardien, one of the most important lieder interpreters of our time, back to the Konzerthaus. In his program, he interweaves Franz Schubert's famous last cycle with songs by the great composer Wolfgang Rihm, who died in 2024.

Michael Gees

Events

Upcoming events

Nov 15, 2026

Christoph Prégardien & Michael Gees · Konzerthaus Blaibach

Past events

Oct 8, 2025

ConcertMeditation · Duisburger Philharmoniker

Apr 23, 2025

ConcertMeditation · Duisburger Philharmoniker

About

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