University of Redlands
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Email this pageMarco Schindelmann, Artist Professor of Voice
Contact: Marco_Schindelmann@Redlands.edu
(909) 748-8693 (Phone)
(909) 335-5183 (Fax)
Fine Arts, Room 211
B.A., California State University, Fullerton
M.M., University of Redlands
Marco Schindelmann, Artist Professor of Voice and Director of the University Opera at the University of Redlands, has performed as a soloist, throughout Europe and Japan, with such organizations as the Bayerische Staatsoper, Bayersische Staatsballet and Radio Vaticana. Roles he has performed include those of Don Giovanni (Don Giovanni), Conte Almaviva (Le Nozze di Figaro), Giorgio Germont (La Traviata), Alfio (Cavalleria Rusticana), Silvio (I Pagliacci) and der König (Die Kluge). Professor Schindelmann acquired his vocal training under the tutelage of Egidia Bonessi (American Forces Network, German/Italian Culture Exchange, Milan, Parma, Vienna, Weimar, Dresden Berlin, Munich et al.) Kammersänger Fritz Schaetzler (Munich, Stuttgart, Breslau, Prague, Bordeux et al.) and Kammersängerin Astrid Varnay (New York, Munich, Bayreuth, Vienna et al.) as well as participated in workshops and master classes lead by Hans Hotter, Nan Merriman, Martial Singher, Blanche Thebom and Giorgio Tozzi.
Marco produced and directed several works for the lyric theater including Dido and Aeneas (Purcell), La Serva padrona (Pergolesi), Don Giovanni (Mozart) , Norma (Bellini), La Traviata (Verdi), La voix humaine (Poulenc), The Medium (Menotti) and The Blue Moose (a collaboration with essayist and NPR commentator, Daniel Pinkwater and composer Daniel Tucker.
As a vocalist, Schindelmann focuses on performing new works as well as that of the last century (Der Lindberghflug [Weill/Brecht], Facade [Walton], Missa Criolla [Ramirez], Pierrot Lunaire [Schoenberg], Iphigenia in Brooklyn [P.D.Q. Bach], Frankenstein !! [HK Gruber], mid-century experimentalists et. al.)
A subterranean composer and performance artist, Marco has appeared with, among others, the Redlands New Music Ensemble, Scary Culture and W.E.E. He is also a founding member of MLuM, a Long Beach based pinceptual and histriophonic art ensemble whose work has been featured on Public Radio stations across the United States as well as presented and published internationally (Il Corral, Music Box Henry Fonda Theater, Smithsonian Week, Galerjia ’73 Belgrad, Centre de Cultura Contemporania de Barcelona ,Computer Music Journal 2007 [Volume 31:4, MIT Press], et. al.).
As a member of FLOOD, Marco is a co-producer and co-curator of SoundWalk. The largest event of its kind in Southern California, SoundWalk is dedicated to sound art and sound installation by local and international artists. In addition, he is also a creative facilitator and participant in various conceptual multi-media performance opuses, conceived and presented by FLOOD, for such events as Smithsonian Week for the city of Long Beach and SoundDOWNTOWN for the city of Santa Ana. He was also co-founder of Poetry for Landfills (Munich, Germany) for which he created ARTAUDio and Bangraku, a Conceptual Porn Flick.
Active as an adjudicator of classical singing, Schindelmann has judged for numerous organizations including the Spotlight Awards (Los Angeles Music Center, Dorothy Chandler Pavilion) for which he has been, over the last eight years, preliminary and semi-finals judge, as well as a repertoire consultant.
Marco is a recipient of an Award for Outstanding Teaching, a grant to record the Sprechstimme in Pierrot Lunaire (Centaur Records) as well as being a nominee for an awards recognizing research and creative output. He can also be heard on New World Records (Barney Childs: A Music; That It Might Be…). Currently on the Arts Council for the City of Long Beach, Schindelmann is serving on advisory committees for public art and for temporary art projects. His creative creato-researchive interests include: The utilization and/or incorporation of scientific and pseudo-scientific technologies, methodologies and procedures in(to) aesthetic and artistic processes; The aesthetics of sustainability; Sustainability as artistic tradition and genre; The geographics of social networking pertaining to the environmentics of location and mindset; Performance orientations relative to interactive systems within improvisational structures and environments; Charting influence within the aesthetic -ismos
www.mlum.com
www.soundwalk.org
Selected Courses
Applied Voice
Introduction to Voice
Opera Theatre Workshop