Marco Schindelmann

Artist Professor, Voice and Opera
School of Music

Marco Schindelmann

Contact

P: 909.748.8693
E: marco_schindelmann@redlands.edu

Degrees

B.A., California State University, Fullerton
M.M., University of Redlands

Areas of Expertise

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

Bio

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 also performs newer works such as Der Lindberghflug [Weill/Brecht], Facade [Walton], Pierrot Lunaire [Schoenberg], Iphigenia in Brooklyn [P.D.Q. Bach], Frankenstein !! [HK Gruber], mid-century experimentalists et. al.

An upstream sonifier, performance artist & voise (voice + noise) artist, Marco has appeared with, among others, NPR; Centre de Cultura Contemporania de Barcelona; Computer Music Journal 2007 [Volume 31:4, MIT Press]; CEMC/EMSAN, Beijing, China; NUS Arts Festival, Singapore; Hong Kong Arts Centre; 1Teater Kecil 2Taman Ismail Marzuki, Jakarta, Indonesia; ; Yogyakarta Contemporary Music Festival, Southern California Soundscape Ensemble, Scary Culture, Double Blind, ISOP and W.E.E.; MLuM, Il Corral; Music Box Henry Fonda Theater; Smithsonian Week; Galerjia ’73 Belgrad et al.

As a member of FLOOD, Marco was a co-producer and co-curator of SoundWalk and is the same for soundpedro (the largest event in Southern California dedicated to ear-oriented art http://soundpedro.org/ ). He just finished his term at the Arts Council for the City of Long Beach (former president, vice president, chair of the advisory committee for public art and community arts projects).

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 fifteen years, preliminary and semi-finals judge, as well as a repertoire consultant.

He can be heard on New World Records (Barney Childs: A Music; That It Might Be…) and Centaur Records (Pierrot Lunaire),; EARMEAL et al..

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

Courses Taught at Redlands

Applied Voice
Introduction to Voice
Opera Theatre Workshop
Italian and German Diction

Publications, Presentations, and Performances

MLuM: "The Skriker" (composer, sound artist) Wesleyan University, Middletown, Connecticut 2009

MLuM: "Stump Krump" (concept, sound artist) SoundMigrationz, Gallery Blok, Belgrade Serbia, 2009

MLuM: "Beau Monde Float Documemstallation" (conceptual designer, author, composer, sound artist, fiber artist, visual artist) EXPO Exhibition, Long Beach, CA 2009

FLOOD: SoundWalk2009 (co-producer and co-curator) Long Beach, CA 2009

MLuM: "Beau Monde Float, Thirteen Six Views of Sound Beauty" ( conceptual designer, author, composer, sound artist, fiber artist Plummer Auditorium, Fullerton, California 2009 (Grant: National Endowment for the Arts)

B. Andrews,/ N. Andrews / M. Schindelman: “Vibrato and Pitch Perception: Does the Presence or Absence of Vibrato Influence How Pitch is Perceived and Assessed” (author, researcher) Festival 500, The Phenomenon of Singing International Symposium VII, St. Johns, Newfoundland, Canada, 2009

MLuM: "ying yin jing DIN! / Sonsai" (conceptual designer, visual designer, sound artist) NUS Arts Festival, Singapore 2009

MLuM: "Cadential Eyes; Mascara Lotus" (conceptual designer, sound artist, performer) Los Angeles Municipal Art Gallery, Los Angeles 2008

MLuM: "Tattoodle" (conceptual designer, sound artist, performer) MOMENTUM, University by the Sea, Long Beach, CA 2008

C. S. Hoh / M. Schindelmann: “Databasethetics” (author) CEMC/EMSAN, Beijing, China 2008

MLuM: "Victi-ry of Will, the Deafthetics of Bias" (concept designer, sound artist) Centre de Cultura Contemporania de Barcelona , Barcelona, Spain 2008 CEMC/EMSAN, Beijing, China 2008

MLuM: "Cargaku"  (conceptual designer, sound artist, performer) Computer Music Journal 2007 [Volume 31:4, MIT Press] DVD Issue