Ele­na Mendoza

Ele­na Mendoza

Ele­na Men­do­za was born in Sevil­la in 1973, whre she stu­di­ed ger­man lin­gu­i­stics. She then stu­di­ed pia­no and com­po­si­ti­on in Zara­go­za with Tere­sa Catalán, in Augs­burg with John Van Buren, in Düs­sel­dorf with Man­fred Tro­jahn and in Ber­lin with Hanns Peter Kyburz at the Hoch­schu­le für Musik Hanns Eis­ler. After finis­hing stu­dies she was a fel­low at dif­fe­rent insti­tu­ti­ons, like Ensem­ble Modern Aka­de­mie in Frank­furt a.M. or Aca­de­my Schloß Soli­tu­de in Stutt­gart. Curr­ent­ly she lives in Ber­lin, whe­re she is a com­po­si­ti­on Pro­fes­sor at the Uni­ver­si­tät der Küns­te. She is par­ti­cu­lar­ly inte­res­ted in tim­bri­cal and dra­ma­tur­gi­cal ques­ti­ons and has par­ti­cu­lar pre­fe­ren­ces for thea­tri­cal con­cepts tou­ch­ing on lan­guage, space and music. From the­se emer­ged in 2007 the music-thea­ter pro­duc­tion “Nie­b­la” (Euro­päi­sches Zen­trum der Küns­te in Dres­den Hel­ler­au), writ­ten in clo­se coope­ra­ti­on with the direc­tor Mat­thi­as Reb­stock and set­ting new music-theat­re stan­dards. On behalf of Gerard Mor­tier they also crea­ted “La ciu­dad de las men­ti­ras”, based on tex­tes by Juan Car­los Onet­ti, for the Tea­t­ro Real Madrid. Their most recent pro­ject in com­mon “Der Fall Babel”, a com­mis­si­on from Schwet­zin­ger Fest­spie­le, was pre­mie­red in April 2019 with gre­at suc­ces. She has work­ed with many renow­ned per­for­mers such as ensem­ble recher­che, Klang­fo­rum Wien, Ensem­ble Modern, Vog­ler-Quar­tett, Ensem­ble Mosa­ik, Ensem­ble emex, Ensem­ble Tal­ler Sono­ro, Neue Vocal­so­lis­ten Stutt­gart, Scho­la Hei­del­berg, KNM Ber­lin, WDR Sin­fo­nie­or­ches­ter, Orques­ta nacio­nal de Espa­ña, Phil­har­mo­ni­sches Orches­ter Frei­burg, Orques­ta Sin­fó­ni­ca de Madrid, Real Orques­ta Sin­fó­ni­ca de Sevil­la and many others. With the Ensem­ble Ascol­ta in Stutt­gart she helds a par­ti­cu­larl­ly clo­se rela­ti­onship sin­ce years. Her music has been pre­sen­ted in fes­ti­vals such as Bien­na­le Salz­burg, Ars Musi­ca Brussels, Wit­te­ner Tage für neue Kam­mer­mu­sik, Eclat Stutt­gart, März­Mu­sik Ber­lin, Dresd­ner Tage der Zeit­ge­nös­si­schen Musik, Ultra­schall Ber­lin, Mix­tur Bar­ce­lo­na, Acan­thes Metz, Stei­ri­scher Herbst Graz, Schloß­me­dia­le Wer­den­berg, Musi­ca Viva Mün­chen, Schwet­zin­ger Fest­spie­le or rai­ny days Luxem­bourg. She has recei­ved num­e­rous awards, such as the Spa­nish Pre­mio Nacio­nal de Músi­ca 2010, the Musik­preis Salz­burg 2011, the Kunst­preis Ber­lin 2017, the Hei­del­ber­ger Künst­le­rin­nen­preis 2019 or just recent­ly the Chris­toph and Ste­phan Kas­ke Stif­tung Pri­ze. Her dis­co­gra­phy includes two por­trait CDs, one with instru­men­tal cham­ber music on the label Kai­ros (2008), and ano­ther with sce­nes of “Nie­b­la” fol­lo­wed by “Fe de erra­tas” and “Gramá­ti­ca de lo inde­ci­b­le” on the Wergo/​Deutsche Musik­rat coll­ec­tion (2011). From 2009 on her scores are published by Edi­ti­on Pete rs. Down­load Bio­gra­phy This web­site uses coo­kies to store infor­ma­ti­on in your brow­ser. This infor­ma­ti­on is neces­sa­ry for the func­tion­a­li­ty of the site. By using the site, you agree with this Learn more Edi­ti­on Peters.

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