Viele von uns kennen das vielleicht: Wenn sich die ersten Rückenschmerzen im Alltag auftun, wird einem bewusst, dass man einfach nicht jünger wird und ein bisschen mehr Bewegung wahrscheinlich auch kein Fehler wäre.

There are those people to whom, when they speak, we could listen forever—almost no matter what they say; it somehow touches us and sweeps us along. And then there are others whom we can’t follow; sitting in the theatre, we grow restless or can’t quite manage to absorb what they’re declaiming. Why is this so?

From 17 to 25 September of this year, the Fritz Kreisler Violin Competition took place in cooperation with the mdw. This was the tenth time that it had been held.

When you think of film music, what melody comes to mind first? Ennio Morricone’s “Man with a Harmonica” from Once Upon a Time in the West, perhaps? Or the Star Wars theme, or even a film music classic by Erich Wolfgang Korngold?

Since 2015, EFP – European Film Promotion has been introducing ten outstanding young directors along with their current films in the Future Frames section of each year’s Karlovy Vary International Film Festival. Several Film Academy Vienna students having been represented there over the past few years, and this year once again saw a film make it into the official selection: Magdalena Chmielewska presented her Max Ophüls Prize-winning film Lullaby at the festival, and she spoke with mdw Magazin about the significance of such a film festival invitation and why she’s always thinking about her next project.

It all came together in September: “Mythos Mozart”, a brand-new multimedia experience covering 1,500 square metres beneath the Steffl department store that invites visitors to immerse themselves in Mozart’s world, officially opened its doors to the public.

The “language” of conductors consists of gestures and motions. For those who haven’t mastered them, they’re frequently intriguing to watch—and for all those who have, they represent just one aspect of those numerous important skills that are essential to communicating with musicians, an orchestra, or a choir.

Rosa Reitsamer has received the Gabriele Possanner State Prize of the Austrian Federal Ministry of Education, Science and Research for her work as a preeminent expert in intersectional gender research within the field of music sociology.

When we get goosebumps at a concert, when our eyes tear up at the words we hear spoken onstage, or when we hold our breaths out of excitement during some other type of performance, what we’re experiencing are one-of-a-kind moments that can’t be reproduced in all their aspects—or, for that matter, repeated in exactly the same way.