On my career path, I initially chose the academic approach to the performing arts, studying Theatre Studies, Literary Studies, and Psychology at LMU Munich.

During my studies, I interned at Munich’s opera houses, and before long, I was spending far more time backstage than in the audience. It didn’t take long to realize that my true passion lay in the hands-on, practical side of things.

Therefore, after passing the entrance exam, I moved to the other end of the country to study Music Theatre Directing at the University of Music and Theatre Hamburg. Theoretical foundations such as music theory, musical analysis, and music dramaturgy were now deepened more than ever before, but at the same time there were various opportunities to go nuts staging pieces on off-theatre venues and to fool around grinding at renowned opera houses and festivals from Salzburg to Hamburg.

I completed my studies with a staging of Milhaud’s Medea, the revenge-driven child-murdering diva, and returned to Munich to work for several years as an assistant director and stage manager at the Bavarian State Opera, initially as a staff member and later as a freelancer. Guest engagements as a stage manager took me as far as Tokyo, while I also created my own productions, ranging from classical operas in the independent scene to experimental formats at the off-venues of the Munich State Opera itself.

After 10 years, it was time for a change. I decided to explore the world of festival operations by joining the Munich Film Festival, working in guest management. What started as a temporary job quickly became something more: one thing led to another, and before I knew it, I was also working in guest management for the Berlinale, responsible for special guests and Honorary Bear award winners. Several years of festival hopping between Munich, Lübeck and Berlin were exciting, enriching, and full of countless new connections—but they also came with a life perpetually on the move.

Thus, in 2019, I reinvented myself for the second time and became a Music Supervisor.
Dramaturgical analysis, matching music with scenes, chaos management, communication and negotiation with people from all kinds of fields, music, music, music—and last but not least: film as the central axis around which everything revolves:

I think, I found my key, so now, let’s play.