Introducing the Salzburg Beatbox Orchestra

Although this blog is usually reserved for ramblings on operatic recordings, today I made an exception and included a short interview graciously granted by the fictional orchestra’s leader/conductor1, who, curiously, goes by the moniker deggial 😉


What ensembles do you direct/orchestras you conduct/opera companies are you associated with?

I am the founder of the Salzburg Beatbox Orchestra (SBO). The project was born out of my and a few friends’ love for Mozart and the human voice. I believe opera is all about the voice and should be performed as such.

What sort of music or composers do you specialise in?

I specialise in Mozart. However we have recently been contacted by the Pesaro Festival and we are negotiating a similar take on Rossini.

Have you made any recordings? Which labels do you record for? What are some standout recordings you have made? What do you plan to record?

After a few very successful years of performing at the Salzburg Festival, we are in the process of recording Mozart’s entire operatic catalogue, under the title of Beatbox22 on our own label, MozBox, to be released on January 27, 2016. We are happy to disclose that we have received a very generous grant to this very end from The Mozart to the Masses Foundation (MMF). In the meanwhile, we are about to release a disc of Rossini overtures in collaboration with the Pesaro Festival, in order to test the waters regarding this new possible undertaking. We have also recorded Messiah and St. Matthew’s Passion live at the Salzburg Festival which I believe will be released in the new year.

What would be in a typical performance or concert/opera season?

The Salzburg Beatbox Orchestra organises its own season of Mozart operas at Salzburg’s newest state of the art venue, Kleinstes Festspielhaus, which is situated just under the roof of the Schloss and seats only 200. Mozart is widely performed and loved so we never advertise in advance what will be performed on any given night but we do make an announcement at the beginning of the season as to which 3 operas are prepared every quarter. Usually we have two warhorses and an early work but the opposite has happened, like last year, when we did a two-for with L’Oca del Cairo/Lo sposo deluso, Der Schauspieldirektor/Il sogno di Scipione and Cosi fan tutte.

Who inspired you to take up this career?

As a child I kept pestering my father to buy me a musical instrument. I’m not sure where the interest came from, as I wasn’t born in a musical family. Anyway, my father was tired of me constantly asking for an instrument. One day he came home from work and called me into the kitchen. I remember my mother was making biscuits. My father sat me down and told me he had something for me. Naturally, I asked if it was a musical instrument. He said yes. Excited, I asked which instrument it was. He said, I quote “It’s the make your own damn music instrument” and shooed me out of the kitchen, shouting at me not to bother him with stupid stuff again. I took the hint and here we are today. It was different in those days, you understand.

  1. In case you’re confused, this is just a humorous entry spawned by this imaginative thread. The orchestra was slightly renamed, as the original was in engrish 2
  2. I was too amused by the thread’s premise and wrote everything in one go, stream-of-consciousness stylee, without time to make sense of this and that. 

About dehggial

Mozart/Baroque loving red dragon

Posted on November 22, 2013, in opera humour and tagged . Bookmark the permalink. Leave a comment.

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