Continuum XXI
Ensemble Modern
hr-Bigband
hr-Sinfonieorchester
IEMA-Ensemble 2025/26
Synergy Vocals
Trondheim Voices
Alberto Arroyo
Hed Bahack
Sylvain Cambreling
Helena Cánovas Parés
Pia Davila
Caio de Azevedo
Justine Emard
Bernard Foccroulle
Georg Friedrich Haas
John Hollenbeck
Eloain Lovis Hübner
Justė Janulytė
Michael Jarrell
Malika Kishino
Eungjin Lee
Lucie Leguay
Leon Liang
Brad Lubman
Sarah Nemstov
Felicitas Magdalena Pfaus
Julian Prégardien
Steve Reich
Diego Ramos Rodríguez
Rebecca Saunders
Yixie Shen
Miroslav SRNKA
Toby Thatcher
Thierry Tidrow
Stefan Weiller
Adriane Westerbarkey
Haotian Yu
Artist
© Thomas RebelFelicitas Magdalena Pfaus
As a freelance writer and cultural manager, Felicitas Magdalena Pfaus works in close collaboration with various composers, singers and ensembles. Since September 2025, she has also been the artistic director and managing director of KulturSchuppen Sulzfeld near Karlsruhe.
As co-librettist, she revised the text for Gregor A. Mayrhofer’s oratorio ›Wir sind Erde‹, which was premiered by the Staatskapelle Berlin at the Philharmonie Berlin in November 2022.
Her artistic work is shaped by a deep passion for the classical music repertoire – particularly the art song – as well as by her commitment to continually rediscovering and conveying music. In her poetry, she seeks the purist condensation of language and meaning across multiple layers.
In collaboration with composer Maximilian Zimmermann, she has created several song cycles, including ›Regenflucht‹ (2020) as well as ›Angesehen‹ and ›Hingabe‹ (2021). The latter were performed by Julie Catherine Eggli in October 2021 as part of Julian Prégardien’s concert ›Schwanengesang‹, presented among others at Schlossfestspiele Schwetzingen. During his three-week concert residency ›Müller*in Wien‹ (2023), devoted to Schubert’s Die ›schöne Müllerin‹, she participated as guest artist with a poetry cycle created especially for the project.
Her poetic work often appears both as an independent form of writing and as an integral part of musical projects that intertwine classical song tradition with contemporary modes of interpretation. Within this context, her poetry enters into a dialogue with music—reflecting the romantic origins of the genre while at the same time lending a distinctly contemporary voice to it.