Later career
In 2010–2011, Staud served as Capell-Compositeur of the Staatskapelle Dresden. [9] His orchestral work Maniai was premiered in 2012 by the Bavarian Radio Symphony Orchestra under Mariss Jansons. [10] Other significant works of the 2010s include Auf die Stimme der weißen Kreide (Specter I–III) (2015), premiered at Festival Musica in Strasbourg, [11] and the diptych Par ici! – Par là ! (2015), performed in full by Ensemble Intercontemporain at the Acht Brücken festival in Cologne. [12]
Staud has also composed extensively for opera. Die Antilope (2014), on a libretto by Durs Grünbein, was premiered at the Lucerne Festival. [13] His opera Die Weiden (2018), also with a text by Grünbein, was staged at the Vienna State Opera under conductor Ingo Metzmacher. [14] Other collaborations with Grünbein include the monodrama Der Riss durch den Tag (2011), written for Bruno Ganz. [15]
His orchestral work Stromab (2017) was premiered by the Royal Danish Orchestra under Alexander Vedernikov, [16] followed by performances in Vienna, Cleveland, [17] and New York. [18] In 2018, the Vienna Philharmonic premiered his work Scattered Light. [19] Later works include Terra pinguis (2019) for the Munich Chamber Orchestra, [20] Terra fluida (2019) for the Boulanger Trio, [21] and Epicentre. Seismic construction in 3 parts (2020) for three percussionists. [22]
Recent vocal and ensemble works include Listen, Revolution (we’re buddies, see –) (2021), premiered by ensemble xx. jahrhundert at Wien Modern, [23] and two settings of William Carlos Williams: Jittering Directions (2022) for soprano and orchestra, premiered by Yeree Suh and the Vienna Symphony under Andrés Orozco-Estrada, [24] and Once Anything Might Have Happened (2022) for soprano, horn, ensemble, and live electronics, commissioned by Ensemble Intercontemporain and IRCAM. [25] In 2023 his music theatre work Missing in Cantu, with a libretto by Thomas Köck, premiered at the Kunstfest Weimar. [26]
Current projects
In 2023 the percussion concerto Whereas the Reality Trembles was premiered by Christoph Sietzen and the Cleveland Orchestra under Franz Welser-Möst. [27] The work, co-commissioned by Wiener Konzerthaus, BR, WDR, and SWR, has been performed during the 2024–25 season in Vienna, Munich, Essen, Stuttgart, and Hamburg. Other projects include Die schöne Müllerin / These Fevered Days, an instrumental version of Schubert's cycle interwoven with settings of Emily Dickinson texts. [28]
Since 2018 he has been Professor of Composition at the Mozarteum University Salzburg. [2] He is also co-initiator of the annual summer academy of composition Arco, alternating between Marseille and Salzburg. [29]
