As a conductor, you are about to lead an enormous project—the Singalong at the Lake. Are you looking forward to our collective singing? 

Steven Moore: very much so. I think it’s an incredibly exciting and slightly crazy idea!

You have extensive experience working with amateur choirs. Could you tell us a little about that? 

There are several reasons why I love working with non-professional singers. These are people who aren’t paid to sing—they participate because they genuinely want to. They dedicate their time to something that brings them joy. I also feel that I can give a great deal back to them. We walk a long path together, and in the end, many are surprised by what they discover they’re capable of achieving.

I believe it is our responsibility as professional musicians to include everyone who shares our passion for music. Around the world, there is currently a great effort to reach the “younger generation”—whatever that means exactly. But we should not lose sight of those who are already close to us: People who love music and enjoy making it in their free time. In the search for new audiences, it is often them who are overlooked.

With the Singalong, we are addressing everyone who loves to sing—choirs as well as individuals. We are trying to create one great soundscape out of many groups and individual voices. When you think about it, there’s something almost utopian about that.

Absolutely. We want to create a framework in which everyone feels comfortable and able to contribute. We provide a sense of direction: “Start here—it’s not difficult at all. And once you feel confident, you can take the next step. And if things don’t work right away, that’s perfectly fine.”

The Seebühne has a very special atmosphere. Anyone can come here, like attending a sporting event or a picnic. So why not spend a few hours by the lake while enjoying opera? For me, the Seebühne is a beautiful combination of everyday life and magic.

Some people love going to the opera—but singing themselves? Good heavens, they would never dare. What would you say to those who enjoy singing when no one is listening but hesitate to do so in public?

I would say: Until you try it, you can’t really know what it feels like… (laughs). Of course, it takes a certain amount of courage to try something new. One of the psychological challenges of singing is that your voice is so closely tied to who you are. A violin or a piano is external. But the voice is your own body—it is connected to your personality, your soul, and your mind. Yet what you gain in return is incredibly intense and deeply enriching.

So even without previous experience, one can dive into the adventure and discover one’s potential at the Singalong?

Absolutely. The project is intentionally designed so that newcomers can take part with ease. There are materials that support the learning process, and the music is prepared for a variety of singing levels. Participants can choose which pieces they would like to explore. Some are in German, others in English, Italian, or French—small challenges that meet people exactly where they are.

How can participants prepare? Could you briefly describe the rehearsal phase?

After an initial online introduction in March, we will meet on 9 May in Bregenz for an open rehearsal. It will be a lively and relaxed day where we sing together, try things out, and gradually find the right spirit. For me, it is important to give participants a sense of security, clear orientation, and practical ideas for how they can continue preparing and developing until the Singalong itself.

We will be singing well-known choral passages from popular operas—a journey through 80 years of Festspiel history. From your perspective, how relevant is opera today?

For me, it is absolutely relevant. And it is entertainment—in the very best sense of the word. Even in 2026 we crave entertainment: movies, shows, soccer matches, social media. All of these fulfill a certain need. Opera has been doing the same for around 400 years. What makes opera so extraordinary is that it combines almost everything: words, music, and acting. Opera is, in a sense, the queen of the arts! I also enjoy ballet very much—but I miss the voices. I love when it’s the human voice that carries the story. To sing a narrative always intensifies and heightens it; it becomes a very special form of storytelling.

People go to the opera to experience something—to feel, to understand, and perhaps even to learn. Sometimes they leave the theater deeply moved. The stage has always been a place for commentary: on social conventions, cultural developments, and often on political themes as well. It allows artists to take a stance, to provoke, and to spark conversation. I am convinced that opera still holds tremendous power in today’s world.

Do you think that singing along makes that power even more tangible?

I believe it does. In an operatic production, audiences often recognize themselves more easily in the chorus than in the leading roles. It might be difficult to feel like “Violetta”, but it’s easy to identify with a party guest in the chorus. You are part of the crowd. To sing along, to truly be part of it, will be a special experience. A powerful sense of connection arises, because you listen, because you are surrounded by the sound you are helping to create, and because everyone breathes together. It is a form of liberation.

Singing has always been a way of taking a stand. In the 1990s, the people of Estonia resisted oppression through what became known as the “Singing Revolution.” Clearly, collective singing carries enormous power—and can truly bring about change.

Absolutely. We spoke earlier about this idea of unity. In music, everything comes together: melody, rhythm, and text. Everyone consciously decides to do the same thing at the same moment—with a shared goal. That goal can be many things: political resistance or simply telling a story for children. When many people raise their voices together to express something, there is an undeniable intensity in that. It is tremendously powerful and instantly palpable, it takes hold of you, entirely.

How do you feel when you imagine the Singalong choir—thousands of people singing opera together under the open sky?

The very thought of it gives me goosebumps. We already have more than 4,000 registrations, which is truly impressive. It is incredibly exciting—but also a little intimidating as a conductor to bring it all together. But we will make this work! I am not exaggerating when I say that this concert could be life-changing for many who take part. One thing is certain: It will be an experience no one will ever forget.