A survey undertaken by the Bertelsmann Foundation found that two-thirds of Germany’s population considers the funding of classical music and opera an important part of our society.53 While it is still mostly older or well-educated persons who are especially passionate about classical music and opera, 67 percent of the population nevertheless takes notice of classical music when it is played on the radio or on television. Classical music, the survey found, is generally considered to have an important cultural value. We generally consider the backers to be foundations, private sponsors, and patrons of the arts. The support of musical faculties in children is considered particularly significant. Indeed, 64 percent of those surveyed found it crucial to expose children from as early as kindergarten to the art of professional singing. The funding of live performances at popular locations was considered highly relevant as well. This survey spoke to my heart and encouraged me to continue my work.
By 1997, I had initiated a pilot project for music education in schools and kindergartens.54 At the time, this topic wasn’t discussed much, but I noticed a glaring lack of musical education for children and young people. Everyone has been at a family gathering, with friends, or at a get-together, and when it’s time to sing a song, only the older generation knows the words. The younger generation usually just stand there, feeling embarrassed. Young people today often do not possess even the most basic musical knowledge, which used to be passed on from generation to generation through communal singing.
Together with the Ministry of Education of North Rhine–Westphalia, we developed and tested a number of innovative yet practical teaching methods, along with classroom materials. In the course of developing these methods, we realized how important musical proficiency is for children’s overall development of cognitive and social skills. This knowledge encouraged me greatly. When the project ended in 2004, I knew I had to continue the work. I began to think about a new foundation of my own.
In November 2005, the time had come. The Liz Mohn Foundation for Culture and Music55 was ready to begin its work. I wanted to continue what we accomplished with the New Voices contest, but with a focus on the contest’s culturally integrative and pedagogical qualities. Thus, the foundation mostly supports musical education and funds projects to support the musical development of children and youth. I firmly believe that music has the power to make everyone equal, to overcome our differences in heritage, education, and class.
Two of the biggest challenges in our society are the integration of immigrants into a community and mutual understanding between people of different cultural backgrounds. The Liz Mohn Foundation for Culture and Music is continually on the lookout for project ideas to encourage institutions, associations, alliances, foundations, and individual initiatives and their leaders to take appropriate actions that rise to these challenges. One of our main criteria for launching a new program is that the children and young people who are involved actively participate in the execution of every phase, and that the project be an example of true cultural integration.
Much remains to be done in regional culture development and young talent recruitment. The Boys Choir of Gütersloh, founded in 2007, is especially close to my heart. Today more than sixty boys between the ages of six and thirteen sing in the choir. Depending on the boys’ age, choir practice is held once or twice a week, and the children also receive individual or small-group lessons. Choir weekends and retreats not only delve deeper into musical study but also nurture groups. Our first trips to European foreign countries, along with a number of public concerts and even some television performances, have shown us that we are on the right track.
Many successful artists begin their careers early in life, but providing artists with a musical education is not enough. To protect and nurture their potential, we must stay by their side and grant them ongoing artistic support. My experience with the New Voices competition taught me how important this type of support is, in order not to lose our prized young artists as they enter the grueling contest for the biggest roles. Many young singers don’t give their voices enough time to mature; they take on parts that are too demanding and after just a few years are left with their instrument ruined.
I wanted to keep this from happening, so since 2007 the Liz Mohn Foundation for Culture and Music has been a backer of the International Opera Studio at the Staatsoper Unter den Linden. Under the artistic direction of Daniel Barenboim, the Opera Studio offers promising young singers the opportunity to prepare themselves for a career in opera and musical theater.
The central objective of our sponsorship of young vocal talent is to support a young person’s artistic and personal development. At the Opera Studio, students take on small and medium-size roles in productions at the Staatsoper and study specific opera parts. Their curriculum includes song workshops, individual classes with renowned singers and composers, and classes in dialogue and recital study, body and movement training, acting, and scene study. The students receive continuous feedback on their development. The Opera Studio gives young singers the opportunity to work as part of a company in a safe space, where they can test and develop their musical and artistic personalities.
The establishment of my culture and music foundation was the fulfillment of a personal dream of mine. In his autobiography, Daniel Barenboim wrote that music helps us discover something “about ourselves, about our society, about politics—in short, about the human being.”56 I can only agree wholeheartedly with this sentiment.