Michaela Kuntz studied in Munich with Günter Passin, was a scholarship holder at the Villa Musica Foundation and played in the Schleswig-Holstein Festival Orchestra. As a soloist, she has performed with the Ensemble Clemente, the Munich Bach Soloists and the Ore Mountains Symphonic Orchestra Aue, among others. Before joining the Konzerthausorchester Berlin as principal oboist, she was an oboist in the German Symphony Orchestra Berlin.Michaela Kuntz studied in Munich with Günter Passin, was a scholarship holder at the Villa Musica Foundation and played in the Schleswig-Holstein Festival Orchestra. As a soloist, she has performed with the Ensemble Clemente, the Munich Bach Soloists and the Erzgebirgische Orchester Aue, among others. Before joining the Konzerthausorchester Berlin as principal oboist, she was an oboist in the Deutsches Symphonie-Orchester Berlin.

It fascinates me how orchestral musicians with individual personalities, a multitude of talents and their own musical views continually inspire one another, and in the end form a clear musical and tonal unity.

Ever since my early childhood, even before I decided that the oboe would be “my” instrument, I tried my hand at several other instruments, including the flute, the piano and the violin. But I have always been inspired by the organ. My grandfather was the director of church music at St. Martin’s Church in Landshut, as well as a composer of religious music, so the sounds of the organ were already in my ears at a very early age. In my youth I played in various church orchestras. It fascinated me to watch the organist perform high up in the choir loft. Unfortunately, I never learned how to play.

My mental preparation begins about four hours before a concert. Then I rest for about 45 minutes. I always try to go to the concert hall without any time pressure and usually arrive an hour before the concert starts. That way there is enough time to briefly settle in on stage and check my reeds and the instrument.