My Erasmus trip at the beginning of May took me to Copenhagen for two exciting and enlightening days—to a city that can scarcely be surpassed in its diversity, openness, and cultural vitality. Already upon my arrival on Sunday, 4 May, I was able gain an initial impression of the city. It was a special day: the Danish day of independence. In nearly every window, a candle burned in commemoration of the end of the German occupation in 1945—a touching sign of the culture of remembrance that made a profound impression on me.

Despite the cool, windy weather, the city was full of life: people sat in cafés and at markets, enjoying the special atmosphere. This first impression already foreshadowed much of what I was to encounter in the coming days at the Royal Danish Academy of Music (RDAM): openness, community, and a remarkable balance between tradition and innovation.

On Monday, 5 May, my official visit to the RDAM began. I received a hearty welcome from the Event Office: Anne Heide, Sarah Vibe Benfield, Sigrid Kongshøj-Munch, and Pelle Vogel had prepared a breakfast for us where I had the opportunity to introduce myself and my fields of activity. We quickly engaged in personal conversation and discovered exciting points of contact related to our subject areas.

My first meeting was an extensive discussion with Anne Heide, planning producer of the RDAM. She told me about the academy’s varied concert formats, such as the debut concerts, for which the students independently conceive, develop, and present an artistic programme as the conclusion to their studies. We also talked about the regular study concerts and class concerts, as well as the Masters on Mondays series, curated chamber music concerts held every second or third Monday.

I was able to attend one of these Monday concerts in the Studio Hall that evening, a finely-tuned programme of very high quality, presented in a pleasant, nearly family-like atmosphere. It was particularly striking that the audience consisted not only of students and staff from the academy but also of music-lovers from the city—a wonderful example of cultural participation.

Another important topic of our conversations was the RDAM’s close collaboration with external partner institutions, a prominent example of which is its cooperation with the Copenhagen Philharmonic, in which students are actively involved in professional orchestral projects—a win-win situation for all participants and a model that in my opinion is extremely important and should be established in this form in Vienna as well. Other notable partnerships are maintained with the Danish Opera and the Danish Broadcasting Corporation (DR). The DR broadcasts two selected debut concerts every year and collaborates with the academy in operating its sound engineering training programme, which produces concert recordings on its own. The latter is not only cost-efficient but also provides students with valuable practical experience.

After a brief break in the cafeteria, I had a fascinating meeting with orchestra coordinator Sigrid Kongshøj-Munch, who showed me how she uses the Canvas software to coordinate the large number of orchestral projects in a structured manner. I was able to experience in practice how efficiently this platform facilitates resource planning, communication, and change management—a model that I would very much like to have for my work at the mdw.

Afterwards, we attended the dress rehearsal for the impending orchestra concert in the RDAM’s impressive Concert Hall, an acoustical and architectural gem that meets the highest professional standards.

The second day began with a tour of the RDAM by event manager Pelle Vogel, who is responsible for renting out the Concert Hall for external use. The academy is housed in the former broadcasting centre of Danish Radio, offering outstanding acoustics and well thought-out infrastructure. I was particularly moved by the history of the Concert Hall: near the end of the war, the Nazi occupiers tried to force the builders to quickly finish its construction, but the workers deliberately delayed progress. Only after Denmark’s liberation was the hall opened with an official ceremony, and today it stands as a symbol of cultural resilience and national pride. Pelle described every architectural detail with palpable enthusiasm, which is understandable, as this space is not only functional but also a cultural statement.

Another of my meetings was with Frederikke Nymann Hauge, study coordinator for the area of talent promotion. We quickly discovered that we were on the same wavelength in terms of our work: similar challenges, similar goals. I was especially interested in the idea of a Teacher Networking Day, an opportunity for teachers to exchange ideas, network, and reflect jointly on educational challenges—a model with potential for Vienna as well.

Finally, Silja Kie Roed, communication officer of the RDAM, provided me with insights into her area of activity. I was impressed by the great trust placed in her in the designing of the academy’s communication strategy. She establishes intelligent focal points, develops formats, and actively involves students, for example through social media takeovers. They thus become ambassadors for their own institution.

In the evening, I had the pleasure of attending the orchestra concert in the academy’s main hall—a special occasion, as Queen Mary, the new patroness of the academy, was present for the first time. This presented a great challenge for the event management team, but they handled everything with admirable aplomb and professionalism. The precise organisation at the concert itself—including uniformed security personnel, clear communication channels via headsets, and well-coordinated procedures—was also impressive. The Concert Hall, with some 2,000 seats spread over three tiers, was full—a sign of how much the audience anticipates and appreciates these events.

On the programme was Haydn’s second cello concerto, with each movement conducted and the cello solo played by a different student. This was followed by Shostakovich’s first symphony: each movement was given its own particular interpretation by the various conductors, but the overall impression was coherent, animated, and vigorous.

What did I take with me?
Deeply impressive insights into an institution that works with a high degree of professionalism, a clear self-conception, and creative openness. I was particularly impressed by the earnestness with which public involvement was prioritised, and by the team spirit I encountered in the various departments. One senses that the RDAM is not only a place of training but also a vibrant, important actor with regard to cultural policy.

My stay in Copenhagen was more than just an exchange: new perspectives, stimulating conversations, and inspiring concepts were the nicest “souvenirs” from my Erasmus experience. I am already looking forward to future encounters and to passing on and developing the insights I gained.