Founded in 2023 as Berlin’s first major international piano summer academy, the Fiestravaganza International Music Academy (FIMA) has since evolved into an interfaculty programme, drawing on the diverse expertise of leading artists and educators across multiple musical disciplines. The programme combines individual masterclasses and coaching by internationally acclaimed professors and emerging ensembles, group workshops, and extensive performance opportunities, including solo, chamber, and orchestral concerts held in the prestigious halls of the University of the Arts Berlin. A distinctive feature of FIMA is its exclusive access to Bechstein’s Vintage Keyboard Collection, allowing participants to work on both modern and historic instruments.
FIMA 2026 marks an important new chapter for the academy. Now expanded to fully integrate string players (violin, viola, and cello), a defining highlight of the programme is the opportunity to perform a piano or string concerto movement with the Camerata Fiestravaganza (enhanced participation only). The orchestra comprises over 50 carefully selected musicians from diverse cultural backgrounds, all of whom are students or alumni of Berlin’s leading music institutions: the Universität der Künste Berlin, Hochschule für Musik Hanns Eisler Berlin, and the Barenboim-Said Akademie. In response to exceptional demand, FIMA 2026 will feature three concerto concerts, offering expanded orchestral performance opportunities for participating soloists.
Beyond music-making, FIMA places strong emphasis on cultural exchange and community. A new collaboration with the Goethe-Institute introduces a curated cultural programme that invites participants to engage with Berlin’s history, arts, and cultural life while fostering meaningful social connections. In addition, a renewed partnership with KPM Hotel & Residences, a boutique hotel and Marriott Bonvoy member, enables double-room accommodation (participant with parent or partner) to be included directly in the participation fee, encouraging participants to reside together and strengthening the academy’s sense of community.
FIMA remains committed to providing a unique interdisciplinary platform for collaborative artistic growth, nurturing versatile, open-minded musicians prepared for the artistic and professional demands of today’s musical landscape.

When: 7pm
Where: UdK Berlin Concert Hall
What: Selected FIMA participants perform concerto movements alongside Shaun Choo and the Camerata Fiestravaganza.

Where: UdK Berlin Chamber Hall & Choir Hall
What: FIMA faculty will conduct individual lessons and lead chamber music coaching sessions.

When: 7pm
Where: UdK Berlin Concert Hall
What: Selected FIMA participants perform concerto movements alongside the Camerata Fiestravaganza, led by Evan-Alexis Christ.

When: 7pm
Where: UdK Berlin Joseph-Joachim Hall
What: FIMA participants present various solo pieces worked on in the masterclasses at this internal recital.

When: 7pm
Where: UdK Berlin Joseph-Joachim Hall
What: Selected FIMA participants perform various chamber music works together with the Fiestravaganza Ensemble.

When: 7pm
Where: UdK Berlin Joseph-Joachim Hall
What: Selected FIMA participants present various pieces at this solo recital.

When: 7pm
Where: UdK Berlin Concert Hall
What: Selected FIMA participants perform concerto movements alongside the Camerata Fiestravaganza, led by Evan-Alexis Christ.

When: 7pm
Where: KPM Courtyard
What: Selected FIMA participants perform various solo & chamber works at a special event organised by the Royal Porcelain Manufactory Berlin (KPM).
* Participation in the chamber music performance is by opt-in interest and subject to the outcome of the preliminary video audition.
FIMA is open to classically trained musicians of all ages. Applicants are assessed based on their artistic level at their stage of development, not by age or by the difficulty of repertoire alone.
Both younger talents and more advanced music students are welcome to apply. Younger applicants with less experience are encouraged, as they often benefit especially from the academy’s intensive performance and collaborative activities.
Interested applicants may submit their registration at any time from now until 31 May 2026. Late applications may be granted until 22 June 2026, reviewed on a case-by-case basis and subject to an additional €100 administrative fee.
Yes, but don’t worry! Videos are simply used to assess your current level in order to verify that you will benefit from the full extent of the program offered. Videos do not have to be professionally recorded. Recordings made via mobile phone are welcome!
First time applicants may submit their application now without upfront participation fee payment (€100 registration fee is still mandatory). Upon reviewing the online video submission, they will be notified within three working days of the results of their application. If successful, applicants will then transfer the participation fee in full via a link provided to the online payment portal.
Returning participants will pay the full participation fee on the last page of the application form. Their registration is immediately completed without any further steps.
No, participants may choose to play a different set of pieces during the lessons and may present the same or different pieces to each faculty member. Just bear in mind that participants should prepare an adequate number of pieces in order for the intense lessons offered to be most effective.
Pieces can be played with the score. However, do note that only pieces which have been memorised will be considered for the solo concert performance.
We understand that some participants may choose to start a new concerto movement specially for the academy, or choose to play a concerto movement that is currently a work-in-progress. In either case, participants may submit a recording of their preferred concerto played with the score, a recording of a different concerto, or an additional solo work that demonstrates the student’s skill. Participants are still encouraged to submit a polished recording of their chosen concerto at the soonest possible date.
Please note that for the actual concerto performance, participants must play from memory.
The faculty members will collectively decide who plays what when at the solo concerts, based on their impression working on the pieces during the lessons. Rest assured, we will do our best to ensure every participant has at least one chance to perform their piece(s) on stage.
Participants opting in for the chamber music performance are encouraged to include a chamber music recording with their solo audition submission. Applicants who are unable to do so will still be considered, with selection based on their solo instrumental performance.
The current allocated time per lesson is between 45 minutes and 1 hour, subject to the number of participants and faculty member in question. Even though we will try our best to uphold these timings, we seek your understanding and flexibility in the case of a large intake of participants.
Definitely! Not only are they allowed to watch other participants, but they are highly encouraged to do so. After all, one can definitely learn much from listening to others!
Parents and teachers of participants will receive a guest pass at the start of the academy, which allows them full access to the lessons, workshops and concerts free of charge. All other external observers will be subject to a small entry fee.
Twelve brand-new practice rooms, many equipped with grand pianos, will be available throughout the academy and are directly located at the masterclass venue. Additionally, participants may also practice in the eight grand piano studios at La Raison de la musique. Rest assured, each participant will be allocated several hours of practice daily. A schedule will be created whereby participants can choose their preferred timeslot(s).
One important aspect of organising an event is to ensure everyone feels safe and comfortable. This applies not only to the participants, but their parents and teachers who accompany them. Hence, we sought out a partner hotel – KPM Hotel and Residences, a 5-star equivalent boutique hotel situated in one of Berlin’s most modern and cleanest districts with direct access to the main subway line. It is also within walking distance to the University of the Arts Berlin, where the concerts and string activities will take place.
All FIMA 2026 participation packages include 13 nights of accommodation at KPM Hotel & Residences, from 20 July to 2 August 2026.
Each participant is allocated one standard private room, which may be occupied by the participant alone or together with one accompanying person (e.g. a parent or partner). All standard rooms are furnished with one king-size bed, complimentary minibar and Wi-Fi, coffee-making facilities, and access to the hotel’s sauna and gym.
A Deluxe Family Room upgrade (larger room size, accommodating up to three adults with an additional lounge bed), as well as additional standard rooms, may be reserved as add-ons. Payment is made together with the participation fee.
Breakfast is available at €25 per person per day and can be booked directly with the hotel. Alternatively, a variety of cafés and bakeries—including Steinecke bakery and Einstein Coffee – are located nearby for lighter breakfast options.
Please note:
To foster a strong sense of community and ensure a safe, cohesive academy environment, participants are expected to stay at the designated academy hotel together with fellow participants and accompanying guests.
Participants who are officially residing in Berlin or Brandenburg and do not require accommodation must indicate this at the point of registration. In this case, a €1,000 discount may be applied to the participation fee, subject to approval.
Valid proof of residence (e.g. Meldebescheinigung or Aufenthaltstitel) is required.
No other exceptions or reductions will be granted.
Unfortunately not. Given that participants are free to explore the city outside of their individual lesson time and scheduled workshops/rehearsals/concerts, we are unable to accommodate everyone’s preferred dietary requirements or provide exclusive transportation.
However, at the end of the academy, an afterparty will be organised, which includes dinner and drinks on us to celebrate your successful completion of FIMA 2026!
We do not currently offer scholarships or grants, as we aim to keep our program fees as accessible as possible. However, in certain cases, we may offer a discount on participation fees. If you are from a developing country, demonstrate exceptional talent, and are facing financial hardship, you are welcome to contact us. Discounts are considered on a case-by-case basis.
Please note that we may require proof of eligibility, such as a family low-income statement, student financial aid documentation, or other relevant verification to support your request.
Registrations made during the late registration period (1–22 June 2026) are non-refundable.
Violinist and violist Gregor Sigl received early instruction in music from his mother starting at the age of five and continued his musical education at the Albert Greiner Music School in Augsburg.
When only ten years old, he enrolled at the renowned Mozarteum Salzburg, in the class of Prof. Jürgen Geise. In the following years, Sigl won First and Second Prizes at Germany’s nationwide music competition “Jugend Musiziert”, receiving a commendation in the violin solo and string quartet categories.
In 1991 he was awarded a scholarship to study with American violinist Lynn Blakeslee at the Eastman School of Music in Rochester, New York.
In 1993 Sigl was accepted to the international masterclass of Latvian violinist Philippe Hirshhorn at the Utrecht Conservatory.
From 1997 to 1999 he completed his studies with violinists Arjen Beintema, Viktor Liberman, Herman Krebbers, Alexander Kerr and Charles André Linale.
Ever since 1997 Sigl has regularly been invited as a guest-concertmaster and musical director with orchestras such as the City of Birmingham Symphony Orchestra, the Mahler Chamber Orchestra, the Orchestra Ensemble Kanazawa, the Camerata Salzburg and the Swedish Radio Symphony Orchestra. He has collaborated with conductors such as Sir Neville Marriner, Franz Welser-Möst, Sir Roger Norrington, Vassily Sinaisky, Sakari Oramo, Leonidas Kavakos, Daniel Harding, Zoltan Kocsis, Adam Fischer, Peter Eötvös, Trevor Pinnock, Michael Gielen, Sir Charles Mackerras, and Nikolaus Harnoncourt.
Sigl holds professorships at the University of Fine Arts (Universität der Künste) in Berlin, as well as the Queen Elisabeth Music Chapel (Chapelle Musicale Reine Elisabeth) in Brussels.
As a member of the Berlin-based Artemis Quartet, Sigl performs at all the most important concert venues in Europe, the US, Japan, South America, Australia and at numerous international music festivals. The Artemis Quartet records exclusively for Erato.
Photo Credit: Felix Broede
Charlotte Thiele, born in 2000 in Dresden, has appeared as a soloist with orchestras such as the Dresden Philharmonic, the MDR Symphony Orchestra, the Göttingen Symphony Orchestra, the Kiel Philharmonic Orchestra, the Hof Symphony Orchestra, the Magdeburg Philharmonic, the Anhalt Philharmonic Dessau, and the Brandenburg State Orchestra Frankfurt. Her concerts have taken her to major venues including the Elbphilharmonie Hamburg, the Gewandhaus Leipzig, the Kulturpalast Dresden, the Nikolaisaal Potsdam, the Margravial Opera House Bayreuth, and the Great Hall of the Berlin Philharmonie.
During the 2017/2018 and 2022/2023 seasons, Charlotte Thiele was Artist in Residence at the IMPULS Festival for Contemporary Music and with the Bad Reichenhall Philharmonic Orchestra.
Her particular passion lies in chamber music. Her musical partners include Patricia Kopatchinskaja, Julia Hagen, Sharon Kam, Bryan Cheng, Alexey Stadler, Kiveli Dörken, Can Çakmur, Till Fellner, and her brother Friedrich Thiele. She is a regular guest at festivals such as Heidelberger Frühling, the IMPULS Festival, Neuland Festival Darmstadt, the Weilburg Castle Concerts and Chamber Music Connects the World, the renowned festival of the Kronberg Academy. In the 2024/2025 season, she made her chamber music debut at the Alte Oper Frankfurt and at Kulturhaus Wiesbaden.
From 2023 to 2025, she has served as concertmaster of the Giuseppe Sinopoli Academy of the Staatskapelle Dresden. In addition, she has been invited as guest concertmaster by ensembles and orchestras such as the Deutsche Oper Berlin, the Stuttgart State Opera, the Dresden Philharmonic, the Musical Academy Mannheim, the MDR Symphony Orchestra, the Kammerakademie Potsdam, Ensemble Resonanz, the Württemberg Chamber Orchestra Heilbronn, and the Deutsche Kammerphilharmonie Bremen.
Charlotte Thiele is also committed to creative and educational formats within the TONALi initiative in Hamburg.
She has received important artistic inspiration in masterclasses with Gerhard Schulz, Christian Tetzlaff, Julia Fischer, Augustin Hadelich, Frank Peter Zimmermann, and Patricia Kopatchinskaja. A former junior student of Natalia Prischepenko at the University of Music Dresden, she is currently pursuing her Master’s degree at the University of Music Franz Liszt Weimar with Prof. Dr. Friedemann Eichhorn. Charlotte Thiele plays on a Jean‑Baptiste Vuillaume (Paris 1871), provided by a private patron.
Photo Credit: Andrej Grilc
Viola player Karolina Pawul, born in Warsaw in 1998, received her first violin lessons at the age of 7. After some competition successes, she began playing the viola at the age of 16. She immediately won first prizes at the National Viola and Double Bass Competition (2014), III. Meeting of young viola players in Skierniewice, National Competition of Stringed Instruments for Youth (2015), 19th International Competition of Stringed Instruments in the Name of Bohdan Warchal (2015), l. Viola review on behalf of Tadeusz Gonet and National Viola Competition on behalf of Dominik Rutkowski (2016).
As a soloist, Karolina performed with the China Philharmonic Orchestra in the Forbidden City in Beijing at the Morningside Music Bridge Competition in 2016, where she also received lessons from Wang Shaowu, Teng Li, Steve Tenenbom, Emlyn Stam, Atar Arad, Sheng Li and Roberto Diaz . She had further solo appearances in the Polish Radio Studio, in the Warsaw Philharmonic, with the Sinfonietta Cracovia, in the Krzysztof Penderecki European Center for Music and as part of the rbb program “The Graduates” in Berlin. In 2022 she played as a soloist with the Baden-Baden Philharmonic.
Since the winter semester of 2017/18, Karolina has been studying with Prof. Hartmut Rohde at the University of the Arts in Berlin. She receives chamber music lessons in various ensembles (string trio, string quartet, piano quartet) from Prof. Eckart Runge, among others. Since 2019 she has been principal violist of the Berlin University of the Arts Orchestra.
From 2018 to 2020 Karolina was principal viola of the European Union Youth Orchestra. Concerts have taken her to Amsterdam (Concertgebouw), Berlin (Konzerthaus), London (Royal Albert Hall), St. Petersburg (Mariinski Theater), Dubai, Canada, Cuba and the Hamburg Elbphilharmonie, among others. She played under conductors such as Manfred Honeck, Gianandrea Noseda, Stephane Denève, Wassili Petrenko and Valery Gergiev. Karolina has been a member of the Chamber Philharmonic Metamorphosen Berlin under the direction of Wolfgang Emanuel Schmidt since 2022.
From 2014 to 2017 Karolina was a scholarship holder of the Krajowy Fundusz narzecz Dzieci, from 2018 to 2020 of the German Academic Exchange Service (DAAD) and she has been a scholarship holder of the Paul Hindemith Society in Berlin since 2018. From March 2024 she has a temporary contract at the Dresden Philharmonic.
Photo Credit: Anna Tena
Oliwia Meiser, a Polish cellist based in Berlin, is a versatile and internationally active musician. She is studying with Prof. Wolfgang Emanuel Schmidt at the Hochschule für Musik Franz Liszt Weimar and completed her bachelor’s degree with honors at the Universität der Künste Berlin. She is a member of the Pirastro Young Artist Family and an Akademist of the Rundfunk-Sinfonieorchester Berlin.
Oliwia has had the privilege of studying under renowned pedagogues such as Gary Hoffman, Arto Noras, Troels Svane, Wen-Sinn Yang, Konstantin Heidrich, Dirk Mommertz, Jens-Peter Maintz, Eberhard Feltz, Frans Helmerson, Natalia Kurzac-Kotula, Jacob Shaw, and the Artemis Quartet. From 2017 to 2021, she was a member of the internationally acclaimed string orchestra LGT Young Soloists, contributing to Sony-RCA albums “Nordic Dream” and “Souvenir.” She is an alumna of Morningside Music Bridge.
She has received scholarships from organizations such as Musethica e.V., Yehudi Menuhin Live Music Now Berlin e.V., PE-Förderungen e.V., and the Friedrich-Naumann- Stiftung für die Freiheit, which recognize her artistic achievements and social engagement in promoting classical music. Additional scholarships were awarded by the Deutscher Akademischer Austauschdienst and the Ad Infinitum Foundation. Oliwia is one of the founders of the Musica Libera Ensemble of the Naumann Foundation and works as an orchestra coordinator for the Fiestravaganza International Music Academy in Berlin. She is actively involved in the Tonalisten Society and collaborates closely with Tonali gGmbH in Hamburg.
Oliwia has been honored with numerous awards for her talent, including first prizes at the International Janigro Competition 2016 in Poreč and the Tonali Cello Competition 2018. She has also received recognition as a chamber musician with prizes at the Alice- Samter Chamber Music Competition and the Mendelssohn-Bartholdy Competition of German Universities. She won the Artist-in-Residence Award at the Szczecin Classic Festival 2021 and was a semifinalist at the Deutscher Musikwettbewerb 2021 and the Robert-Schumann Chamber Music Competition 2022.
She has performed at prestigious festivals worldwide and appeared as a soloist in renowned concert halls such as the Elbphilharmonie Hamburg, the Berliner Philharmonie, and the Musikverein Vienna. She has collaborated as a soloist with various orchestras, including the Silesian Philharmonic and the Slovakian String Orchestra.
With her outstanding Italian instrument by Paolo Castello, kindly loaned by a private sponsor, Oliwia’s performances are marked by historical and artistic depth. She has participated in various festivals and masterclasses, including Villars Institute Music Academy (Berlin Philharmonic), IMS Prussia Cove, and Kronberg Academy, and is a frequent guest with ensembles such as Eroica Berlin and Camerata Fiestravaganza.
Oliwia also has the privilege of serving as a substitute with the Deutsches Symphonie- Orchester Berlin and the orchestra of the Komische Oper.
Photo Credit: Anna Tena
Born in Los Angeles into a family of musicians with Greek roots, Evan-Alexis Christ spent his childhood in Las Vegas. He played oboe and piano at an early age and studied mathematics and composition at Harvard University and conducting at the Leipzig Conservatory of Music.
Since 2020 he has worked regularly with the Sofia National Opera in Bulgaria. There he led the Bulgarian Premiere of Richard Strauss’ Elektra, and Ariadne auf Naxos as well as premieres of Richard Wagner’s complete Ring cycle and Lohengrin, in addition to numerous repertory performances. In October 2023 he made his Asian Debut, conducting Elektra at the Daegu Opera (South Korea) and was invited back for a new production of Der Rosenkavalier in 2024. In 2023/2024 he was the Chief Conductor of the Sarajevo Philharmonic for its 100th anniversary season. Joining prominent guest artists such as Riccardo Muti and Zubin Mehta, he conducted several programs throughout the year. Since 2022 he has been a regular guest conductor in Germany with the Nürnberger Symphoniker, Neue Philharmonie-Westfalen, Nordwestdeutsche Philharmonie, as well as with the Orquestra Clássica da Madeira in Portugal. Passionate about education, he has served as Resident Conductor of the annual Fiestravaganza International Music Academy in Berlin since 2023. Its orchestra, composed of some of the finest students from Berlin, collaborates with young soloists from around the world. Additionally, he led a master class on the opera Le Nozze di Figaro for the conducting students of the Berlin University of the Arts (UdK) in December 2025.
He has worked extensively with German orchestras and opera houses, including the Deutsches Symphonie-Orchester Berlin, Frankfurt Radio Symphony Orchestra, NDR Radiophilharmonie, SWR Symphonieorchester, MDR Sinfonie-Orchester, WDR-Funkhausorchester, Bremer Philharmoniker, Deutsche Oper Berlin, Komische Oper Berlin, Staatstheater Hannover, Theater Bonn, Hessisches Staatstheater Wiesbaden, Aalto-Theater Essen and the Nationaltheater Mannheim. Internationally he has collaborated on return engagements with the Zagreb Philharmonic, Israel Symphony Orchestra Rishon LeZion, Jerusalem Symphony Orchestra, RTV Slovenia Symphony Orchestra, Sinfonieorchester St. Gallen and the Orchestre Philharmonique du Luxembourg. He made his debut at the Salzburg Festival in the summer of 2011, conducting Salvatore Sciarrino’s opera Macbeth with the Klangforum Wien. In 2018, he conducted the closing concert of the Ultraschall Berlin: Festival for New Music.
Evan-Alexis Christ has gained recognition for his innovative concert programs. His cycles of the complete Mahler and Beethoven symphonies and Wagner’s complete Ring cycle have been met with critical acclaim. He has conducted 70 world premiere performances and numerous film-music, midnight, educational, flash-mob and crossover programs. In addition, he has conducted more than 60 opera productions, including all of the standard Mozart operas and numerous German, Italian and French repertoire.
Evan-Alexis Christ was Music Director of the Brandenburg State Opera in Cottbus from 2008 to 2018, making him at the time one of the youngest music directors in Germany. The orchestra made several recordings and undertook international tours for the first time in their 100-year history. In 2011 the orchestra won the publishers prize (Boosey and Hawkes, Peters, Breitkopf, etc.) for the best concert program of all German orchestras. In 2010 the citizens of the city of Cottbus voted Christ “Cottbuser of the Year.” In the regular subscription series, audience attendance rose from 70 to 95 percent capacity. From 2009 to 2018, the orchestra premiered a new work in every subscription concert and collaborated regularly with the contemporary music ensembles Court-circuit (Paris) and ensemble mosaik (Berlin). The high quality of the orchestra’s artistic work was recognized and supported by numerous generous grants (Ernst-von-Siemens Foundation, Berlin Academy of the Arts, German “Excellent Orchestra Landscape” National Foundation and Impuls Neue Musik).
After a brief stint in 2003 as vocal coach and pianist at the Portland Opera (USA), he was First Kapellmeister and Associate Music Director at the Würzburg Opera between 2003 and 2005. From 2005 to 2008, he served as First Kapellmeister at the Wuppertal Opera.
Photo Credit: Uwe Arens
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