In Vienna, he used the time, among other things, as a quasi sabbatical year, finally finding the time to deal with fundamental vocal technique work, try out new repertoire, or prepare upcoming roles in peace. Liviu Holender's skills are versatile anyway, he studied law as well as piano and clarinet and of course singing. He was an ensemble member at the Munich Gärtnerplatztheater, has been under contract at the Frankfurt Opera since last season, and would have - without Covid-19 - made his debut at La Scala Milan in June 2002 under Zubin Mehta as Silvano in "Un ballo in maschera".

What does a normally very busy artist do in corona times? How do you get through a time without performances, without an audience? For Liviu Holender, it is certain that an artist needs an audience, just as the audience needs artists. It is a mutual energy exchange, both sides enrich and inspire each other. He is convinced that "you cannot simulate the uniqueness of the live experience through live streams." In addition, streaming is a good invention to reach a broad audience, to make them curious, perhaps to win a new audience for operas - but "it can never become a substitute, especially since, in addition to the already mentioned live exchange, the size and projection of the vocal sound also has an essential meaning that is completely missing when streaming." In addition, the thought could also creep in that art is free. A concern shared by many artists.

Liviu Holender has sung numerous roles in many opera houses, including Leone ("Tamerlano"), Steuermann ("Tristan und Isolde"), Moralès/Dancaïro ("Carmen"), Masetto ("Don Giovanni") or Marullo ("Rigoletto") and also convinces the audience on the concert podium with his song recitals. As far as the Tiroler Festspiele Erl are concerned, guests of the Winter Festival can look forward to him: He will perform again at the New Year's Eve concert, which this year is dedicated to Leo Fall's operetta melodies, and he will also sing Dottor Malatesta in Donizetti's "Don Pasquale". Even though he doesn't believe that Covid-19 will change the cultural world much, he suspects that it will take time before a large audience dares to sit next to each other in a small space again. As a further consequence of the pandemic, he also believes that the competition for roles will be greater. However, he can also derive a positive aspect from the crisis: "Above all, freelance singers have moved closer together, they have developed a common awareness in the fight for culture and address problems together with theater directors and political representatives." And how does he stay fit in this time of social distancing? Through physical and mental exercise, e.g. gardening and chess, through intensive vocal exercises, work on his doctoral thesis - and through the hope of soon making music again with his colleagues.