The "Composer for Heidelberg" works in the city several times during the season, and gets to know the house's audience and staff. Public rehearsals and lecture performances, introductory performances and school visits by the composer invite the audience to follow the development of a composition – barriers are broken down and the audience's curiosity and interest in new music are given a boost.

The first composer invited within the framework of this series was Jörn Arnecke, whose third commissioned work for Heidelberg, "Terra maligna", was written based on a libretto by Hannah Dügben – another alumnus of the Academy. In fact, the two met at the Academy' 2004 ceremonial event. A critical element is the work for and with the orchestra. Jörn Arnecke wrote a chamber piece for a singer of the ensemble and musicians from the orchestra, while Miroslav Srnka composed a piece for solo cellists in the 2006/07 season. The composer can test sounds in a full orchestra rehearsal months before the debut, to "verify" initial sketches acoustically early on – an unusual, rare opportunity nowadays.

The third "Composer for Heidelberg" in the 2007/08 season is Mark Moebius, a fellow of Academy Opera Today. He had already had his first contact with Heidelberg's residents before he was the first composer admitted to the Academy in the autumn of 2006, however. For Olaf Schmitt, the concert dramatic advisor in Heidelberg and another alumnus of the Academy, this milestone is additional confirmation of the proper direction and high quality criteria that both programmes demand, independently of one another.

Mark Moebius is thrilled at being selected and the perspectives that are open to him in Heidelberg: "Being 'Composer for Heidelberg" gives me the opportunity to work with an outstanding orchestra and conductors. That already means a lot to me, as it isn't something that you can take for granted. But the special attraction is that it's a "regular" orchestra, not a specialist ensemble for new music. In my opinion, new music has to prove itself to everyday concert-goers; it has to make you want to listen; it has to sell itself. As a composer, you have to use music to win the audience, to entrain and seduce them, and not just prove your own aesthetics."

The "Composer for Heidelberg" is working in several different categories for the first time this year, and has also composed a children's opera in collaboration with the opera house and the zwinger3 group. The libretto for "Pine nuts don't grow in bags" was written by Paula Fünfeck, who won a prize for this text in 2006 at the "Heidelberger Stückemarkt" authors' competition. "My previous productions were mostly smallish affairs, so this is my first opera in a grand house with a larger orchestra and choir," explains Mark Moebius. "So I can really give it my all on stage and try out a lot of new things. That's another great opportunity!" Moebius suggested another fellow from his 2006-2008 class, Janina Moelle, to be the production director for the children's opera – so the scenery design will be enriched by another familiar face.