In the Netherlands, the view of opera is mainly guided by concert practice. As such, the Dutch approach to this genre differs considerably from what is common in the rest of Euroa. This is evident from the fact that over the past century, investments have been made in concert halls that are among the best in the world: the Amsterdam Concertgebouw, the Doelen in Rotterdam. There was less reckoning with opera, as evidenced by the large number of halls with too small or unusable orchestra pit.
Opera in the past has mainly been a genre through which royal houses could distinguish themselves roaringly. We have never known such a royal house in our country. The great international success of, say the Netherlands Opera in Amsterdam is due in no small part to the outstanding musical performances of the accompanying orchestras, among others.
The Opera Days in Rotterdam have now been taken over entirely by Flemish people. The Flemish approach to opera is above all: theatre. Music is added to that theatre and voilà: there is music theatre. But that is not opera. This is precisely why the Flemish music theatre companies are so fond of adding new music to existing scores and often commenting on them endlessly.
In the Netherlands, it is exactly the other way round. The basis lies in the concert tradition, closely following the score. To this are added theatre, dance and requisites. An essential difference: opera and not musical theatre. After all, the basis of an opera is the score. It was written in close collaboration between composer and librettist. At most, the director provides an interpretation of the whole.
During the Opera Days, Opera OT produced Haydn's 'Die Jahreszeiten', a true repertory piece on the concert stages. However, this is not an opera score but a secular oratorio - in its origin opera without theatre and usually with a religious context. In this sense, then, this production again fitted seamlessly into the Flemish vision of opera. The unity of place, time and action is given a run for its money. But should this therefore be a bad production?
On the contrary.
Mirjam Koen and Gerrit Timmers have devised a highly inventive direction to the truly wretched texts of Baron Gottfried van Swieten. (When it comes to partying in Autumn, the joecheis and hopsasas fly around your ears. ) The vocal work is fine: the three soloists, soprano Robin Johannsen (Hanne), bass Tim Murfin as Simon and Tom Randle - tenor - as Lukas, are vocally extremely strong and move smoothly on stage. The same goes for the excellent choir, Vocalconsort Berlin. Also effective was the accompaniment by the Ghent baroque orchestra B'rock and conductor Christopher Moulds.
The punchline of this production was not in the beautiful performance of the music but the contrary and enigmatic staging by the duo Koen and Timmers. The seasons, so cleanly sung, pass by like a slowly changing landscape on a projection wall at the back of the stage. Snow melts, the sun rises higher and higher in the sky, and there seems to be no trouble. The screen is framed by a hut on the left and a shed on the right, a field in the middle.
But then what are all these weapons doing on stage? There is hunting, hilariously for rats, but there are also human casualties. Tanks drive through the screen and shell a bush, soldiers suddenly assert themselves in menacing fashion and disrupt the idyll. This goes down for good when three terrorists present themselves. In total helplessness, Hanne is assaulted and left trembling with misery in the field. The house is turned upside down and the seasons so sung about in Haydn's oratorio take on a different meaning.
Are the seasons still as they were? Climate change gets a role, violence and war as well. The open ending is intriguing and gives 'Die Jahreszeiten' an unexpected extra layer. But whichever way you look at it: it remains, partly because of the lack of action in the text, a staged oratorio and that is not the same as opera, even though the concert tradition is emphatically at the basis here.
As such, this production fits neatly into the Opera Days, which are not about opera but about musical theatre.
New Luxor Theatre, Rotterdam: Rotterdam Opera Days. Opera OT: Haydn, Die Jahreszeiten. Directed by Mirjam Koen and Gerrit Timmers, musical direction by Christopher Moulds. Attended Wednesday 25 May. information
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