All about politics, policy, society and how those things relate to culture and art.
It seems like a statement, opening the latest Holland Festival under Pierre Audi's direction with 'Vortex Temporum'. The collaboration between the two top Belgian ensembles Rosas and Ictus does everything that is scarce in the present day.
Win tickets for The NEWS at Paradiso
Big new, small news. News is everywhere, there is no escape. On the street, in one's own living room. What starts at the breakfast table can become world news. So: what is your news today? Let us know, share this page and take a picture, post it on facebook and twitter. Add #thenewsnl and win two tickets to the reality opera that will permanently change your view of the news.
Jubilant reviews. With the 'reality opera' The News, the Nederlandse Reisopera has a hit on its hands. However, the familiar theatre setting is being abandoned for pop temple Paradiso. Whether you like opera or not: five reasons to go.
A surfing Dutch marketing guy noticed in South Africa that a disease was thinning the population indiscriminately. That made him care. Now, as an undisputed highlight, dance4life is celebrating its tenth anniversary at The Concertgebouw Amsterdam.
450,000 euros they need to raise, the 15 culturally optimistic signposts of Public. All but a few were born well past 1980, so they don't suffer from any baby boomer arrogance or generational nit-picking: these are real, young, happy Amsterdammers.
It will be a total experience, as if you were briefly in another world. 'Mirror Mirror' by Conny Janssen Danst is set in a former submarine hangar of the Rotterdamse Droogdok Maatschappij (RDM). The audience is taken there by boat.
William Forsythe, dance innovator, and widely regarded as one of the most important choreographers of our time, is quitting the company to which he attached his name on September 2015. The New York Times reports that. He will still remain associated with the company as an advisor, but the real management will probably be taken over by Jacopo Godani, a former student of the legendary choreographer.
Barely five months between first audition and first performance. That was all the time the makers and local residents had for the Volksopera Ondiep, which experienced the first of two performances on Friday 23 May. It was a warm May evening, touching at times, sometimes dreadful, but fun anyway: classics by Verdi (most of them), Bizet, Puccini and Offenbach, set to Dutch text and sung by complete amateurs. Accompanied, for once, by the Groot Omroepkoor.
According to minister Bussemaker it would all go down very well and Jet de Ranitz of Arts ' 92 felt that all those researchers were panic over nothing sowed. But so they are coming: new cuts to culture, and bigger than first expected. Maastricht, just equipped with a very broad board of B&W, will cut half a million from next year's culture budget first, and at least 750,000 more every year thereafter.
Much has been written about it. And much talked about: the Reinbert de Leeuw biography by Thea Derks, which Reinbert de Leeuw did not allow to be published. Now Thea Derks, a member of the Cultuurpers cooperative, gets to explain her side of things to Peter Gielissen, also a member of the Cultuurpers cooperative. Nice story turned out. On Lezen.tv
Nobody had foreseen, let alone wanted, the commotion caused by the performance series 'The Funeral' in the St Willibrordus Church in Utrecht. The apostolate of St Willibrordus Church feels that the church has been 'desecrated' and no longer wants to hold Masses there, now that Dries Verhoeven is performing 'The Funeral' there for ten evenings with the help of Sens Uitvaarten. These are theatrical funeral masses, with which he has buried the welfare state and social support for art, among other things. But hurting someone with this was never his intention: ''If I seek provocation at all in the project, it is the one with the spectator.''
In Catholic Limburg, I was taught catechism every week in primary school. "What are we here on earth for?", asked Mr pastor. With the whole class we droned out the answer: "To become happy here and in the hereafter." A similar question occurred to me last night during the performance of the opera Faust by Charles Gounod at The National Opera. "To what end do we go to the theatre?" For me, the answer is: "To be touched, purified, yes maybe even happy." Given the rave reviews, I expected that this would indeed be the case.
The digital canvass battle in cinema is still some time away. For now, moviegoers are benefiting, according to research.
About two years ago, the digitisation of the Dutch cinema business was completed. All cinemas and film houses have been projecting digitally since 2012. In the projection booth, the disappearance of 35mm equipment meant a landslide.
Straight lines, single-coloured surfaces. Red, yellow, blue and white. Representing the essence of reality. That was the aim of the painters of De Stijl in the first half of the last century. At the same time, Hendrik Valk also had this ideal.
The Valley of Astonishment. Titles don't come much prettier than that of 'The Valley of Astonishment'. Theatre legend Peter Brook's tentative last play is coming to Amsterdam. The Holland Festival gave me and two journalists from Parool and NRC, respectively, the opportunity to talk to the already legendary director when he was alive. Pretty special, because the man who enchanted an entire generation of theatre-makers and audiences with performances such as the nine-hour Mahabharata in Avignon, is considered a deity among theatre connoisseurs and enthusiasts.
370 million cost to renovate the Rijksmuseum. All but a tonne. 5.5 million less than the last estimate from 2010. Which again it was almost quadruple the original budget, which still assumed 134 million. But that was before the crisis over those stairs and that bicycle route, and before all kinds of construction companies went bankrupt, and before the whole thing was in danger of collapsing anyway.
Someone commented on Facebook that it looked a bit odd for a newspaper to hand out stars for a play based on The Diary of Anne Frank. Although I myself shudder to give out stars this early for a Godwin make, surely there is something to The Play and The Review. Indeed, reviews of The Play to The Diary seem superfluous. For how do you review such a play, with such a history? Isn't fuss about layering or no layering, adventurousness or no adventurousness in the direction even a little irreverent? So these are three issues, which led me to consider that maybe it shouldn't be possible at all. Anne review.
In 2001, when Rotterdam was European Capital of Culture, a number of institutions joined forces and from this, in 2005, the Rotterdam Opera Days born. The aim is to programme innovative musical theatre in the opera house-less Maasstad after all, often in unusual locations. This year the ninth edition will take place, from 17 to 25 May, with the theme 'brotherhood'.
Because Dutch culture the Dutch only notice when scoring abroad (also applies to football, by the way): Big news about the Netherlands' first company. National coach Ivo van Hove of Toneelgroep Amsterdam has appointed none other than Juliette Binoche snared for a lead role in a play.
The Holland Festival, we have been doing that for years. It is definitely the highlight of the cultural season. At the Holland Festival, you see how the international art world hangs out. In recent years, under the skilful leadership of Pierre Audi, the whole thing has become a lot less elitist and pompous than it used to be. A ticket often costs a lot less than An evening of André Rieu in Maastricht, to say the least.
It will be hard to choose how we will musically fill our next weekend: will we stay in Amsterdam for the Amsterdam Marimba Weekend, or do we travel to The Hague, where Day in the Branding is devoted entirely to the string quartet? In short: are we going to string or strike? Those unable to choose can visit later this month at Amsterdam Sinfonietta and Slagwerk Den Haag - they just both do it!
I will be talking to Peter Brook in Paris on 7 May 2014. For people who have studied theatre, this is something very special. The man once wrote a very clear and manageable booklet that is on the shelf of all theatre people: The Empty Space. But he was also the director of performances where more people attended than there were ever seats. In other words.
In de categorie kunstroof is dit de laagste vorm: een oude vouwfiets stelen voor de deur van een dure kunstbeurs. Pak dan dat overbodige navigatiesysteem uit die Porsche Cayenne, het Guccitasje dat achteloos op de balie is neergezet, of schuif die driedubbelverzekerde, met diamant ingelegde iPhone van dat koffietafeltje onder je krant en geniet buiten verder van je geweten.
For the umpteenth time in its more than 30 years of existence, the colourful Concertzender going down. That is why there will be a benefit concert at the Amstelkerk in Amsterdam. Greats like Liza Ferschtman, Yuri Honing, Erik Bosgraaf and the Ragazze Quartet will perform for free, to support the station that broadcasts so many live recordings of their concerts. I myself started my career as a radio producer there in 1995, so I would say: come all, and donate generous! For less than two tonnes a year, the station will stay on air.
Best lastig, marketing in de cultuursector. Voor een deel werk je in een markt waarvan men tegenwoordig denkt dat wat mooi is, zichzelf wel verkoopt, en voor de rest van de tijd moet je concurreren met een overvloed aan aanbieders. En dat ondanks de pogingen van de regering om het cultuuraanbod drastisch te decimeren. Of misschien wel dankzij. De markt…
This year's Prince Bernhard Culture Fund Prize goes to Johan Simons. At the announcement, in a meadow below Utrecht, the director was surprised: he suspected the prize was meant for his wife, Elsie de Brauw, widely regarded as one of the best actresses in the Netherlands and Belgium.
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