![](https://cultureelpersbureau.nl/wp-content/uploads/2012/03/straatmuzikant.jpg)
![](https://cultureelpersbureau.nl/wp-content/uploads/2012/03/straatmuzikant.jpg)
Anything for which people enter a stage.
To bring in an extra five tonnes, the Netherlands Symphony Orchestra and the Gelderland Orchestra are pulling together. And with success: the provincial governments of Overijssel and Gelderland are absorbing the state's subsidy cut. However, it now turns out that the plans used to rake in that bailout are dubious. Politicians have hardly looked into it. Questions about the business plan came mainly from the PVV in Overijssel, but in Gelderland that same party enthusiastically agreed to the injection of millions after a - remarkably damning - counter-expertise.
Nearly thirteen million The Gelderland Orchestra (HGO) asked for the province of Gelderland. It got three-and-a-half. Just enough to absorb the reduction in the state subsidy for the next two years and to work towards a new organisational structure and a new revenue model, as described in a very ambitious business plan, which...... wait for it. We have already written about this, haven't we?
We schreven al uitvoerig over the name change van het Orkest van het Oosten in het Nederlands Symfonie Orkest (NSO). Ook de merkwaardige operasubsidieaanvraag gebaseerd op een businessplan dat enorme risico’s in zich draagt had onze volle aandacht. Vaste partner de Nationale Reisopera was not amused.
Festival Grenswerk was told on Tuesday 21 February that it must stop after three successful years because it does not match the ambitions of Stichting Enschede Promotie. The festival set up in 2009 was given a thick set of demands by the alderman that it could not meet after a scathing report by this revamped VVV.
This week, the National Travel Opera begins rehearsals of Mozart's Le nozze di figaro. In the bin, the brand-new Netherlands Symphony Orchestra conducted by Jan Willem de Vriend. Business as usual, as both companies have been working closely together for years and are united in the National Music Quarter Enschede. Only: orchestra and opera company have not been talking to each other since last week.
Thai and Vietnamese puppetry. Acrobats, Chinese shadow play and Japanese costumes. A Chinese conductor for a Dutch orchestra, a Canadian directing team and, as the main work, a scant 50-minute opera by a Russian composer, based on a fairy tale by a Danish writer who took his inspiration from China. Loosely.
Letters from Culture Secretary Zijlstra are dangerous, especially when they are about figures and schemes. And we haven't seen the latest one for now. So right now, it is about 'friction costs' for the cultural sector. These are the costs that subsidised institutions have to incur when their existence ends due to the subsidy freeze. Think redundancy payments, damages, flower arrangements for funerals of suicides and selling real estate at a loss.
The smallest opera company in the Netherlands beats the biggest. Not in visitor numbers, not in subsidy received, but in bringing in sponsorship money. On closer inspection, however, it becomes painfully clear once again that there is no giving culture in the Netherlands and sponsorship is limited to a pittance. A rattling giving law will not change that.
The Netherlands has a new orchestra: the Netherlands Symphony Orchestra. At least, new in name. The Orkest van het Oosten does not seem to be waiting for possible forced mergers, and is already claiming its position as the national orchestra outside the Randstad by means of this striking name change that was announced today before the start of a concert with the Jussen brothers.
Has state secretary Halbe Zijlstra the Lower House lied or misled in June when he stated that rushing through the culture cuts was necessary to absorb friction costs? Or does it just turn out to be improper governance?
The dragon remains tricky. Truly terrifying you never get him, of course, but what looked like a cross between a storage tank and an underground tube was laughable even before kitchy claws emerged from the wall. No wonder young Siegfried had the forchten does not learn and stands there smiling.
"Kinder!, macht Neues!, Neues!, und abermals Neues!" wrote Wagner to Franz Lizt. And after the very first Festival, he concluded that next year everything had to be different. Even an entirely new theatre he did not consider out of the question.
The ark as the earth, as a spaceship carrying us through the chaos of the universe to a safe haven. The pole star as the apparent magnetic centre of the universe around which all the stars revolve. No, this is not woolly new age chatter, these are the starting points for Tevot and Polaris, two major orchestral works by Thomas Adès, which had their Dutch premiere under the composer's own direction.
An opera based on texts by Nietzsche, and then start with loud laughter and main character N trying to catch two water nymphs. Wait a minute, that's Wagner! Well, at Wagner's Rheingold involves three Rhine daughters, but the similarity is too great to be coincidental. And neither is this one, but in the first minutes of Wolfgang Rihm's Dionysos is much more going on. Here is a composer at work who not only plays with text and music, but also with centuries of cultural history and knows how to add jokes to it. It is to get intoxicated.
With the battle between Titans and gods on Mount Olympus, Xenakis opens 1234, a mini-festival in the great Holland Festival. In four concerts, spread over two days, it features Iannis Xenakis central. There is also an extensive exhibition dedicated to the Greek composer, who was a mathematician and architect by birth.
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