Anything for which people enter a stage.
You can think of several reasons to go and see MIRROR MIRROR by Conny Janssen Danst at the RDM Submarine Wharf. But there is one in particular. Conny Janssen Danst is back in a former submarine hangar in Rotterdam with MIRROR MIRROR. That shed is located on the waterfront near the Rotterdam Academy of Architecture and an Innovation Lab. An industrial setting that also returns...
Florian Boesch is at the front of the stage, around him are his bandmates. On big screen behind the band, a chair slowly melts away. Boesch has hands casually in his pockets. With a smile, the violinist initiates a horlepie-like tune. Wie leiblich und frölich, Zu schweben, zu singen, Von glänzender Höhe, Zur Erde zu blicken! By the clutches...
Chances are not inconceivable that you have never heard of Fortunato Depero. Or maybe you are a lover of classic design and still have an old mini bottle of Campari somewhere. He made that. As a playwright, you might well have overlooked him. On 21 June, I went to see if you could find yourself with that...
American composer Julia Wolfe (1958) has a thing for the social history of her homeland. Steel Hammer reflects on the unequal struggle of man versus machine, as described in the folk ballad John Henry. Anthracite Fields zooms in on the hard life of miners in Pennsylvania. She won a Pulitzer Prize with it in 2015. The full-length oratorio is experiencing two July...
The plofnies came totally unexpectedly. The family father behind me, out with wife and presumably reluctant adolescent son, burst out after about 10 minutes into the performance. Just when a deafening silence had descended over the sold-out Theatre Carré. At least four people, including myself, were shocked to the core. A sneeze had never been this loud before, but as quiet as during...
During the first two weeks of this Holland Festival, almost all art was about something. The festival theme of 'democracy', conceived for the occasion, appears to have penetrated just about every hairline. Sometimes painful and highly topical, as in the National Theatre's phenomenal 'The Nation', sometimes downright embarrassing, as in Romeo's heavily overrated 'Democracy in America'...
Twenty-five Canadians are listed for design and production of sound, video, music, lighting and stage technology. Nine Canadians are working behind the scenes for two hours. During those two hours, one Canadian is on stage. In front of six hundred spectators. What those 35 people have all managed to pull off tickles your imagination and tells...
The opening image of Octavia. Trepanation is an immediate hit. On either side of Lenin's lauded head is an army of Chinese terracotta warriors. - Headless. Lenin's brain suffices for all, the suggestion is. Associations with the image of Che Guevara in Reconstruction from 1969 come to mind. But where that opera conveyed its (anti-American) message with crystal clarity,...
In the Netherlands, this Thursday afternoon is sunny. Clothes stick to bodies. Hotpants everywhere. Boys take off their shirts in parks. This afternoon, Queens of the Stone Age's new single plops onto YouTube. The Way You Used to Do is sweaty and hot. Pleasure settled Queens of the Stone Age don't surprise. There's no need to. The band is grand...
I went to Amsterdam to face my social anxieties on the once infamous Mercatorplein. I saw a sunny square with a trendy bar and bakfiets mothers around a play fountain for white children (brrrr! gentrification), old veiled and un veiled women chatting on a bench (help! multiculture) and a performance in a converted bumper car tent (Waaaah! Holland Festival). What I didn't...
Some 25 years ago, 10 musicians got together in Innervillgraten. A hamlet in East Tyrol, to play funeral marches. A band formed: Franui. By making quirky arrangements of music such as by Schubert and Mahler, Franui gained international success. At the 2017 Holland Festival, they will perform a programme of music about life and impermanence. In collaboration with baritone Florian...
Herod has not yet uttered his cry "Kill this woman!" or his soldiers roughly lift Salome onto their shoulders and hurl her into hell. - The fancy drawing room, which had been turned into a ruin, was visible through a see-through hatch for almost the entire opera. Salome's blood-soaked dress seems to flare up for a moment, but then - pats! - the...
Among classical music-loving audiences, the two young pianists Lucas (1993) and Arthur (1996) Jussen need little introduction. For many years, the talented piano brothers have been filling halls like the Concertgebouw with four-handed or otherwise, interpretations of classics such as Beethoven, Mozart and Schubert. With the avant-garde piece Mantra by Karlheinz Stockhausen (1928-2007), to be performed as part of the Holland Festival,...
The Shadow of Ideas (De Umbris Idearum ... The Acousmatic Memory Palace) is the title of one of the pieces played by electronica duo Mouse on Mars with Ensemble Musikfabrik. The shadows are indeed shooting against the scrap of the Muziekgebouw. Ideas, however, have not yet formed. Nudges to do so roar loosely through the space. Transported elsewhere Akoesmatic music...
Flexing is a street dance style from Brooklyn, New York. Thirteen men, three women strong is the formation that has caused a furore in America in various guises (HyperActive, MainEventt, Ringmasters), from the local talent show Flex in Brooklyn to America's Best Dance Crew. Now the crew, led by pioneer Reggie (Regg Roc) Gray, is on a world tour with a show, which they will perform with the...
The doors are closing and the society of spectacle, as described by Guy Debord, remains outside. George Crumb (1929) - in focus at this year's Holland Festival - unpacks contemporary man with his Metamorphoses, Book I (which has its European premiere Friday night). Gone, then, goes the shell of the ongoing pandemonium in which a diarrhoea of word, image and sound meet...
Endless chatting at the kitchen table. While cooking. That's all they do, the brother, the sister, the ex, the two daughters-in-law and the mother of the Gabriel family. About recipes, about the old piano. About Thomas, the brother who died of parkinson's, about his wife, who due to informal care had no time to renew her doctor's degree. All very casually, without...
The Orphanage of Dutch Music presents monthly 'forgotten Dutch masterpieces' at Amsterdam's Splendor stage. 'To discover the finer points', these are performed twice, interrupted by 'a short commentary or interview with special table guests'. On paper, a golden formula. Rightly so, the Holland Festival adopted three episodes. With the music, during the opening concert on Thursday, it was all in...
On Anton de Komplein, it is less cosy than on the roof of Parking 58 in Brussels, where I saw danse de nuit earlier. Above South-East, the moon is hidden behind a thick haze, the square feels big and empty so without the market. The performance by choreographer Boris Charmatz/Musée de la Danse, also today and tomorrow,...
Roaring programmers announce new compositions: "World premiere!" jubilate the posters. Superb, but in contemporary music practice, that primal performance is often immediately the last. The score goes into an archive folder. The notes fall silent; the roar falls silent. The Orphanage takes care of those forgotten works. Context David Dramm snatches such pieces from oblivion and presents them with context at the Orphanage
Do you write a review for people who are still going to the show, for people who have already been or for people who want to be informed? It is and remains an eternal dilemma. Vincent Macaigne's Holland Festival performance 'En Manque' will only be at the Compagnietheater on Thursday 8 and Friday 9 June. The chances of you, the reader,...
Rito de Primavera, on show at the Holland Festival early this week, is a group choreography for fifty young dancers. Choreographer José Vidal has loosely based himself on Sacre du printemps, Stravinsky and Nijinsky's 1913 piece for the Ballet Russes. Fragments of Stravinsky's music have been turned into 4-quarter beetz by DJ Jim Hast, while Vidal has minimised the ritual aspect of the sacrifice, essential to the many versions made throughout the 20th century (besides Nijinsky's primal version, Massine, Béjart and Bausch, among others).
What remains is an overwhelming visual experience of a gigantic mass of dancers looming out of the darkness. The coordination of the group, at times dancing wildly through each other, at other times circling the stage in long parade, is impressive. It produces a fascinating, eye-opening aesthetic, but the group dance in no way challenges the audience. You could call it a pile of kitsch, or opium for the people. Either way, it is a form of spectacle that I consider unworthy of the Holland Festival.
The performance begins like a school trip. Near the box office, spectators are prepared in groups for what is to come. They are kindly requested to take off their shoes upon entering the theatre, and then to walk barefoot, hand in hand with fellow spectators, through the dark. Regularly, someone calls loudly for silence, as the performance has already started. There is also something uncomfortable about the nervous manner in which the audience, which is supposed to line up in rows after the instructions, is marched away to the performance space two buildings away.
The initiation of the visitors continues in the Purification Hall, when they pass through the pitch darkness hand in hand with the cool sand at their feet. It provides one of the few ambiguous moments during Rito de Primavera. Where is this going? What fairy tale are we being led into here? From which tourist boat have we fallen off, to now attend the rituals of which people again?
At first, the total experience that so many contemporary theme parks are looking for really takes shape. For half an hour, I stare at a stage in the dark. I see and feel a lot of people there, I think naked because sometimes there is a clever flash of soft light, but the dominant darkness prevents me from getting a grip on it. Ethereal singing composed by Andrés Abarzúa - a single chord sounds gurgling from many throats - accompanies the entrance of all the other spectators for half an hour.
The bleachers surround the playing surface. It is only the red and white bicycle lights of the guides of the many groups of spectators that give you some orientation in the space. It has something of Tintin in Takatukaland. An audience paying to be at a miraculous, never-before-seen, spring nymphing ritual.
The artificiality of the setting gives a certain tension. In the darkness, as a spectator, you can imagine all sorts of things about what is to come. But at some point, the bicycle lights go out, a sign that all spectators are seated, and the dancers all put on trousers. The light increases and the first beetz cum stravinsky supplants the singing. When, after the uncertain introitus, the actual spectacle begins, its logic becomes all too clear. A perfectly organised group choreography takes over.
In what follows, nothing is left to chance. And that is no luxury with so many dancers in semi-darkness, especially as half of them are also new to the work, because from the Modern Theatre Dance Department of the Amsterdam University of Applied Sciences. The group makes pulsating movements, dialogues with a neighbour, runs in groups, starts singing again, postures and occasionally lifts a single person in the air.
But just as the darkness gets used, so does the group. They are all very young people, fairly relaxed dancing together. The uninhibited attitude with which the complicated group choreographies are performed is touching. A naive kind of surrender or faith speaks from it.
But gradually the effects, of the group choreography, of the light that creates the photographic vistas, the repetitive singing and beetz get boring. The repetition of moves is effect-laden, rhetorical, self-affirming. Nowhere a moment of debacle, of faltering. No one who has a question, can't keep up, is wrong
At last. The Nation, the hyperactual theatrical serial with which the revamped Nationale Toneel, sorry Theatre, presents itself to the country, feels like a refreshing splash of water on a soggy day. Newly appointed boss Eric de Vroedt lives up to his reputation by delivering a work that will no doubt draw new audiences into the theatres. An audience spoiled by...
Boris Charmatz has been a guest at many editions of the Holland Festival with impressive, provocative, socially engaged, finely composed and conceptually strong dance performances: Aatt enen tionon and Con forts fleuve (both in 2001); 50 years of dance (2010), Enfant (2011) and Manger (2015). His latest choreography, danse de nuit, premiered in Geneva last September. During the Holland Festival...
Traditionally, the AVROTROS Friday Concert marks the festive end of the season with a joint concert by the Radio Philharmonic Orchestra and the Groot Omroepkoor. On 9 June, American star conductor David Robertson leads them through Maurice Ravel's compelling ballet Daphnis et Chloé in the final concert. In addition, the orchestral work L'Ascension by his compatriot Olivier Messiaen and a selection of...
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