As soon as soprano Miah Persson enters the stage, we hear a loud, electronic crack. Is a branch breaking here, one of composer Michel van der Aa's (Oss, 1970) favourite sounds? Or is it a stone crashing into another after all? Boulders play a major role in his latest opera Blank Out; at the end they crush with thunderous roar
Pierre Audi is the creator of the first edition of the Opera Forward Festival - OFF for short - which is being presented to the public for the first time as part of De Nationale Opera and its 50th anniversary. Opera as an art of inspiration is the supporting idea behind the ten-day festivities. The School During the Pre Launch OFF...
What does the future of opera look like? The National Opera tries to answer this in the Opera Forward Festival: new visions new voices, organised for the first time this year to mark its 50th anniversary. The ten-day festival kicks off 15 March with the world premiere of Only the Sound Remains by Kaija Saariaho. About...
1. Kwatta, Mariken (youth) The question was not whether Nijmegen youth theatre company Kwatta would ever venture into Mariken van Nieumeghen, but when. The bar was set high with successful previous book and film adaptations, but where the medieval Mariken needs two miracles, Jibbe Willems' adaptation is exciting even without a fall from a great height and the miraculous loosening of iron rings...
Huge, deep black shadows fall on a backdrop of calligraphic foliage in every conceivable shade of grey. Director Peter Sellars intently follows the movements of the three main characters during a run-through of 'Feather Mantle' at De Nationale Opera. Together with 'Always Strong', this short opera forms the double-bill Only the Sound Remains by Kaija Saariaho with which 15 March's Opera Forward Festival...
'In the new season, we go back to normal,' Pierre Audi said on Monday 15 February during the presentation of the new season of The National Opera. He does, however, continue the forward-looking Opera Forward Festival, which was set up to mark its 50th anniversary. There are also quite a few new own productions on the roll, including the world premiere of...
Never before has the Holland Festival placed itself at the centre of society as it is today. The 2016 programme is steeped in the turbulent times in which we live. The Netherlands holds the presidency of the European Union this spring. Artistic director Ruth Mackenzie has taken this fact unflinchingly to give 'Europe' a wide place in the programming. In presenting...
Although the supply has been declining for years, there are still more new shows than a person can see. So nobody sees everything, everybody misses a lot, which was the case in 2014. But these performances no one would have wanted to miss, even if two of them were not even seen in a theatre. And no dance, for that our partner was dance audiences this year too. #1...
By 1970, Karlheinz Stockhausen (1928-2007) had run out of 'intuitive' compositions in which the performer had to choose his or her own path from a series of written instructions. Like Intensity, for example, whose score consists of this text: Play the individual notes with such dedication until you feel the warmth radiating from you. Play on and keep them on as long as you can....
The National Opera, Hänsel und Gretel (opera) It is the best-known fairy tale opera of all time. Not surprisingly, as Humperdinck's adaptation of Hansel and Gretel is overtly rooted in folk music as in almost Wagnerian orchestration. It was bound to be a success. Richard Strauss conducted the world premiere; Amsterdam features International Opera Award Winner Lotte de Beer's version. She moves...
On Thursday 8 October, I saw a live performance of Verdi's opera Il trovatore at Amsterdam's Muziektheater for the first time. It was not an unmixed pleasure. During the first two acts, The Netherlands Philharmonic Orchestra, the National Opera Chorus and the soloists were so out of sync that I considered leaving at the interval. A good friend...
Bussemaker invests 18 million in the arts and a symphony orchestra for pop and jazz added. It seems too good to be true. And so it is. Because in return for that one extra orchestra, two other orchestras will be cut. At least, that's how the minister's letter can easily be read. That's how I read it too, at least. Currently...
Lulu, the opera that Alban Berg left unfinished on his death in 1935, is considered an undisputed masterpiece, which is frequently performed. The opera is at the Muziektheater for the third time this millennium, but for the first time with the third act completed by Friedrich Cerha. South African artist William Kentridge will direct. He and the performers were honoured after the...
Yes, it can be done! Less is more! I heaved the last sigh on Wednesday 13 May in response to the production Benvenuto Cellini by Hector Berlioz, which Monty Python director Terry Gilliam made for the National Opera. Immediately the same evening, I was caught off guard at the premiere of The Peach of Immortality by Rieks Swarte at the Toneelschuur in Haarlem. It concerns a...
Even before the final notes of Benvenuto Cellini had sounded, the audience erupted in loud cheers and cheers last night (12 May). So Monty Python director Terry Gilliam's team pulled out all the stops to make this first opera by Hector Berlioz an unforgettable experience. That his dadaesque staging evokes memories of the joke-and-roll approach of the...
Nederlandse Reisopera, Gluck: Orphée et Eurydice (opera), 1 May to 6 June Dazzling debut by director Floris Visser at the Nederlandse Reisopera. Rather than showing a centuries-old opera about an even much older myth, he exposes the core of Gluck's opera. It results in a heartbreaking performance about mourning and the inability to accept that your loved one is no longer there....
After all the misery surrounding HET Symfonieorkest, the premiere of Orphée et Eurydice last night (1 May) at the Wilminktheatre was a breath of fresh air. Defying all worries, the Nederlandse Reisopera realised a shimmering performance, which was rightly rewarded with a minute-long ovation. With magical colour fields, slow-motion movements and mysterious shadow play, director Floris Visser brought the timeless love drama to life. A must-see for...
It sounds great, that Amsterdam Arts Plan 2017-2020. The city is increasing the culture budget to almost 90 million a year. And there suddenly seems to be a vision: away with all those different advisory bodies, one capital 'basic infrastructure' and for the rest there is the Amsterdam Fund for the Arts (AFK). The municipality should stick to the main lines, not with individual subsidies....
#1 Salzburger Festspiele / Schaubühne am Lehniner Platz / Katie Mitchell, The forbidden zone (theatre/performance) - Dutch premiere 11 February, Stadsschouwburg AmsterdamThe British director Katie Mitchell is this month's 'arsonist' at Amsterdam's Stadsschouwburg. With performances that are as scintillating as they are transgressive. The forbidden zone is about areas long off-limits to women: wete... You can log in now to continue...
After the annual lists, the recommendations for the new year. All dailies participate in it. Problem: much is not yet known. Festivals and companies present their programmes sometime in February, March. So we cannot yet give the tips for the whole of 2015. But we do have the tips for the coming month, in chronological order, because ranking performances we still have to...
It's raining annual lists and we're merrily joining in. As subjective as anyone, after all, no one sees everything, and opinions on taste can always differ. Of course, also in this list many performances in or from the Randstad, but half of them were not yet shown there. And all genres mixed together. As long as it is theatre. With the only limitation: no repeats, apologies Ring and Lohengrin (DNO), St John Passion (NRO). And no dance, because for that our partner dance audience.
After the premiere of Puccini's perhaps most beloved opera La bohème at De Nationale Opera last Thursday, critics were divided in their reaction. Trouw praised conductor Roberto Palumbo, who 'can maximise Puccini's masterful effects', Place de l'Opéra chided the Italian for taking 'too much freedom in the phrasing of the melodies'. Culture Press colleague Henri Drost did not keep it dry
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