Bij de eerste de beste gelegenheid laat hij haar in de steek. Hij leidt een liederlijk leven, trouwt een ander en eindigt in het gekkenhuis. Toch blijft Anne Truelove houden van Tom Rakewell, de hoofdpersoon in The Rake’s Progress. De Nationale Opera presenteert vanaf 1 februari zijn vierde productie van Stravinsky’s opera, in samenwerking met Aix-en-Provence. Daar vond afgelopen juli…
On Wednesday 24 January, the Nederlands Kamerkoor presents an adventurous concert at Muziekgebouw aan 't IJ to kick off a short tour. On the lecterns are rarely heard music by Lili Boulanger and Ton de Leeuw. The highlight is Igor Stravinsky's famous Psalm Symphony in a version for choir and piano four hands by Dmitri Shostakovich. Ralph van Raat and Bobby Mitchell sign...
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 procession, 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.
School trip
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 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?
Naked!?
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.
Logic
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.
Impact-aware
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 mistaken
Erik Voermans (1958) is one of those people who writes down what you think yourself, but would never air publicly. The music editor of Het Parool likes to pose as your unsuspecting neighbour's boy, watching the music world with amazement. Take the phenomenon of opera: 'That's when someone with a knife in his taas walks around for half an hour singing that he's going to die.' If he...
De tekst is in eerste instantie uitgesproken als column in opdracht van het Nederlands Kamerkoor (april 2015- première in Theater De Harmonie Leeuwarden). Trip naar Scandinavië is daar een variant op in drie delen. Nu mét animatie. Kijk ook naar aflevering 1.
Cimbalom and harmonium are not the first instruments you immediately think of when you think of classical music. Yet, the ever-adventurous Ludwig collective puts precisely these mavericks at the centre of two concerts, on Saturday 26 September at the AVROTROS Vrijdagconcert in Utrecht and on Sunday 27-9 at Muziekgebouw aan 't IJ in Amsterdam. In 1915, Igor Stravinsky and a friend visited a...
American-Italian voice artist Cathy Berberian (1925-1983) has gone down in history as 'the wife of Luciano Berio', the Italian composer with whom she realised such high-profile pieces as Circles, Sequenza III, Recital I for Cathy and Thema, Omaggio a Joyce. Yet they were married for only 14 years, from 1950 to 1964. Moreover, it is widely known that she had a large compositional share
Het Toonkunstkoor Amsterdam heeft al vanaf zijn oprichting in 1829 een naam hoog te houden. In vroeger tijden was het steevast van de partij als het Concertgebouworkest en Willem Mengelberg grootschalige koorwerken brachten. Hoewel het koor nog altijd bestaat uit amateurs en de band met het illustere orkest is afgezwakt, zet het nog altijd (zeer) veeleisende stukken op de lessenaars. Zo verzorgde…
Deze maand viert Reinbert de Leeuw zijn vijfenzeventigste verjaardag. Niet alleen wijden televisie, radio, internetmedia en geschreven pers uitvoerig aandacht aan de niet geringe prestaties van deze voorvechter van de hedendaagse muziek, maar ook wordt hij geëerd met een eigen festival, ‘Reinbert 75’. Dit wordt georganiseerd
During Spring Utrecht, 'Sacré Sacre du Printemps' was on show. Vaslav Nijinsky's infamous dance to Igor Stravinsky's revolutionary music premiered 100 years ago. Choreographer and director Laurent Chetouane resists the heart of the story: the sacrifice.
Driehonderd jaar geleden werd de Vrede van Utrecht getekend, waarmee een eind kwam aan zowel de Spaanse successieoorlog, als de Oorlog van Queen Anne. Bijzonder was dat dit vredesverdrag niet op het slagveld, maar aan de onderhandelingstafel tot stand kwam. Het duurde anderhalf jaar voor de vele partijen het met elkaar eens werden en het verdrag geldt als het begin…
Sinds de omroepserie Vredenburg Friday zes jaar geleden begon, heeft zij een almaar uitdijend publiek aan zich weten te binden. Dit ondanks de aanvankelijk nogal onherbergzame noodlocatie aan de A2, waarvan de scheldnaam ‘Rode Doos’ inmiddels is uitgegroeid tot een koosnaam voor zowel publiek als musici.
To provide the best experience, we use technologies such as cookies to store and/or access information about your device. By consenting to these technologies, we may process data such as browsing behaviour or unique IDs on this site. If you do not consent or withdraw your consent, certain features and functions may be adversely affected.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service expressly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences not requested by the subscriber or user.
Statistics
Technical storage or access used exclusively for statistical purposes.Technical storage or access used solely for anonymous statistical purposes. Without subpoena, voluntary compliance by your Internet Service Provider, or additional data from a third party, information stored or retrieved solely for this purpose cannot usually be used to identify you.
Marketing
The technical storage or access is necessary to create user profiles for sending advertising, or to track the user on a website or across different websites for similar marketing purposes.
You must be logged in to post a comment.