They totally agree with us, the employers in the performing arts sector. These company and theatre directors and other managers of dwindling coffers, gathered in the Dutch Association of Performing Arts (NAPK), are circulating a letter today, calling on the Lower House to review the system of subsidies. After all, now the middle class is falling between the cracks. Has happened before, and...
The effects of the previous cabinet's arts cuts are finally becoming clear. The Performing Arts Fund today announced the winners and losers of the battle for four-year subsidies. From 2017, the Dutch art world will be a lot smaller, more meagre and poorer than it was until 2013. Big names are gone, traditions dismantled, while what is new faces an extremely uncertain existence.
Diversity in the Amsterdam art world is not yet flourishing. The Amsterdam Fund for the Arts, which announced its grant awards today, is getting a bit tired of it: "Across most disciplines, committees note that cultural diversity of audiences, staff and governance is disappointing, as are efforts to change this. Outside specialised organisations for which cultural diversity is a core business, ambitions are still not high, despite two decades of cultural policy in this area. If the ambitions are there, organisations do not always manage to give them hands and feet. There often seems to be a certain discomfort or 'not knowing how'."
So to start with the good news: Marmoucha grows 398 per cent compared to the previous grant round. The capital's producer and promoter of performing arts in the field of North African and Middle Eastern arts and culture in the Netherlands was severely cut back in 2013, but the Amsterdam Fund for the Arts found its work over the past four years to be so good that the grant has been more than deserved. In the new round of awards which became known on 1 August they rise from 25,070 euros to a tonne, adding that perhaps they should not be so ambitious.
OPERA2DAY presents the world premiere of Mariken in de tuin der lusten at the Koninklijke Schouwburg in The Hague on 11 October. An opera with the collaboration of an impressive list of artists, including composer Calliope Tsoupaki, Asko|Schönberg and actress Hannah Hoekstra as Mariken. But will you achieve success with an opera, with modern-classical music moreover and Middle Dutch text? Director and creator Serge van Veggel...
Ton de Leeuw lived in Paris for the last decade of his life and studied with Olivier Messiaen in his younger years. On 21 May, Cappella Amsterdam will present four of his French-language choral works in the Muziekgebouw aan 't IJ. The programme also includes works by his student and friend Daan Manneke and the young French composer Laurent Durupt....
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'.
Holland Festival
From the mild, everyday cacophony around the Muziekgebouw in the afternoon, on the terrace by the IJ, you'll get into the silence of the concert hall in a few steps. For three and a half hours (with over two hours of breaks in between), Asko|Schönberg, Slagwerk Den Haag and Capella Amsterdam will play and sing your ears off. Steven Schick (a.o. once Bang on a Can), not only conducts, but also takes charge of the middle part of the concert, at the Bimhuis, as a percussionist. Under his inspired direction, 'Nine Rivers' navigates between spectacle and purism: a battle between complex form and the simplicity of raw sound matter.
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.
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