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Subsidients Main sponsor Production partner Partner Main sponsor Junior Company ater
Photo: Ronald Tilleman 4 Welcome
As the house lights gently dim and the orchestra in the pit strikes its first notes, an air of anticipatory silence descends upon the audience. All eyes are fixed on the closed curtain, which, in moments, will reveal an enchanting and mesmerising world… Experience the magic of opera and ballet and be part of something greater than yourself! In the 2024 – 2025 season, enjoy an impressive line-up of fifteen opera productions and thirteen ballet productions, including three shows for young audiences. Beloved classics make a comeback, exciting new productions find their way to our stage and rising stars stand shoulder to shoulder with the greatest artists of our time. Additionally, in Studio Boekman, our new small theatre, you will be surprised by new stories, voices and talents. This brochure offers more information about our programme and, at the same time, gives you insight into the artistic process of the singers, dancers, directors, choreographers, composers, and conductors we will be working with this season. You will also get a glimpse behind the scenes, where the most skilled craftspeople in their respective fields create everything you see on stage – from sets and costumes to props and wigs. At Dutch National Opera & Ballet, our mission is to share everything that our house has to offer with as many people as possible. In the ‘Explore’ section, you can read about our school visits, tours and pre-performance talks designed to bring visitors of all ages closer to opera and ballet. Here, you’ll also find information about our special initiatives for young people. Creating unforgettable performances and contributing to developing the art forms of opera and ballet would not be possible without the support of our partners, sponsors and, of course, Friends. In the ‘Support’ section, learn about the projects our private donors contribute to and how you too can become more involved with Dutch National Opera & Ballet as a Patron or Friend. On behalf of everyone on and behind the stage at Dutch National Opera & Ballet, we wish you enjoyable reading and a fantastic season! Discover the world behind the scenes The stage is where world-class artists bring our theatre to life with their stunning performances, but it takes a team of skilled technicians and craftspeople working off-stage to help make the magic happen. This brochure gives you a unique glimpse behind the scenes of opera and ballet, illustrated by photographs showcasing the variety of craftsmanship that goes into our productions. Experience an unforgettable season 5
Contents Dutch National Opera Overview 13 Rigoletto 19 Peter Grimes 21 Lennox 24 Le lacrime di Eros 27 Die Fledermaus 31 A Song for the Moon 34 Die ersten Menschen 37 Idomeneo 41 Opera Forward Festival (OFF) 45 OFF: We Are The Lucky Ones 47 OFF: Codes 50 OFF: OUM 51 OFF: Labs and Context programme 54 Die Frau ohne Schatten 57 Dido and Aeneas 59 How Anansi freed the stories of the world 61 Boris Godunov 63 Dutch National Ballet Overview 65 Generation Dance 69 New Moves 72 Don Quixote 75 Modern Classics 79 The Nutcracker and the Mouse King 81 Made in NL 85 Jewels 87 Lady Macbeth 89 Mr. Coats 92 How Anansi freed the stories of the world 95 Other Dances 97 In C 100 Dancers of Tomorrow 105 Board of directors General director Stijn Schoonderwoerd 8 Director Dutch National Opera, Sophie de Lint 15 Director Dutch National Ballet, Ted Brandsen 66 6 Welcome
Studio Boekman This is Studio Boekman 108 What to see in Studio Boekman 111 Explore Youth and family 115 Young adults 116 Exploring through schools 118 Enhance your visit 120 About us Chorus of Dutch National Opera 124 Dutch National Opera Studio 126 Orchestras Dutch National Opera 129 Staff and dancers Dutch National Ballet 132 Junior Company 134 Dutch Ballet Orchestra and conductor 136 Support Contribute to… 143 Exclusive benefits for our donors 145 Bequeathing a gift 146 A conversation with our main sponsor 149 Practical information Getting to the theatre 152 In the theatre 153 Ticket sales 154 Calendar 2024 – 2025 156 Dutch National Opera seating 160 Dutch National Opera prices 161 Dutch National Ballet seating 162 Dutch National Ballet prices 163 Staff and crew 164 Stay connected 168 Colophon 170 7
Dutch National Opera & Ballet comprises an opera company, a ballet company, a large and, since the end of last year, also a small theatre, training programmes for emerging talents, an impressive stage technology department, multiple floors housing costume and props workshops, and an extensive external production workshop. Stijn Schoonderwoerd serves as general director of this dynamic production house. Schoonderwoerd: “Dutch National Opera & Ballet is an institution that operates at the highest level. This holds true not only for the artists that grace our stage but for the entire organisation. Even behind the scenes, the best in the field engage in top sport.” Many productions at Dutch National Opera & Ballet are created entirely in-house. The skilled artisans in the workshops don’t just execute designs; they also play a pivotal role in the creative process. “For instance, when sets or costumes are crafted, an interaction often unfolds between the artisans in the workshops and the artistic team of the production, which includes directors and designers. This ongoing collaboration keeps the process engaging for all parties involved. It’s fascinating for our colleagues in the workshops to actively contribute to the design process, and for the artistic team, it’s a pleasure to witness how their ideas come to life.” Sustainability without compromising on quality In discussions between the artistic teams and the workshops, sustainability is growing in importance. Schoonderwoerd: “We are constantly exploring ways to produce sustainably without sacrificing quality. It’s a significant challenge that cannot be accomplished overnight. However, we can harness the expertise of our artisans, who can propose sustainable materials that can result in an equally exquisite artistic end product.” According to Schoonderwoerd, a change in mindset is also essential. “In the theatre world, it’s still very common to design and produce everything from scratch for each production, but we are increasingly trying to initiate conversations about reuse as well.” However, sustainability encompasses more than just the production of performances: “It is a subject that permeates the entire organisation. Everything related to creating art actually generates CO2 emissions; from our business trips to the food and beverages we offer our visitors. We’ve already taken some good steps here. For example, we addressed our waste streams a while ago and we utilise green energy and predominantly use LED lighting. But there is still plenty to do in the upcoming season!” New audience and fresh talent Inclusivity is another key focus for this season, an area where Schoonderwoerd stresses the need for constant selfexamination: “For instance, which stories do we tell and who are the artists bringing these stories to our stage? With the recent opening of Studio Boekman late last year, we’ve gained an additional space for delving deeper into such questions. This intimate venue provides opportunities for innovative collaborations and different types of performances, with the aim of attracting a new and diverse audience.” Interview with general director Stijn Schoonderwoerd Artistic excellence, sustainability, inclusivity, and talent development. These are important themes for Dutch National Opera & Ballet, and they will remain focal points in the upcoming season. General director Stijn Schoonderwoerd sees it as his personal mission to ensure that these themes permeate every aspect of the organisation. Studio Boekman also serves as an excellent platform for nurturing young talent. “This includes singers and dancers from our Dutch National Opera Studio and Junior Company. By involving these emerging talents early in their careers, we can support them in their ongoing development, and they can familiarise themselves with our style and way of working. In essence, the same principle applies here as it does to our productions: we don’t just welcome the finished product; our involvement begins at the outset.” Schoonderwoerd concludes, “For all these evolutions – from sustainability to talent cultivation – we must venture into uncharted territories and embrace risks, all amid a period of financial uncertainty. I see it as a personal challenge to ensure we can continue pursuing our objectives, even as the world around us undergoes significant transformations. This demands unwavering confidence in this remarkable institution, and that’s definitely something I have.” the 8 Welcome
Text: Rosalie Overing | Photo: Elmer van der Marel stage Top sport e scenes and behind on
Priority acc price and lot Curate your own opera and/or ballet series! Starting from just two performances. Plan ahead, create a season package and be the first to secure the best seats for your must-see performances. By curating your own series, you will have a fantastic theatre season to look forward to. Guaranteed. 10 Aanpassen Welcome
Priority access Season packages will be available for sale from 11 to 24 April*, before the start of single-ticket sales. Get ahead of the crowd with our exclusive pre-sale. Be the first to choose and order your package for the entire season. Best price Because of our dynamic pricing system, ticket prices may go up as the season progresses. Pre-booking your season package offers you the best price guaranteed. Lots of choice Our performances are frequently sold out. Don’t miss out on your favourite production, seat or premiere cast. By ordering your tickets in a package, you will have first pick of dates, tiers and seats. cess, best ts of choice Scan the QR code to find out more! And more! A complimentary informative souvenir programme will be available to collect in the foyer for every performance in your series. We will also send all opera subscribers our quarterly Odeon print magazine, with in-depth articles about our productions, free of charge. Ticket exchange Have tickets, but can’t make it? We offer an exchange service that allows you to conveniently transfer your tickets to a different date.** More information: operaballet.nl/en/season-package * If you are currently a member of one of our priority groups (subscription holders with reserved seating, prior-season season package holders, Patrons, Golden Friends or Friends), your booking dates are listed on the accompanying card. ** Ticket swaps are subject to a €3 fee. Ticket prices will not change, despite our dynamic pricing system. This exception applies to performances included in your season package only. 11
Opera
Performances Dutch National Opera Rigoletto Giuseppe Verdi 2 – 29 September 2024 page 19 Peter Grimes Benjamin Britten 6 – 22 October 2024 page 21 Lennox Bnnyhunna 27 October – 3 November 2024 page 24 Le lacrime di Eros Caccini, Peri, Monteverdi a.o. / Scott Gibbons 15 – 21 November 2024 page 27 Die Fledermaus Johann Strauss II 5 – 29 December 2024 page 31 A Song for the Moon Mathilde Wantenaar 21 December 2024 – 5 January 2025 page 34 Die ersten Menschen Rudi Stephan 22 January – 2 February 2025 page 37 Idomeneo Wolfgang Amadeus Mozart 7 – 23 February 2025 page 41 Opera Forward Festival (OFF) 2025 We Are The Lucky Ones Philip Venables / Ted Huffman / Nina Segal 14 – 30 March 2025 page 47 Codes Gregory Caers / Bas Gaakeer From 15 March 2025 page 50 OUM Bushra El-Turk / Kenza Koutchoukali 21 – 23 March 2025 page 51 Die Frau ohne Schatten Richard Strauss 23 April – 10 May 2025 page 57 Dido and Aeneas Henry Purcell 25 and 29 April 2025, Dutch tour: 30 April – 6 May 2025 page 59 How Anansi freed the stories of the world Neo Muyanga / Maarten van Hinte / Kenza Koutchoukali / Shailesh Bahoran 16 – 25 May 2025 page 61 Boris Godunov Modest Mussorgsky 10 – 29 June 2025 page 63 13
Text: Wout van Tongeren | Photo: Elmer van der Marel what What aim, future, peace? what Opera
Dutch National Opera’s new season poses three questions as its overarching theme. What do these questions mean for DNO? And how do they connect with the productions that have been programmed? DNO director, Sophie de Lint, in conversation with dramaturges Wout van Tongeren and Luc Joosten, reflects on this season’s theme and how it came about. Sophie de Lint about the new opera season Could you explain where this theme comes from: What aim, what future, what peace? “We took this line from the opera Peter Grimes. The title character is a fisherman, an outsider who believes he will only be accepted by the village community if he is successful at sea. But in his obsession with this idea, he further alienates himself from the others. Ellen Orford, a fellow villager who cares about him, confronts him at a certain moment with the words: ‘What aim, what future, what peace will your hard profits buy?’ Not only is Grimes challenged by Ellen’s question, but so are we. It’s a line that urges you to stop and think. What are our aims, what future do we want and what do we need in order to feel at peace with ourselves and with others? Will all our struggles and efforts really bring our dreams closer to reality? This is what a season theme can do: inspire you to reconsider what previously may have seemed self-evident.” Let’s tackle the first question straight away: What aim? What is DNO’s aim when programming a season? “In the end, it’s all about connecting. That may sound generic but it’s indeed what happens at the start of a programming process. Our work revolves around creating connections, among performers, and between artistic teams and opera titles. Beneath these connections lie important questions about what views on humanity and society we present in our opera house. Which performers do we put on the stage? And which audience members feel addressed by them? That brings me to perhaps the most important connection of all, the one with our audiences in the theatre.” “A theatre is an unusual space, a sort of capsule. If you’re in the audience, you sit in a protected space, your phone is turned off, your senses are heightened. You are united with the people around you as you collectively focus on what’s happening on stage. We want the experience of our audience to be meaningful. Of course, it’s wonderful to indulge in the beauty of an opera, but I hope our productions will also inspire you to look at humanity and society differently and that your world expands through what you experience.” Could you give an example? “Take Die Frau ohne Schatten. The libretto tells a mystical tale set in a somewhat oriental fairy-tale world. Strauss’s phenomenal score is in the best possible hands with our former chief conductor Marc Albrecht. But how do you ensure modern-day audiences feel compelled to draw parallels between this fairy tale world and their own reality? Stage director Katie Mitchell is particularly adept at relating a fantastical opera like this to raw reality. In an impressive setting devoid of exoticism or romanticism, she effectively conveys the urgent message of this opera: those who wish to be fully human must be guided by compassion. I have high expectations for this combination of conductor, opera and director.” Moving on to the opera that gives the season its theme: how did this combination of artists and opera come about in the case of Peter Grimes? “Peter Grimes began with the longcherished wish of our current chief conductor Lorenzo Viotti to conduct this amazing score. His previous collaboration with director Barbora Horáková was so inspiring that he was very keen to work with her again. When we suggested Peter Grimes to her, the spark ignited. She is fascinated by the complex personality of the main protagonist and by the dynamics in the community that rejects him. For tenor Issachah Savage, Peter Grimes is a dream role that he’s looking forward to shaping together with Barbora. Thus, all the ingredients come together for a new production that will poignantly convey the central question of this opera: how do we deal with those who do not fit into a group.” “These issues are also reflected in the significant role the chorus plays in this opera, not just vocally but also dramatically, as the village community that rejects Peter Grimes. In this role, the chorus confronts us with mechanisms of exclusion that are unfortunately all too familiar. It is apt that another of our productions, Verdi’s Rigoletto, also features an outcast as the protagonist, namely the jester Rigoletto. He, like Peter Grimes, is mocked and ostracised by the people around him. Both operas call on audiences to empathise with the perspective of an 15
“Such collaborations are not limited to the Opera Forward Festival. The youth production Lennox, for example, is a co-production with the urban arts centre RIGHTABOUTNOW INC. Together, we approached the producer and multiinstrumentalist Bnnyhunna to create his first opera with us. With projects like OUM, Lennox and the family opera How Anansi freed the stories of the world, we are telling stories that have rarely been heard in our theatre before. Such stories appeal to both new and existing audiences.” But doesn’t the past also play a key role in an opera season? Just think about the place that the standard repertoire takes in the season. “The past is certainly important to us, but we never take it for granted. When tackling the repertoire, our concern is always to invite audiences to reflect on the present and the future. That’s why we place so much importance on a director’s vision for an opera from the core repertoire. We don’t want to present reconstructions; we want to create modern-day artworks with modern-day performers who reflect on the past and look to the future. This is strongly evident in Le lacrime di Eros. Director Romeo Castellucci and musical director Raphaël Pichon draw on material from opera’s origins to create an entirely new and experimental work. Raphaël and Romeo are both outstanding and groundbreaking artists with a profound feeling for tradition. I believe they epitomise the idea that you must be aware of the past to know what you are seeking in the future.” “The new opera We Are The Lucky Ones also combines historical awareness with a focus on the future, although it takes a different approach. Composer Philip Venables and director Ted Huffman have consistently explored new forms of opera-making in their previous collaborations. For their newest opera, they are collaborating with playwright Nina Segal on a text based on dozens of interviews with people who were born in the 1940s. They let that generation speak while also reflecting on what the interviewees keep quiet about or overlook. We Are The Lucky Ones reflects on the legacy passed on to us by our parents and investigates how we should deal with this in the decades to come.” The final question – What peace? – seems to express a longing for silence, harmony and calm. But surely conflict is what fuels drama, making it the essential source of opera as an art form? Doesn’t theatre revolve around torn feelings? “It’s certainly a fact that dramas need tension and conflict. But it’s equally important for there to be a desire to resolve the conflict, both among the characters and in the audience. The opera Idomeneo is set in the aftermath of the devastating Trojan War. The characters are yearning for peace and happiness, but fate – or their past – seems to prevent that. In this production by choreographer and director Sidi Larbi Cherkaoui, that is symbolised by red cords literally dominating the space, in a design by the artist Chiharu Shiota. At the end, a higher power cuts through the inextricable knot of the conflict, allowing peace to finally return.” Even so, the character Elettra is left unhappy at the end – a potential source for a new conflict. “There are operas where every wrinkle is ironed out at the end, but isn’t it more realistic for something to remain unresolved? Take Die ersten Menschen, the only opera by the brilliant composer Rudi Stephan, who tragically died young. This is an opera that explores the ‘original family’ of Adam and Eve. People sometimes idealise the family as the foundation of peace. But this opera suggests that this supposed ‘cornerstone of society’ is full of contradictory urges that inevitably lead to conflict. The opera’s title (‘The first humans’) says a lot: struggle is as old as humanity itself, I fear. outsider. They ask us to think about who we take seriously in our society. Who do we accept and who do we reject?” The second question posed in the season’s theme is: ‘What future?’ Let’s first talk about the future of opera itself. How is that reflected in your decisions when programming a season? “One very direct way of working towards the future is to create opportunities for young performers. This season, the young singers of Dutch National Opera Studio will be touring with a programme that includes Henry Purcell’s Dido and Aeneas. We will be doing this together with our partner companies Nederlandse Reisopera and Opera Zuid. These tours offer singers a wealth of experience.” “However, working towards the future is, of course, much more than simply introducing new talent to the old repertoire. For the development of opera, it is essential that we do not retreat behind the well-known boundaries of the genre. The Opera Forward Festival provides a moment during the season where we explore, push and sometimes simply ignore those boundaries. Collaboration is essential in this regard: we seek interaction with artists and cultural institutions outside the ‘opera bubble’. To give an example, this season we are creating the production OUM in partnership with Theater de Meervaart and the Amsterdams Andalusisch Orkest. As in previous years, we will also be working with students from various performing arts schools who will be bringing their own lived experiences when tackling the genre. You really feel the energy and urge of this new generation during the festival.” “ I hope your world expands through what you experience in our productions” 16 Opera
“We’re presenting this emotionally powerful opera straight after Die Fledermaus, the waltzing pinnacle of Viennese operetta. I think people would find it interesting to see both titles in a row. Both are about a life driven by urges, even if the two operas take very different approaches with different musical idioms. Die Fledermaus shows a decadent, hypocritical society; the people may seem more civilised, but they are still essentially governed by their desires. The fact that this criticism of society can be expressed in the light-hearted, ironic ambience of an operetta helps put things into perspective.” The season ends with Boris Godunov, a grandiose opera but also a dark story... “Yes, this is a highly charged tale of the grim loneliness of a tsar who committed murder to seize the throne. And of the people who suffer from the fallout of the ensuing power struggle. Director Kirill Serebrennikov’s production will draw clear parallels with modern-day Russia. However harrowing the events may be, the strength of theatre lies precisely in allowing the audience to experience tragedy and then feel a sense of redemption or alleviation. In opera, the impact is even more profound due to the power of music. It’s the catharsis you can experience in the theatre. There’s something spiritual in that experience; for me, it’s about a sense of ‘healing’.” “I’m expecting that this experience will also be a big part of our new opera OUM. Director Kenza Koutchoukali and composer Bushra El-Turk, two fascinating contemporary opera-makers, draw inspiration from the music of the iconic Egyptian singer Oum Kalthoum and the novel Visage retrouvé by writer and theatre director Wajdi Mouawad. Through conversations with our co-producers I’ve learned about the profound impact Oum Kalthoum has had on many people with Arab roots, including in the Netherlands. Her music is inherently healing. I love the fact that she is a starting point for this production in which we aim to unite artists, cultures and audience groups. I believe opera is an art form that can bring cultures together and ultimately create a connection, a feeling of ‘being complete’. And yes, perhaps you could call that ‘peace’. Creating something together and experiencing beauty together constitutes a message of hope.” together’’ i os paenr aa r t “I believe that can bring cultures form 17
Carpenters The sets for Dutch National Opera & Ballet's productions are brought to life in the Production Workshop in Amsterdam-Zuidoost. Inside, there's a massive assembly hall where skilled carpenters do a trial assembly of the sets before they're transported to the theatre. This helps identify any necessary tweaks, making sure that the set can be quickly and efficiently assembled on stage. Carpenters Olivier ter Kuile, Vincenzo Zijp and Simon Tol | Photo: Hugo Thomassen 18 Opera
Premiere 2/9/2024 Subsequent performances: 5, 8*, 10, 13, 18, 20, 24, 29* September 2024 | Curtain-up: 19:30 / *14:00 | Ticket sales start on: 7 May 2024 | Price Category: A | Location: Main Stage, Dutch National Opera & Ballet Revival Opera in three acts Sung in Italian Libretto Francesco Maria Piave Musical direction Yi-Chen Lin Stage director Damiano Michieletto Set designer Paolo Fantin Costume designer Auguste Cavalca Video designer Roland Horvath Il Duca di Mantova René Barbera Rigoletto Roman Burdenko Gilda Aigul Khismatullina Sparafucile Alexander Köpeczi Maddalena Maya Gour Giovanna Eva Kroon Il Conte di Monterone Frederik Bergman Marullo Martin Mkhize Netherlands Philharmonic Orchestra Chorus of Dutch National Opera Chorus master Edward Ananian-Cooper Can you go too far in protecting your child from worldly dangers? Verdi’s Rigoletto tells the story of a father who locks his daughter away in an attempt to protect her from his abusive employer, the Duke of Mantua, a womaniser who regularly oversteps the mark. All of Rigoletto’s efforts, however, turn out to be in vain. In selecting Le roi s’amuse by Victor Hugo (1832), a play that was banned after the first performance, the socially engaged composer Giuseppe Verdi once again chose an edgy, topical subject for an opera. Verdi shows us a degenerate milieu where transgressive behaviour is the rule rather than the exception. When the cynical court jester Rigoletto is cursed by the father of one of the Duke’s victims, he is gripped by paranoia. Eventually, his worst fears come true. Focus on Rigoletto’s psyche Damiano Michieletto, who previously directed Rossini’s Il viaggio a Reims (2015) and Raskatov’s Animal Farm (2023) for Dutch National Opera, focuses on the nervous, broken character of Rigoletto. The tortured man finds himself in a psychiatric institution, where he relives the events of his life in the form of flashbacks. Michieletto’s interpretation already made a deep impression on audiences and the press at the Amsterdam premiere in 2017. Some key changes to the production were made for a recent performance run in Venice. Now, Rigoletto will return to Dutch National Opera in this revised, sharpened version. The energetic young conductor Yi-Chen Lin will be leading the Netherlands Philharmonic Orchestra in her debut with Dutch National Opera. She can rely on an impressive cast of singers: baritone Roman Burdenko is returning to Amsterdam as Verdi’s tormented father after his powerful interpretation of Tonio in Cavalleria rusticana. Tenor René Barbera, acclaimed for his ringing voice, will sing the role of the wayward Duke of Mantua and up-and-coming soprano Aigul Khismatullina will make her Amsterdam debut as Gilda. Rigoletto Giuseppe Verdi (1813 – 1901) A father’s obsessive love “An insanely b eautiful and claustrophobic Rigoletto” Trouw 19
Construction fitter In the construction workshop at the Production Workshop, sparks fly as construction fitters weld together large frames and structures based on detailed drawings. They're also responsible for crafting smaller set components like doors and steel staircases. Construction fitter Thom de Wildt | Photo: Hugo Thomassen 20 Opera
Premiere 6/10/2024 Subsequent performances: 9, 13*, 15, 18, 22 October 2024 | Curtain-up: 19:30 / *14:00 | Ticket sales start on: 7 May 2024 | Price Category: B | Location: Main Stage, Dutch National Opera & Ballet New production Opera in three acts Sung in English Libretto Montagu Slater, after George Crabbe Musical direction Lorenzo Viotti Stage director Barbora Horáková Set and costume designer Eva-Maria van Acker Lighting designer Sascha Zauner Dramaturgy Luc Joosten Peter Grimes Issachah Savage Ellen Orford Johanni van Oostrum Captain Balstrode Leigh Melrose Auntie Helena Rasker Bob Boles Lucas van Lierop Mrs. Sedley Claire Barnett-Jones Rev. Horace Adams Marcel Reijans Ned Keene Will Liverman Hobson Sam Carl Netherlands Philharmonic Orchestra Chorus of Dutch National Opera Chorus master Edward Ananian-Cooper In one of the most powerful and intriguing operas of the post-war period, Benjamin Britten sketches the poignant picture of an individual who is destroyed by the hypocrisy of a small community. The fisherman Peter Grimes is an outsider who becomes the target of accusations and is eventually driven to a tragic end. The psychological thriller Peter Grimes (1945) explores the deeply human struggle with the elements, with ourselves and with our fellow human beings. In his inimitable fashion, Benjamin Britten uses music to draw links between human fate, the eternal force of the sea and the destructive power of false morality and intolerance. Lorenzo Viotti and Barbora Horáková Stage director Barbora Horáková is returning to Dutch National Opera after previously collaborating with conductor Lorenzo Viotti in the unique multidisciplinary project Missa in tempore belli by Haydn (2020). In this new production of Peter Grimes, Horáková and her team highlight the tension between the loner and the village community, with a starring role for the Chorus of Dutch National Opera. The role of Peter Grimes will be sung by up-and-coming tenor Issachah Savage, who is making his debut with Dutch National Opera. After roles in Der Freischütz and Rusalka, soprano Johanni van Oostrum is returning as Ellen Orford. The role of the fisherman Balstrode will be performed by the striking singer and actor Leigh Melrose. Helena Rasker, a favourite with Dutch audiences, returns to Dutch National Opera to perform the role of Auntie. Peter Grimes Benjamin Britten (1913 – 1976) An outsider in a small community 21
Photo: Gerard Collett Together, Barbora Horáková and Issachah Savage examine one of the most fascinating and complex characters in opera history. Barbora Horáková The director Barbora Horáková studied singing at the Basel Academy of Music and the Geneva Conservatory of Music, and directing at the Bayerische Theaterakademie in Munich. She soon grew to become one of the prominent opera directors of her generation, with productions for companies including the Wiener Staatsoper, Staatsoper Berlin, Semperoper Dresden, the National Theatre in Prague and Opera Ballet Vlaanderen. She made her DNO debut in 2021 with Haydn’s Missa in tempore belli. Barbora Horáková: “Peter Grimes is set in a small fishing community, and the sea plays a crucial role in both the music and the action. The opera’s appeal goes much further, though: it confronts us profoundly with the human condition. We all know groups, whether they are a school class, a village or a neighbourhood, that refuse to accept anyone who deviates from the norm in any way. This opera is a superb, enthralling account of how the dangerous mechanisms of a lack of empathy, mob mentality, incitement and exclusion can get out of hand.” “At the heart of the opera is Peter Grimes, the fisherman accused of the murder of his apprentice. He is officially acquitted but the other villagers continue to see him as guilty. A really strong aspect of this opera is the decision by the composer and librettist to be vague about what actually happened. It gives the opera real depth and ambiguity. The Peter Grimes Interview Stage director Horáková and tenor Issachah Savage on Peter Grimes “ The parallels with today’s world uncann are 22 Opera
Photo: Jiyang Cheng “I feel a great affinity with roles that tell the story of an outsider; the odd duck, so to speak. That is why, as a performer, I feel drawn to the complexity of Peter Grimes as a character. He is a troubled man with a lot of baggage, an impassioned loner who still wants to belong, but fails despite his fragile attempts.” “I’m convinced this is going to be a really special production. It was clear from my first meeting with Barbora Horáková that I’ll be working with a director who is just as passionate about the profundity of the drama and about the music of Peter Grimes as I am. I am looking forward to working on this role with her and letting audiences feel the unapologetic humanity and vulnerability of this character.” Issachah Savage With his warm, youthfully dramatic voice, the tenor Issachah Savage is one of the rising stars in the opera scene. He has sung at the Metropolitan Opera and the Salzburger Festspiele. His repertoire includes Verdi roles such as Radamès in Aida and the title role in Otello, as well as the Wagnerian roles of Siegmund in Die Walküre and the eponymous role in Tannhäuser. Now he is adding the multi-faceted title role in Britten’s Peter Grimes to that list. we get to know in the opera is a dreamer, a poetic and misunderstood soul, but also someone with a very short fuse who is socially inept.” “To do justice to this ambivalent character in all his complexity requires a close partnership between me and ‘my’ Grimes, the tenor Issachah Savage. Grimes is not the kind of role where all you have to do is provide a costume and some stage directions. It is a role that needs to be shaped through a profound connection with the character. I’ve already had my first talk with Issachah about the role and it is incredibly inspiring to discuss the character and what drives him.” Issachah Savage: “Peter Grimes was created almost eighty years ago but this opera is still extremely topical and relevant today. The parallels between the opera and today’s world are uncanny. People who fail to fit in with certain social norms are still being cast out and mistreated daily. And I also see a striking parallel in the way facts and evidence are treated as irrelevant. Peter Grimes is eventually tried and found guilty in the court of cruel, volatile public opinion. In that sense, this opera could just as easily have been written last week.” Text: Laura Roling ny” 23
Lenn Lennox knows his father is suffering from a mysterious illness. When his father forgets to take his lucky chain with him on the way to the Invisible Hospital, Lennox decides to go after his father together with his best friend. RIGHTABOUTNOW INC. and Dutch National Opera have turned the exciting children’s book Lennox en de gouden sikkel (Lennox and the golden sickle) into a hip opera. Based on prize-winning book The book’s author Zindzi Zevenbergen won a Zilveren Griffel, a prominent Dutch award for children’s books, in 2022; the illustrators Hedy Tjin and Brian Elstak won a Zilveren Penseel award. Their dynamic illustrations were a major source of inspiration for the aesthetics of this production. Multi-instrumentalist and producer Bnnyhunna (Benjamin Ankomah) wrote the music for Lennox, his first opera. He received a Buma Music In Media Award in 2023 for his work, which combines jazz, gospel, afro and hip-hop influences. Bnnyhunna teamed up with Neo Muyanga, the composer of How Anansi freed the stories of the world, for Lennox. Dutch National Opera has collaborated with RIGHTABOUTNOW INC. for some years now, including for the annual celebration of Keti Koti (Emancipation Day) in our theatre. Lennox will be the first full-length work in co-production with this interdisciplinary urban performing arts centre. Funky family opera in adaptation of thrilling children’s book (8+) “Lennox wanted to become brave soon. Preferably as quickly as possible, because he was ready for it. Fortunately, Lennox looked pretty cool for a boy who wasn’t yet brave.” This opera is a musical story about courage, friendship and the discovery that your world gets bigger when you know more. New production Sung in Dutch Composition Bnnyhunna (Benjamin Ankomah) in collaboration with Neo Muyanga Libretto Maarten van Hinte Based on the book Lennox en de gouden sikkel by Zindzi Zevenbergen, Hedy Tjin and Brian Elstak Stage direction Marjorie Boston Dramaturgy Wout van Tongeren Commission and co-production of Dutch National Opera and RIGHTABOUTNOW INC. Performances for schools We offer exclusive school matinees for primary school students. See: operaballet.nl/en/ school-performances The original book by Zindzi Zevenbergen, Hedy Tjin and Brian Elstak is published by De Harmonie, Amsterdam, 2021. Founding partner programming Studio Boekman Premiere 27/10/2024 Subsequent performances: 28*, 28, 29*, 29, 31*, 31 October and 1*, 2*, 2, 3*, 3 November 2024 | Curtain-up: 16:00 / *13:30 | Ticket sales start on: 7 May 2024 | Prices: € 15,00 (adults), € 12,50 (children aged 16 and under) | Location: Studio Boekman, Dutch National Opera & Ballet Bnnyhunna (1998) 24 Opera
nox Photo: Michiel Spijkers Family production for the autumn holidays 25
Tailor in Dutch National Opera’s costume workshop At Dutch National Opera, tailors are the individuals responsible for making and fitting the costumes for opera performances. Surrounded by rolls of fabric, patterns, ribbons, pin cushions and sewing machines, they fashion impressive opera costumes, like this cape from the opera Le lacrime di Eros. First tailor Eveline ter Beest-Meeuwissen | Photo: Hugo Thomassen 26 Opera
New production Sung in Italian Libretto Part original libretti, part new texts. Expanded on by Claudia Castellucci Musical concept, musical arrangements and conductor Raphaël Pichon Concept, stage direction and set, costume and lighting designer Romeo Castellucci Dramaturgy Piersandra Di Matteo Electronic compositions Scott Gibbons Il Poeta / Orfeo Gyula Orendt La Ninfa / Euridice Jeanine De Bique Messagiera Katia Ledoux Pastore Zachary Wilder Ensemble & Choeur Pygmalion In Renaissance Florence, composers, philosophers, poets, choreographers, painters and inventors joined forces to create a new art form: opera. The rich repertoire of composers such as Striggio, Malvezzi, Marenzio, Peri, Caccini, Cavalieri and, somewhat later, a young Claudio Monteverdi bears musical witness to the birth of the new genre. In their music, love is far from being something sweetly sentimental; it is inextricably linked with a dark shadow. Operating masterfully at the interface of opera with performance art and the visual arts, Romeo Castellucci will present the many faces of love in a production that has all the ingredients for a striking and hauntingly beautiful experience. Dialogue between Renaissance music and electronic music Raphaël Pichon and his Pygmalion ensemble enact a dialogue between original material from the Renaissance and the electronic music of Scott Gibbons. In his new compositions, Gibbons amplifies and distorts the sounds of the performers’ bodies to explore human passion in all its tenderness and cruelty. Le lacrime di Eros also uses the latest technology in artificial acoustics and sound mapping to create a sound space that is an artwork in its own right. In this advanced soundscape, audiences will not only hear the Pygmalion choir but also an ensemble of impressive voices and stage personalities. Soprano Jeanine De Bique previously sang the roles of Annio in La clemenza di Tito (2018) and Aida in Caruso a Cuba (2018) with DNO, while mezzo-soprano Katia Ledoux performed the roles of Geneviève in Pelléas et Mélisande (2019), Makuba in How Anansi Freed the Stories of the World (2021) and Proserpine in Eurydice – Die Liebenden, blind (2022). Baritone Gyula Orendt returns to Amsterdam after his performance of Gaveston/Stranger in George Benjamin’s Lessons in Love and Violence (2018), while tenor Zachary Wilder will be making his house debut. Le lacrime di Eros Caccini, Peri, Monteverdi a.o. / Scott Gibbons (1969) Love and suffering at the birth of opera Eros weeps, and in the sparkling tears appear the dark aspects of love. Conductor Raphaël Pichon – together with his Pygmalion ensemble and choir – and theatre-maker Romeo Castellucci go back to opera’s roots for their brand-new production Le lacrime di Eros. Inspired by the creativity and unconstrained experimentation of Florence in the late sixteenth and early seventeenth centuries, they explore a topic that has been at the heart of opera since its very beginnings: love. Premiere 15/11/2024 Subsequent performances: 17*, 18, 20, 21 November 2024 | Curtain-up: 20:00 / *14:00 | Ticket sales start on: 7 May 2024 | Price Category: C | Location: Main Stage, Dutch National Opera & Ballet 27
Raphaël Pichon: “For years, I have wondered how a masterpiece like Monteverdi’s l’Orfeo could have come about. Of course I know Monteverdi was a genius, but there is still a gap in our knowledge about the origins of opera. The foremost aim of this project was to pay homage to an exceptional period in music history. The sixteenth and early seventeenth centuries were a period of immense possibilities in Florence, with artists in various disciplines working together on a unique quest. They wanted to find out how to convey human passions on stage. That inevitably meant a key role for the topic of love.” Romeo Castellucci: “Love is the central theme running through the music of Le lacrime di Eros. It is the foundation used by poets to develop a new language, retell old stories and address new problems and discoveries. The negative side of love is exposed in the songs Raphaël and I selected. Love is never fulfilled; it is always accompanied by loss, tears and suffering. It is a trope, a commonplace concept that takes on a different meaning every time, always revealing an urge, a need. The texts reverberate with a bitterness and emptiness. But that void also provides an opportunity for creativity, to form images that speak to our souls.” Raphaël Pichon: “We created an opportunity to present a remarkable repertoire of work by composers such as Peri, Caccini, Marenzio and Cavalieri, significant and highly talented composers who nevertheless are rarely performed on stage today. The repertoire is extensive, ranging from intimate melodies for a lone singer to large-scale madrigals. But this work is not intended as a museum experience or reconstruction. We’re going back to the roots: why did people want opera? What need was it fulfilling? It is also about returning to that period and re-examining the music from a modern perspective. Just as experimentation was at the heart of the approach back then, we too are experimenting with new technologies as a way of bringing together the acoustic experience of that period and the modern day.” Romeo Castellucci: “The Renaissance started with the rediscovery of classical Antiquity. The very word ‘Renaissance’ literally means ‘rebirth’. Similarly, in Le lacrime di Eros we let opera as an art form be reborn as it were, using the theatrical resources we have at our disposal today.” Ensemble Pygmalion The Pygmalion ensemble, founded in 2006 by Raphaël Pichon, has a unique and highly contemporary take on the tradition of old music. The ensemble, which consists of a choir and an orchestra, has evolved over the years into one of the most significant groups performing old music, and one of the most popular among Dutch audiences. Le lacrime di Eros is the crowning achievement of ‘Stravaganza d’amore’, a long-running research and performance project of Raphaël Pichon and Pygmalion exploring opera’s Florentine roots. Text: Jasmijn van Wijnen Interview Musical leader Raphaël Pichon and director Romeo Castellucci on Le lacrime di Eros A rebirth rather than a reconstruction 28 Opera
Raphaël Pichon Raphaël Pichon, the French orchestral and choral conductor, founded the ensemble Pygmalion in 2006. The ensemble consists of a choir and an orchestra that use historically accurate instruments to explore the connections between Bach and Mendelssohn, Schütz and Brahms, and Rameau, Gluck and Berlioz. His project ‘Stravaganza d’amore’ has already garnered enthusiastic reviews: according to Gramophone magazine, “The results are fascinating and, at times, revelatory”. Romeo Castellucci The Italian theatre and opera director, playwright and fine artist Romeo Castellucci is known for his radical imagery in ambitious productions. His powerful work is featured on the world’s leading stages. At Dutch National Opera, he previously created a compelling production of Das Floß der Medusa by Hans Werner Henze. Photo: Luca del Pia Photo: Piergab
Makeup artist With the help of brushes, sponges, wigs, and makeup, makeup artists ensure that singers and dancers can fully immerse themselves in their characters. And all this under considerable time pressure: when so many people need to be made up for a performance, makeup artists typically have only about twenty minutes for a complete transformation. Senior wigs & makeup artist Pim van der Wielen and Emma Pompe (model) | Photo: Hugo Thomassen 30 Opera
Premiere 5/12/2024 Subsequent performances: 8*, 10, 13, 16, 19, 22*, 25*, 27, 29* December 2024 | Curtain-up: 19:30 / *14:00 | Ticket sales start on: 7 May 2024 | Price Category: A | Location: Main Stage, Dutch National Opera & Ballet New production for DNO Operetta in three acts Sung in German Libretto Karl Haffner and Richard Genée Musical direction Lorenzo Viotti Stage director Barrie Kosky Set designer Rebecca Ringst Costume designer Klaus Bruns Lighting designer Joachim Klein Choreography Otto Pichler Rosalinde von Eisenstein Jacquelyn Stucker Gabriel von Eisenstein Audun Iversen Adele Sydney Mancasola Alfred Miles Mykkanen Dr. Falke Thomas Oliemans Dr. Blind Mark Omvlee Frank Frederik Bergman Orlofsky Marina Viotti Netherlands Philharmonic Orchestra Chorus of Dutch National Opera Chorus master Edward Ananian-Cooper Co-production with Bayerische Staatsoper Munich Disguises, a decadent party and an awful lot of champagne. With chief conductor Lorenzo Viotti in charge of the music and Barrie Kosky directing, Dutch National Opera will be lighting up the dark December days with ‘Waltz King’ Johann Strauss II’s most popular operetta. Dr. Falke plots revenge against his friend Gabriel von Eisenstein for making him look like a fool in front of the whole of Vienna when dressed in a bat costume. Falke’s cunning plan plays out during a magnificent party organised by Prince Orlofsky, where things start to escalate quickly. Barrie Kosky’s staging not only tells the story of a practical joke getting out of hand, it also reveals the dark side of the bourgeois Viennese society that is at the heart of Die Fledermaus. In a spectacular production – featuring show-stopping choreographies by Otto Pichler – Kosky endearingly presents us with a group of decadent people collectively waltzing their way to the abyss. Charm and sentiment It was a longstanding wish of chief conductor Lorenzo Viotti to show his lighter side. He has a great love of Viennese sentiment, the charm of operetta, and of swirling waltzes, and now, with this production, the Netherlands Philharmonic Orchestra will sparkle in the orchestra pit under his baton. Lorenzo Viotti and Barrie Kosky, who have previously collaborated on a three-year Puccini cycle, will delve into the world of operetta together with an ensemble of top-notch artists. With acclaimed mezzo-soprano Marina Viotti as Prince Orlofsky, soprano Jacquelyn Stucker as a glorious Rosalinde, baritone Audun Iversen as a passionate Gabriel von Eisenstein and soprano Sydney Mancasola as a bubbly Adele, operetta fireworks are guaranteed. As Dr. Falke, audience favourite Thomas Oliemans will be setting all the events of the operetta in motion. Die Fledermaus Johann Strauss II (1825 – 1899) The ultimate operetta 31
He is a conductor, she a mezzo-soprano. The Viotti brother and sister duo practise their respective professions with unbridled enthusiasm and to the highest international standards. They are looking forward to working together in the beloved operetta Die Fledermaus. Marina: “Die Fledermaus is a very well put together operetta. The music is so catchy and sparkling that you can’t get it out of your mind for days or even weeks. The libretto is full of humour and each character has multiple layers and facets. This opera is guaranteed to put a smile on your face.” Lorenzo: “I see operetta as one of the finest genres in classical music. It is a challenge to get the humour across in the right way, as well as the emotions that are in the operetta. This demands a great deal of sensitivity from me as a conductor. Like with a good joke, the effect is lost if you explain too much. It needs to be something you feel. Fortunately, the Netherlands Philharmonic Orchestra and I have got to know each other so well over the last few years that we’re more than ready for this challenge.” Marina: “I love the fact that I will be playing the role of the rich, eccentric, bored Prince Orlofsky. He may not be the most sympathetic character, but that makes him all the more fun for me as a performer. How I play him will also depend to a large extent on the director’s ideas: Orlofsky can have a strong accent, be an alcoholic, be highly androgynous or be genuinely mad. The part is also a vocal challenge because it is relatively high for me as a mezzo-soprano.” Lorenzo: “All the singers in the cast – without exception – are world-class. It is also really special for me to get the opportunity to work with one of the people who is dearest to me: my sister Marina. Marinaand I have worked together before, but not yet at Dutch National Opera. We have a strong bond and understand one another intuitively. I’m sure she will perform the role of Prince Orlofsky with plenty of humour and class.” Marina: “I love working with Lorenzo, firstly because we feel the music in the same way. We know instinctively what the other means without having to put it into words. We both have busy schedules, which makes it difficult to see one another much, so that makes us value the time we can spend working together on and off the stage all the more. I can’t wait to start this new adventure together!” Text: Niels Nuijten “We feel in themusic same way” Interview Lorenzo and Marina Viotti on Die Fledermaus 32 Opera
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