Season 2025 – 2026 exceptional Feel the
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Photo: Altin Kaftira 6 Welcome
Our theatre is a magical place. When the curtain rises, you are transported to another reality. A world where opera and ballet allow you to feel what cannot be expressed in words. With great pleasure, we present our 2025 – 2026 season! Over the course of ten months, no fewer than thirteen ballet productions and fifteen opera productions, including two performances for young audiences, will grace our stages. Lose yourself in timeless favourites, be amazed by the standout pieces of today’s most sought-after creators and broaden your horizons by listening to what new voices have to say. Whether on the Main Stage or in Studio Boekman, there is something for everyone. Additionally, we will tour theatres and schools across the country, sharing the magic of opera and ballet with as many people as possible. We look forward to a truly special season. We celebrate milestones – including the 60th anniversary of Dutch National Opera and the 10th anniversary of the Opera Forward Festival – while reflecting on the conclusion of a defining and immensely valuable era: the 2025 – 2026 season will be Ted Brandsen’s final season as director of Dutch National Ballet. The programme he has curated reflects his profound artistic vision, featuring works by choreographers he admires and ballets that shaped him as a dancer. In this brochure, you will find the full programme for the upcoming season, with singers, dancers, directors, choreographers, composers and conductors offering you a glimpse into the artistic process behind the performances. None of these performances would be possible without the generous support of our partners, sponsors, Patrons and Friends. Their contributions enable us to create extraordinary new productions, nurture young opera and ballet talent, and develop inspiring educational projects. We are deeply grateful for their invaluable support. Of course, more support is always welcome. On page 128, you’ll find details on how you can contribute and become even more closely connected with Dutch National Opera & Ballet. On behalf of everyone in front of and behind the scenes at Dutch National Opera & Ballet, we wish you an enjoyable read and, above all, a magnificent season. Photos: Jan Willem Kaldenbach Stijn Schoonderwoerd General director Dutch National Opera & Ballet Sophie de Lint Director Dutch National Opera Ted Brandsen Director Dutch National Ballet Masterpieces, favourites and new voices 7
Dutch National Opera Overview 10 Interview: director Sophie de Lint 12 Tosca 16 Interview: soprano Elena Stikhina 18 Operetta Land 20 The Theory of Everything 22 The Maid of Orleans 24 Interview: director Dmitri Tcherniakov 26 I Capuleti e i Montecchi 28 Interview: director Tatjana Gürbaca 30 Atman! 32 Semele 34 Interview: countertenor Jakub Józef Orliński 36 Tristan und Isolde 38 Interview: director Pierre Audi and soprano Malin Byström 40 Opera Forward Festival (OFF) 42 OFF: Theory of Flames 44 OFF: Requiem 46 OFF: interview: composers Michel van der Aa and Meriç Artaç 48 OFF: The Knife of Dawn 50 OFF: Les enfants terribles 51 OFF: Labs and Context programme 52 Die Passagierin 54 Le nozze di Figaro 56 Simon Boccanegra 58 Interview: soprano Federica Lombardi 60 Interview: artistic director Edward Ananian-Cooper 62 Dutch National Ballet Overview 66 Interview: director Ted Brandsen 68 Monument 72 Romeo and Juliet 74 Former ballet principals on Romeo and Juliet 76 Contents 8 Welcome
The Nutcracker and the Mouse King 78 Ballet Beats 80 Interview: choreographers Mthuthuzeli November and Joshua Jonker 82 Paquita / Carmen 84 Interview: associate artistic director Rachel Beaujean 86 La Bayadère 88 Interview: co-directors La Bayadère 90 Hans in Carré 92 GRIMM 94 Interview: dancers Raquel Tijsterman and Manu Kumar 96 Masters of Movement 98 Choreographers Dawson, Pastor and Ratmansky on Dutch National Ballet 100 Gala 102 Talent development 104 Staff and dancers 106 General Studio Boekman 110 Children, families and education 112 Contribute 128 Staff and crew 130 Colophon 138 Practical information Season packages 8 Getting to the theatre 116 At the theatre 117 Ticket sales 118 Calendar 2025 – 2026 120 Dutch National Opera seating 124 Dutch National Opera prices 125 Dutch National Ballet seating 126 Dutch National Ballet prices 127 9
Photo: Olivia Witmond 10 Welcome
Priority access Be the first to book and secure your favourite seats for the entire season – all at once and at the best price, even before regular sales begin. Due to our dynamic pricing system, tickets may become more expensive later in the season. Secure your tickets now to avoid any surprises later. Scan the QR code for more information Already a season package holder? You’ll soon receive a personal email with your exclusive order link. Enrichment Enjoy more than just exceptional perfor- mances. Before each performance in your season package, collect your complimentary programme book. Subscribers to an opera series will also receive our Odeon magazine at home three times a year, packed with exclusive interviews and behind-the-scenes stories. Lots of choice Don’t miss a single highlight of the season. As a season package holder, you’ll enjoy priority access to all productions, dates and seats – including sought-after premieres and matinees. Should your plans change, you can easily exchange your tickets up to a day before the performance via our customer service. Fully enjoy a year filled with opera and ballet Start your season package with just two performances Prepare to be amazed. With our season packages, you can secure tickets for your favourite performances before the regular ticket sales begin. Choose two performances or more and let the excitement begin. Benefits of ordering a season package operaballet.nl/en/season-packages 11
Opera
Productions Dutch National Opera Tosca Giacomo Puccini 3 – 25 September 2025 page 16 Operetta Land Johann Strauss II, Jacques Offenbach, Arthur Sullivan a.o. 5 – 23 October 2025 page 20 The Theory of Everything (8+) Carlijn Metselaar 19 – 26 October 2025 page 22 The Maid of Orleans Pyotr Ilyich Tchaikovsky 12 November – 2 December 2025 page 24 I Capuleti e i Montecchi Vincenzo Bellini 7 – 28 December 2025 page 28 Atman! (8+) Leonard Evers 21 December 2025 – 4 January 2026 page 32 Semele George Frideric Handel 17 – 29 January 2026 page 34 Tristan und Isolde Richard Wagner 8 – 23 February 2026 page 38 Opera Forward Festival (OFF) Theory of Flames Michel van der Aa 6 – 22 March 2026 page 44 Requiem Meriç Artaç 13 – 21 March 2026 page 46 The Knife of Dawn Hannah Kendall 14 – 18 March 2026 page 50 Les enfants terribles Philip Glass From 14 March 2026 page 51 Tour Dutch National Opera Studio Die Passagierin Mieczysław Weinberg 17 April – 2 May 2026 page 54 Le nozze di Figaro Wolfgang Amadeus Mozart 8 – 28 May 2026 page 56 Simon Boccanegra Giuseppe Verdi 4 – 28 June 2026 page 58 13
How is the theme of ‘conflicting realities’ reflected in the new season? “Composer Michel van der Aa gives a compelling treatment of the theme in his new opera Theory of Flames. When the main protagonist becomes obsessed with conspiracy theories, she drifts away from her loved ones. As in his other operas, Van der Aa uses this work to explore the existential questions we face and the dilemmas posed by the digital age.” “Under the influence of social media, society is becoming ever more fragmented. The problem isn’t that people have different ideas about things — this variety is precisely what enriches a society — but that if people end up living in their own bubbles with their own versions of reality, it could have fatal consequences. Theory of Flames explores these issues in a modern story, but operas from earlier periods also present conflicts between different ideologies and perceptions of reality. Our theme of ‘conflicting realities’ encourages audiences to join us in discovering what these operas can tell us about the divisions in society today.” Could you give an example? “Take Mozart’s Le nozze di Figaro. It is set in a context of massive inequality. Only three years after the opera premiered, the friction between the social classes in France erupted into the French Revolution. The director Kirill Serebrennikov’s penetrating production makes you really feel the tension between the haves and the have-nots in our time too. Another example is I Capuleti e i Montecchi, Bellini’s version Interview Sophie de Lint on the new opera season of the story of Romeo and Juliet. In her staging, Tatjana Gürbaca wants to emphasise that the love between Romeo and Juliet is overshadowed from the start by the bitter relations between their feuding families. The opera shows how mutual hate can lead to spiralling violence from which no one can escape.” Can opera also offer an antidote to the clash between realities? “Theatre invites you to see things from different perspectives. Add to that the power of music, which speaks directly to the soul, and you get an art form that encourages you to empathise intensely with a wide range of viewpoints. That’s a real strength.” “But opera also has a more subtle effect. While the constant stream of messages on our screens urges us to form opinions and make comments immediately, opera operates at a different level. In the atmosphere of complete concentration in the theatre, you can open yourself up to an experience without needing to respond immediately. That experience can continue to develop in the days that follow. In this way, opera offers you the space to reflect on yourself and on the world around you.” Do these kinds of ideas about the art form play a role when putting together the season’s programme? “They’re always a background factor, but our main focus is on the audience. Our aim is to keep inspiring our regular audience and at the same time appeal to new groups. That requires a varied programme. Responses from audiences and conversations with our partners, such as orchestras, performers and potential co-producers, help us to find a good balance. We’re aiming to do justice within one season to the diversity of works that have emerged from the history of opera. Iconic operas, by composers such as Mozart, Wagner, Verdi and Puccini make up a significant proportion of the programme. However, we will also be presenting new operas and lesser-known works that we believe deserve a place in the repertoire.” Which lesser-known operas are these? “One is Tchaikovsky’s The Maid of Orleans, a grand-scale opera about Joan of Arc, with fantastic music and a prominent role for our Chorus. This work has long been on the wish list of director Dmitri Tcherniakov, who has an unparalleled ability to place the Russian repertoire in the context of today’s world. He sees the French warrior heroine as a character who challenges social norms and is ostracised by society as a result.” “Die Passagierin (1968) by Mieczysław Weinberg is another work that deserves a place in the repertoire. On board of an ocean liner in 1960, the German Lisa is confronted with her past as an SS guard in Auschwitz when she thinks she recognises a former prisoner among the passengers. Since its first performance in 2006, this opera has gradually found its way onto the international stage. The director Tobias Kratzer tackles the immensely charged theme intelligently and sensitively. We are delighted to be bringing his highly acclaimed production — dubbed ‘production of the year’ by Opernwelt in 2024 — to the Netherlands.” Dutch National Opera has chosen ‘conflicting realities’ as the thought-provoking theme for the new season. Director Sophie de Lint looks ahead to the programme in the coming year, including major classics, unknown masterpieces and an anniversary edition of the Opera Forward Festival. 14 Opera
Photo: Marco Borggreve Malin Byström and Joshua Guerrero in Tosca (2022) “ Opera offers the space to reflect on yourself and the world around you”
You mentioned earlier that the dialogue with the orchestras also plays a role in the programming. “That’s right. It’s essential to find the right combination of opera, orchestra and conductor. You want the orchestra to be able to shine in the repertoire it performs, and you want a conductor who can get the best out of that particular combination. We work with our partner orchestras on introducing a few new conductors to our opera house in addition to the more familiar names. For example, we will have Nathalie Stutzmann conducting our principal orchestral partner, the Netherlands Philharmonic, for the return of Barrie Kosky’s exciting staging of Tosca. She was labelled ‘opera conductor of the year’ by OPER! last year after successful debuts at the Metropolitan Opera and the Bayreuth Festival.” “We will be presenting Tristan und Isolde with the Rotterdam Philharmonic Orchestra, conducted by the rising star Tarmo Peltokoski, a young conductor who seems made for the music of Wagner. We have teamed him up with Wagner veteran Pierre Audi, who will be reviving his much-praised production of Tristan und Isolde.” “After the successful collaboration with Emmanuelle Haïm and her Le Concert d’Astrée for Giulio Cesare in 2023, we were determined to engage them again as soon as possible for another Handel opera. That will be Semele, a wonderful opera-oratorio that our opera house has never performed before. The director Claus Guth is supremely skilled in showing audiences the complex psychology of the characters. He approaches this mythical tale as an account of the very relatable desire to escape from a stifling reality. We have also engaged the conductor and harpsichordist Francesco Corti as an expert in historically informed performances for Mozart’s Le nozze di Figaro. The Netherlands Chamber Orchestra is looking forward to being inspired by his knowledge and experience.” Do you always know what the opera will be and who will direct it when you start thinking about the conductor? “It varies. To give an example: the Royal Concertgebouw Orchestra had long cherished the wish to perform an opera with conductor Fabio Luisi. He has an enormous love for and expertise in the Verdi repertoire, and thus we arrived at the choice for Simon Boccanegra. It’s wonderful to be able to team him up with Jetske Mijnssen, one of the Netherlands’ most successful opera directors. We were able to jointly put together a Verdi dream cast, including Federica Lombardi, George Petean and Joshua Guerrero.” “And while we’re on the subject of casting, what a joy it is to be able to engage one of the greatest opera singers twice in one season, as we have been able to do this year with Elena Stikhina. She has the ideal voice and personality for the title role in The Maid of Orleans. And anyone who has seen her in our productions of Madama Butterfly and Suor Angelica will know she will also be marvellous in the role of Tosca.” “It feels special to build up a relationship with singers and to discuss their ambi- tions with them. Malin Byström had already debuted in various roles at our theatre, like the title role in Salome and Elsa in Lohengrin. During a rehearsal period, we went on a walk together and discussed her dream roles. That led to us engaging her for Tristan und Isolde, which will be another role debut for her. It says something about our opera house and audiences that a singer of that calibre feels the support and appreciation here to take on such an iconic and challenging role.” In addition to these big productions, are there other highlights you are looking forward to in the coming season? “Absolutely! As of 2023, we have our small theatre Studio Boekman, that lends itself to smaller-scale productions, experiments and talent development. These can offer opportunities for the Opera Studio singers and laboratory settings in which creatives can experiment with opera and new technology. This venue also plays a key role in our programming for children and families, which has now become a permanent fixture every season. The Theory of Everything, the family production by composer Carlijn Metselaar that marked the opening of Studio Boekman, will be returning.” “Atman! is a new family opera by Leonard Evers that we will present in Studio Boekman. In this opera, with texts by Bart Moeyaert, a singer and an accordion player take the young audience through a story about getting lost. On the main stage, we will be reviving Steef de Jong’s family production Operetta Land. This production was a resounding success a couple of years ago — not only for children, but for a large audience of all ages.” “Atman! will be produced in partnership with Opera Zuid and Nederlandse Reisopera to ensure it can be experienced throughout the Netherlands. We collaborate closely with these partners on talent development as well. Dutch National Opera is part of a larger ecosystem in which talent can blossom. For example, we are jointly responsible, along with the Reisopera and Opera Zuid, for the young artists of the Dutch National Opera Studio, who will be tackling Les enfants terribles in the coming season, a modern classic by Philip Glass.” “ Next to the iconic operas, we will be presenting new pieces and lesser-known works that we believe deserve a place in the repertoire” 16 Opera
“And staying with the ecosystem metaphor, in the annual Opera Forward Festival we aim to offer an ideal habitat in which opera makers of different generations can flourish with groundbreaking works.” The Opera Forward Festival (OFF) will be celebrating its tenth anniversary in the new season. How many times have you personally been to the festival? “I was lucky to attend almost all editions, except for the first one. When I took over from Pierre Audi as director of Dutch National Opera, I decided it was crucial to keep developing OFF. It is unique in the opera world as a festival that brings together students, mid-career artists and highly experienced makers. Collaboration with art academies and other cultural partners is an essential part of this. Ten years on, the festival has become an indispensable part of Dutch National Opera’s DNA.” What can we expect from this anniversary edition of OFF? “We’ll be focusing on artists who work in the Dutch domain and bring them together with international partners. We want a festival in which different generations and styles are represented. Michel van der Aa, a champion of opera innovation and involved in the Opera Forward Festival since the first edition, returns with his new opera Theory of Flames.” “In partnership with the November Music festival, we will be presenting a new work by Meriç Artaç, a composer who is fond off interdisciplinary projects. We are teaming her up with Silvia Costa, who worked for years with Romeo Castellucci and is now making a fast career as a director for international theatres and opera houses.” “In Studio Boekman we will present Hannah Kendall’s poignant chamber opera The Knife of Dawn, directed by Gavin-Viano, one of today’s most versatile and high-profile Dutch theatre-makers.” “To celebrate the festival’s anniversary, we have decided to host the Opera Europa Conference during OFF. We’re looking forward to the exchanges between the Dutch and international sectors that will follow from it.” Doesn’t Dutch National Opera have another anniversary to celebrate this year? “Yes, Dutch National Opera is sixty! We would like to celebrate this anniversary with all the people who are dear to us: not only our audiences but also our Text: Wout van Tongeren and Laura Roling | Photo: Hans van den Boogaard Sophie de Lint Director Dutch National Opera colleagues, on stage and behind the scenes, who make our opera house what it is today. That is why the annual Open House, at the very start of our season, is the ideal moment to mark this milestone. It promises to be a celebration – in times of ‘conflicting realities’ – of the power of opera to bring people together.” “ After ten years, the Opera Forward Festival has become an indispensable part of Dutch National Opera’s DNA” 17
Tosca Giacomo Puccini (1858 – 1924) 18 Opera
Photo: Hugo Thomassen Puccini revival Melodrama in three acts Sung in Italian Libretto Giuseppe Giacosa and Luigi Ilica Musical direction Nathalie Stutzmann Stage direction Barrie Kosky Set design Rufus Didwiszus Costume design Klaus Bruns Lighting design Franck Evin Floria Tosca Elena Stikhina (3, 6, 9, 12, 15 and 23 September) Natalya Romaniw (18, 21 and 25 September) Mario Cavaradossi Joshua Guerrero Il barone Scarpia Gevorg Hakobyan Cesare Angelotti Sam Carl Il Sagrestano Tomeu Bibiloni Spoletta Lucas van Lierop Un Carceriere Joe Chalmers (Dutch National Opera Studio) Netherlands Philharmonic Chorus of Dutch National Opera Chorus master Edward Ananian-Cooper Nieuw Amsterdams Children’s Chorus (part of Nieuw Vocaal Amsterdam) The life of temperamental singer Floria Tosca is one big jumble of love, lust and political intrigue. When her lover is imprisoned by the sadistic chief of police Scarpia, Tosca takes fate into her own hands, with horrifying consequences. A psychological thriller With his acute psychological portrayals of the characters and a chilling combination of violence and eroticism, Puccini created an opera in 1900 that befitted the turbulent new century. Stage director Barrie Kosky describes Tosca as an opera that looks to the future rather than the past. In his production, Kosky has created an ‘opéra noir’ – the opera equivalent of film noir – with all its sultry tensions and sinister plot twists. The internationally acclaimed conductor Nathalie Stutzmann makes her debut at Dutch National Opera, at the helm of the Netherlands Philharmonic. The title role will be sung alternately by Elena Stikhina, who previously performed leading roles at Dutch National Opera in Puccini’s Madama Butterfly and Suor Angelica, and by Natalya Romaniw, who is making her house debut. Tenor Joshua Guerrero and baritone Gevorg Hakobyan, who were lauded in 2022 for their interpretations of Cavaradossi and Scarpia, return in these roles. Blood-curdling opera noir When a sadistic chief of police starts putting pressure on two lovers, the result is a blood-curling game of cat and mouse. In Tosca, Puccini demonstrates his astonishing dramatic instinct. His music, filled with passion, keeps you on the edge of your seat. Barrie Kosky’s finely honed production, which garnered considerable acclaim in 2022, makes a return to our stage. Premiere 3/9/2025 Subsequent performances: 6, 9, 12, 15, 18, 21*, 23, 25 September 2025 | Curtain-up: 19:30 / *14:00 | Ticket sales start on: 8 May 2025 | Price Category: A | Location: Main Stage, Dutch National Opera & Ballet The Netherlands Philharmonic, together with the Netherlands Chamber Orchestra, is the principal orchestra partner of Dutch National Opera. In addition, the orchestra performs symphonic works by composers such as Mahler, Brahms, and Richard Strauss in the Royal Concertgebouw and on other major stages both in the Netherlands and abroad. This season, in addition to Tosca, the Netherlands Philharmonic will accompany The Maid of Orleans, I Capuleti e i Montecchi and Die Passagierin. “ Here, art becomes an event” Opernwelt 19
Interview Soprano Elena Stikhina about Tosca and The Maid of Orleans human” us feel makes“Opera 20 Opera
Soprano Elena Stikhina certainly holds a special place in the heart of Dutch National Opera’s audience. This season, she will star in both Puccini’s Tosca and Tchaikovsky’s The Maid of Orleans. “Puccini is one of my favourite composers. His music is actually very comfortable to sing, but his operas are also full of psychological insights and drama. His characters are normal people caught in difficult circumstances, with human feelings you can relate to. Every- thing is already written in his scores, so you just need to follow the music. And if you then do something extra, it has an even bigger effect.” “Perhaps the most difficult thing when singing a famous role is not to compare yourself to anyone else. I’ve always tried to find my own way of performing a role, rather than it being a version of some other singer’s interpretation. I prefer to begin my role preparation by studying the score and working with a pianist to find out what was really written by the composer. That can open up a completely different world for you.” Stunning arias “Tchaikovsky’s Maid of Orleans is a real gem. It’s beautiful romantic music, with a dramatic story and stunning arias, a wonderful love duet with the baritone and amazing choruses. Tchaikovsky was a real genius in the art of orchestration. You can hear so many colours in the orchestra, and he makes these sound images so vivid they immediately seem three-dimensional.” “Joan of Arc is in some sense like Bellini’s Norma, who has this divine side to her as a high priestess, while at the same time being a woman of the world. Women are never just one thing. Joan of Arc is deeply devoted to her holy mission, doing everything she can to carry it out. At the same time, she’s a young woman with emotions, capable of falling in love.” New ideas “I like to work with stage directors who know exactly what they want and who have ideas that suit the music. Without new ideas, opera will never evolve. I like classical productions too, but I think it’s very important to keep developing, connecting with the people in the audience and showing different interpretations of the same story. Otherwise you may miss deeper truths that are hidden within.” “I think one of the reasons why people like to see these tragic operas is because they make us feel human. It’s like a catharsis; a cleansing through art. Art is made to make you feel. If you’re looking at paintings or going to the theatre or the opera and you feel something during that experience — joy or sadness, or you can cry or be angry, it can be anything — then art has made its point.” Text: Benjamin Rous | Photo: Daniil Rabovsky “ Perhaps the most difficult thing when singing a famous role is not to compare yourself to anyone else” 21
Land Johann Strauss II, Jacques Offenbach, Arthur Sullivan a.o. Operetta 22 Opera
Photo: Hugo Thomassen Family production Revival Mainly sung in Dutch Libretto Paulien Cornelisse Musical direction Aldert Vermeulen Stage direction, set and costume design Steef de Jong Lighting design Cor van den Brink Dramaturgy Laura Roling Verzinner / Lady Kant / Venus Steef de Jong Koningin Raoul Stefani Minister van Financië n Marc Pantus Graaf Lothar Laetitia Gerards Prinses Galathea Elenora Hu Koning Pygmalion / Heggenschaarhuzaar Frederik Bergman Prins Nicola / Heggenschaarhuzaar Ian Castro Sir Taki Aaike Nortier (Dutch National Opera Studio) Netherlands Chamber Orchestra Performances for schools We offer an exclusive school matinee for primary school students. See operaballet.nl/en/ school-performances Premiere 5*/10/2025 Subsequent performances: 7, 10, 12*, 15, 20, 23 October 2025 | Curtain-up: 20:00 / *14:00 | Ticket sales start on: 8 May 2025 | Prices: see page 125 | Location: Main Stage, Dutch National Opera & Ballet In the family production Operetta Land, theatre maker Steef de Jong shares his love of operetta. The joyfully gaudy story, which he wrote in partnership with Paulien Cornelisse, strings together music by various operetta composers to create a fresh, contemporary work that is both entertaining and moving. Operetta Land was met with great enthusiasm by the press and audiences when it premiered in 2022. The performances sold out in no time, so we are delighted bring back this heart- warming show. A wonderful kingdom Alone on an empty stage, the 'Verzinner' (the inventor) puts his imagination to work, and all of a sudden Operetta Land appears, a wonderful kingdom where every day offers an opportunity for parties and music. The joyful inhabitants of Operetta Land can find a solution for any problem, with the help of the inventor. But when evil King Pygmalion, ruler of the dour neighbouring country of Operania, appears on the stage, the solutions no longer look quite so obvious. Most of the original cast members return for this revival, including Steef de Jong, and an ensemble including the much-loved Dutch singers Elenora Hu, Laetitia Gerards, Raoul Steffani, Marc Pantus and Frederik Bergman. Conductor Aldert Vermeulen will lead the Netherlands Chamber Orchestra through highlights from the operetta repertoire. Step into the merry world of operetta and imagination Everything is possible in Operetta Land, as long as you use your imagination. Cheerful demeanour is the norm and people burst into song at every opportunity. If anything goes awry, you can be sure it will be all right in the end. Welcome to a land full of romance, misunderstandings, mistaken identities and above all, captivating music. “ A joyous celebration where everything impressively unfolds and falls into place” Trouw The Netherlands Chamber Orchestra is a small and intimate ensemble of 25 to 45 musicians. Alongside the Netherlands Philharmonic, it is the principal orchestral partner of Dutch National Opera. The orchestra appears on renowned stages in the Netherlands and abroad, presenting a diverse repertoire ranging from baroque music to contemporary compositions. This season, besides Operetta Land, the Netherlands Chamber Orchestra will also accompany Le nozze di Figaro at Dutch National Opera. 23
Carlijn Metselaar (1989) Everything Theory of The 24 Opera
Photo: Michiel Spijkers Autumn holiday tip (8+) Revival Sung in Dutch Libretto Roziena Salihu Arrangements / composition of electronic music Jan van Eerd Musical direction Hanne van de Vrie Concept and stage direction Naomi van der Linden Set and costume design Dymph Boss Lighting design Ianthe van der Hoek Choreography Jomecia Oosterwolde Dramaturgy Naomi Teekens Nia Houda Bibouda Oma Elena Vink Tante Jomecia Oosterwolde Ensemble Nienke Nasserian, Anna Traub, Joris van Baar Percussion and electronics Jan van Eerd Piano Charlie Bo Meijering Cello Geneviève Verhage Performances for schools We offer an exclusive school matinee for primary school students. See operaballet.nl/en/ school-performances Founding partner programming Studio Boekman Premiere 19/10/2025 Subsequent performances: 20*, 20, 21*, 21, 23*, 23, 24*, 25*, 25, 26*, 26 October 2025 | Curtain-up: 16:00 / *13:30 | Ticket sales start on: 8 May 2025 | Prices: see page 125 | Location: Studio Boekman, Dutch National Opera & Ballet This spoken-word opera takes audiences on eleven-year-old Nia’s magical and philosophical quest. Her grandmother, a leading scientist, wants Nia to use her amazing mathematical skills every day in her laboratory in a joint effort to achieve a breakthrough in physics with the ‘theory of everything’. But her aunt, a famous dancer, sees a different talent in Nia and wants her to spend all her time in the dance studio. Nia could do both and wants to do both, but she doesn’t know how to manage it. Unexpected discoveries The Theory of Everything brings different worlds together not only in its story but also in its form, as it draws on opera and dance, classical music and spoken word, arts and sciences. The production uses a light-hearted approach to show how combining things that at first don’t seem to go together can lead to unexpected discoveries. After a successful series of performances in the 2023 – 2024 season, we are returning with this energetic family opera for the autumn holiday period. The makers Stage director Naomi van der Linden and musical director Hanne van de Vrie came up with the idea for The Theory of Everything. They previously worked together at Dutch National Opera on the Children’s Chorus Festival and the Opera Heroes project. For this musical family production, they collaborated with various artists including composer Carlijn Metselaar and multidisciplinary word artist Roziena Salihu. Dazzling family production that unites different worlds Nia is looking for more time. With the hours she has, it just doesn’t seem possible: helping her grandmother in the lab while also training in her aunt’s dance studio. Will she have to make a choice? In a vibrant production, The Theory of Everything shows it doesn’t always have to be a question of ‘one or the other’. “ Lovely inventive family opera” de Volkskrant 25
The Maid of Orleans Pyotr Ilyich Tchaikovsky (1840 – 1893) 26 Opera
New production Opera in four acts Sung in Russian Libretto Pyotr Ilyich Tchaikovsky Musical direction Valentin Uryupin Stage direction and set design Dmitri Tcherniakov Costume design Elena Zaitseva Lighting design Gleb Filshtinsky Fight choreography Ran Arthur Braun Joan of Arc Elena Stikhina King Charles VII Allan Clayton Agnes Sorel Nadezhda Pavlova Lionel Andrey Zhilikhovsky Dunois Vladislav Sulimsky The Archbishop John Relyea Thibaut of Arc Gábor Bretz Raimond Oleksiy Palchykov Netherlands Philharmonic Chorus of Dutch National Opera Chorus master Edward Ananian-Cooper Co-production with Metropolitan Opera New York Premiere 12/11/2025 Subsequent performances: 15, 18, 21, 23*, 25, 28 November, 2 December 2025 | Curtain-up: 19:30 / *14:00 | Ticket sales start on: 8 May 2025 | Price Category: B | Location: Main Stage, Dutch National Opera Joan of Arc lived in the fifteenth century and, according to legend, liberated the besieged city of Orléans and led the French army to victory against the English. Despite her heroic deeds, she was eventually condemned to death and branded a heretic by her own people. The story of her life has inspired numerous artists, including Friedrich Schiller. Tchaikovsky based his opera on the play of the same name by this German writer. Just as in the play, in the opera Joan’s determination is put to the test when she falls in love with the enemy knight, Lionel. Tchaikovsky created his own version of French grand opéra, in which historical events and affairs are presented in an overwhelming way, with an abundance of theatrical spectacle. In the eye of the storm Dmitri Tcherniakov has previously worked as a guest director in Amsterdam, creating powerful interpretations of works from the Russian repertoire, most notably The Legend of the Invisible City of Kitezh (2012) and Prince Igor (2017). In this production of The Maid of Orleans, he places the legendary events in our own time, with a pugnacious Joan in the eye of the storm while the powers around her watch and criticise her. The promising young conductor Valentin Uryupin makes his debut at Dutch National Opera with this production, which features the Netherlands Philharmonic and the Chorus of Dutch National Opera at full strength. The challenging title role will be sung by Elena Stikhina, a firm favourite with audiences who previously made her mark here as Madama Butterfly and Suor Angelica. The roles of the men with whom Joan has to deal will be performed by a standout cast, including tenor Allan Clayton as King Charles VII, and three singers making their house debut: baritones Andrey Zhilikhovsky and Vladislav Sulimsky as the knights Lionel and Dunois, and bass John Relyea as the Archbishop. Photo: Hugo Thomassen Tchaikovsky’s grand opera about Joan of Arc The Maid of Orleans, an opera about the French heroine Joan of Arc, is a gem in Tchaikovsky’s oeuvre that is rarely performed. This compelling work will be brought to life on Dutch National Opera’s stage by director Dmitri Tcherniakov, a master of the Russian repertoire. 27
Interview Director Dmitri Tcherniakov on The Maid of Orleans Dmitri Tcherniakov is once again tackling a Tchaikovsky opera. After his successful productions of Eugene Onegin in Moscow and Iolanta in Paris, now he will be focusing on The Maid of Orleans, about the legendary figure of Joan of Arc. What is it about this relatively unknown work that appeals to him? “This is the third Tchaikovsky opera I will be directing. The Maid of Orleans is another story that revolves around a strong lead female character. Actually, that is always the case with Tchaikovsky, even when the title refers to a male character. For example, Tatyana is the key character in Eugene Onegin, Maria in Mazeppa and Natasha in Tchaikovsky’s early opera The Bodyguard.” “All these heroines have lyrical and somewhat elevated qualities. They are visionary women who question social norms and eventually have to pay for that with their lives. At a certain point in the story, all these characters choose not to continue living in accordance with the rules imposed upon them. They break away from their everyday lives or their families and emerge from the shadows as a kind of coming out. These choices often end in tragedy, but also guarantee a breathtaking spectacle.” Hero or criminal? “Joan of Arc is a historical figure who lived in the fifteenth century. Her story has survived in the records of her trial, complete with the charge, witness statements and interrogations. She conducted her own defence in her trial, but someone who pretended to be a confidante, to entrap her, was ultimately able to extract all the information from her that she had not been willing to give during the trial. She was subjected to sophisticated interrogation methods to find out who she really was.” “The opera is based on the play by Friedrich Schiller. He once wrote that there is little difference between the personalities of prominent historical heroes and those of criminals, as both break the rules and transgress boundaries to achieve their goals. The main difference is in how they are judged: criminals are punished for pursuing selfish and often destructive objectives, while heroes are praised for their sacrifices in the public interest or a higher goal. But if heroes are placed in a different setting, they can just as easily be labelled as criminals. That is what makes Joan of Arc so interesting: her life and legacy encompass both sides of this coin.” “Joan of Arc broke many of the norms and conventions of the fifteenth century. She wore men’s clothes, let herself be guided by visions and voices in her head, and was accused of heresy. These are all things you would not face trial for in our society today, at least in principle. Nevertheless, I feel that a strong and unconventional person like Joan would meet resistance in our times as well.” resis 28 Opera
Text: Niels Nuijten | Photo: Doris Spiekermann-Klaas “All Tchaikovsky’s heroines are visionary women who question social norms” “Joan of Arc would meet stance in our times as well”
I Capuleti e i Montecchi Vincenzo Bellini (1801 – 1835) 30 Opera
Verona is torn apart by the ongoing feud between the Capuleti and Montecchi families. Romeo, the leader of the Montecchi, returns to Verona just when Capellio, leader of the Capuleti, plans to marry off his daughter Giulietta to Tebaldo. Romeo’s arrival in the city reignites the conflict between the two families and breathes new life into the love affair between him and Giulietta. Bellini’s opera is not based on Shakespeare’s play but on Italian versions of the same story. The composer conveys the tension between love and loyalty in every note, while also masterfully exposing the inner conflicts of the characters. Stage director Tatjana Gürbaca approaches each opera with a directorial style that emphasises the psychology and development of the characters. Her stage direction is always based on a deep analysis of the musical score, allowing the audience to feel the narrative force of the music. After we brought her La traviata to Amsterdam in the recent past, Gürbaca now creates her first entirely new production for Dutch National Opera with I Capuleti e i Montecchi. Popular couple Audience favourite Ying Fang — known for her crystal-clear soprano voice and extraordinary stage presence — returns to Dutch National Opera for her role debut as Giulietta. Mezzosoprano Vasilisa Berzhanskaya, who previously received great acclaim for her interpretation of Vagaus in Vivaldi’s Juditha Triumphans, will be her Romeo. Bel canto specialist Antonino Fogliani conducts the Netherlands Philharmonic. New production Lyric tragedy in two acts Sung in Italian Libretto Felice Romani Musical direction Antonino Fogliani Stage direction Tatjana Gü rbaca Set design Henrik Ahr Costume design Silke Willrett Lighting design Stefan Bolliger Dramaturgy Nikolaus Stenitzer, Jasmijn van Wijnen Romeo Vasilisa Berzhanskaya Giulietta Ying Fang Capellio Jerzy Butryn Tebaldo Amitai Pati Lorenzo Bogdan Talos Netherlands Philharmonic Chorus of Dutch National Opera Chorus master Ad Broeksteeg Co-production with Wiener Staatsoper Photo: Hugo Thomassen Romeo and Juliet from Bellini’s perspective Following the successful Donizetti series, it is now the turn of the other master of bel canto: Bellini. His opera I Capuleti e i Montecchi tells the world-famous love story of Romeo and Juliet. A passionate tragedy of love and hate, promise and guilt, enveloped in sublime music, poignant arias, and duets that go straight to the heart. “ A voice that can stop time, pure and rich” Financial Times on Ying Fang “ One of the most soughtafter exponents of the bel canto repertoire” OperaWire on Vasilisa Berzhanskaya Premiere 7*/12/2025 Subsequent performances: 10, 13, 16, 19, 22, 26*, 28* December 2025 | Curtain-up: 19:30 / *14:00 | Ticket sales start on: 8 May 2025 | Price Category: B | Location: Main Stage, Dutch National Opera & Ballet 31
Tatjana Gürbaca will be directing Bellini’s I Capuleti e i Montecchi. This bel canto opera relates the famous story of Romeo and Juliet, but has a different take on it than Shakespeare’s famous play. Rather than the romance between the young lovers, it focuses on the history of hatred and violence in which they become ensnared. “Playing with audiences’ expectations makes the story much richer.” “Although this is the first time that I’ve been given the opportunity to direct an opera by Bellini, I feel very close to the aesthetics of bel canto. In this genre, the voice becomes an expression of the character’s deepest feelings. And it is precisely the coloraturas (virtuoso embellishments in the vocal part, ed.) that tell us about the suffering that an oppressed character in great distress faces.” “We’re all familiar with the story of Romeo and Juliet from Shakespeare. However, Bellini’s opera is based on an earlier version: Luigi da Porto’s Historia novellamente ritrovata di due nobili amanti of 1524, in which the feud between the rival families, the Capuleti and the Montecchi, is the main focus. Honour, revenge and fate play a central role. What at first glance appears to be the greatest love story in the world is transformed by Bellini into an exciting, psychologically rich system of relationships between a small group of characters who are deeply influenced by their past.” Feelings of guilt “Capellio, the head of the Capuleti, has lost his son – and we know that Romeo, the leader of the Montecchi, was involved in this death. Romeo, who was in love with Juliet, had to flee the city and was only able to keep in touch by letter for many years. His family has become scattered. But Capellio’s family also seems to have reached an impasse now that the dynastic successor has died.” “It isn’t clear how much Juliet herself had to do with the death of her brother, but it’s obvious that she has not seen Romeo for Interview Director Tatjana Gürbaca on I Capuleti e i Montecchi many years. The romance of their youth has vanished, and when the couple meet again, they don’t really click anymore. Juliet’s great sadness, her death wish, is also caused by the feelings of guilt she has towards Romeo and her own family. And because her father is clinging to pain and revenge, this prevents the younger generation from finding their own way. So there are quite a few differences compared to Shakespeare’s famous version. But playing with such expectations makes the story much richer and no less tragic.” “I’m very much looking forward to rediscovering and retelling the story of these iconic characters and the crossgenerational conflict. It’s an honour to do this at such an important, world-class opera house, with fantastic soloists and a wonderful, enthusiastic chorus. I’m particularly looking forward to working with them again after our La traviata together.” A story of honour and reven 32 Opera
“ I’m looking forward to rediscovering the world of these iconic characters” Text: Jasmijn van Wijnen | Photo: Tobias Kruse ge 33
Atman! Leonard Evers (1985) 34 Opera
Photo: Michiel Spijkers Tip for the Christmas holidays (8+) Sung in Dutch Libretto Bart Moeyaert Stage direction Annemiek van Elst Set design Douwe Hibma Dramaturgy Wout van Tongeren, Joep Hupperetz Co-production with Nederlandse Reisopera and Opera Zuid Founding partner programming Studio Boekman Nine-year-old Atman had not expected ever to get lost in his own town. He has got the key to his home in his pocket, but he has momentarily forgotten where he lives exactly. He asks people in the street for advice. A man doesn’t have any time (“Ask me again tomorrow”). A woman takes him with her (“Boys like you make good sailors”). But Atman wants to go home, not out to sea. What starts as a simple request (“Do you know which way I should go?”) turns into a trip with detours and obstacles that seem — and indeed are — sometimes insurmountable for a boy aged nine. One-person orchestra Composer and conductor Leonard Evers loves theatre and has previously written family operas for companies including Dutch National Opera and Zurich Opera House. His family opera Goud! has been performed all over Europe since its premiere in 2012 and has been on the programme in Amsterdam on several occasions. For this new opera, he exploits all the possibilities offered by the accordion: the ultimate one-person orchestra and the perfect instrument to be played on the move. Evers had long wanted to create an opera together with Belgian author Bart Moeyaert, known from such books as Broere and Een ander leven. Moeyaert had previously collaborated with musicians such as violinist Janine Jansen and the Nederlands Blazers Ensemble. His work has won numerous awards including the Flemish Culture Prize, the Woutertje Pieterse Prize and the Astrid Lindgren Memorial Award. Talented director Annemiek van Elst, who created the production of Eternal Road for Opera Zuid, will be responsible for the staging. Youth opera about a trip full of obstacles A singer, an accordion player and an unfindable home. Those elements are all that is needed to take you on a musical journey that verges on the incredible. Composer Leonard Evers – known at Dutch National Opera for the operas Goud! and Kriebel – has partnered with celebrated author Bart Moeyaert for this new production. Premiere 21/12/2025 Subsequent performances: 22*, 24*, 27*, 27, 28*, 28, 29*, 30* December 2025, 2*, 3*, 4* January 2026 | Curtain-up: 16:00 / *13:30 | Ticket sales start on: 8 May 2025 | Prices: see page 125 | Location: Studio Boekman, Dutch National Opera & Ballet “ A roof’s made of tiles, of canvas or brick, or just sometimes of sky” Quote from Atman! (translated) Funds Do you, just like Fonds 21, want to support our youth productions such as Atman!, talent development programmes and other special projects? Scan the QR code or visit operaballet.nl/en/support/funds 35
Semele George Frideric Handel (1685 – 1759) 36 Opera
Photo: Hugo Thomassen New production at Dutch National Opera Opera after the manner of an oratorio, in three acts Sung in English Libretto William Congreve Musical direction Emmanuelle Haïm Stage direction Claus Guth Set design Michael Levine Costume design Gesine Vö llm Lighting design Michael Bauer Video design rocafilm Choreography Ramses Sigl Dramaturgy Yvonne Gebauer, Christopher Warmuth Semele Louise Alder Athamas Jakub Jó zef Orliński Juno Jasmin White Jupiter David Portillo Cadmus / Somnus Florian Boesch Iris Jessica Niles Ino Adèle Charvet Le Concert d’Astrée Chorus of Dutch National Opera Chorus master Edward Ananian-Cooper Production of Bayerische Staatsoper Munich, in collaboration with Metropolitan Opera New York Premiere 17/1/2026 Subsequent performances: 20, 23, 25*, 27, 29 January 2026 | Curtain-up: 19:00 / *14:00 | Ticket sales start on: 28 August 2025 | Price Category: B | Location: Main Stage, Dutch National Opera & Ballet Under pressure from her father, Semele agrees to marry Athamas. However, she is secretly in love with the supreme god, Jupiter. Claus Guth interprets this love as an escape into fantasy. Semele creates a parallel reality in which all her desires are fulfilled: an understanding father, a loving husband, and above all, self-determination. But she must return to the harsh reality, where her role as wife is taken over by her sister Ino, who truly loves Athamas. Semele’s longing for what could have been remains, and she increasingly loses touch with reality. This will be the first time Semele is presented on the stage of Dutch National Opera. In this opera, Handel embraces the English tradition of narrative theatre, partially letting go of Italian operatic conventions. He creates a tragic and dazzling musical setting for Semele’s story, drawn from Ovid’s Metamorphoses. Semele is both intimate and grandiose, thanks to Handel’s combination of a dramatic operatic style with the lyrical sensitivity of an oratorio. Handel specialists After their thrilling interpretation of Handel’s Giulio Cesare in the 2022 – 2023 season, Emmanuelle Haïm and her Le Concert d’Astrée will return to the Dutch National Opera orchestra pit. Claus Guth received wide acclaim for his gripping stagings of Handel’s Jephtha (2016) and Rodelinda (2020) in Amsterdam. Louise Alder, renowned for her vocal virtuosity and emotional depth, makes her debut at Dutch National Opera in the role of Semele. Another newcomer is the star countertenor Jakub Józef Orliński, who is not only a phenomenal Athamas musically but also combines it with impressive breakdancing. The cast also includes Adèle Charvet and Jessica Niles, both making their debuts on our stage, as well as returning artists Jasmin White (The Shell Trial) and Florian Boesch (Jephtha). An impossible struggle between desire and reality Semele feels like a bystander in her own life. In his staging of Handel’s masterpiece, director Claus Guth explores the suffocating expectations of bourgeois life and the quest for personal freedom. “A n entertaining, lucid and often sexy new staging” The New York Times Le Concert d’Astrée was founded in 2000 by conduc- tor Emmanuelle Haïm, who brought together experienced musicians with a deep dedication to the authentic and expressive performance of early music. The ensemble quickly grew into one of the world’s leading baroque ensembles. It has accompanied performances of baroque operas at venues such as Staatsoper Berlin, Opéra national de Paris and the Glyndebourne Festival. 37
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