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
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