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
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