14 alongside one of today’s leading opera conductors, Susanna Mälkki, who makes her debut with us and with the Netherlands Philharmonic.” When artistic chemistry proves successful, Dutch National Opera is keen to continue it, as with maestro Enrique Mazzola and director Jetske Mijnssen, who will take on the bel canto classic Norma. “It is wonderful to bring them together again after the Tudor Trilogy. Jetske’s sharp instinct for the psychological layers of characters and Enrique’s bel canto expertise create the golden combination this repertoire requires: musical brilliance and emotional depth. It is all the more fitting that the Netherlands Chamber Orchestra joins them again to continue its musical journey with Enrique.” Partnerships An international outlook is equally impor- tant when shaping a season. “I travel extensively, not only to see the work of directors, but also to hear singers and conductors in different repertoire. That is how you discover exciting combinations”, says De Lint. “It is an exhilarating life. I do it in collaboration with my team. Together we assemble the vast and complex puzzle that is a season. Ultimately, a season always arises from a dynamic interplay of artistic ambitions, availability, repertoire choices and partnerships.” Those partnerships are vital. “Take our unique collaboration with our five partner orchestras, each with its own character and artistic aspirations.” This season also includes collaborations with other ensembles, such as the Netherlands Bach Society. “It had long been a dream to work with them, particularly in this country where Bach is so deeply rooted.” The opportunity arose with a project by conductor Leonardo García-Alarcón and choreographer Sasha Waltz. “When I heard they were working together on the Johannes-Passion, I knew we had to be part of it, together with the Netherlands Bach Society. It is a project in which everything comes together: the Bach tradition, theatre, dance and singing. Sasha’s staging approaches the Passion as a collective ritual, emphasising shared experiences of loss, compassion and community.” Vulnerability as a thread Themes such as vulnerability and loss run through much of the programme. “In truth, almost every opera touches on these themes, but some titles do so more directly. Take Orfeo ed Euridice. Gluck’s masterpiece is so pure, so immediate. It is about grief, holding on and letting go. Director Ted Huffman approaches the work by focusing on that human dimension, translating the ancient myth into a recognisable situation.” Human fragility is also central to Iolanta. “Tchaikovsky’s final opera is a deeply moving fairy tale. It is about not knowing what you are missing, about protection from harsh truths, about whether you are ready to face the world as it truly is. Evgeny Titov’s direction is both razorsharp and deeply moving. Returning conductor Kwamé Ryan, who will lead the Rotterdam Philharmonic Orchestra, brings a keen sensitivity to Tchaikovsky’s musical language.” Then there is Red Fox, created by composer Du Yun and director Barrie Kosky for the Opera Forward Festival. “After several major repertoire titles with us, Barrie wanted to create something entirely new. When we introduced him to Du Yun, there was an immediate spark. They connected in conversation about music, theatre and art. Both draw from a wide range of sources, from pop culture to philosophy. The theme they arrived at is deeply intimate: love and life with dementia. They explore it through three stories that span the globe. This way, these intimate and deeply human stories take on grand significance and impact. Opera is an art form that lends itself to that beautifully.” Returning to Dutch National Opera Alongside world premieres and new productions, there are revivals, inclu- ding Salome and Pagliacci / Cavalleria rusticana. “They are magnificent reper- toire titles. In Strauss’ Salome, the intensity of music and drama creates searing tension from the very first notes. And the one-act operas Pagliacci and Cavalleria rusticana capture raw human emotion in sweeping music. Successful stagings of such works deserve to be revived, so they can reach a wider audience. But even then, it is a matter of finding the right moment, when the ideal constellation of artists can come together.” “The moment when everything comes together is astounding” “We actively seek partnerships beyond the opera world”
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