Info
With Uprising, Opera Zuid, in collaboration with Het Geluid Maastricht and De Nationale Opera, presents a large-scale community opera that addresses one of the defining issues of our time: the climate crisis, and above all the conversation surrounding it. On the streets, in politics, around the kitchen table, across generations and in the school playground.
Uprising is about young people rising up for climate action, for change, and their plea for a better world. The opera tells the story of a mother and daughter who are diametrically opposed to one another, and shows how social tensions play out in personal relationships. It is a deeply human story about listening, clashing and living together.
Directed by Gable Roelofsen and Romy Roelofsen, Uprising becomes a collective experience. A choir of a hundred community singers and six professional soloists together form a mini-society on stage. Professionals and amateurs stand side by side: everyone contributes to the story and the imagery. Romy: ‘Singing together begins with listening. Where listening is linked to this (climate) theme, it serves as an example of how the world could also look.’ Gable: ‘The social friction becomes part of the music’s emotional impact. Uprising is about dealing with unrest and inequality.’
Jonathan Dove’s music is grand, lyrical and direct in its emotional power. The powerful choral singing and rich orchestral sounds make Uprising a compelling opera experience, both in the auditorium and on stage. Gable: ‘The energy bursts from the stage and there is a great deal of movement in the piece.’ Romy: ‘That is due to the impact of the subject matter and the people who perform it with heart and soul.’
Uprising invites conversation, touches both mind and heart, and showcases the power of the voice.
Uprising lasts approximately 125 minutes including an interval and is sung and spoken in English, with Dutch and English surtitles.
Interview with Romy Roelofsen and Gable Roelofsen
For twenty years, Romy Roelofsen and Gable Roelofsen have been active in musical theatre that works with communities, in Maastricht. Opera Zuid is also based in the same city, driven by the same passion for opera. For years they have been active in the same circles, but never before have they joined forces. Because a collaboration only comes about when everything falls into place. Now the time has come! Het Geluid, together with Opera Zuid and De Nationale Opera, is creating Jonathan Dove’s large-scale community opera Uprising. A work about one of the most pressing issues of our time: the climate – and, above all, the conversation surrounding it. At the kitchen table, within families and in society as a whole. With Philzuid, six professional soloists and a choir of a hundred amateurs, Uprising showcases the power of the voice, in all its forms.
Why have you chosen to collaborate with Opera Zuid now – with the opera Uprising?
Gable: ‘First and foremost, it is a wonderful work, with beautiful choral singing. Uprising is about activism, but it is – above all – also about how people interact with one another within the family and the community when there are differences of opinion.’
Romy: ‘That’s why it’s so powerful to do this with community choirs. The choir is a mini-society of people with different opinions. Singing together starts with listening. Where listening is linked to this (climate) theme, it’s an example of what the world could also look like.’
Gable: ‘Uprising is about dealing with unrest and inequality.’ Romy: ‘And about emancipating yourself and daring to stand up for your own opinion.’ Gable: ‘Central to the story is the relationship between a mother and daughter who do not understand each other. How does that play out at the kitchen table? Sometimes disagreeing with each other in silence. That makes it a very human, relatable opera.’
Romy: ‘This collaboration works because together we can create a high-quality opera and show that opera is for everyone. Moreover, the process of creating together and discussing the themes is very important!’ Gable: ‘Many productions try to escape from the world. We, on the other hand, believe in a shared experience between people with different perspectives, in which you reflect on what causes friction.’
Why do you enjoy working with the community on musical theatre productions?
G: ‘We love opera very much, but we think it’s a shame that many people still see it as something that isn’t for everyone.’ R: ‘Something elitist.’ G: ‘We didn’t grow up with classical music ourselves. That’s precisely why we want to open up that world now. An extra layer of expression is released when people take to the stage who wouldn’t normally be there. That’s really celebratory.’ R: ‘I like to ask the question: how do we live together and how can we do that better? The best way to explore that question is with the people it concerns. So not just watching the play, but doing it yourself. Besides, opera can be very moving. It touches you not just in your head, but also in your heart and gut. And that’s where change happens, however small.’
How do you approach the creative process for such a large-scale opera?
G: ‘For us, the people are at the heart of it. We make no distinction between the professionals and the choir. Together, we will create the performance.’ R: ‘It’s all about the process. Discussing the theme and the performance is just as important as the final performance itself. During rehearsals, but also afterwards, with the audience.’
How would you describe Jonathan Dove’s music in Uprising?
R: ‘The music communicates very directly; you feel what you hear and vice versa. And the choral singing is very powerful.’ G: ‘I’d describe it as grand! Think of John Adams, Richard Wagner, a large orchestra, lyricism, rich sounds. You hear and feel the drive of the people standing up for their convictions. The energy bursts from the stage and there’s a great deal of movement in the piece.’ R: ‘That’s down to the impact of the subject matter and the people performing it with heart and soul.’
How do you hope the audience will feel when they go home afterwards?
G: ‘That they’ve been physically moved.’ R: ‘Yes, that they’ve been moved. I also hope that Uprising will act as a catalyst for starting conversations at people’s own kitchen tables.’ G: ‘That’s why we also hope to see grandparents in the audience with their children and grandchildren. So that all generations – just like in opera – can engage in conversation with one another about what really matters.’
