Opera of the year award for Bluebeard’s Castle
Author Archives:Fanny Bartels
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Opera of the year award for Bluebeard’s Castle
Comments Off on Opera of the year award for Bluebeard’s CastleBo van der Meulen from Place de l’Opera presented the Opera of the Year 2024 award to Opera Zuid for Bluebeard’s Castle. Intendant Waut Koeken and Philzuid director Mette Laugs received the prize.
We celebrated this wonderful victory while enjoying champagne and cake. Many thanks! – ‘Köszönöm’ (Bluebeard from Bluebeard’s Castle) -
A multicoloured orchestra depicts an intimate relationship drama
Leave a CommentThey’ve only just met, but as Bluebeard and Judith, they are diving straight into rehearsals for Bluebeard’s Castle. That’s why top soloists Deirdre Angenent and Thomas Oliemans take some time after rehearsing to have a chat and get to know each other on a more personal level. What do they think of Bartók’s music, how do they prepare, and who is that mysterious third character?
Thomas: “Deirdre, you’ve sung Judith many times before and know her inside out by now. What still makes the role so interesting to perform?”
Deirdre: “The music! It goes straight to your soul. And what’s fascinating is that since I first sang this role about eleven years ago, I keep gaining new insights. Everything I experience in life makes ‘my’ Judith slightly different in each phase. That keeps it really dynamic. The same goes for the technical side of singing. I can keep exploring new nuances because my voice is capable of them now. In that sense, it remains a constant discovery.”
Deirdre: “It’s your role debut, Thomas. How have you prepared?”
Thomas: “Very slowly and carefully! The Hungarian language alone is incredibly difficult, as I can’t relate a single word to any other language I know. Then there’s the character of Bluebeard, who is particularly complex. And, of course, there’s Bartók’s sound world, his musical language, which is completely unique. There’s no other piece quite like this.”
Deirdre: “Yes, so many different tonal colours in the orchestration.”
Thomas: “Exactly! There’s a ninety-five-piece orchestra behind us, but it doesn’t sound like one big mass; it’s full of layers, a vast array of colours.”
Deirdre: “Maybe we could even see the orchestra as the third character in this story.”
Thomas: “The musicians express the richness of the tension between the two of us… That’s what I love about this work; Bartók composed Bluebeard’s Castle in such a way that the tension is sustained throughout the whole hour. Once the musical engine starts, you’re swept along with it.”
Deirdre: “This piece is so well crafted that you can’t help but be drawn into the emotional world of Judith and Bluebeard.”
Thomas: “I often lose my sense of time and space. It’s a very hermetic, inescapable world.” Deirdre: [laughing] “Just like Bluebeard’s castle.”Thomas: “What are you most looking forward to during the rehearsals and performances of Bluebeard’s Castle?”
Deirdre: “I always find the rehearsal process the most interesting part. Creating this production together and discovering the roles. And then, of course, it’s thrilling to bring it to an audience – what do they think of what we’ve made, and how does it affect them? And you?”
Thomas: “I’m really curious to see how the audience engages with the intimacy of this story. I think that’s almost inevitable because of the genius of the piece and the fact that it speaks to you on multiple levels. The way you experience it depends on your stage in life and how you view things. It can be seen as the ultimate breakup story, but it’s also about loneliness and tenderness.”
Deirdre: “There’s something relatable in it for everyone.”
Thomas: “Absolutely. Bluebeard’s Castle is essentially a fairytale, so we can pretend it’s not about us. But everyone probably recognises how impossible (some) relationships can be. Of course, there are exaggerations – weapons and blood – but it’s really about two ordinary people.”
Deirdre: “Yes, the whole idea of ‘why won’t you open up to me?’ is something I recognise – and I think many people do too. But the question is: how much do you want to know about each other…?”Interview: Kyra Bertram
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Profound humanity and theatrical drama go hand in hand in Bluebeard’s Castle
Leave a CommentDirector Kenza Koutchoukali and scenographer, costume, and lighting designer Yannick Verweij have been working together on Béla Bartók’s Bluebeard’s Castle for months. Yet, they’re far from running out of things to say about the opera. They sit down to interview each other, discussing their inspirations, ambitions, and the humanity within the work.
Yannick: “What’s the main challenge for you in directing Bluebeard’s Castle again?”
Kenza: “I find it a challenge to depict the intimacy and humanity of the relationship between Bluebeard and Judith. I want the audience in the theatre to feel like they’re part of the situation, maybe even sitting too close to it.”
Yannick: “That’s why we’ve placed the set – the homely living room – so far forward on the stage.” Kenza: “Exactly. At the same time, as a spectator, you can see the whole situation, unlike Judith and Bluebeard, who are right in the middle of it. We literally magnify certain aspects of the action so that we can use theatrical drama to show what’s happening between Bluebeard and Judith and how it feels.” Yannick: “We have a spiderweb-like structure that lets enlarged objects drop into the set, zooming in on what’s unfolding between Bluebeard and Judith. They become entangled in their patterns, in their relationship.”Kenza: “I think the set looks beautiful. How have you brought the characters to life through your scenography?”
Yannick: “In our first discussions, we talked about the paintings of Edward Hopper. His work feels both abstract and incredibly concrete. You’re right up close to it, and yet it feels still and desolate in a way. I really wanted to capture that atmosphere visually in the set. I’ve consciously and unconsciously drawn inspiration from these paintings. I only realised much later that the colour palette I chose is also similar to Hopper’s. Bluebeard is dressed in elegant, cool tones – like navy – which blend well with the green of his castle, where he feels at home. Meanwhile, Judith, with her warm autumnal colours, will never fit into his world because she always stands out against the green backdrop.”
Yannick: “What aspect of Bluebeard’s Castle do you find the most complex to portray?”
Kenza: “I always find the grey areas in characters the most interesting, but they’re also open to interpretation. Of course, I bring my own ideas about Bluebeard and Judith to the table. But how do Thomas and Deirdre see it? They’re the ones who will be bringing the roles to life. I have strong views on Bluebeard’s inability to connect, which manifests as dominance, and as a woman, I naturally lean towards siding with Judith. But on the other hand, Judith also has her own shortcomings. She’s determined to break him open to make the relationship work. Is it right for her to do that, or is it selfish? For me, they’re both equally complex.”
Yannick: “The interplay between the two characters is so fascinating and complex at the same time. Certain traits in both Bluebeard and Judith drive the power dynamics between them. They struggle, clash, and try to find each other; that human interplay makes the opera so thrilling.”Kenza: “The relationship between Bluebeard and Judith is indeed incredibly human. How do you view their relationship from your own experiences?”
Yannick: “What touches me personally is that constant effort to find each other. I can relate to wanting to discover at what point you can connect with someone, wanting to figure out who you are with the other person, wanting to understand each other. And I understand the pain when that doesn’t work out. And you?”
Kenza: “I recognise the patterns you can fall into together. It can feel comfortable, but you can also get stuck in a pattern that comes at the expense of both yourself and the other person. It’s precisely that humanity in intimate relationships that I hope will pull the audience in, partly through recognition and partly through the theatrical drama.”Interview: Kyra Bertram
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Unique music in a thrilling orchestration
Leave a CommentDark and mysterious, powerful and intriguing. This is how musical director Duncan Ward describes Bluebeard’s Castle by Béla Bartók. The work was high on the internationally renowned conductor’s wish list. He therefore speaks very enthusiastically about Bartók and what makes his music so unique, impressive and human at the same time.
It was a long-held desire to conduct Bluebeard’s Castle. Why?
‘Ever since I was a teenager, I have loved Bartók’s music. Bluebeard’s Castle is one of the most exciting, intense, thrilling operas I have ever come across, and that in one hour. Bartók composes passionate, driving rhythms and impressionist harmonies that immediately evoke an image. Listen to the first three notes of the opera and you know: something is off here; it’s dark, unsettling, mysterious. How powerful is that, to evoke a whole world of feeling with just three notes?’
How would you characterise Bartók’s music?
‘His music is firmly rooted in his studies of Hungarian folk music; the dance rhythms, dissonance-inflected melodies, and the text of the language itself affecting the flow of the music through the flexible, natural ‘speech-rhythms’. That’s probably why it sounds so human and honest. There is nothing artificial or academic about Bartók’s work, it is very direct. I think everyone – young and old, from all walks of life – will be caught by the emotional power of this music.’
What is your biggest challenge in performing this opera?
‘Bluebeard’s Castle is incredibly cleverly composed. If we perform it well, it’s a fantastically emotional journey in which the listener gets sucked in. The really big challenge – especially with the orchestra on stage – is to keep the sound balanced. The colour palette is extraordinary; Bartók creates multi-layered sound worlds when opening each door, from soft to very loud. Moreover, he wrote out very specifically how fast something should be played. I therefore have to be very precise in the tempo changes, which – like the psychological relationship between Bluebeard and Judith – constantly shift subtly.’
Are there any particular musical parts that you hope the audience listens to extra attentively?
‘Oh, so many! For example, the blood motif; a minor second [a semitone between two notes, the smallest interval in Western music]. We hear this dissonant sound every time Judith sees blood seeping. In addition, the whole work is uniquely – and also a little oddly – orchestrated. Like the torture chamber behind door one with shrill woodwinds and xylophone figures and violins playing fast tremolo ‘sul ponticello’ – near the bridge. That really is a kind of torture sound. Door three, which hides the treasure chamber, opens with a soft, beautiful D major chord by sustained trumpets and flutes and a swirling celesta. Not exactly instruments you would expect, but they are like glittering jewels. And then door five, behind which is Bluebeard’s kingdom. There the whole orchestra plays full (tutti!), extra trumpets and trombones even appearing especially for that moment. All equally impressive.’
You mentioned earlier that the music is very human. Do you recognise things in this opera from your own relationships?
‘Definitely. I think we all have things we are not easily open about. And I also recognise that sometimes some relationships – not even necessarily love relationships – just don’t work because the energies, ideas or ambitions don’t match. That can be painful, of course, but in a way such an experience is also enriching and gives you insights into yourself (in relation to others). You grow as a person from it. The music constantly comments on this and flows with those moods. And sometimes, when Bluebeard and Judith no longer know how to talk to each other, the music does it for them.’
Extraordinary how music can sometimes say more than words, isn’t it?
‘That’s why we make music! Because words can’t express everything. And that’s why I love it so much. Music can affect your feelings at a deeper layer. Certainly Bartók’s music can.’
Interview: Kyra Bertram
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World Opera Day
Comments Off on World Opera DayOpera Zuid celebrates World Opera Day on October 25. Come and enjoy a performance by Buurt Opera Malpertuis at 3:00 PM in Studio Malpertuis, together with The Diamond Baritones – known for their performance in Holland’s Got Talent, with which they earned the ‘Golden Buzzer’!
October 25th is also the Day of the Vlaai, Bakery Peter Lemmens treats us this day to a delicious piece of vlaai accompanied by beautiful singing by soprano Bibi Ortjens.
Friday October 25th, 3:00 pm Studio Malpertuis, Malpertuisplein 60 Maastricht Free admission -
Blauwbaards Burcht x Scenes from a Marriage in Natlab
Leave a CommentNatlab Eindhoven
On Sunday 3 November, Natlab – in collaboration with Opera Zuid – will screen Ingmar Bergman’s full six-part series Scenes from a Marriage. This iconic mini-series provided the perfect inspiration for Kenza Koutchoukali’s directorial concept in creating Blauwbaards Burcht (Bluebeard’s Castle). She sets the Hungarian libretto full of symbolism as a modern relationship drama in the style of Bergman.
Prior to the screening of the series, there will be a short introduction about the upcoming Opera South production of Blauwbaards Burcht and how director Kenza Koutchoukali found the inspiration for her opera version in Bergman’s series. Location: Natlab, Eindhoven Timetable 3 November 2024: 13:00 Start introduction 13:10 Start part I, II & III 15:40 Break + soup 16:30 Start part IV, V & VI 19:00 End
> All info and tickets via natlab.nl
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Blauwbaards Burcht x Scenes from a Marriage in Lumière
Leave a CommentLumière Maastricht
On Sunday 20 October, Lumière will present Ingmar Bergman’s full six-part series Scenes from a Marriage in collaboration with Opera Zuid. This iconic mini-series provided the perfect inspiration for Kenza Koutchoukali’s directorial concept in creating Bluebeard’s Castle (Blauwbaards Burcht). She sets the Hungarian libretto full of symbolism as a modern relationship drama in the style of Bergman.
Before the screening of the series, dramaturge Joep Hupperetz (Opera Zuid) will give a short introduction about the upcoming production of Bluebeard’s Castle and how director Kenza Koutchoukali found the inspiration for her opera version in Bergman’s series.
Location: Lumière Film House, Maastricht Timetable: 13:00 Start introduction 13:10 Start part I, II & III 15:40 Break + soup 16:30 Start part IV, V & VI 19:00 End
> All info and tickets: Lumière.nl
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Voor regisseur Marcos Darbyshire is Rossini één van ons
Leave a CommentDe lach van regisseur Marcos Darbyshire zingt door de Studio van Opera Zuid. De regisseur van La scala di seta / Il signor Bruschino is duidelijk in zijn nopjes met deze double bill van Gioacchino Rossini. Hij vertelt enthousiast over het proces van voorbereiden en repeteren. ‘Ik heb het gevoel dat we deze opera’s vooral moeten laten zíj́n, omdat ze ongelooflijk levendig, grappig en sprankelend zijn. Heerlijk om aan te werken!’
Hoe verlopen de voorbereidingen?
‘Heel organisch! Ik was blij verrast door het feit dat beide opera’s – uit de negentiende eeuw – zo eigentijds zijn. We merken telkens weer dat de handelingen op een natuurlijke manier voortkomen uit de enorm levendige muziek. Die muziek én het decor geven ons bij de regie zoveel (spel)mogelijkheden en vrijheid, dat we alleen nog maar hoeven te kiezen welke opties we het beste vinden passen. We zien de personages als ‘echte’ mensen. Hierdoor kunnen we op een authentieke wijze humorvolle situaties creëren zonder in clichés te vervallen. Daarbij spelen uiteraard ook de persoonlijkheden van de zangers een rol. Ik had vooraf één concrete eigenschap bedacht voor ieder personage. Samen met de zangers ontwikkelen we die eigenschap door tot een volwaardig karakter. Ik heb ontzettend veel zin in de voorstellingen; er zit zoveel joie de vivre en humor in La scala di seta en Il signor Bruschino. We kunnen het publiek met deze productie echt amuseren.’
Hoe gaat de samenwerking met decor- en kostuumontwerper Agnes Hasun en dirigent Sander Teepen?
‘Dat is een heel gelukkig (gearrangeerd) huwelijk! Het idee om ‘kok Rossini’ twee keer hetzelfde gerecht te laten maken, kwam al bij mij op tijdens het eerste gesprek dat ik voerde met intendant Waut Koeken. Daarna werden Agnes en ik aan elkaar voorgesteld. Het klikte meteen. Samen creëerden we het decor voor deze gigantische keuken; het universum waar onze personages leven. We werken ontzettend fijn samen en hebben er allebei veel plezier in. Sander en ik zijn eveneens nauw betrokken bij elkaars werk. De handelingen en de muziek moeten namelijk perfect samenvallen. Gelukkig vond hij het concept dat we hadden bedacht ook meteen erg goed. Nu zorgen we er samen voor dat de voorstelling er precies zo uit komt te zien zoals we voor ogen hadden.’
Wat wilt u het publiek meegeven met deze opera’s?
‘Vroeger zat er een politieke boodschap in deze opera’s, die vooral tot uiting kwam in de humor die toentertijd gangbaar was. Aan deze humor hebben we een moderne draai gegeven om de stukken actueel en herkenbaar te maken voor het publiek van nu. Maar we willen vooral laten zien dat Rossini een moderne man was, die op dezelfde manier dacht als wij. Die genoot van dezelfde dingen (lekker eten en wijn) als wij en worstelde met dezelfde zaken. Natuurlijk, hij was een genie. Maar tegelijkertijd was hij een gewone jongen, die nú had kunnen leven. We hoeven zijn opera’s niet te zien als een museum waar we naartoe gaan om iets te leren over de negentiende eeuw. Nee, juist andersom; via deze opera’s zien we onszelf en leren we over onszelf. Daarbij zijn het ook nog eens ‘gewoon’ twee erg geestige komedies. Ik hoop dat we het enthousiasme dat wij voelen bij het maken ervan kunnen overbrengen op het publiek.’
Interview: Kyra Bertram
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Muzikaal leider Sander Teepen houdt van Rossini’s levenslust
Leave a CommentEen levensgenieter, een genie, een boefje, een casanova; enkele bewoordingen die voorbijkomen tijdens het gesprek met de muzikaal leider van La scala di seta / Il signor Bruschino. Sander Teepen vertelt aanstekelijk enthousiast over Rossini en zijn werk.
Wat was Gioacchino Rossini voor een jongeman toen hij deze eenakters componeerde?
‘Als ik Rossini’s muziek hoor, dan voel ik de lente; zo energiek, positief en vol levenslust! We weten natuurlijk niet precies hoe hij was of zelfs hoe hij er uitzag als jonge man van twintig, maar het is wel algemeen bekend dat hij van lekker eten, mooie wijnen én (dito) vrouwen hield. En uit de verhalen die zijn overgeleverd maak ik op dat het ook wel een deugniet was.’
Vertel…
‘Er zijn diverse gerechten naar hem vernoemd. Dat is niet toevallig; hij kookte graag en had een paar topchefs als vrienden waarmee hij veel over recepten sprak. Op beeltenissen van latere leeftijd is hij te zien met een flinke buik: ik neem aan van al dat lekkere eten én de wijn die erbij hoorde (bij iedere gang een andere). Misschien vond hij dát – genieten van al het goede in het leven – nog wel belangrijker dan componeren. Er is een anekdote dat hij eens in een kamer is opgesloten met de boodschap; je komt er pas uit als de ouverture klaar is. Blijkbaar voelde hij de tijdsdruk nog niet en hadden andere dingen prioriteit. Met de inkt nog nat is die ouverture op de avond van de première op de lessenaars van de musici gezet. En dat terwijl Rossini’s muziek heel veeleisend is voor het orkest…(De jonge) Rossini was dus een genie, die overal de lol van in zag. Dat hoor je terug in zijn verfrissende en unieke muziek. Luister maar naar het tikken van de strijkstokken op de lessenaars in de ouverture van Il signor Bruschino, zoiets was nog nooit vertoond!’
En hoezo was hij een deugniet?
‘Omdat hij – als jonkie – het zou hebben aangedurfd om de stertenor van het Teatro San Moisè in Venetië een hak te zetten. Deze zanger stond er naar verluidt op dat Rossini hem de titelrol van meneer Bruschino zou geven. Dat deed hij. Zoon Bruschino – gespeeld door de stertenor – mag pas op het allerlaatst opkomen en één zinnetje zeggen: Vader, ik heb spijt…’
Wat zijn voor jou de muzikale hoogtepunten uit La scala di seta en Il signor Bruschino?
‘Als ik moet kiezen: de ouvertures. Dat zijn meesterwerkjes op zich. Ik heb zelf hobo gespeeld, dus ik ken de (beruchte!) hobosolo in La scala di seta erg goed. Deze partij is enorm virtuoos; het is zelfs een auditiestuk voor hoboïsten en dan is het peentjes zweten, hoor! Bovendien vind ik het mooi dat het orkest tijdens de ouverture even alle aandacht krijgt. De muziek is zo verfrissend en uitdagend. Daarnaast vind ik het contrast in deze opera’s tussen de fraaie, bijna zoetsappige aria’s en de ongekend vocale acrobatiek voor de zangers leuk om uit te lichten.’
Hoe verloopt de samenwerking met regisseur Marcos Darbyshire en ontwerper Agnes Hasun?
‘Heel goed! Rossini’s levenslust, het spelen en genieten is herkenbaar voor ons alle drie denk ik… Marcos is daarbij heel muzikaal. Én, hij heeft een enorm oog voor detail. We vullen elkaar aan. Zo kunnen we allebei met timing spelen en daarmee regie en muziek perfect op elkaar laten aansluiten. En Agnes heeft een geniaal Rossini-universum gecreëerd; één en hetzelfde beeld verandert constant. Ik word er ontzettend enthousiast van. Ik moet me soms zelfs een beetje inhouden om niet té snel, speels en levendig te dirigeren. Ik moet natuurlijk wel gecontroleerd zijn als dirigent, maar mijn drive en energie kan ik in deze werken heel goed gebruiken. Je kan als publiek niet anders dan met een grote glimlach naar buiten lopen. La scala di seta en Il signor Bruschino zijn ongelooflijke feelgood opera’s.’
Interview: Kyra Bertram
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Designer Agnes Hasun created a playground for adults
Leave a CommentFlouncy dresses and stylish costumes jump, run, crawl and hide in, through and amidst an immense, white kitchen in La scala di seta / Il signor Bruschino. This playground for adults sprung from the creative mind of set and costume designer Agnes Hasun. She tells all about it…
Where did you get your inspiration for these designs?
‘Usually the inspiration for my designs comes from the play and the music itself. These operas by Rossini have this Italian flare of their own. So director Marcos and I delved into the Italian world. Marcos had the idea of cooking live ín the set. So I had to combine the functionalities of a real kitchen with the aesthetics appropriate to these Italian operas as we envisioned them. In doing so, we wanted to start from the idea of a blank canvas – hence the all-white kitchen – in which the music, the characters and the colours eventually conquer the space. I found that very inspiring.’
How does such a design process start?
‘It starts with conversations with the creative team and a lot of listening to the music. I scribble all kinds of ideas on a piece of paper and then start sketching. The next step is very important for me: making a scale model, so that my 2D drawings turn into a 3D model and I can start playing with it.’
Did you immerse yourself completely in the Italian cuisine and ‘lifestyle’ for these designs?
‘Well the funny thing was that we were remodeling our own kitchen when I made these designs. So my husband regularly looked over my shoulder while I was designing this decor and then said: I want that in ours too! And that too! But unfortunately, we don’t have that much space or money to make this. So my husband is now a bit jealous of this beautiful kitchen…. And yes, we did try some Italian dishes, deciding which ones we wanted to cook on this stage. But cooking the whole menu together with Marcos and eating it, that unfortunately hasn’t worked out yet…Hopefully we’ll make it happen before the premiere!’
Does the rehearsal period, when the set and costumes are brought to life by the singers, require any adjustments to the design?
‘Yes, that’s kind of part of the process. You have to think ahead, of course, but also be flexible. Sometimes things work slightly differently in practice. And apart from that, especially for the costumes, it also depends on the singers who have to wear the clothes; how do they feel in it, how do they move in it and what do they need to become their character?’
There are a lot of jokes and humorous situations in these operas, to what extent does your set enable that humour?
‘I have created a playground for adults. This is my first comedy, but I have previously created sets for a number of children’s operas and many of those sets included hiding places, stairs, ladders, things to crawl on or under. That works very well, even for adult operas. So this set does indeed help the singers to make the humorous situations, which are sometimes even a bit slapstick, possible. It is a pleasure to make and I hope also to watch!’
Interview: Kyra Bertram