Voor regisseur Marcos Darbyshire is Rossini één van ons

Author Archives:Fanny Bartels

• Voor regisseur Marcos Darbyshire is Rossini één van ons

  22 April 202410:20 Leave a Comment

  De 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

• Muzikaal leider Sander Teepen houdt van Rossini’s levenslust

  09:58 Leave a Comment

  Een 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

• Designer Agnes Hasun created a playground for adults

  18 April 202412:15 Leave a Comment

  Flouncy 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

• EXPOSITIE ALBERT TROOST

  4 March 202410:56 Comments Off on EXPOSITIE ALBERT TROOST

  Dinsdag 5 maart markeert de 100e verjaardag van beeldend kunstenaar Albert Troost (1924-2010). Ter gelegenheid hiervan stellen wij onze studio open in de Onze Lieve Vrouwe van Goede Raad kerk in de Maastrichtse wijk Malpertuis. Voor deze monumentale kerk werkten Albert Troost en de architect Jean Huysmans in 1966 in een uniek samenwerkingsverband aan een wandvullend, deels figuratief en deels geabstraheerd glas-in-loodraam. De vier wanden van de kerk beslaan in totaal 570 vierkante meter van dit kunstwerk dat ook wel de Nachtwacht van de Nederlandse glas-in-loodkunst wordt genoemd. Gelijktijdig zal er een expositie te zien zijn van ontwerptekeningen van Albert Troost.

  Kom het zelf bewonderen di 5 t/m za 9 maart van 11:00 – 17:00 uur. Entree is vrij toegankelijk. Adres: Malpertuisplein 60, Maastricht.

• Orphée aux Enfers nominated for De Ovatie 2023

  3 November 202314:44 Comments Off on Orphée aux Enfers nominated for De Ovatie 2023

  Opera Zuid has been nominated for the VSCD Classical Music Prize De Ovatie 2023 with Orphée aux Enfers. De Ovatie is awarded to musicians who have delivered an exceptional stage performance and thus made a significant contribution to Dutch classical music life.

  The jury report states:

  “In the production Orphée aux Enfers, Opera Zuid was colourful, witty, playful, funny and sometimes deliciously grotesque, without exaggerating. […] Opera Zuid has produced something that the south of the country can really be proud of. It is an optimistic, comical, homely cosy way of making opera that you don’t see in the rest of the country.”

  The winner of the award De Ovatie will be suprised in December.

• Opera stars Sir Thomas Allen and Christopher Gillett talk about their experiences in the opera world

  14:03 Leave a Comment

  They regularly meet on the world’s major stages. Now the two singers are working together at Opera Zuid, where Christopher Gillett is directing a new version of Der Schauspieldirektor and the baritone of the twentieth century, Sir Thomas Allen, is performing as the Schauspieldirektor.

  Why did you want to create a new version of Der Schauspieldirektor?

  Christopher: “I have been working in opera all my adult life and have written a number of books about what it is like in this world. It feels like a luxury now to be allowed to create a show about the process and difficulties of creating an opera. I would like to show that behind the scenes it is all not so glamorous; we are not superhumans, we also just curse when something goes wrong and we are sometimes quite lonely in this travelling existence.”

  Thomas: “Indeed, people like to make opera singers into some kind of icons, but of course we are not that at all. Although by now I wouldn’t know who I am without this life and without all those roles. I wouldn’t have wanted it any other way, even though every day you feel the responsibility and pressure to sing well and therefore your voice must always be in good condition.”

  Christopher:“I like the fact that in this production I don’t have to depend on my voice. Moreover, I like the fact that I can now decide all by myself how I want the performance to be, unlike when, as a singer, I have to stick to the director’s idea.”

  Thomas: “Oh yes, I enjoy the fact that as an actor I now get to decide how I use my voice [intonation and volume] to pronounce the text and tell the story, instead of the music dictating it.”

  Christopher:“In opera, the music defines what we do. That’s very different from a play. That’s why I find it so exciting to combine both of those in one performance now; both opera arias and spoken stage texts.”

  Did you – when creating this show – also have to deal with the difficulties that arise in Der Schauspieldirektor?

  Christopher: “Yes, the performance is based on real-life perils like that. For instance, a singer sometimes drops out. Then the directing assistant has to read out the text and meanwhile show the substitute singer where to walk, so that he or she only has to sing the aria.

  “However, I didn’t want too many set changes and technical gadgets, so that saves a lot of trouble. I like to let the theatre speak, for there is enormous dramatic power in the music and singing itself. I think it’s a shame when technology (for example, running film footage in the background) takes the focus away from what is essential in opera.”

  Thomas recalls: “Back in the days, the most important thing was that the singer stood in the right place, sang his aria and everyone else stood still. More than once I experienced a soloist turning around and admonishing: ‘I don’t want to see anyone move while I’m singing my aria!’ Sometimes that was a bit excessive, but of course opera is all about the vocal art and it should not be overshadowed, but complemented.”

  In Der Schauspieldirektor, it showes that having a career in theatre has consequences for one’s private life. How was and is that for you?

  Christopher: “You are often away from home, which is not easy when you have a family. My first marriage broke down because we were together so little. Since then, I manage to balance personal and professional better. I now often travel with my wife, who is also a singer, and vice versa.”

  Thomas: “Unfortunately, you don’t learn that in school. They should actually teach [counts on his fingers: one] taxes and [two] how to handle life when you have this profession. I am very grateful to my wife who has now travelled with me for thirty-five years. She did have to get used to that; [laughter] she had to become a kind of reverse Margaret Thatcher, a Duke of Edinburgh, standing behind this Queen. It helped me enormously that she gave me that space.”

  Thomas thinks for a moment and then continues: “But it is a world in itself, this opera. You regularly meet people in different productions and work intensively with them for a while; it automatically becomes a kind of opera family. If you ever feel gloomy – alone, far from home – that family helps you recover.

  Interview: Kyra Bertram

• Sopranos Kristina Bitenc and Chelsea Bonagura on opera and rivalry

  26 October 202314:26 Leave a Comment

  In their roles as prima donna, they just barely avoid flying at each other’s throats. Instead, behind the scenes, the singers find each other in their passion for the craft. In this conversation, the two top performers complement each other seamlessly.

  Auditioning is the order of the day for professional singers, what is it like for you?

  Kristina: “Auditioning is stressful, and sometimes you need a bit of luck. That’s why I have one rule for myself when I audition: stay true to myself. I want to feel like I did my best and stayed myself. I have learned to trust my inner voice.”

  Chelsea adds: “And to rely on a very small group of people. Because there are so many opinions when it comes to voice types and who should (be able to) sing which role. So above all, I want to feel for myself that I’ve performed well after an audition and then I’ll see if I get it or not.”

  What do you think is important when choosing or accepting a role?

  Both at the same time: “The company!”

  Chelsea: “At this point in my life, I think it’s important to work with people I respect and like. Having said that, I think we sopranos are more likely to say yes than no to a role, simply because there are more sopranos than jobs. So we can be less picky than, say, our baritone colleagues.”

  Kristina: “Totally agree!”

  What kind of roles do you prefer to sing?

  Kristina: “Physical roles! I love using my body while singing; rather than having to stand still. I also find complex roles interesting. For example, Janáček’s The Cunning Little Vixen has been on my wish list for a long time. I would also love to sing Violetta from La Traviata, because of her psychological journey and vocal acrobatics.”

  Chelsea:“I love the more psychological roles, especially the slightly mad characters like Ophelia in Hamlet. The music from this opera by Thomas is so beautiful and Ophelia’s ‘mad-scene’ is very virtuosic. I love the technical side of singing; figuring out how best to sing something.”

  Do Mademoiselle Silberklang and Madame Herz also fall into this category?

  Chelsea: “Oh yes, when Opera Zuid asked me, I immediately thought: that’s what I want to do! Madame Herz is slightly deranged in a fun way, which I love to play. Besides, this opera is a Mozart on steroids; lots of high notes, lots of coloraturas [fast, high runs] and there’s a lot of comedy in it, and I can do that every day.”

  Kristina: “Actually, I always know immediately when Opera Zuid calls: I would like to participate! Besides, I really enjoy singing Mozart. The music suits me well and is vocally challenging. I also really like the terzet at the end: Chelsea and I discovered that our voices sound incredibly good together and we have the same ideas about how we want to perform this music, so the collaboration goes very naturally.”

  Chelsea: “Absolutely. The nice thing is that we are not divas at all in real life, so we can have a lot of fun together in these roles.”

  In the real opera world, is there also rivalry between singers like in Der Schauspieldirektor between Mademoiselle Silberklang and Madame Herz?

  Chelsea: “No, I don’t think the level of rivalry is an issue these days. In any case, I have no experience of it.”

  Kristina [tegen Chelsea]: “When I hear you, I mostly think: how does she do that?”

  Chelsea: “And I think: how do I get my coloratures as fast as she does? I get inspired by other singers and feel appreciation for the other above all. Moreover, I learn from my colleagues.”

  Kristina: “We try to get the best out of each other. Our roles are often similar musically, which is how we lift each other to a higher level. In the end, we can only make beautiful art together.”

  Interview: Kyra Bertram

• Enrico Delamboye about Mozart and Der Schauspieldirektor

  23 October 202311:12 Leave a Comment

  Between rehearsals, musical director of Der Schauspieldirektor Enrico Delamboye talks about Mozart’s music, Der Schauspieldirektor and the incredible similarities between then and now when it comes to the opera world.

  Opera Zuid presents Der Schauspieldirektor in a new and up-to-date version. Tell us more…

  Enrico: ‘True, the Opera Zuid team is creating an unmistakable Der Schauspieldirektor, but in an entirely unique version. With a text by author and director Christopher Gillett and musical additions. In fact, the original was intended to be played only before intermission*. Therefore, we felt some roles – with only one solo piece – were vocally under-served and we integrated even more interesting Mozart arias into this piece.’

  What is so interesting and distinctive about Mozart’s music?

  Enrico: ‘To begin with, Wolfgang Amadeus Mozart himself was interesting. As far as we can tell he was the utmost in everything. He was an epicurean, a bon vivant, made a game of everything and enjoyed himself intensely. But this put him in trouble more than once, because he lived on (too) big a budget. It even almost cost him his relationship with Constanze. He was a big kid who actually needed an assistant to manage life. Although, that might also have been at the expense of his genius. It was precisely that playing, questioning and wanting to do things just a little differently from the rest that made him write fresh music that is still alive and kicking today.’

  Enthusiastically, Delamboye continues: ‘Mozart’s music is energetic, intelligently orchestrated and clearly structured. This orderliness and freshness make the music very accessible. At my request, Der Schauspieldirektor will be played by Philzuid with baroque timpani and natural trumpets; this will probably bring us closer to a more authentic sound in the orchestra. The music itself is timeless. As is the message of Der Schauspieldirektor. Mozart manages to question the audience in a very funny way. Among other things, about the competition in the art world; the positive thing about that is that, as an artist, you want to get the best out of yourself. Elbowing, on the other hand, is what Mozart questions. In the end, he says, “artists should not judge each other and the quality of an artist does not translate into payment. Everyone should give their best and then it is up to the audience to judge”.’

  Indeed, that message still seems very relevant…

  Enrico: ‘Yes, I find it shocking and wonderful at the same time, that in Der Schauspieldirektor Mozart gives a very good reflection of how things are in the opera world, even more than two hundred years later! Because it is clear that there are many comparisons to be drawn between Der Schauspieldirektor and the opera world here and now. This opera was and is a realistic-critical depiction of the challenges in this little world. It is common knowledge that it is difficult for opera companies to realise beautiful productions with fewer and fewer resources. Nevertheless, we all do our best – out of love for the profession – to work together to achieve a high-quality artistic experience for audiences.’

  Do you think audiences will understand the opera world better because of Der Schauspieldirektor?

  Enrico: ‘A work like Der Schauspieldirektor is also called a ‘Schmankerl’ in Austria: a delicacy, a tasty morsel. Of course, this Singspiel* is very recognisable and funny for colleagues in the profession. But even people who do not work in the opera world will enjoy the beautiful, well-executed music. Indeed, it really is a tasty bite; not too long, not too short, with very fine Mozart music. The audience may not get all the jokes, but they will at least wonder; is it really like this or is it stagecraft? And that is exactly what Mozart loved doing; playfully questioning the situation. We also constantly ask ourselves: is this the right way? That applies especially to director Christopher, but of course I try to support him in that. That is entirely in the spirit of Mozart and Der Schauspieldirektor: creating beautiful art together!’

  *Der Schauspieldirektor was part of a competition launched by Emperor Joseph II. He wanted to put the German Singspiel, with music and spoken texts, back on the map. Mozart’s ‘competitor’ was Salieri, who wrote an Italian opera buffa; Prima la musica e poi le parole (‘First the music, then the words’). One work was played before the interval, the other afterwards. It was then up to the audience to judge which opera was their favourite

  Interview: Kyra Bertram