The whimsical world of Chabrier

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• The whimsical world of Chabrier

  1 May 202609:33 Leave a Comment

  Emmanuel Chabrier (1841–1894)
  Chabrier grew up as the son of a lawyer in the rural town of Ambert in Puy-de-Dôme. From an early age, he was engaged with music: he played the piano and wrote compositions. Chabrier was largely self-taught, though he was regularly coached by music professionals. Despite his love for music, he began his working life as a civil servant at the Ministry of the Interior in Paris. He soon moved among the avant-garde circles of the vibrant Parisian art world. He maintained friendships with artists such as Claude Monet and Édouard Manet, as well as the writer Paul Verlaine. Alongside his civil service career, he continued to compose and perform music.

  New and unique
  The absence of formal conservatoire training was, and still is, regarded by many as Chabrier’s strength. He felt free to shape his musical idiom according to his own inclinations, unrestrained by fixed structures- not even by the strict rules imposed by theatres of his time. His desire for innovation and his place within avant-garde literary and artistic circles in Paris meant he could not be confined to any single category and paid little heed to others’ expectations. Nevertheless, he listened to discussions among his friends in Parisian salons and drew inspiration from everything he heard, read, and saw. This resulted in a musical style that was both new and unique. For this very reason, he became a source of inspiration for composers such as Claude Debussy, Maurice Ravel, and Francis Poulenc.

  Independent spirit
  In Chabrier’s Paris, strict rules governed the world of opera with clear divisions between styles and venues. Against this backdrop, Chabrier developed into an independent-minded composer who refused to be confined, instead combining elements and reshaping them to his own ends. His best-known stage work, L’Étoile, is a striking example. The work premiered at the Théâtre des Bouffes-Parisiens and features a satirical and playful character, an absurd storyline, a light-hearted treatment of power, and caricatured characters – typical traits of opéra bouffe. At the same time, Chabrier’s refined musical style stands out: his score is filled with surprising harmonies and colourful orchestration, which not only serve comedic purposes but also create a distinct musical coherence.

  Rebellion
  What further distinguishes Chabrier’s music is the way in which lightness and complexity go hand in hand. Impressionism in the visual arts, which flourished during Chabrier’s time in Paris, was a major source of inspiration for him. This movement is known in painting for its swift brushstrokes and its attempt to capture the passage of time in motion. Chabrier translates these techniques in L’Étoile into sharp satire and playful musical absurdity. He discards strict rules and undermines musical expectations: cadences are delayed, modulations occur at unexpected moments, and rhythmic accents shift subtly. During the first orchestral rehearsals of L’Étoile in 1877, these innovations caused an uproar: this was not what the orchestra was accustomed to. Ultimately, the opera opened to great success, with critics praising Chabrier’s musical individuality. Nevertheless, the work was performed only once during his lifetime.

  Tone colour
  In L’Étoile, Chabrier treats the orchestra not merely as accompaniment but as an active narrator that adds an extra layer to the opera. Instrumental colours characterise situations or provide ironic commentary on the onstage action. In this respect, he anticipates composers such as Debussy and Ravel, for whom timbre and suggestion play a central role. At the same time, there are moments of tenderness in which characters reveal their true emotions – an approach akin to the influence of Richard Wagner.

  Great Influence
  The playful, episodic nature of opéra bouffe in L’Étoile is combined with a carefully constructed musical structure. It is precisely this combination that makes the opera unique. At the same time, through this approach, Chabrier builds a bridge between tradition and innovation. He plays with existing forms, combines them, and gives them new depth and refinement. In doing so, he paved the way for a new style in the history of French music and, despite his relative obscurity, had a profound influence on the renewal of French opera.

  Text: Joep Hupperetz

• Opposites in an absurd but vibrant world

  26 April 202610:20 Leave a Comment

  Lazuli is a young man with a strong sense of freedom: curious, adaptable, and independent. King Ouf, on the other hand, is somewhat out of touch with reality, impulsive, and self-centred; he loves his own rules, but also a good party. How do mezzo-soprano Brenda Poupard and tenor Erik Slik bring these characters to life? And what do they think of Chabrier’s distinctive music? Although their characters clash for most of the opera, Brenda and Erik get along very well, as becomes clear in this lively conversation.

  How would you describe your character? Brenda: ‘Lazuli is young, but he no longer has parents; that has made him very independent. He travels around selling his goods. He is strong, optimistic, has great willpower, and is quite happy with his life. Until he sees Laoula and his world is turned upside down: he falls in love! He doesn’t really want that, but being as adaptable as he is, he goes along with everything that happens afterward.’ Erik: ‘Ouf… he’s quite the character. He’s impulsive and playful; he knows how to throw a party. But he’s also selfish and fond of his self-invented rules. He’s a kind of man-child, with too much power to handle properly and no real sounding board, except perhaps his court astrologer Siroco. Ouf’s (small) world is absurd, and he is at the head of that crazy world.’ Brenda: ‘They really are opposites. Ouf has no idea how things work elsewhere, while Lazuli has seen the world through his traveling life. Ouf is all about rules, and Lazuli is a free spirit who wants to follow his own path.’

  Do you recognise anything of yourselves in these characters? Brenda: ‘Of course I’m not a young man, but Lazuli is the role I feel closest to out of everything I’ve performed. Like him, I have a strong desire for freedom, and I’m very curious. I can also react quite childishly when something moves me, and I never cease to be amazed by things. I haven’t lost that inner child (yet), and that helps in many of the roles I play.’ Erik: ‘Ouf is obviously quite extreme, but I always look for recognisable elements in my roles. Sometimes I also want things done my way, and I can exaggerate that in my acting.’

  How do you prepare for a relatively unknown role like this? Erik: ‘Precisely because there are few examples, I feel more freedom to shape the role myself. It was also a real discovery to dive into Chabrier’s music. I studied the score in great detail, and during rehearsals you keep discovering new layers and details to play with: fascinating. I also prepare by repeating a lot. Especially the French dialogues, I really need to practice them out loud to get the pronunciation and mouth movements into my muscle memory.’ Brenda: ‘I also find those dialogues challenging, even as a native French speaker. As a singer, you often receive less training in that area, so I pay extra attention to it. And for every role, I first want to dive into the material myself – just like Lazuli. Only then do I look up other performances and, for example, compare tempi.’

  How would you describe Chabrier’s music? Brenda: ‘Wonderful.’ Erik: ‘Vibrant and lively.’ Brenda: ‘It’s very well written, witty, and clever.’ Erik: ‘And so cheerful and catchy; as if you already know it and can immediately sing along. Even though his music – especially in the Netherlands – is rarely performed.’ Brenda: ‘Sometimes it feels like Disney, other times like cabaret or Offenbach.’ Erik: ‘But your Star aria is very lyrical and emotional.’ Brenda: ‘Exactly, he always finds just the right tone and emotion.’ Erik: ‘And he never goes for the cliché. What I also love is that when there are multiple verses, Chabrier keeps changing small details, as if he’s saying: play with it, keep it alive.’

  Which scenes are you most looking forward to? Erik: ‘The Couplets du Pal! In it, Ouf explains like a showman how the torture chair, in which Lazuli will die, works. It’s absurd and theatrical; I absolutely love performing that scene.’ Brenda: ‘I find the sneezing aria very funny, a bit cartoon-like. I feel like that dwarf from Snow White (Erik: ‘Sneezy!’). It’s incredibly fun to sing and act. Hopefully the audience will enjoy it just as much as we do!’

  Interview: Kyra Bertram

• Nothing is (not) serious

  10:06 Leave a Comment

  Reality is stranger than fiction. Does that idea hold true for the absurdist comedy, L’Étoile, by self-made musician Emmanuel Chabrier? Director Matthew Eberhardt and musical director Nicolas Krüger certainly think so. Both are captivated by the composer’s richly imaginative music and firmly believe that the world of L’Étoile deserves to be discovered by a far wider audience. A conversation about absurdity that feels logical, and music that moves in every direction.

  
   

  L’Étoile balances between absurdity and logic. Where, for you, is the core of the work, Matthew? Matthew: ‘Although the piece is absurd, for the characters their behaviour is completely logical, given the situation they are in. I hope the audience can momentarily forget the rules of their own world and immerse themselves in the universe of King Ouf. Only once you step back into reality after the performance do you realise just how strange it all is. Then again, as the saying goes: reality is often stranger than fiction. In a way, L’Étoile is so true and lifelike that this is precisely what makes it absurd. We want to offer the audience a different perspective, a new way of looking at our world.’

  How would you describe Chabrier’s music, Nicolas? Nicolas: ‘Chabrier was extraordinary. He had no formal musical training; he was truly self-made. He came from the countryside and moved to the capital, where he befriended the leading artists of his time. In his music you hear both the refined Parisian salons and the rural landscape; his work is both earthy and delicate.’ Matthew: ‘His music is for everyone!’ Nicolas: ‘He was also a visionary, always curious about new forms of expression. That’s why he was so admired by composers such as Claude Debussy, Maurice Ravel and Francis Poulenc; he was far ahead of his time. He refused to be constrained by anything. He invented his music as he went along.’ Matthew: ‘He would often improvise with friends: reading a newspaper article and immediately dramatising it. I imagine he composed L’Étoile in much the same way – on the spot, as the story unfolded in his mind. He never chooses the obvious.’ Nicolas: ‘Exactly, his music is capricious, unpredictable; you never know what’s coming – que sera sera, as Siroco says. It’s incredibly surprising and innovative, full of imagination; Chabrier was always trying something new. And yes, sometimes it’s a little bit mad. Like a child’s world it can change in an instant. Nothing is entirely serious, yet nothing is not serious.’

  How do music and direction influence one another? Matthew: ‘I love seeing how music passes through people and what I can do with that in my direction. Music isn’t tangible; it first has to become human, to be interpreted and felt. From there, we can build together the shape of both the music and the staging.’ Nicolas: ‘I come from a theatre family – my father was a director – so for me, dialogue is just as important as music. Dialogue is also music; it continues and prepares the next musical line. I sometimes feel like a director for musicians.’ Matthew: ‘Music to my ears!’

  What draws you to satirical comedy? Matthew: ‘It feels very natural to me. Comedy is real life: how you see the world, how you deal with situations. Take Ouf’s birthday – what does he expect, how does he open his presents? It’s all very concrete and recognisable.’ Nicolas: ‘But comedy is… not easy! People often say that conductors should begin with comedy, with opéra bouffe, because if you can do that, you can do anything. It’s fast, rhythmic, unpredictable. There’s no emotional space like in a romantic aria. You have to be sharp, precise in tempo and timing. I find that challenge exhilarating.’

  How do you hope audiences will leave the theatre after L’Étoile? Matthew: ‘That they think: how is it possible we didn’t know this? That they’ve enjoyed themselves, and that they look at our world just a little differently.’ Nicolas: ‘And that they remember the name Chabrier, and go home with open eyes and ears, rediscovering the world, like children.’

  Interview: Kyra Bertram

• Les Enfants Terribles x The Dreamers in Filmhuis Lumière

  25 February 202614:50 Leave a Comment

  Filmhuis Lumière
  
  Op woensdag 4 maart presenteert Lumière in samenwerking met Opera Zuid The Dreamers (2003) van Bernardo Bertolucci. De film sluit aan bij OZ-opera Les Enfants Terribles (14 t/m 24 maart). Beide werken vinden hun oorsprong in de gelijknamige roman van Jean Cocteau uit 1929.
  
  The Dreamers is geen directe verfilming van de roman of de opera, maar een vrije interpretatie binnen hetzelfde literaire universum. Bertolucci plaatst het verhaal in het Parijs van 1968 en verkent verwante thema’s als jeugd, intimiteit en escapisme, en de botsing tussen een afgesloten fantasiewereld en de maatschappelijke realiteit daarbuiten.
  
  Voorafgaand aan de film is er een Engelstalige introductie door OZ-dramaturg Joep Hupperetz en een live performance door een van de zangers en pianist.
  
  Locatie:
  Filmhuis Lumière, Maastricht
  Tijdschema 4 maart 2026:
  19:15u – zaal open
  19:30u – Start introductie en performance
  19:45u – Start film
  
  Alle info & tickets via Lumiere.nl.
  
  

• Die Dreigroschenoper is one big challenge

  27 October 202513:46 Leave a Comment

  They both love sinking their teeth into something – and they’ve done so together more than once. But how do musical director Enrico Delamboye and singer Maartje Rammeloo make The Threepenny Opera entirely their own? ‘There are hardly any conventions you have to stick to; that’s refreshing, but also challenging.’ A conversation between two partners in crime about multitasking, connection, and creating something truly unique.
  
  Enrico, The Threepenny Opera is hard to categorise because of its mix of musical styles. How would you describe the work?
  Enrico: ‘A pastiche de plaisir! It’s indeed a blend: there’s classical music, Sprechgesang, elements of show and musical theatre… I absolutely love that exchanging of styles. I enjoy bringing together a wide range of styles in one piece. The Threepenny Opera leaves a lot of room for interpretation, and there are few classical conventions to follow. That’s very refreshing. We have to figure out our own approach, and that’s different for every section. But as simple and straightforward as The Threepenny Opera may sound, it demands an enormous amount of stylistic knowledge, focus and skill – not least because I’ve got the singers right behind me in this production, instead of in front.’
  Maartje: ‘Normally, the orchestra is in the pit beneath the stage, and in that setup we often have direct eye contact with the conductor. But since the orchestra and conductor are now positioned at the back of the stage, we have to follow Enrico’s beat on the monitor and try to create some kind of energetic connection… It really shows what a bizarrely multitasking profession opera is – we have to remember our lines, perform physical actions, manage costumes and props, stay vocally precise, and remain instinctively connected to everyone around us.’
  
  Maartje, this is your first Threepenny Opera as well, how are you finding Weill?
  Maartje: ‘I notice that this opera, and the role of Polly Peachum, demand much more from my head than I’m used to. I love diving completely into a role emotionally, singing and acting from my feelings. [laughs] But that’s exactly what Brecht doesn’t want; for you to feel a connection with your character! The audience isn’t supposed to feel too much either; they’re meant to think. Still, I love the challenge of making the role my own vocally, bringing together all the little technical tricks I’ve gathered over the years into one organic whole that fits the style and character of the piece.’
  Enrico: ‘May I tell them what you wrote to me?’
  Maartje: ‘Go on, then.’
  Enrico: ‘Before rehearsals began, she sent me a little practice recording, asking: “Is this the right direction?” And I said: it’s beautiful, but sometimes still too beautiful.’
  Maartje: ‘And I thought: this is completely out of my comfort zone, but I’m on the right track, rougher than I’m used to, with much more focus on the text, and less on vocal beauty!’
  Enrico: ‘Classically trained singers are so used to polishing everything, to making it smooth, to feeling that emotional connection. Whereas in this opera, you’re not only playing a role, but also acting as a reflective element, showing and hearing the rawness. It’s a kind of well-coordinated roughness. I love that challenge! The more impossible something seems, the more fun it is for me. But Maartje, we can always be open and honest with each other, can’t we? So you didn’t mind me saying that?’
  Maartje: ‘No, not at all! We’ve worked together for so long; I really value being able to talk about these things. I do still find it a bit daunting, though, that many audience members already have a fixed idea of how Weill should sound. So I keep asking myself: how can I win the character over, how can I make this my own?’
  Enrico: ‘The Threepenny Opera sounds completely different in every production. We’re obliged – with great respect for the original – to create our own version. I don’t want a Lotte Lenya sound from you or the other singers; that wouldn’t be right.’
  Maartje: ‘Luckily, I love getting my teeth into something and pushing myself to the limit!’
  
  With what kind of mindset should the audience approach The Threepenny Opera?
  Maartje: ‘As blank as possible!’
  Enrico: ‘Bring your brain and your ears!’
  Maartje: ‘And leave everything you know about Weill and Brecht at home.’
  Enrico: ‘You’re about to see a piece about the darkness of humanity…’
  Maartje: ‘Exactly. This piece should really simmer for a while afterwards. Brecht said the audience shouldn’t just feel something, they should leave the theatre changed. So the more open-minded you enter with, the more this production will be able to work it’s magic on you.’
  
   

  Interview: Kyra Bertram

• Confrontation and entertainment in Die Dreigroschenoper

  13:27 Leave a Comment

  Dramaturgy. What does it involve, what do dramaturgs actually do, and what role do they play in The Threepenny Opera?
  Toneelgroep Maastricht dramaturg Ludo Costongs and Opera Zuid dramaturg Joep Hupperetz are collaborating on this iconic work by Bertolt Brecht and Kurt Weill. The result is a fascinating conversation about their craft, epic theatre, and sharp social criticism wrapped in toe-tapping jazzy music.
  
  What exactly does dramaturgy involve, and what are your roles in The Threepenny Opera?
  Joep: ‘A dramaturg researches the background of the piece being performed. After that, we’re essentially the first audience member.’
  Ludo: ‘Exactly. A dramaturg checks whether the action fits the text, whether it’s clear what we’re seeing and whether it matches what the director wants to convey. We make sure the actor’s line of thought makes sense and is understandable for the audience. I’ve also been involved in translating and shortening The Threepenny Opera.’
  Joep: ‘In the original Dreigroschenoper, the roles were written for actors and just one classical singer. We’ve turned that around: our Threepenny Opera is performed by one actor who can also sing, alongside opera singers. That allows us to perform all the musical numbers – including those that were originally cut because the actors couldn’t manage them vocally. As a result, our version actually contains more (original!) music than the ‘standard’ Threepenny Opera.’
  
  What did Brecht and Weill want to convey with The Threepenny Opera?
  Ludo: ‘Brecht’s work is an adaptation of The Beggar’s Opera by John Gay from 1728. In his new version, he put the lives of beggars at the centre. In 1928, Brecht wanted to draw attention to an important social issue: how society treated the victims of industrialisation and the First World War. Brecht and Weill wanted audiences to look critically at the darker sides of capitalism. The message, however, wasn’t always received as they’d hoped.’
  Joep: ‘Indeed. The Threepenny Opera was a success, but not necessarily because of its social criticism. The songs, for instance, became popular as pop and jazz hits… whereas Brecht and Weill had actually thought that the combination of harsh, critical lyrics – the Ballad of Mack the Knife is an indictment of unsolved murders and crimes! – with cheerful, danceable tunes would create a sense of alienation for the audience.’
  
  What’s the purpose of that alienation?
  Joep: ‘The audience should feel a certain distance from what happens on stage  they shouldn’t be swept away emotionally, as in Romantic opera. Brecht called this epic theatre. He thought opera was an excellent medium for that, because the moment someone starts singing, it’s automatically far removed from reality. After all, no one argues in song in real life.’
  Ludo: ‘The Verfremdungseffekt – or alienation effect – is a technique to make the audience aware that they’re watching theatre, with the aim of encouraging them to reflect on their own situation or the world around them. You can create that effect, for instance, through a sudden change of lighting, or by having singers address the audience directly. Through such a stylistic break – that moment of alienation – a character or an action is suddenly seen in a new light. Brecht and Weill force the people in the auditorium to think about what they’re seeing.’
  Joep: ‘In our production, the surtitles strengthen that effect. Especially in the sung numbers, where the music sounds light and rhythmic, reading the text in your own language adds another layer, a sense of immediacy. The message hits harder that way.’
  
  Why stage The Threepenny Opera now?
  Ludo: ‘In recent years, we’ve given free rein to hyper-capitalist thinking. As a result, social discontent has grown. The Threepenny Opera shows, in a simple yet sharp way, what happens when you push that thinking to the extreme, that it’s hardly surprising when unrest follows. The piece doesn’t offer a solution, but it certainly provokes thought. Brecht believed society is man-made: we’ve shaped it into what it is today, so we can also steer it in another direction. See it, recognise it… do something about it!’
  Joep: ‘And what better sounds to do that to than Weill’s jazzy, cabaret-like music? That contrast – that tension between confrontation and entertainment – that’s the essence of The Threepenny Opera: it rubs up against itself on every level.’

  Interview: Kyra Bertram

• Theatre animals on the opera stage

  13:17 Leave a Comment

  Both come from the world of theatre, and both are now diving headfirst into Die Dreigroschenoper. We speak to director Servé Hermans and actor-singer Maarten Heijmans just as rehearsals have begun. How does it feel to be working on an opera? How do they see the character of Macheath? And what do they think of the music in this iconic masterpiece?

  This is your operatic debut for both of you. How’s that experience been so far?
  Servé: ‘Our hope and ambition is that theatre and opera will enhance each other in this production – that together they’ll become more than the sum of their parts. There’s a lot of spoken dialogue, so this is really a show for stage animals. The singers are incredibly talented in that respect. They love embracing the adventure. You can feel that.’
  Maarten: ‘Absolutely! I’m thrilled to be playing the iconic role of Macheath. This piece sits right on the edge between theatre and opera, so it doesn’t feel entirely foreign to me.’
  
  How is your collaboration going so far?
  Maarten: ‘I feel like we really understand each other – partly because we come from the same (theatre) world. And I sense that we both want the very best for the production. So I really enjoy being part of Servé’s direction.’
  Servé: ‘I find Maarten incredibly inspiring – one of the most complete actor-singers out there. He’s a dangerous performer, but also funny, and he can actually sing everything. That makes him unique – for me, the perfect Mack the Knife.’
  Maarten (softly): ‘That’s lovely to hear.’

  What do you mean by ‘dangerous’?
  Servé: ‘There’s a great sense of unpredictability and creativity in his acting. Sometimes Maarten approaches a scene in such an unusual way that it suddenly makes perfect sense – just not in the way you expected. Maartje [Rammeloo, ed.] has that too. She can play with a beautiful volatility. I find that incredibly exciting in this piece.’
  

  How did you both prepare for this opera?
  Maarten: ‘Just like for a play, I read up on it and watched the film version of The Threepenny Opera. Opera singers usually know their vocal parts before rehearsals even start – in theatre, that’s not the case. We normally begin from scratch on day one. Luckily, I pick up the music quite quickly; I just have to get used to the German text. That’s been the biggest challenge for me so far.’
  Servé: ‘Alongside countless conversations with the creative team, I make endless little sketches. That way I can clearly see how the mise-en-scène works, how the piece moves from beginning to end. I create the general structure, and then I respond to what the performers bring to the table. The most important thing is that our direction creates a certain distance – because of the Verfremdungseffekt. According to Brecht, the audience shouldn’t identify too closely with the characters, so the message can come through more clearly. That’s why I try to present the text as plainly and neutrally as possible, so the audience can – if they wish – pick out the themes for themselves.’

  Maarten, how do you want to portray Macheath?
  Maarten: ‘Macheath is a ruthless murderer, a charming criminal, and sometimes a bit of a fool. He gets thrown in jail, escapes, then lands back there again because he needs validation from a woman. That complexity is what makes the role so much fun to play. When things contradict or rub up against each other, that’s when it becomes truly interesting for me.’
  

  What do you both think of Weill’s eclectic music?
  Servé: ‘I think it’s fantastic! The lyrics are sharp, cheeky, brutal, even grotesque – but the music itself has something comforting and full about it. That combination is absolutely brilliant.’
  Maarten: ‘I don’t find the music beautiful in a conventional sense – it’s a bit eerie… circus-like, playful. And it’s funny, too – at least, I think so.’
  

  How do you hope the audience will feel as they leave the theatre?
  Maarten: ‘I hope they’ll be whistling the melodies on their way out. Any moral lessons they take away will probably surface later on, subconsciously – but not right then and there. That’s not how theatre works, in my view.’
  Servé: ‘This piece is funny, but it actually shows a rotten world. We see a society where everyone wants to make things better for themselves – not, or even at the expense of, others. How much more relevant can you get? The Threepenny Opera gives a dystopian vision of what happens when civilisation becomes over-civilised. But I don’t make political theatre. And The Threepenny Opera will never shove its message down your throat. It offers you glorious music, vivid characters, humour, sensuality… and a world that’s utterly broken. Do with that what you will.’

  Interview: Kyra Bertram

• New chairman and vice-chairman Supervisory Board

  4 July 202509:30 Comments Off on New chairman and vice-chairman Supervisory Board

  Opera Zuid is extremely pleased to announce that Ms Truze M. Lodder, business director of De Nederlandse Opera (now Nationale Opera & Ballet) for many years, has agreed to chair the Supervisory Board. As chairman, she will succeed Marc Heuvelmans, who will step down on 3 September due to having reached the maximum term. Another solid enrichment in the Supervisory Board is Mr Barry Braeken (director-director Weller Wonen Heerlen), who will assume the position of vice-chairman of the Supervisory Board.

  Truze M. Lodder (Oud-Beijerland, 1948)
  Truze Lodder was business director of De Nederlandse Opera from 1987 to 2012, and as such worked for many years with artistic director Pierre Audi (who sadly died far too young on 3 May this year). Together, they put De Nederlandse Opera on the international map, and their fruitful collaboration led to such unforgettable successes as the Monteverdi cycle, Wagner’s Der Ring des Nibelungen and Rêves d’un Marco Polo by Claude Vivier. Truze Lodder also held many supervisory and board positions, including at Donemus, the Van Gogh Museum, Opera Europa, Maastricht University, Nationale Jeugdorkesten Nederland, the Stedelijk Museum, Dutch Railways and Van Lanschot. Truze Lodder received several awards: she was, among others, appointed Commandeur in de Orde van Oranje Nassau and received the Frans Banninck Cocq Penning of the city of Amsterdam.

  Barry Braeken (Heerlen, 1975)
  Barry Braeken is a committed administrator with deep roots in Heerlen, who effectively uses his experience as a history and social studies teacher and as a civil servant at the Ministry of Education, Culture and Science. As a former alderman, he combines administrative experience with local involvement. Previously, he was expo manager at IBA Parkstad and played a key role in urban renewal. Barry Braeken has been managing director of Weller Wonen in Heerlen since 2021. Until 2024, he was chairman of the Supervisory Board at Via Zuid.

• Bluebeard’s Castle now on OperaVision

  13 May 202514:02 Comments Off on Bluebeard’s Castle now on OperaVision

  Bluebeard’s Castle (Opera of the Year 2024) by Béla Bartók can be seen on the streaming platform OperaVision!

  Béla Bartók’s opera is a psychological thriller about how much truth love can endure. The musical piece tells the story of Judith who marries the mysterious Bluebeard. In her desire to get to know him, she cannot contain her curiosity. The overwhelming music, in which the Hungarian composer masterfully pulls open all the stops of the orchestra, does the rest.

  ‘Bluebeard’s Castle is about getting to know each other, wanting to know everything about each other and how that can lead to having to reveal parts of your inner self that you would prefer to keep secret from the other, maybe even from yourself.’ – director Kenza Koutchoukali

  ‘Bartók’s music is human, honest and direct’ – musical director Duncan Ward

  Enjoy (once again) this impressive opera with top soloists Thomas Oliemans and Deirdre Angenent, directed by Kenza Koutchoukali and conducted by Duncan Ward, who has his Philzuid as the third character to shine on stage.

  Bluebeard’s Castle can be seen on operavision.eu until November 9, 2025, 12.

• Die Dreigroschenoper continues!

  25 April 202517:35 Comments Off on Die Dreigroschenoper continues!

  With the opening production of season 2025/2026 – Die Dreigroschenoper (Kurt Weill & Bertolt Brecht) – Opera Zuid enters into a unique collaboration with a number of performing arts organisations from the Southern Netherlands. Theatre aan het Vrijthof, Opera Zuid, Toneelgroep Maastricht, Philzuid and PLT Theaters are joining forces to develop this shimmering musical theatre work, which focuses on both socio-artistic objectives and a new interpretation of Brecht’s and Weill’s work.

  As a BIS institution for the Culture Note period 2025-2028, Opera Zuid will receive less funding from the central government than advised by the Council for Culture and will therefore also have an underfunded subsidy base from the BIS for the next four years. Die Dreigroschenoper is therefore partly made possible by cooperation with the partners and by additional funding from decentralised authorities, sponsors and private funds: the Provinces of Limburg and North Brabant, the Municipality of Maastricht, André and Marjorie Rieu, the VSB Fund, Cultuurfonds, the Gubbels-Huijnen Foundation and Stichting Kanunnik Salden/Nieuwenhof. Most of the additional funding is in place. Pending the finalisation of the fundraising campaign, the Friends of Philzuid Foundation guarantees the continuation of Die Dreigroschenoper by means of a bridging loan.

  Early ticket sales for the performances at Theater aan het Vrijthof, Parktheater Eindhoven and PLT Theatres will start on Tuesday 29 April.