EXPOSITIE ALBERT TROOST

Category Archive:News

• 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

• Orphée aux Enfers canceled during Opera op de Parade

  29 June 202317:38 Comments Off on Orphée aux Enfers canceled during Opera op de Parade

  With a lot of pain in our hearts we have to inform you that the last performance of Orphée aux Enfers tonight during Opera op de Parade in ‘s-Hertogenbosch is canceled due to bad weather conditions. Unfortunately, this brings our tour to an early end. From this place we would like to thank everyone who intended to come and see this beautiful spectacle for the last time. We hope to welcome you again soon.

• Youth ribbon for face of Buurt Opera Malpertuis

  13 June 202309:39 Leave a Comment

  Yesterday Dunya Jongen (11) received a youth ribbon from alderman Manon Fokke and children’s mayor Joost de Goeij in Stadhuis Maastricht for her contribution to Buurt Opera Malpertuis of Opera Zuid. Dunya is the face of the Neighborhood Opera Malpertuis 2022.

  Fokke: “Dunya is focused, driven, serious and respectful. The selection committee likes to see how Dunya is committed to society and all ages. She is a go-kart puller and takes other children with her. By being the face of Buuropera Malpertuis, she clearly indicates that she dares to be vulnerable at a young age and she is an example for other children.” The Limburger https://m.limburger.nl/cnt/dmf20230601_96089640

  And of course we totally agree! A big congratulations from us as well. We are very proud of Dunya.

  Buurt Opera Malpertuis is an initiative of Opera Zuid in collaboration with Conservatorium Maastricht, Trajekt and the Kunstketel and is made possible in part by CultuurmakersMaastricht, Fund for Cultural Participation, Municipality of Maastricht, Elisabeth Strouven Fund, Stichting Kanunnik Salden Nieuwenhof and the Oranje Fonds.

  > For more information go to operazuid.nl/bom

• Masterclass

  09:38 Leave a Comment

  On vocal techniques, style and interpretation in opera.

  Verdeeld tussen de dictiecoach die aandringt op ‘tekst!’, de leraar die adviseert ‘gewoon de klinkers te zingen’, de zangcoach die ‘core and sustain’ wil, de dirigent die ‘piano’ fluistert, en de regisseur die eist ‘ik wil emotie zien!’. Divided between the diction coach who insists on “lyrics!”, the teacher who advises “just sing the vowels”, the vocal coach who wants to “core and sustain”, the conductor who whispers “piano”, and the director who demands “I want see emotion!’.

  Chelsea Bonagura (vocal coach and soprano) and Lochlan Brown (conductor and répétiteur) regularly give masterclasses to make it clear that everyone is ultimately on the same wavelength, but only lost in terminology. ‘We believe that vocalism, language, music and interpretation are not rivals competing for your attention, but all complementary parts of the same beautiful opera puzzle, provided we have the right information and techniques.’

  If you are in Maastricht or nearby, come to Opera Zuid and, together with Lochlan Brown and Chelsea Bonagura, find an authentic, harmonious relationship between yourself, your voice and the expectations of professional opera houses. The masterclass will be held in English on June 10 at 11:00 am in the Malpertuis Studio of Opera Zuid.

  Send your CV and a video recording to masterclass@operazuid.nl before June 7th.

  Both Chelsea Bonagura and Lochlan Brown will participate in Mozart’s Der Schauspieldirektor next season at Opera Zuid.

• Interview Enrico Delamboye and Benjamin Prins about collaboration Orphée aux Enfers

  09:37 Leave a Comment

  Opera Zuid asked conductor Enrico Delamboye and director Benjamin Prins if they would like to stage Offenbach’s Orphée aux Enfers together. Their answer was as clear as it was enthusiastic; and whether they feel like it!

  What makes this opera typically Jacques Offenbach?

  Enrico: ‘Orphée aux Enfers is funny, lively, critical and it never gets boring.’

  Benjamin: ‘It’s smart entertainment. That’s in all the satirical jokes, but also in the use of different timelines. That makes it very clever. That is why we have placed it in a neoclassical framework. That provides the perfect basis for this non-chronological piece to talk about then and now.’

  There is a special role for dance in this opera…

  Benjamin: ‘Yes, just like in the original (which includes ballet), we deliberately chose to work with live dancers. They actually bring everything together; their bodies tell more than words in this case. They prove to be the glue between the music and the drama, which is not surprising, because this opera is all about dance! Eurydice is done being “the wife of”. She wants to become Bacchante, a dancer, an artist, a woman who chooses her own way of life.’

  A Bacchante? Benjamin: ‘In nineteenth-century France, everyone knew what the Bacchante stood for: she was the image of the popular, wild dance, free of rules. The Bacchantes were “followers” of the god Bacchus and he was the god of wine, of drunkenness, of a certain wildness and excess. The fact that Eurydice chooses that, chooses herself… everyone thinks something about that. But beware, there’s a little plot twist…!’

  Unlike directing, the music is prescribed. What can a conductor add to Offenbach’s music?

  Enrico: ‘His music is light as a feather and witty. Offenbach is about the things you don’t expect; you need perfect timing for that. To the audience, it should seem as if everything goes by itself and it is completely self-evident. And what do I add? Of course my musicality and my vision when it comes to language in relation to tempo, for example. But this music also needs a lot of liveliness, so all the fun and humor I have in me – not so difficult with this profession! – I put in music and conducting. I think the most important thing is that, without making a sound myself, I am the initiator of the music. I activate all musicians and give them the opportunity to bring the right energy and feeling into the music. After all, we have to do it together!’

  And how is that collaboration going between the two of you?

  Benjamin: ‘We actually came up with the whole concept together and we are still constantly fine-tuning. finetunen.’ Enrico: ‘Indeed, we greatly respect each other and help each other to solve musical or dramaturgical difficulties.’ Benjamin: ‘Yes, we work well together and trust each other. We have already discovered that with Fantasio (2019). We don’t make problems where there are none, no dramas: we look forward and upward! The music also helps with that, of course, it is so cheerful and positive, like champagne bubbles bubbling up. This music brings so much joy!’ Enrico: ‘ And we could all use that.’

  What’s your favorite moment in Orphée aux Enfers?

  Enrico: ‘If I really have to choose; the introduction. That is not a pompous overture in which you already hear all the themes of the evening pass by, as was common in those days. Orphée starts from scratch, with a clarinet, a small pastoral, a melody that develops, very surprising.’

  Benjamin: ‘To me that is the Protest of the Gods. Orphée aux Enfers was my first experience with musical theater as a child. When I saw all those adults having so much fun on that stage, I thought, wow, it can be really fun being an adult. Now, 30 years later, I hope that our performance can enchant visitors just as much.’

  Interview: Kyra Bertram

• Set designers Marloes and Wikke about Orphée aux Enfers

  09:37 Leave a Comment

  Designers Marloes van der Hoek and Wikke van Houwelingen are used to making their set designs as a duo. Ideas for this arise during museum visits, image research and brainstorming sessions, in their studio and at the kitchen table. This time it turned out differently; together with an entire artistic team, the basis for Orphée aux Enfers was laid while talking, at the table with director Benjamin Prins in Paris.

  Wikke: ‘Normally we read the script, talk to the director and – the two of us – get inspired, so we come up with ideas through associations.’

  Marloes: ‘But now, in Paris, we mostly talked; about Orphée aux Enfers, about what the work means, about the composer. Benjamin is a huge Offenbach connoisseur so it was very inspiring to hear from him. The composer was an innovator and inspirer in his time, socially critical as well. So then you want to know: how do we now relate to what he did? It is very interesting to see how you can take Offenbach’s thought to the present.’

  Wikke: ‘For example, Benjamin wanted to keep the pastoral classic at the beginning. Then it is our job to find out how we can build on that fact, how we can make it more our own and how we can break it open.’

  Marloes: ‘Yes, because we don’t want to reproduce Offenbach exactly. I found it very stimulating and challenging to research: can we give that classic starting point a twist so that it also feels modern?’

  Wikke: ‘I found that very inspiring! If you’re stuck in a kind of corset (just like Eurydice), how are you going to break out of that in your design? We hope that the public will be misled: that they think they see a traditional decor at the beginning, but at the end they walk out surprised. Because it’s not that classic, (laughing) we also call it our ultra-neoclassicism.’

  Wikke clarifies by describing what their design looks like: ‘The decor consists of 2D plates printed with prints, the colors have been made brighter and we have incorporated even more humour. So the initial decor looks classic, but if you look closely, you can already see and feel that breakout is announcing…’

  Marloes: ‘It is also just like the old theater in terms of performance; with all those changes, panels that come out and go to the side, very dynamic. But it’s kind of a parody of the classic. That is exactly what Offenbach himself does all the time, which is why we also feel free to play with it.” She continues: “That kind of play seems like a superficial play with shapes, but you can only do that because there is indeed a story behind it. There are many connections between when Offenbach wrote this and now; for example, that decadence, the rise of capitalism, they were already concerned about that at the time. That social criticism is just as good in this.’

  Wikke: ‘Of course, the exact message never comes across literally, but I do hope that people will feel the process of transformation. Just as the characters undergo a transformation, we transform the stage from beautiful and conventional to – ultimately – playful and free.’

  Interview: Kyra Bertram