Happy End (BOM 2025-2026)

Archive

• Happy End (BOM 2025-2026)

  7 May 202515:42 Comments Off on Happy End (BOM 2025-2026)

  

  Info

  Buurt Opera Malpertuis (BOM) is an opera by and for everyone, in which music and theatre bring together and connect people from Maastricht. Led by director Tamara Jongerden, vocal coach and assistant director Ginette Puylaert, musical director Tim Sabel and children’s rehearsal director Tim Stoter, local residents work together on a unique performance inspired by their own lives and experiences. That’s what makes BOM so special for musical director Tim Sabel: ‘Making art with your own stories, that’s great, isn’t it?’ Children’s rehearsal director Tim Stoter is impressed by what BOM does with participating children: ‘I’ve seen them all grow’.

  This year, the participants are creating a music-theatrical collage performance starring the music of Kurt Weill. More information on this latest production, titled Happy End, will follow soon.
  
  BOM performs Happy End on 21, 22 and 25 January 2026.

  The BOM is a collaboration between Opera Zuid, Conservatorium Maastricht, Trajekt and the Kunstketel and is made possible by Elisabeth Strouven Fonds.

  IN CONVERSATION WITH MUSICAL DIRECTOR TIM SABEL AND CHILDREN’S REHEARSAL DIRECTOR TIM STOTER

  What makes Buurt Opera Malpertuis so special?
  Tim Sabel: ‘The BOM performances are based on the words, movements, stories of the people who participate. They share their life experiences on stage, with each other and with the audience. That we make opera – art – out of that together, I find incredibly moving and special.’
  Tim Stoter: ‘I think it’s great that there’s a very friendly atmosphere at BOM and at the same time it’s incredibly professional. Apart from that, I mainly work with the children. I love noticing how they too find each other, regardless of their different backgrounds, ages and situations. I haven’t seen such a diverse group become so close so quickly.’

  How does that work; making a new opera with people with no opera experience?
  Tim Sabel: ‘We make a collage performance around a theme that comes from the group itself. We choose music together and build the story through personal conversations and stories, acting, singing and movement. The participants play themselves, which makes it personal, direct and sometimes confrontational.
  This year we are working mainly with music by the composer Kurt Weill. His work has an enormous eloquence, which fits well with BOM. We therefore work specifically on: what do you want to say, with what colour, with what intention, with what look in your eyes?’

  What does it mean for the participants to make music with (semi-)professionals?
  Tim Sabel: ‘The story they tell on stage – their own story – is lifted to a kind of next level to the max by the accompaniment of the musicians of the Maastricht Academy of Music. When, after months of rehearsals with only piano accompaniment, the live music of the ensemble joins in, everyone is enormously impressed. The musicians literally support and reinforce their singing, text, movement and story. The performance becomes real.’
  Tim Stoter: ‘And I believe it also gives a boost. You do feel like a star when there is a whole ensemble playing music behind you, while you are in the spotlight with your beautiful costume on, in a cool setting!’

  What does it do to children to participate in the neighbourhood opera?
  Tim Stoter: ‘It’s great to see how those kids grow. They come in with little to no theatre experience, so everything is new. In the beginning, the concept of an audience and a stage is still very elusive (Why do I have to sing in that direction? Why do I have to come up at that exact moment? Why can’t I just talk in the wings?), but once there is a real audience, everything falls into place. Every child develops, in his or her own way. Mega fun!’
  Tim Sabel: ‘Parents also notice a difference: children talk louder, are more confident. And at the end of the process, after the performances, their world collapses a little bit. No more BOM rehearsals?!’

  ---

  Tim Stoter: ‘Right! They were really sad when it was finished last year. The whole process of making theatre was a tremendous eye-opener for all the children. It’s a good thing we soon started the workshops and rehearsals again.’

  Tim Stoter: ‘Right! They were really sad when it was finished last year. The whole process of making theatre was a tremendous eye-opener for all the children. It’s a good thing we soon started the workshops and rehearsals again.’

  TICKETS

  Info

  Buurt Opera Malpertuis (BOM) is an opera by and for everyone, in which music and theatre bring together and connect people from Maastricht. Led by director Tamara Jongerden, vocal coach and assistant director Ginette Puylaert, musical director Tim Sabel and children’s rehearsal director Tim Stoter, local residents work together on a unique performance inspired by their own lives and experiences. That’s what makes BOM so special for musical director Tim Sabel: ‘Making art with your own stories, that’s great, isn’t it?’ Children’s rehearsal director Tim Stoter is impressed by what BOM does with participating children: ‘I’ve seen them all grow’.

  This year, the participants are creating a music-theatrical collage performance starring the music of Kurt Weill. More information on this latest production, titled Happy End, will follow soon.
  
  BOM performs Happy End on 21, 22 and 25 January 2026.

  The BOM is a collaboration between Opera Zuid, Conservatorium Maastricht, Trajekt and the Kunstketel and is made possible by Elisabeth Strouven Fonds.

  IN CONVERSATION WITH MUSICAL DIRECTOR TIM SABEL AND CHILDREN’S REHEARSAL DIRECTOR TIM STOTER

  What makes Buurt Opera Malpertuis so special?
  Tim Sabel: ‘The BOM performances are based on the words, movements, stories of the people who participate. They share their life experiences on stage, with each other and with the audience. That we make opera – art – out of that together, I find incredibly moving and special.’
  Tim Stoter: ‘I think it’s great that there’s a very friendly atmosphere at BOM and at the same time it’s incredibly professional. Apart from that, I mainly work with the children. I love noticing how they too find each other, regardless of their different backgrounds, ages and situations. I haven’t seen such a diverse group become so close so quickly.’

  How does that work; making a new opera with people with no opera experience?
  Tim Sabel: ‘We make a collage performance around a theme that comes from the group itself. We choose music together and build the story through personal conversations and stories, acting, singing and movement. The participants play themselves, which makes it personal, direct and sometimes confrontational.
  This year we are working mainly with music by the composer Kurt Weill. His work has an enormous eloquence, which fits well with BOM. We therefore work specifically on: what do you want to say, with what colour, with what intention, with what look in your eyes?’

  What does it mean for the participants to make music with (semi-)professionals?
  Tim Sabel: ‘The story they tell on stage – their own story – is lifted to a kind of next level to the max by the accompaniment of the musicians of the Maastricht Academy of Music. When, after months of rehearsals with only piano accompaniment, the live music of the ensemble joins in, everyone is enormously impressed. The musicians literally support and reinforce their singing, text, movement and story. The performance becomes real.’
  Tim Stoter: ‘And I believe it also gives a boost. You do feel like a star when there is a whole ensemble playing music behind you, while you are in the spotlight with your beautiful costume on, in a cool setting!’

  What does it do to children to participate in the neighbourhood opera?
  Tim Stoter: ‘It’s great to see how those kids grow. They come in with little to no theatre experience, so everything is new. In the beginning, the concept of an audience and a stage is still very elusive (Why do I have to sing in that direction? Why do I have to come up at that exact moment? Why can’t I just talk in the wings?), but once there is a real audience, everything falls into place. Every child develops, in his or her own way. Mega fun!’
  Tim Sabel: ‘Parents also notice a difference: children talk louder, are more confident. And at the end of the process, after the performances, their world collapses a little bit. No more BOM rehearsals?!’

  ---

  Tim Stoter: ‘Right! They were really sad when it was finished last year. The whole process of making theatre was a tremendous eye-opener for all the children. It’s a good thing we soon started the workshops and rehearsals again.’

  Tim Stoter: ‘Right! They were really sad when it was finished last year. The whole process of making theatre was a tremendous eye-opener for all the children. It’s a good thing we soon started the workshops and rehearsals again.’

  TICKETS

  Cast

  Creatives

  Director	Tamara Jongerden and Ginette Puylaert
  Musical direction	Tim Sabel
  Singing coaching	Ginette Puylaert
  Children’s rehearsals	Tim Stoter
  Scenography	Nathalie Smeets
  Dramaturgy	Joep Hupperetz
  Costumes	Kostuumatelier Opera Zuid
  Production management	Kyra Bertram
  Social work	Manon Pachen (Trajekt)

  Media

  Pictures

  Video

  Partners

  

  

  

  

• Les Enfants Terribles

  2 May 202515:52 Comments Off on Les Enfants Terribles

  

  Info

  In Les Enfants Terribles Gérard tells the story of his friends, brother Paul and sister Lise, who live in their own fantasy world. Orphaned and dependent on each other, they spend their days in their room, where they play the ‘game’. Gérard is Paul and Lise’s only friend and link to the outside world. As they grow older, their intense bond becomes increasingly destructive. When it becomes too oppressive for Lise, she starts working as a model and meets Agathe there. What started as a childish fantasy grows into a web in which everyone becomes entangled.

  Four singers, an actor and three pianos. That’s all it takes to tell a gripping story about the driving, transcendent and sometimes destructive power of imagination.

  Philip Glass’ chamber opera Les Enfants Terribles Philip Glass’ is based on the 1929 novel of the same name by French poet, writer and filmmaker Jean Cocteau. The music is, in the words of director Béatrice Lachaussée, ‘enchanting, fascinating, hypnotic, sometimes cheerful and sometimes oppressive’. Glass is known for his repetitive minimal music. In Les Enfants Terribles, this music immediately evokes strong images. For Lachaussée, the music describes life, which just keeps going on and on, with ups and downs. There is no escape: once you get on that carousel, you have to finish the ride…

  Thanks to her love for the imaginary art world of Cocteau and her great visual imagination, Lachaussée is the director for Les Enfants Terribles. She previously directed Cocteau’s La Voix Humaine (2020) for Opera Zuid, and the family opera Een lied voor de maan (2021/2023). This time she is working with scenographer Jorine van Beek. Together they create a stage design in which the young singers of the National Opera Studio can bring the dark fantasy world of Les Enfants Terribles to life.

  Les Enfants Terribles is a co-production of Opera Zuid, De Nationale Opera and the Nederlandse Reisopera, and thus part of the collaboration between the three opera companies to stimulate talent development.

  Enter the mesmerizing world of Les Enfants Terribles where fantasy and reality become indistinguishable.

  Les Enfants Terribles lasts ninety-five minutes and is sung in French, with Dutch and English surtitles.

  INTERVIEW WITH DIRECTOR BÉATRICE LACHAUSSÉE

  What is Les Enfants Terribles by Philip Glass about for you?
  ‘The opera is based on the book of the same name by Jean Cocteau and is a parable about the dangers of a relationship that is too close. It is about Paul and Elisabeth (Lise) – brother and sister – who threaten to suffocate each other, but at the same time find it very difficult to welcome a stranger into their world. The music by Philip Glass is fascinating and enchanting, like an uninterrupted stream – like a river – with currents of excitement and tension. The music supports the core of the story, which is very dark. At the same time, there are childlike and cheerful moments and the music evokes very strong images. For me, the music describes life, which just keeps going on and on, with ups and downs. From the first to the last note, the opera is like a carousel that, once you get on, you can’t get off and you go on a hypnotic ride.’

  Les Enfants Terribles by Jean Cocteau has been your favorite for years, why?
  ‘Cocteau is one of my favorite artists. Les Enfants Terribles is one of his most famous works; I have devoured this book since I was seventeen. I find it so special how he reflects the complexity of the human psyche. That makes his work very human and at the same time perfect for opera. There are so many layers to his characters. His work is also very cinematic and creates an enormously strong imaginative world, which I love very much.’

  Where does this love for imagination and creativity come from?
  ‘Because of what I experienced at a young age, I looked for a way to express myself. As a child, I danced, sang and wrote a lot. Because I had no words for my feelings, it became vital for me to express myself in a poetic way. Music helped me with that. In this way, I created a safe place where I could delve into my own creativity to my heart’s content. I wish the same feeling for the people who see my performances; that they are inspired to let their own imagination work for them. I think opera is the perfect form for that. Thanks to my very first opera experience – Die Zauberflöte in a circus tent – I have never seen opera as something elitist, but as an art in which all forms of creativity come together. I want to recreate the intimacy and freshness that I experienced then with every production that I make.’

  What else do you hope to achieve with your direction of Les Enfants Terribles?
  ‘I want to tell an inspiring story in a poetic way, but I am also increasingly interested in the link between art and the needs of society. The theme of a ‘stranger’ who tries to belong to the group can be recognized from everyday life, but of course also in politics. I would find it interesting to encourage the audience to think about this theme in a more philosophical way. How we can enrich and broaden our lives by allowing new influences, by evolving through change and together achieving something even more beautiful. Because there is – I think – a great need to recreate a sense of connection between people, a sense of connection that transcends social and cultural boundaries.
  Although I do not want to be judgmental or didactic; my intention is to create an enchanting performance that inspires people so much that they might want to come and see it two or three times to discover new nuances each time.’

  TICKETS

  Info

  In Les Enfants Terribles Gérard tells the story of his friends, brother Paul and sister Lise, who live in their own fantasy world. Orphaned and dependent on each other, they spend their days in their room, where they play the ‘game’. Gérard is Paul and Lise’s only friend and link to the outside world. As they grow older, their intense bond becomes increasingly destructive. When it becomes too oppressive for Lise, she starts working as a model and meets Agathe there. What started as a childish fantasy grows into a web in which everyone becomes entangled.

  Four singers, an actor and three pianos. That’s all it takes to tell a gripping story about the driving, transcendent and sometimes destructive power of imagination.

  Philip Glass’ chamber opera Les Enfants Terribles Philip Glass’ is based on the 1929 novel of the same name by French poet, writer and filmmaker Jean Cocteau. The music is, in the words of director Béatrice Lachaussée, ‘enchanting, fascinating, hypnotic, sometimes cheerful and sometimes oppressive’. Glass is known for his repetitive minimal music. In Les Enfants Terribles, this music immediately evokes strong images. For Lachaussée, the music describes life, which just keeps going on and on, with ups and downs. There is no escape: once you get on that carousel, you have to finish the ride…

  Thanks to her love for the imaginary art world of Cocteau and her great visual imagination, Lachaussée is the director for Les Enfants Terribles. She previously directed Cocteau’s La Voix Humaine (2020) for Opera Zuid, and the family opera Een lied voor de maan (2021/2023). This time she is working with scenographer Jorine van Beek. Together they create a stage design in which the young singers of the National Opera Studio can bring the dark fantasy world of Les Enfants Terribles to life.

  Les Enfants Terribles is a co-production of Opera Zuid, De Nationale Opera and the Nederlandse Reisopera, and thus part of the collaboration between the three opera companies to stimulate talent development.

  Enter the mesmerizing world of Les Enfants Terribles where fantasy and reality become indistinguishable.

  Les Enfants Terribles lasts ninety-five minutes and is sung in French, with Dutch and English surtitles.

  INTERVIEW WITH DIRECTOR BÉATRICE LACHAUSSÉE

  What is Les Enfants Terribles by Philip Glass about for you?
  ‘The opera is based on the book of the same name by Jean Cocteau and is a parable about the dangers of a relationship that is too close. It is about Paul and Elisabeth (Lise) – brother and sister – who threaten to suffocate each other, but at the same time find it very difficult to welcome a stranger into their world. The music by Philip Glass is fascinating and enchanting, like an uninterrupted stream – like a river – with currents of excitement and tension. The music supports the core of the story, which is very dark. At the same time, there are childlike and cheerful moments and the music evokes very strong images. For me, the music describes life, which just keeps going on and on, with ups and downs. From the first to the last note, the opera is like a carousel that, once you get on, you can’t get off and you go on a hypnotic ride.’

  Les Enfants Terribles by Jean Cocteau has been your favorite for years, why?
  ‘Cocteau is one of my favorite artists. Les Enfants Terribles is one of his most famous works; I have devoured this book since I was seventeen. I find it so special how he reflects the complexity of the human psyche. That makes his work very human and at the same time perfect for opera. There are so many layers to his characters. His work is also very cinematic and creates an enormously strong imaginative world, which I love very much.’

  Where does this love for imagination and creativity come from?
  ‘Because of what I experienced at a young age, I looked for a way to express myself. As a child, I danced, sang and wrote a lot. Because I had no words for my feelings, it became vital for me to express myself in a poetic way. Music helped me with that. In this way, I created a safe place where I could delve into my own creativity to my heart’s content. I wish the same feeling for the people who see my performances; that they are inspired to let their own imagination work for them. I think opera is the perfect form for that. Thanks to my very first opera experience – Die Zauberflöte in a circus tent – I have never seen opera as something elitist, but as an art in which all forms of creativity come together. I want to recreate the intimacy and freshness that I experienced then with every production that I make.’

  What else do you hope to achieve with your direction of Les Enfants Terribles?
  ‘I want to tell an inspiring story in a poetic way, but I am also increasingly interested in the link between art and the needs of society. The theme of a ‘stranger’ who tries to belong to the group can be recognized from everyday life, but of course also in politics. I would find it interesting to encourage the audience to think about this theme in a more philosophical way. How we can enrich and broaden our lives by allowing new influences, by evolving through change and together achieving something even more beautiful. Because there is – I think – a great need to recreate a sense of connection between people, a sense of connection that transcends social and cultural boundaries.
  Although I do not want to be judgmental or didactic; my intention is to create an enchanting performance that inspires people so much that they might want to come and see it two or three times to discover new nuances each time.’

  TICKETS

  Cast

  Elisabeth (Lise)	Soprano from the DNO Studio
  Paul	Bass-baritone from the DNO Studio
  Gérard	Tenor from the DNO Studio
  Dargelos/Agathe	Mezzosoprano from the DNO Studio
  Pianists	t.b.a.

  Creatives

  Direction	Béatrice Lachaussée
  Set- & costume design	Jorine van Beek
  Light design	Glenn D’Haenens
  Light design	Cor van den Brink
  Dramaturgy & direction assistant	Joep Hupperetz

  

  Béatrice
  Lachaussée

  Direction

  Website

  

  Jorine
  van Beek

  Set- & costume design

  

  Glenn
  D’Haenens

  Light design

  

  Cor
  van den Brink

  Light design

  Website

  

  Joep
  Hupperetz

  Dramaturgy & direction assistant

  Website

  Media

  Photo

  Video

  Partners

  

  

  

• Die Dreigroschenoper

  28 April 202513:10 Comments Off on Die Dreigroschenoper

  

  Info

  Die Dreigroschenoper is a play with music in a prologue and eight scenes based on The Beggar’s Opera by John Gay, by Bertolt Brecht (text) and Kurt Weill (music) in collaboration with Elisabeth Hauptmann.

  Die Dreigroschenoper is titillating entertainment that challenges the audience to look critically at society and morality. Kurt Weill and Bertolt Brecht wrote this satirical play with music, which is full of social criticism, in 1928. Almost a hundred years later, the work is still as sharp and topical.

  Die Dreigroschenoper is about the cunning gangster Macheath, played by actor/singer Maarten Heijmans, who marries the daughter of the beggar king, Polly Peachum (Maartje Rammeloo). Father Peachum (Huub Claessens) tries to get Macheath sentenced to death in order to maintain his power. Betrayal, corruption and bribery show how this (under)world works. The opera begins with the world-famous Die Moritat von Mackie Messer and ends with a cynical deus ex machina, or an unexpected denouement.

  Kurt Weill’s iconic music explores the boundaries of musical theatre. In Die Dreigroschenoper, classical, cabaret, jazz and chanson merge into a timeless and unique experience. ‘Weill composes in an indefinable musical style; it can rightly be called a connecting work of art’, says the Limburg and internationally renowned conductor Enrico Delamboye about this.

  Die Dreigroschenoper stimulates and confronts in a dynamic, highly artistic way. ‘The music sounds – in a positive sense – unpolished, a bit raw and sometimes almost attacking. The connection between text and music also has a very strong theatrical effect. Like in the famous Mackie Messer: the sounds seduce, while the textual content sobers. That, and all those different styles require a very high degree of artistry, from all of us.’ according to Delamboye.

  Opera Zuid has chosen theatre man Servé Hermans to direct Die Dreigroschenoper. As artistic director of Toneelgroep Maastricht, he created and directed numerous successful theatre pieces. He also directed the spectacular musicals Dagboek van een herdershond and Het was Zondag in het Zuiden. With Die Dreigroschenoper, he makes his debut as an opera director. ‘I find it interesting that it is such a social and topical piece. In Die Dreigroschenoper, the power lies with a few people, in a society in which the vast majority is needy. Compare that to the times in which we live.’ According to Servé Hermans, the opera shows ‘a unique, autonomous world – recognisable, but not an environment in which the theatre audience moves every day.’ The absurd, ironic situations hold up a mirror to us. How does Macheaths world relate to our own society? And who are we actually laughing at?
  
  Die Dreigroschenoper is a play with music in one prologue and eight scenes based on The Beggar’s Opera by John Gay, by Bertolt Brecht (text) and Kurt Weill (music) in collaboration with Elisabeth Hauptmann.

  Die Dreigroschenoper lasts approximately two and a half hours including intermission and is sung in German, with Dutch dialogues and Dutch and English surtitles.

  IN CONVERSATION WITH DIRECTOR SERVÉ HERMANS AND MUSICAL MANAGER ENRICO DELAMBOYE

  Servé, directing opera was a long-cherished dream of yours. Why did you choose Die Dreigroschenoper? Servé: ‘I find it interesting because it is such a social piece. But the work also touches very much on the present day. In Die Dreigroschenoper, the power lies with a few people, in a society in which the vast majority is needy. Compare that to the era in which we live. I find it interesting to perform this piece, although I do not want to colour anything in for the audience. People are allowed to make their own connections.’
  Enrico: ‘That is why our Dreigroschen is detached from time and place.’
  Servé: ‘Exactly, we are letting go of the original Victorian London and creating our own world that does not fit into a frame of reference that you and I know. We will recognise it, but it is not the world in which the audience in the theatre naturally moves.’

  Bertolt Brecht created epic theatre with Die Dreigroschenoper, according to himself. What does that mean?
  Servé: ‘Epic theatre is a narrative theatre style that encourages the audience to experience the performance more with their head than with their heart. An important part of this is the Verfremdungseffekt, the alienation effect. These are techniques that actors and directors use to make it clear to the audience that they are watching theatre. The spectator is therefore challenged to think and to mirror the events to their own situation. In addition, Die Dreigroschenoper is a theatre piece that shows two sides of the same coin; the theatre and the commentary on theatre, a society and the commentary on that society. The piece is in no way intended to be emotionally involved, although there is a lot of humour in it. It uses sarcasm, irony, absurdism, self-mockery, a desire to play, a desire to make theatre. It is a sensually stimulating performance that is sharp in its content and should shake people awake.’

  How do we hear this irony and sharp content in Kurt Weill’s music? Enrico: ‘First of all in the striking orchestration; you don’t hear romantic violins but instruments that are not standard in a classical orchestra, such as a folk guitar, a banjo and saxophones supplemented with grinding trombones next to the ‘normal’ cello and double bass. In addition, Weill writes many punctuated rhythms. The music sounds – in a positive sense – unpolished, a bit raw and sometimes almost attacking. Weill composed in an elusive musical style; he used influences from jazz, chansons, classical music, cabaret and ballads. It can rightly be called a connecting work of art, because he forges one whole from all those different styles.’
  Servé: ‘At the same time, Weill’s often warm, round melodies contrast with Brecht’s rather gruesome lyrics about murder and manslaughter. Because of this, there is always a discrepancy between what the music does to you and what is said in terms of textual content. Nothing is what it seems. You remain on the edge of your seat to discover; what does this piece want, what does this music want to tell me?’
  Enrico: ‘The connection between text and music has a very strong theatrical effect. That, and all those different styles require a very high degree of artistry, from all of us.’

  Who is this performance suitable for? Enrico: ‘For anyone with an open mind who does not shy away from the arts!’
  Servé: ‘For anyone who is prepared to get on that train. Look, if you remain standing on the platform with a sour face, then it will be difficult… but if you let yourself be carried away, then with Die Dreigroschenoper you will have a lustful, sensible, meaningful, witty, ironic, inspiring, tasty evening.’

  TICKETS

  Info

  Die Dreigroschenoper is a play with music in a prologue and eight scenes based on The Beggar’s Opera by John Gay, by Bertolt Brecht (text) and Kurt Weill (music) in collaboration with Elisabeth Hauptmann.

  Die Dreigroschenoper is titillating entertainment that challenges the audience to look critically at society and morality. Kurt Weill and Bertolt Brecht wrote this satirical play with music, which is full of social criticism, in 1928. Almost a hundred years later, the work is still as sharp and topical.

  Die Dreigroschenoper is about the cunning gangster Macheath, played by actor/singer Maarten Heijmans, who marries the daughter of the beggar king, Polly Peachum (Maartje Rammeloo). Father Peachum (Huub Claessens) tries to get Macheath sentenced to death in order to maintain his power. Betrayal, corruption and bribery show how this (under)world works. The opera begins with the world-famous Die Moritat von Mackie Messer and ends with a cynical deus ex machina, or an unexpected denouement.

  Kurt Weill’s iconic music explores the boundaries of musical theatre. In Die Dreigroschenoper, classical, cabaret, jazz and chanson merge into a timeless and unique experience. ‘Weill composes in an indefinable musical style; it can rightly be called a connecting work of art’, says the Limburg and internationally renowned conductor Enrico Delamboye about this.

  Die Dreigroschenoper stimulates and confronts in a dynamic, highly artistic way. ‘The music sounds – in a positive sense – unpolished, a bit raw and sometimes almost attacking. The connection between text and music also has a very strong theatrical effect. Like in the famous Mackie Messer: the sounds seduce, while the textual content sobers. That, and all those different styles require a very high degree of artistry, from all of us.’ according to Delamboye.

  Opera Zuid has chosen theatre man Servé Hermans to direct Die Dreigroschenoper. As artistic director of Toneelgroep Maastricht, he created and directed numerous successful theatre pieces. He also directed the spectacular musicals Dagboek van een herdershond and Het was Zondag in het Zuiden. With Die Dreigroschenoper, he makes his debut as an opera director. ‘I find it interesting that it is such a social and topical piece. In Die Dreigroschenoper, the power lies with a few people, in a society in which the vast majority is needy. Compare that to the times in which we live.’ According to Servé Hermans, the opera shows ‘a unique, autonomous world – recognisable, but not an environment in which the theatre audience moves every day.’ The absurd, ironic situations hold up a mirror to us. How does Macheaths world relate to our own society? And who are we actually laughing at?
  
  Die Dreigroschenoper is a play with music in one prologue and eight scenes based on The Beggar’s Opera by John Gay, by Bertolt Brecht (text) and Kurt Weill (music) in collaboration with Elisabeth Hauptmann.

  Die Dreigroschenoper lasts approximately two and a half hours including intermission and is sung in German, with Dutch dialogues and Dutch and English surtitles.

  IN CONVERSATION WITH DIRECTOR SERVÉ HERMANS AND MUSICAL MANAGER ENRICO DELAMBOYE

  Servé, directing opera was a long-cherished dream of yours. Why did you choose Die Dreigroschenoper? Servé: ‘I find it interesting because it is such a social piece. But the work also touches very much on the present day. In Die Dreigroschenoper, the power lies with a few people, in a society in which the vast majority is needy. Compare that to the era in which we live. I find it interesting to perform this piece, although I do not want to colour anything in for the audience. People are allowed to make their own connections.’
  Enrico: ‘That is why our Dreigroschen is detached from time and place.’
  Servé: ‘Exactly, we are letting go of the original Victorian London and creating our own world that does not fit into a frame of reference that you and I know. We will recognise it, but it is not the world in which the audience in the theatre naturally moves.’

  Bertolt Brecht created epic theatre with Die Dreigroschenoper, according to himself. What does that mean?
  Servé: ‘Epic theatre is a narrative theatre style that encourages the audience to experience the performance more with their head than with their heart. An important part of this is the Verfremdungseffekt, the alienation effect. These are techniques that actors and directors use to make it clear to the audience that they are watching theatre. The spectator is therefore challenged to think and to mirror the events to their own situation. In addition, Die Dreigroschenoper is a theatre piece that shows two sides of the same coin; the theatre and the commentary on theatre, a society and the commentary on that society. The piece is in no way intended to be emotionally involved, although there is a lot of humour in it. It uses sarcasm, irony, absurdism, self-mockery, a desire to play, a desire to make theatre. It is a sensually stimulating performance that is sharp in its content and should shake people awake.’

  How do we hear this irony and sharp content in Kurt Weill’s music? Enrico: ‘First of all in the striking orchestration; you don’t hear romantic violins but instruments that are not standard in a classical orchestra, such as a folk guitar, a banjo and saxophones supplemented with grinding trombones next to the ‘normal’ cello and double bass. In addition, Weill writes many punctuated rhythms. The music sounds – in a positive sense – unpolished, a bit raw and sometimes almost attacking. Weill composed in an elusive musical style; he used influences from jazz, chansons, classical music, cabaret and ballads. It can rightly be called a connecting work of art, because he forges one whole from all those different styles.’
  Servé: ‘At the same time, Weill’s often warm, round melodies contrast with Brecht’s rather gruesome lyrics about murder and manslaughter. Because of this, there is always a discrepancy between what the music does to you and what is said in terms of textual content. Nothing is what it seems. You remain on the edge of your seat to discover; what does this piece want, what does this music want to tell me?’
  Enrico: ‘The connection between text and music has a very strong theatrical effect. That, and all those different styles require a very high degree of artistry, from all of us.’

  Who is this performance suitable for? Enrico: ‘For anyone with an open mind who does not shy away from the arts!’
  Servé: ‘For anyone who is prepared to get on that train. Look, if you remain standing on the platform with a sour face, then it will be difficult… but if you let yourself be carried away, then with Die Dreigroschenoper you will have a lustful, sensible, meaningful, witty, ironic, inspiring, tasty evening.’

  TICKETS

  Cast

  Macheath / Mackie Messer	Maarten Heijmans
  Macheath / Mackie Messer (*Speelt 6, 10, 12 en 14 december)	Michael Wilmering*
  Polly Peachum	Maartje Rammeloo
  Jonathan Jeremiah Peachum	Huub Claessens
  Celia Peachum	Lien Haegeman
  Tiger Brown	Marcel van Dieren
  Nikki Treurniet	Lucy Brown
  Lucie van Ree	Die Spelunken-Jenny
  Kikki Géron	Ein Moritatensänger
  Jacques de Faber	Hakenfingerjakob
  Filch	Pim van Drunen
  Münzmatthias	Tim Stoter
  Orchestra	Philzuid

  

  Maarten
  Heijmans

  Macheath / Mackie Messer

  Website

  

  Michael
  Wilmering*

  Macheath / Mackie Messer (*Speelt 6, 10, 12 en 14 december)

  Website

  

  Maartje
  Rammeloo

  Polly Peachum

  Website

  

  Huub
  Claessens

  Jonathan Jeremiah Peachum

  

  Lien
  Haegeman

  Celia Peachum

  

  Marcel
  van Dieren

  Tiger Brown

  Website

  

  Lucy
  Brown

  Nikki Treurniet

  Website

  

  Die
  Spelunken-Jenny

  Lucie van Ree

  

  Ein
  Moritatensänger

  Kikki Géron

  Website

  

  Hakenfingerjakob

  Jacques de Faber

  Website

  

  Pim
  van Drunen

  Filch

  Website

  

  Tim
  Stoter

  Münzmatthias

  

  Philzuid

  Orchestra

  Website

  Creatives

  Musical director	Enrico Delamboye
  Director	Servé Hermans
  Set design	Amber Vandenhoeck
  Costume design	Lobke Houkes
  Light design	Uri Rapaport
  Dramaturgy	Joep Hupperetz
  Dramaturgy	Ludo Costongs
  Assistant musical direction & choir leader (*dirigeert 27 & 29 November)	Lochlan Brown*
  Assistant director	Margot van Deursen
  Assistant director	Roos Rol

  

  Enrico
  Delamboye

  Musical director

  

  Servé
  Hermans

  Director

  

  Amber
  Vandenhoeck

  Set design

  Website

  

  Lobke
  Houkes

  Costume design

  Website

  

  Uri
  Rapaport

  Light design

  Website

  

  Joep
  Hupperetz

  Dramaturgy

  Website

  

  Ludo
  Costongs

  Dramaturgy

  

  Lochlan
  Brown*

  Assistant musical direction & choir leader (*dirigeert 27 & 29 November)

  Website

  

  Margot
  van Deursen

  Assistant director

  

  Roos
  Rol

  Assistant director

  Media

  Photo

  

  

  

  

  

  

  

  

  

  

  

  Video

  Partners

  

  

  

  

  

• L’Étoile

  18 April 202514:07 Comments Off on L’Étoile

  

  Info

  Every year, King Ouf I looks forward to his self-invented birthday present: to have a random subject executed. This year, the choice falls on the brazen peddler Lazuli. However, court astrologer Siroco warns the king: Ouf’s star is closely linked to that of Lazuli. So if he dies, Ouf dies. Of course, the majesty does not let that happen: Lazuli’s life is protected at all costs. He is pampered and is eventually even allowed to marry the princess!

  This absurd fact forms the basis of L’Étoile: a witty, socially critical opera. This Opéra Bouffe tacks between light comedy, black humor and sharp satire. Chabrier’s music is as surprising as the plot: a playful mix of sparkling melodies, impressionistic tones and subliminal darkness, in which the influence of Jacques Offenbach resonates and even points to Kurt Weill. With musical inventions such as a ‘tickle trio’ and a ‘sneeze aria’, Chabrier perfectly captures the madness of power and human foolishness.
  
  Is L’Étoile a fairy tale? A political parody? Existential satire? It is all of these at once. In any case, it holds up a funhouse mirror to us, in which the arbitrariness of power, the madness of fate and the transience of existence are exposed in a shrewd manner.

  Director Matthew Eberhardt brings this unique story to life with great enthusiasm. He praises L’Étoile as ‘brilliant music theatre’. With his versatile experience in theatre and music theatre, he looks forward to introducing the audience to the bizarre and sometimes painfully familiar world of Chabrier’s first grand opera.

  Orchestra Philzuid provides the music in L’Étoile under the direction of the French conductor Nicolas Krüger.
  
  L’Étoile lasts approximately two and a half hours including intermission and is sung and spoken in French, with Dutch and English surtitles.

  IN CONVERSATION WITH DIRECTOR MATTHEW EBERHARDT

  Director Matthew Eberhardt can’t wait to immerse himself in the crazy, innovative and sometimes painfully familiar world of L’Étoile. He sees the relatively unknown Emmanuel Chabrier as an unconventional composer who made music the way he felt it; playful, immensely creative and full of surprises!

  What do you think L’Étoile is about?
  ‘First of all, I think L’Étoile is a wonderfully entertaining and also very accessible piece. It shows a world in which you initially recognize a lot, but which gradually becomes crazier and more bizarre. The journey that you experience as a spectator is very exciting, unpredictable, and funny, both because of the story and the music.’

  What do you think L’Étoile is about?
  ‘First of all, I think L’Étoile is a wonderfully entertaining and also very accessible piece. It shows a world in which you initially recognize a lot, but which gradually becomes crazier and more bizarre. The journey that you experience as a spectator is very exciting, unpredictable, and funny, both because of the story and the music.’

  The composer, Emmanuel Chabrier, is not such a well-known name to us. What does his music sound like?
  ‘His work is reminiscent of many composers and styles, such as Offenbach, Debussy, Ravel and Weill. But Chabrier definitely has his own fresh and unconventional approach. He is not afraid to let go of a style and in doing so creates his own unique musical style, which is full of surprises. His choral pieces, for example, are very action-oriented. They react immediately to what is happening in the scene at that moment. At the same time, his music is particularly refined and fragile. Opera can sometimes be a storm of sound, Chabrier’s work is more vulnerable, there is a lightness in it in a very exciting way.’

  Can you give an example of those surprises in music?
  ‘Chabrier had music lessons from an early age and liked to sit behind the piano. But he worked as a lawyer. In addition to his job at the Ministry of the Interior, he composed. Although he worked a lot with laws and regulations, he dared to tell his story in his music in a very creative way, without being too concerned with styles and conventions. For example, in L’Étoile there is a kissing quartet, a tickling trio and a sneezing aria…! How did you come up with that?’

  How did you actually get into opera?
  ‘As a child, I loved listening to music and imagining the stories that were being told and what they would look like. I started as a theatre director, but soon worked on musicals and then on opera. I think opera is such a beautiful art form because everyone works together. I find the way all the art disciplines come together and the many ways in which you can convey the content in opera endlessly fascinating!’

  TICKETS

  Info

  Every year, King Ouf I looks forward to his self-invented birthday present: to have a random subject executed. This year, the choice falls on the brazen peddler Lazuli. However, court astrologer Siroco warns the king: Ouf’s star is closely linked to that of Lazuli. So if he dies, Ouf dies. Of course, the majesty does not let that happen: Lazuli’s life is protected at all costs. He is pampered and is eventually even allowed to marry the princess!

  This absurd fact forms the basis of L’Étoile: a witty, socially critical opera. This Opéra Bouffe tacks between light comedy, black humor and sharp satire. Chabrier’s music is as surprising as the plot: a playful mix of sparkling melodies, impressionistic tones and subliminal darkness, in which the influence of Jacques Offenbach resonates and even points to Kurt Weill. With musical inventions such as a ‘tickle trio’ and a ‘sneeze aria’, Chabrier perfectly captures the madness of power and human foolishness.
  
  Is L’Étoile a fairy tale? A political parody? Existential satire? It is all of these at once. In any case, it holds up a funhouse mirror to us, in which the arbitrariness of power, the madness of fate and the transience of existence are exposed in a shrewd manner.

  Director Matthew Eberhardt brings this unique story to life with great enthusiasm. He praises L’Étoile as ‘brilliant music theatre’. With his versatile experience in theatre and music theatre, he looks forward to introducing the audience to the bizarre and sometimes painfully familiar world of Chabrier’s first grand opera.

  Orchestra Philzuid provides the music in L’Étoile under the direction of the French conductor Nicolas Krüger.
  
  L’Étoile lasts approximately two and a half hours including intermission and is sung and spoken in French, with Dutch and English surtitles.

  IN CONVERSATION WITH DIRECTOR MATTHEW EBERHARDT

  Director Matthew Eberhardt can’t wait to immerse himself in the crazy, innovative and sometimes painfully familiar world of L’Étoile. He sees the relatively unknown Emmanuel Chabrier as an unconventional composer who made music the way he felt it; playful, immensely creative and full of surprises!

  What do you think L’Étoile is about?
  ‘First of all, I think L’Étoile is a wonderfully entertaining and also very accessible piece. It shows a world in which you initially recognize a lot, but which gradually becomes crazier and more bizarre. The journey that you experience as a spectator is very exciting, unpredictable, and funny, both because of the story and the music.’

  What do you think L’Étoile is about?
  ‘First of all, I think L’Étoile is a wonderfully entertaining and also very accessible piece. It shows a world in which you initially recognize a lot, but which gradually becomes crazier and more bizarre. The journey that you experience as a spectator is very exciting, unpredictable, and funny, both because of the story and the music.’

  The composer, Emmanuel Chabrier, is not such a well-known name to us. What does his music sound like?
  ‘His work is reminiscent of many composers and styles, such as Offenbach, Debussy, Ravel and Weill. But Chabrier definitely has his own fresh and unconventional approach. He is not afraid to let go of a style and in doing so creates his own unique musical style, which is full of surprises. His choral pieces, for example, are very action-oriented. They react immediately to what is happening in the scene at that moment. At the same time, his music is particularly refined and fragile. Opera can sometimes be a storm of sound, Chabrier’s work is more vulnerable, there is a lightness in it in a very exciting way.’

  Can you give an example of those surprises in music?
  ‘Chabrier had music lessons from an early age and liked to sit behind the piano. But he worked as a lawyer. In addition to his job at the Ministry of the Interior, he composed. Although he worked a lot with laws and regulations, he dared to tell his story in his music in a very creative way, without being too concerned with styles and conventions. For example, in L’Étoile there is a kissing quartet, a tickling trio and a sneezing aria…! How did you come up with that?’

  How did you actually get into opera?
  ‘As a child, I loved listening to music and imagining the stories that were being told and what they would look like. I started as a theatre director, but soon worked on musicals and then on opera. I think opera is such a beautiful art form because everyone works together. I find the way all the art disciplines come together and the many ways in which you can convey the content in opera endlessly fascinating!’

  TICKETS

  Cast

  Ouf I	t.b.a.
  Lazuli	t.b.a.
  La Princesse Laloula	t.b.a.
  Siroco	t.b.a.
  Hérisson de Porc-Épic	t.b.a.
  Aloès	t.b.a.
  Tapioca	t.b.a.
  Choir	Theaterkoor Opera Zuid
  Orchestra	Philzuid

  Creatives

  Conductor	Nicolas Krüger
  Director	Matthew Eberhardt
  Set- & costume design	Zahra Mansouri
  Light design	n.t.b.
  Assistant Director	Nicole Morel

  

  Nicolas
  Krüger

  Conductor

  Website

  

  Matthew
  Eberhardt

  Director

  Website

  

  Zahra
  Mansouri

  Set- & costume design

  Website

  

  Nicole
  Morel

  Assistant Director

  Media

  Photos

  Video

• Atman! (8+)

  11 April 202515:36 Comments Off on Atman! (8+)

  

  Info

  What is your home? The place where you were born, where you live, where you have breakfast? Or is it a feeling inside? Can you be at home somewhere where you don’t live, for example by thinking of your mother or the cat dozing on the windowsill?

  Atman has lost his way to his home. Along the way he meets the strangest, nicest and most exciting people and experiences the most incredible adventures. But will he find what he is looking for?

  Ik weet niet wat je denkt.
  Ik weet niet wat je vindt.
  Is alles wat ik heb meegemaakt
  Bedacht door een merkwaardig kind
  Dat af en toe wat aandacht wil
  En daarom iets verzint?

  Master storyteller Bart Moeyaert and composer Leonard Evers wrote the brand new fairytale family opera Atman! (8+) about this search of a little boy for his home.

  Moeyaert about Atman!: ‘I felt the freedom to put music on paper. Music in the sense of text that is rhythmically musical, that rhymes or doesn’t, that is atonal – at least in my opinion.’ For Evers, music is the gateway to an unlimited world, where he meets styles, characters and sometimes himself. With just one accordionist and one singer, he manages to bring this adventurous story to life. The power of Atman lies in this purity. ‘I hope that the people in the audience will recognize something – a feeling – as if a light goes on somewhere. That is the challenge for me as a composer, to ensure that everything that is said and felt on stage is also felt by the audience.’

  Evers previously wrote the children’s opera Goud! for Opera Zuid and De Nationale Opera. Other operas by him are Odyssee and Kriebel (2+). Moeyaert has written children’s and youth books, poems, plays and scenarios. His work has been published in various languages. Atman is directed by Annemiek van Elst, who works for various national and international opera houses. At Opera Zuid, van Elst created and directed the staged Liederabend Eternal Road in 2022 about the life of composer Kurt Weill.

  Atman! is een coproductie met De Nationale Opera en Nederlandse Reisopera.

  Atman! lasts about one hour and is sung and spoken in Dutch.

  IN CONVERSATION WITH COMPOSER LEONARD EVERS AND LIBRETTIST BART MOEYAERT

  When writer Bart Moeyaert and composer Leonard Evers write, the work becomes part of their lives. For a moment, nothing else exists. Atman!, a (youth) opera in which a boy loses his home, is the latest project they are working on together. ‘If the children in the audience feel that they want to be part of the world that is taking place on stage, we have done well.’

  Atman! is a brand new opera. What is the story about?
  Leonard: ‘Atman! is about being lost, about searching for a home.’
  Bart: ‘What is home? A house with a t in front of it? The place where you were born, where you live, where you have breakfast? Or is it a feeling inside? Can you be at home somewhere where you don’t live, for example by thinking about your mother or the cat dozing on the windowsill?’
  Leonard: ‘Bart gives it a very poetic, fairytale-like interpretation.’

  And how will that sound?
  Leonard: ‘For me, music has always been the gateway to a very adventurous and limitless world. I see composing as a quest, in which I am open to many influences. The result is a report of an incredible experience in which I encounter all kinds of styles. I hope that the people in the audience will recognize something in my music, as if a light goes on somewhere. I try to achieve that by investigating how the character feels. How does an incredible craving for fries sound to me, for example? From there I start sketching and then I stay as close as possible to the rhythm of the language.’

  Do you want to convey a message to the audience?
  Bart: ‘I would like it if our audience thinks about: what is my home? That people reflect on what they experienced in the theatre afterwards.’
  Leonard: ‘The great thing about theatre is that as a spectator you end up in a world that you don’t know yet. But, in which – if all goes well – you do recognise things or feel something that you sometimes feel in real life. Theatre enables you to experience and feel things that you might not normally dare to do or hide away.’
  Bart: ‘In the theatre you agree: we are now going to believe what is happening and we are not going to explain it. Maybe tomorrow or in a week you will realise: oh, this was it, that is what it meant. I think that is fantastic about theatre.’
  Leonard: ‘Music helps you not to want to explain everything right away, but to first experience what is happening. That is the challenge for me as a composer, to ensure that everything that is said and felt on stage is also felt by the audience.’

  Is it different to make an opera for children?
  Bart: ‘I don’t write differently because it’s for children. I write with a voice. I hear the voice of a boy who is about eight years old. He’s going to tell the story. Sometimes there’s a four-syllable word in it. Oops! [laughing] But because of the other words around it, you can understand that word. This opera is for everyone!’
  Leonard: ‘I agree with that. But, for children, I compose even more sharply. Integrity in the music is even more important. I really have to be completely myself with children, otherwise they won’t fall for it. Of course, that has to be the case for adults too, but they don’t walk away during a performance to do something more interesting. A younger audience does!’
  Bart: ‘That reminds me of a performance of Die Zauberflöte that I saw in Frankfurt. A quarter of the audience were children, and it was the children who stripped the adults of their veneer. They stood on their chairs, pulled at their parents’ sleeves: look over there, listen! That solid atmosphere of ‘opera is serious’ was completely destroyed. That’s what I want.’
  Leonard: ‘During a performance of my show Kriebel, which I created together with Oorkaan, there was a little girl who walked onto the stage to dance with the dancer. Her mother immediately took her away. I thought that was such a shame! That’s exactly what you want, that your audience feels so attracted to that world that they think: I want to be in that, that’s where I belong.’
  Bart: ‘My text says something like: come closer, come to me.’

  So there will soon be 1 accordionist, 1 singer and no less than 100 children on stage who want to get involved?
  Leonard: ‘Yes, you must have that feeling! If I am not so involved in what is happening on stage, then something is wrong.’
  Bart: ‘Or I am so overwhelmed that I just let it in – with my mouth open. And then I will do something with it later. That is also nice.’

  TICKETS

  Info

  What is your home? The place where you were born, where you live, where you have breakfast? Or is it a feeling inside? Can you be at home somewhere where you don’t live, for example by thinking of your mother or the cat dozing on the windowsill?

  Atman has lost his way to his home. Along the way he meets the strangest, nicest and most exciting people and experiences the most incredible adventures. But will he find what he is looking for?

  Ik weet niet wat je denkt.
  Ik weet niet wat je vindt.
  Is alles wat ik heb meegemaakt
  Bedacht door een merkwaardig kind
  Dat af en toe wat aandacht wil
  En daarom iets verzint?

  Master storyteller Bart Moeyaert and composer Leonard Evers wrote the brand new fairytale family opera Atman! (8+) about this search of a little boy for his home.

  Moeyaert about Atman!: ‘I felt the freedom to put music on paper. Music in the sense of text that is rhythmically musical, that rhymes or doesn’t, that is atonal – at least in my opinion.’ For Evers, music is the gateway to an unlimited world, where he meets styles, characters and sometimes himself. With just one accordionist and one singer, he manages to bring this adventurous story to life. The power of Atman lies in this purity. ‘I hope that the people in the audience will recognize something – a feeling – as if a light goes on somewhere. That is the challenge for me as a composer, to ensure that everything that is said and felt on stage is also felt by the audience.’

  Evers previously wrote the children’s opera Goud! for Opera Zuid and De Nationale Opera. Other operas by him are Odyssee and Kriebel (2+). Moeyaert has written children’s and youth books, poems, plays and scenarios. His work has been published in various languages. Atman is directed by Annemiek van Elst, who works for various national and international opera houses. At Opera Zuid, van Elst created and directed the staged Liederabend Eternal Road in 2022 about the life of composer Kurt Weill.

  Atman! is een coproductie met De Nationale Opera en Nederlandse Reisopera.

  Atman! lasts about one hour and is sung and spoken in Dutch.

  IN CONVERSATION WITH COMPOSER LEONARD EVERS AND LIBRETTIST BART MOEYAERT

  When writer Bart Moeyaert and composer Leonard Evers write, the work becomes part of their lives. For a moment, nothing else exists. Atman!, a (youth) opera in which a boy loses his home, is the latest project they are working on together. ‘If the children in the audience feel that they want to be part of the world that is taking place on stage, we have done well.’

  Atman! is a brand new opera. What is the story about?
  Leonard: ‘Atman! is about being lost, about searching for a home.’
  Bart: ‘What is home? A house with a t in front of it? The place where you were born, where you live, where you have breakfast? Or is it a feeling inside? Can you be at home somewhere where you don’t live, for example by thinking about your mother or the cat dozing on the windowsill?’
  Leonard: ‘Bart gives it a very poetic, fairytale-like interpretation.’

  And how will that sound?
  Leonard: ‘For me, music has always been the gateway to a very adventurous and limitless world. I see composing as a quest, in which I am open to many influences. The result is a report of an incredible experience in which I encounter all kinds of styles. I hope that the people in the audience will recognize something in my music, as if a light goes on somewhere. I try to achieve that by investigating how the character feels. How does an incredible craving for fries sound to me, for example? From there I start sketching and then I stay as close as possible to the rhythm of the language.’

  Do you want to convey a message to the audience?
  Bart: ‘I would like it if our audience thinks about: what is my home? That people reflect on what they experienced in the theatre afterwards.’
  Leonard: ‘The great thing about theatre is that as a spectator you end up in a world that you don’t know yet. But, in which – if all goes well – you do recognise things or feel something that you sometimes feel in real life. Theatre enables you to experience and feel things that you might not normally dare to do or hide away.’
  Bart: ‘In the theatre you agree: we are now going to believe what is happening and we are not going to explain it. Maybe tomorrow or in a week you will realise: oh, this was it, that is what it meant. I think that is fantastic about theatre.’
  Leonard: ‘Music helps you not to want to explain everything right away, but to first experience what is happening. That is the challenge for me as a composer, to ensure that everything that is said and felt on stage is also felt by the audience.’

  Is it different to make an opera for children?
  Bart: ‘I don’t write differently because it’s for children. I write with a voice. I hear the voice of a boy who is about eight years old. He’s going to tell the story. Sometimes there’s a four-syllable word in it. Oops! [laughing] But because of the other words around it, you can understand that word. This opera is for everyone!’
  Leonard: ‘I agree with that. But, for children, I compose even more sharply. Integrity in the music is even more important. I really have to be completely myself with children, otherwise they won’t fall for it. Of course, that has to be the case for adults too, but they don’t walk away during a performance to do something more interesting. A younger audience does!’
  Bart: ‘That reminds me of a performance of Die Zauberflöte that I saw in Frankfurt. A quarter of the audience were children, and it was the children who stripped the adults of their veneer. They stood on their chairs, pulled at their parents’ sleeves: look over there, listen! That solid atmosphere of ‘opera is serious’ was completely destroyed. That’s what I want.’
  Leonard: ‘During a performance of my show Kriebel, which I created together with Oorkaan, there was a little girl who walked onto the stage to dance with the dancer. Her mother immediately took her away. I thought that was such a shame! That’s exactly what you want, that your audience feels so attracted to that world that they think: I want to be in that, that’s where I belong.’
  Bart: ‘My text says something like: come closer, come to me.’

  So there will soon be 1 accordionist, 1 singer and no less than 100 children on stage who want to get involved?
  Leonard: ‘Yes, you must have that feeling! If I am not so involved in what is happening on stage, then something is wrong.’
  Bart: ‘Or I am so overwhelmed that I just let it in – with my mouth open. And then I will do something with it later. That is also nice.’

  TICKETS

  Cast

  Vocals	Liza Vjera Lozica
  Vocals	Isabel Pronk
  Accordion	Robbrecht van Cauwenberghe
  Accordion	Kaat Vanhaverbeke

  

  Liza
  Vjera Lozica

  Vocals

  Website

  

  Isabel
  Pronk

  Vocals

  Website

  

  Robbrecht
  van Cauwenberghe

  Accordion

  Website

  

  Kaat
  Vanhaverbeke

  Accordion

  Website

  Creatives

  Composition	Leonard Evers
  Libretto	Bart Moeyaert
  Direction	Annemiek van Elst
  Set design	Douwe Hibma
  Costume design	Maartje Prins
  Light design	Timothy Jungblut
  Dramaturgy	Joep Hupperetz
  Dramaturgy	Wout van Tongeren

  

  Leonard
  Evers

  Composition

  Website

  

  Bart
  Moeyaert

  Libretto

  Website

  

  Annemiek
  van Elst

  Direction

  Website

  

  Douwe
  Hibma

  Set design

  Website

  

  Maartje
  Prins

  Costume design

  Website

  

  Joep
  Hupperetz

  Dramaturgy

  Website

  

  Wout
  van Tongeren

  Dramaturgy

  Website

  Media

  Photo

  Video

  Partners

  

  

  

• Hartwerk (BOM 2024)

  18 June 202413:52 Comments Off on Hartwerk (BOM 2024)

  “In five years, the Opera Malpertuis neighborhood has become a Maastricht audience favorite: ‘A place where I feel at home, these are my people'”

  > Interview De Limburger

  Hartwerk

  > Program booklet

  >

  

  Info

  ‘We create, with our own bare hands. We create, mangle, break, try and fix, our hearts.’

  For five years now, local residents have been bringing their stories and experiences to Opera Zuid’s stage in the BOM. Together with director Tamara Jongerden, vocal coach and co-director Ginette Puylaert, and musical director Tim Sabel – from Studio Malpertuis, Opera Zuid’s home base – they give a glimpse into their lives. To celebrate this fifth anniversary, the participants let their hearts speak and create – with heart and soul – a music-theatrical collage performance:

  Heartwork

  From their studios, the BOM-artists work on a project. They create art, but actually Heartwork is about things that are broken.

  There is always something to fix, patch up, or repair: the curtain rail, a broken clock, a cracked teapot, a broken bone or a broken heart.

  Heartwork is one big attempt to ‘fix’ things, with gold glue or with homemade haute couture creations. A group of youthful researchers keep an eye on the artists as they make, mole, break, try and fix.

  The anniversary performance focuses on the music of Giacomo Puccini (he died 100 years ago in 2024). In addition, Heartwork features music by Schumann, Ravel and others. The musical accompaniment is in the hands of an ensemble consisting of young, talented students of the Maastricht Academy of Music.

  The BOM is a collaboration between Opera Zuid, Conservatorium Maastricht, Trajekt and the Kunstketel and is made possible in part by Cultuurmakers Maastricht, Fonds voor Cultuurparticipatie and Gemeente Maastricht.

  The picture was taken during Blijft u aan de lijn (BOM 2023) by Bjorn Frins.

  IN CONVERSATION WITH VOCAL COACH AND CO-DIRECTOR GINETTE PUYLAERT

  What is special about Buurt Opera Malpertuis?

  ‘I find it insanely beautiful that BOM is a continuous interaction between local residents, musicians and artistic team, but also between people from different cultural backgrounds and between generations – from children to the elderly. Moreover, our performances are always about the people on stage and what they’ve got to say. We literally hear the voice of the people of Maastricht. Last season, one of the local residents told her personal story in dialect, which was so cool. You could feel the recognition in the audience; on the one hand because a personal story can be very recognisable for many people, but also because she spoke their ‘mother tongue’ and not Dutch, or Italian for instance, like in many operas. In addition, we always tell the story in several layers, so there is never just the (spoken or sung) word, but it is reinforced by movement and/or musical elements’.

  How do you create a Buurt Opera Malpertuis-show?

  ‘This goes very organically and with all participants together. We are often inspired by pieces of music participants suggest, or by coincidences during the making process or a previous season (such as the telephone from Blijft u aan de lijn, 2023). Once Tamara, Tim and I have chosen a theme from this, the joint experimentation phase follows; we talk, brainstorm and explore what exactly we want to say with the performance. Then we start working concretely on three parts. Among other things, I work with the local residents on the vocal pieces. Director Tamara works on the spoken texts and stage acting or improvisations. And Tim, the musical director, together with musicians from the conservatoire, creates the musical web that connects the whole performance.’

  What is the role of voice and singing at Buurt Opera Malpertuis?

  ‘The job of the creative team (Tamara, Tim and I) is to help local residents find their voices and stories. Together, we try to (re)discover the qualities and strengths hiding in them. If that succeeds, you get a very special performance, made entirely ‘their own’ together with the participants.

  In addition, people often discover something new in their voice; how to make more volume, but also, for example, that they are allowed to occupy space with their voice, speaking or singing. This applies equally to the children who participate. Parents tell that they see their child grow; that they dare to show themselves more, at school and at home.

  And it is nice to see the bond that develops between children, adults and conservatoire students. At one point, they all sit down to lunch together, like one big family. That, too, is the power of music in Buurt Opera Malpertuis.’

  ---

  TICKETS

  Info

  ‘We create, with our own bare hands. We create, mangle, break, try and fix, our hearts.’

  For five years now, local residents have been bringing their stories and experiences to Opera Zuid’s stage in the BOM. Together with director Tamara Jongerden, vocal coach and co-director Ginette Puylaert, and musical director Tim Sabel – from Studio Malpertuis, Opera Zuid’s home base – they give a glimpse into their lives. To celebrate this fifth anniversary, the participants let their hearts speak and create – with heart and soul – a music-theatrical collage performance:

  Heartwork

  From their studios, the BOM-artists work on a project. They create art, but actually Heartwork is about things that are broken.

  There is always something to fix, patch up, or repair: the curtain rail, a broken clock, a cracked teapot, a broken bone or a broken heart.

  Heartwork is one big attempt to ‘fix’ things, with gold glue or with homemade haute couture creations. A group of youthful researchers keep an eye on the artists as they make, mole, break, try and fix.

  The anniversary performance focuses on the music of Giacomo Puccini (he died 100 years ago in 2024). In addition, Heartwork features music by Schumann, Ravel and others. The musical accompaniment is in the hands of an ensemble consisting of young, talented students of the Maastricht Academy of Music.

  The BOM is a collaboration between Opera Zuid, Conservatorium Maastricht, Trajekt and the Kunstketel and is made possible in part by Cultuurmakers Maastricht, Fonds voor Cultuurparticipatie and Gemeente Maastricht.

  The picture was taken during Blijft u aan de lijn (BOM 2023) by Bjorn Frins.

  IN CONVERSATION WITH VOCAL COACH AND CO-DIRECTOR GINETTE PUYLAERT

  What is special about Buurt Opera Malpertuis?

  ‘I find it insanely beautiful that BOM is a continuous interaction between local residents, musicians and artistic team, but also between people from different cultural backgrounds and between generations – from children to the elderly. Moreover, our performances are always about the people on stage and what they’ve got to say. We literally hear the voice of the people of Maastricht. Last season, one of the local residents told her personal story in dialect, which was so cool. You could feel the recognition in the audience; on the one hand because a personal story can be very recognisable for many people, but also because she spoke their ‘mother tongue’ and not Dutch, or Italian for instance, like in many operas. In addition, we always tell the story in several layers, so there is never just the (spoken or sung) word, but it is reinforced by movement and/or musical elements’.

  How do you create a Buurt Opera Malpertuis-show?

  ‘This goes very organically and with all participants together. We are often inspired by pieces of music participants suggest, or by coincidences during the making process or a previous season (such as the telephone from Blijft u aan de lijn, 2023). Once Tamara, Tim and I have chosen a theme from this, the joint experimentation phase follows; we talk, brainstorm and explore what exactly we want to say with the performance. Then we start working concretely on three parts. Among other things, I work with the local residents on the vocal pieces. Director Tamara works on the spoken texts and stage acting or improvisations. And Tim, the musical director, together with musicians from the conservatoire, creates the musical web that connects the whole performance.’

  What is the role of voice and singing at Buurt Opera Malpertuis?

  ‘The job of the creative team (Tamara, Tim and I) is to help local residents find their voices and stories. Together, we try to (re)discover the qualities and strengths hiding in them. If that succeeds, you get a very special performance, made entirely ‘their own’ together with the participants.

  In addition, people often discover something new in their voice; how to make more volume, but also, for example, that they are allowed to occupy space with their voice, speaking or singing. This applies equally to the children who participate. Parents tell that they see their child grow; that they dare to show themselves more, at school and at home.

  And it is nice to see the bond that develops between children, adults and conservatoire students. At one point, they all sit down to lunch together, like one big family. That, too, is the power of music in Buurt Opera Malpertuis.’

  ---

  TICKETS

  Cast

  Zang en spel	Jacques de Faber, Martin Callejas Neyra, Dirk den Haan, Lian Heuts, Kitty Jacobs, Julise Kock, Joke de Mos, Ellie Peters, Els Schepers, Guillaume Stassen, Tara Velting, Anja Vrancken, Alice Weltens
  Kids	Asmae, Aya, David, Malak, Nikol, Nora, Romy, Sarah
  Flute	Lucia Soler Garcia
  Altosaxophone	Marie Haessen
  Altosaxophone	Jort Reijnders
  Baritonsaxophone	Afonso Cunha
  Baritonsaxophone	Maria Ruiz Orcera
  Percussion	Pablo Navarro Diez
  Harp	Anna Pilleroni
  Violin	Elena Vincifori Troili
  Viola	Maria Rimskaia
  Cello	Mara Giribaldi
  Repetitor (piano)	Zoe Liu

  Creatives

  Direction	Tamara Jongerden and Ginette Puylaert
  Musical leadership	Tim Sabel
  Singing coaching	Ginette Puylaert
  Repetitor children and stage-assistent	Tim Stoter
  Scenography	Nathalie Smeets and Lonneke Stomphorst
  Costumes	Costume atelier Opera Zuid
  Light design	MartinJan Gaasbeek
  Production manager	Kyra Bertram
  Social work	Manon Pachen (Trajekt)
  Sound engineer	Jannes Noorman
  Hair & grime	Leonne Welie

  Media

  “In five years, the Opera Malpertuis neighborhood has become a Maastricht audience favorite: ‘A place where I feel at home, these are my people'”

  Interview De Limburger

  Hartwerk

  Program booklet

  Pictures

  

  

  

  

  

  

  

  

  Video

  Partners

  

  

  

  

  

  

• Dido and Aeneas

  30 April 202416:15 Comments Off on Dido and Aeneas
  ‘Conductor Delaforge throws you into the story, even without sets’

  > Review Trouw

  ‘Pure joy at Dido and Aeneas’

  > Interview Luister Magazine

  ‘New generation of young singers gets plenty of opportunities in Purcell’s ‘Dido and Aeneas”

  > Interview with Edward Ananian-Cooper in Brabant Cultureel

  

  Info

  A new generation of opera singers will tour the Netherlands in a joint production by Opera Zuid, De Nationale Opera and the Nederlandse Reisopera with a Purcell program at the heart of which is the short opera Dido and Aeneas. This historically informed performance of music over three hundred years old is musically led by the young Baroque specialist Camille Delaforge.

  Based on Virgil’s Aeneid, Purcell created a moving drama about the Trojan hero Aeneas and his love affair with the Carthaginian Queen Dido, thwarted by witchcraft. While the sails of the boat on which Aeneas leaves Carthage disappear like dots on the horizon, Dido’s world-famous lament sounds. “Remember me but forget my fate,” she sings, as she faces her death and calls on everyone to remember everything about her, except her tragic end.

  When Orpheus sang
  Prior to Dido & Aeneas, Purcell’s “When Orpheus sang” from his now-lost semi-opera The Grove, or Love’s Paradise (1691), will be performed by Dutch National Opera Studio alumna Polly Leech. In addition, Camille Delaforge has enriched the instrumental interludes in Dido & Aeneas with a variety of dance music, giving the continuo and orchestra ample space to flourish.

  Talent and development
  The young artists of the National Opera Studio delve into Purcell’s enchanting baroque repertoire. The Netherlands Chamber Orchestra is under the inspired leadership of Camille Delaforge. For the basso continuo she brings along musicians from her own ensemble Il Caravaggio. Star soprano and artistic director of DNO Studio Rosemary Joshua is directing. The talents of the DNO Young Baroque Voices, consisting of promising young choristers, are responsible for the choral parts.

  Opera in three acts in concertante performance, sung in English with Dutch surtitles.

  Dido and Aeneas is a co-production of Opera Zuid, Dutch National Opera and the Dutch Reisopera and part of the collaboration between the three opera companies to stimulate talent development.

  TICKETS

  Info

  A new generation of opera singers will tour the Netherlands in a joint production by Opera Zuid, De Nationale Opera and the Nederlandse Reisopera with a Purcell program at the heart of which is the short opera Dido and Aeneas. This historically informed performance of music over three hundred years old is musically led by the young Baroque specialist Camille Delaforge.

  Based on Virgil’s Aeneid, Purcell created a moving drama about the Trojan hero Aeneas and his love affair with the Carthaginian Queen Dido, thwarted by witchcraft. While the sails of the boat on which Aeneas leaves Carthage disappear like dots on the horizon, Dido’s world-famous lament sounds. “Remember me but forget my fate,” she sings, as she faces her death and calls on everyone to remember everything about her, except her tragic end.

  When Orpheus sang
  Prior to Dido & Aeneas, Purcell’s “When Orpheus sang” from his now-lost semi-opera The Grove, or Love’s Paradise (1691), will be performed by Dutch National Opera Studio alumna Polly Leech. In addition, Camille Delaforge has enriched the instrumental interludes in Dido & Aeneas with a variety of dance music, giving the continuo and orchestra ample space to flourish.

  Talent and development
  The young artists of the National Opera Studio delve into Purcell’s enchanting baroque repertoire. The Netherlands Chamber Orchestra is under the inspired leadership of Camille Delaforge. For the basso continuo she brings along musicians from her own ensemble Il Caravaggio. Star soprano and artistic director of DNO Studio Rosemary Joshua is directing. The talents of the DNO Young Baroque Voices, consisting of promising young choristers, are responsible for the choral parts.

  Opera in three acts in concertante performance, sung in English with Dutch surtitles.

  Dido and Aeneas is a co-production of Opera Zuid, Dutch National Opera and the Dutch Reisopera and part of the collaboration between the three opera companies to stimulate talent development.

  TICKETS

  Cast

  Singers	De Nationale Opera Studio
  Orchestra	Nederlands Kamerorkest
  Choir	DNO Young Baroque Voices

  Creatives

  Conductor	Camille Delaforge
  Director	Rosemary Joshua
  Dramaturgy	Jasmijn van Wijnen

  

  Camille
  Delaforge

  Conductor

  

  Rosemary
  Joshua

  Director

  

  Jasmijn
  van Wijnen

  Dramaturgy

  Media

  ‘Conductor Delaforge throws you into the story, even without sets’

  Review Trouw

  ‘Pure joy at Dido and Aeneas’

  Interview Luister Magazine

  ‘New generation of young singers gets plenty of opportunities in Purcell’s ‘Dido and Aeneas”

  Interview with Edward Ananian-Cooper in Brabant Cultureel

  Foto

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  Video

  Partners

  

  

  

• Goud! (4+)

  14:31 Comments Off on Goud! (4+)

  An appealing, visual fairy tale adaptation

  > review Theaterkrant April 2021

  

  Info

  “An appealing, visual fairy tale adaptation,” Theaterkrant wrote in 2021 after the online premiere of Goud!. This year the musical fairy tale for children and parents returns!

  Do you always want more? The latest phone? Another sweater? Or are you happier without wishes? This contemporary children’s opera revolves around a current theme: greed.

  Ook al zijn Jacob en zijn ouders arm, ze zijn wel gelukkig. Op een dag vangt Jacob een speciale vis. ‘Gooi me terug in de zee’, zegt de vis. ‘Dan geef ik je alles wat je wenst.’ In een flits sieren gloednieuwe schoenen zijn voeten. Ook vader en moeder willen schoenen, een groot huis, mooie vakanties… Met elke nieuwe wens wordt Jacob ongelukkiger, worden de ouders ontevredener, wordt de vis dunner en dunner en de zee ruwer en ruwer – totdat een grote storm alles meevoert.

  Composer Leonard Evers wrote Goud! in 2012 to a libretto by Flora Verbrugge. They based themselves on a fairy tale by the Brothers Grimm. Evers composed exciting music on various percussion instruments, such as a marimba, a vibraphone, cymbals and drums. All instruments that express the sounds of the sea and fish. A singer and a percussionist play, sing and make music and bring the story to life on stage.

  What is normal desire and what is excessive greed? And what consequences does our greed have on nature? Serious questions for a children’s opera. Yet Goud! not heavy-handed. Humor, poetry and music make this opera an adventure for young and old.

  The opera lasts approximately one hour, without an intermission and is performed in Dutch.

  Goud! is a co-production with Dutch National Opera. The performances in 2024 are realized in collaboration with De Munt / La Monnaie.

  TICKETS

  Info

  “An appealing, visual fairy tale adaptation,” Theaterkrant wrote in 2021 after the online premiere of Goud!. This year the musical fairy tale for children and parents returns!

  Do you always want more? The latest phone? Another sweater? Or are you happier without wishes? This contemporary children’s opera revolves around a current theme: greed.

  Ook al zijn Jacob en zijn ouders arm, ze zijn wel gelukkig. Op een dag vangt Jacob een speciale vis. ‘Gooi me terug in de zee’, zegt de vis. ‘Dan geef ik je alles wat je wenst.’ In een flits sieren gloednieuwe schoenen zijn voeten. Ook vader en moeder willen schoenen, een groot huis, mooie vakanties… Met elke nieuwe wens wordt Jacob ongelukkiger, worden de ouders ontevredener, wordt de vis dunner en dunner en de zee ruwer en ruwer – totdat een grote storm alles meevoert.

  Composer Leonard Evers wrote Goud! in 2012 to a libretto by Flora Verbrugge. They based themselves on a fairy tale by the Brothers Grimm. Evers composed exciting music on various percussion instruments, such as a marimba, a vibraphone, cymbals and drums. All instruments that express the sounds of the sea and fish. A singer and a percussionist play, sing and make music and bring the story to life on stage.

  What is normal desire and what is excessive greed? And what consequences does our greed have on nature? Serious questions for a children’s opera. Yet Goud! not heavy-handed. Humor, poetry and music make this opera an adventure for young and old.

  The opera lasts approximately one hour, without an intermission and is performed in Dutch.

  Goud! is a co-production with Dutch National Opera. The performances in 2024 are realized in collaboration with De Munt / La Monnaie.

  TICKETS

  Cast

  Jacob (Maastricht)	Nienke Nasserian Nillesen
  Jacob (Brussel)	Estelle Defalque (NL)
  Jacob (Brussel)	Marie-Juliette Ghazarian (FR)
  Percussion	Laura Trompetter

  

  Nienke
  Nasserian Nillesen

  Jacob (Maastricht)

  Website

  

  Estelle
  Defalque (NL)

  Jacob (Brussel)

  

  Marie-Juliette
  Ghazarian (FR)

  Jacob (Brussel)

  

  Laura
  Trompetter

  Percussion

  Creatives

  Director	Kenza Koutchoukali
  Set design	Amber Vandenhoeck
  Costume design	Leo van den Boorn
  Light design	Cor van den Brink
  Dramaturgy	Wout van Tongeren

  

  Kenza
  Koutchoukali

  Director

  Website

  

  Amber
  Vandenhoeck

  Set design

  Website

  

  Leo
  van den Boorn

  Costume design

  

  Cor
  van den Brink

  Light design

  Website

  

  Wout
  van Tongeren

  Dramaturgy

  Media

  An appealing, visual fairy tale adaptation

  review Theaterkrant April 2021

  Foto

  

  

  

  

  

  

  

  Video

  Partners

  

  

  

• Le Villi & Silenzio

  10:42 Comments Off on Le Villi & Silenzio

  De Volkskrant recommends Le Villi & Silenzio as one of the best new productions currently playing in theatres!

  > Recommendation de Volkskrant

  ‘Bravo! What a magical performance Opera Zuid has created by combining Puccini and Karmit Fadael…beautiful to look at, musically strong and with a real wow factor.’

  > Review de Volkskrant

  ‘With ‘Le Villi’, Opera Zuid offers total theatre in a completely relaxed way’

  > Review Trouw

  ‘The choir sings beautifully nuanced, as does the playing of Philzuid, where skilful conductor Karel Deseure regularly pours in a dash of character in a deliberate manner.’

  > Review De Limburger

  ‘Fadael’s music powerfully shapes Anna’s inner self, sometimes with small means like a glockenspiel and a flute […], and then again with twittering brass added as if in a lightning storm.’

  > Review NRC

  ‘Sequeira really knows how to strike a chord with her aria “Se come voi piccina”.’

  > Review Theaterkrant

  ‘Fantastic dance in Le Villi by Puccini’

  > Review Leeuwarder Courant

  ‘Le Villi & Silenzio is a visually and aurally captivating production that pushes the boundaries of traditional opera.’

  > Review Place de l’Opera

  ‘In Le Villi, Karel Deseure made the orchestra play with an unadulterated Puccini sound, lovely to listen to.’

  > Review Basia con Fuoco

  ‘The audience in the sold-out Park Theatre is thrilled at the end of the performance and can no longer be kept on their seats.’

  > Review Der Opernfreund

  ”The first opera by composer Karmit Fadael: ‘I managed not to sink into ultimate confusion, like my main character”

  > Interview with Karmit Fadael in NRC

  ‘She worked with Cher and Madonna, now Dreya Weber is director at Opera Zuid. ‘Puccini seems made for aerials.’

  > Interview with Dreya Weber in de Volkskrant

  ‘Puccini combined with a premiere: Opera Zuid opts for an experiment’

  > Interview with Karmit Fadael in Brabant Cultureel

  ‘The opera debut of composer Karmit Fadael’

  > Interview with Karmit Fadael in Luister

  ‘Most dancers want to fly!’

  > Interview Dreya Weber in Dans Magazine

  ‘There is only one thing you can be sure of: eventually that curtain will go up.’ – Bretta Gerecke

  > Interview Bretta Gerecke and Marrit van der Burgt

  ‘I wanted to portray Anna’s inner world.’ – Karmit Fadael

  > Interview Karmit Fadael and Sílvia Sequeira

  ‘Puccini can express human emotions like no other.’ – Karel Deseure

  > Interview Dreya Weber and Karel Deseure

  

  Info

  Le Villi is an unforgettable dance opera full of passion, love and mysticism, and forms a world where past and present meet and where broken hearts are avenged. With Le Villi, Puccini’s first opera, he lays a foundation for his later oeuvre in which human emotion is central. He based Le Villi on the age-old Central European myths of the ‘Vilja’: young women who died of a broken heart. Previously, this myth was used to create the world famous ballet Giselle. Dutch composer Karmit Fadael has composed a prelude, Silenzio, especially for Opera Zuid’s production, inspired by the theme of the dark forest as a metaphor for getting lost in life.

  Anna and Roberto celebrate their engagement, but then he has to collect an inheritance in town. “Non ti scordar di me!” Don’t forget me, young Anna calls after her beloved Roberto for fear that he will not return from this journey. But Roberto assures her that he will return, after which they will get married. Winter arrives and waiting for her lover becomes too much for Anna. She succumbs to a broken heart. On his journey back, not knowing that Anna has died, Roberto is seduced. Once home, Anna’s ghost appears before him. She has become a Villi. Roberto prays in vain for forgiveness, but Anna is determined to avenge him by making him dance to death.

  To direct Le Villi & Silenzio Opera Zuid has chosen none other than the experienced choreographer, actress, aerialist and producer Dreya Weber (known from Pink!). She previously gave impressive performances in Opera Zuid’s A Midsummer Night’s Dream and Lady in the Dark. In this opera dansant, dance is completely interwoven with the story, mythology, dramaturgy and music. With this opera, Dreya Weber makes her opera directorial debut.

  Be transported into a world where love and loss meet in an enchanting interplay of music, drama and dance.

  Le Villi & Silenzio lasts approximately 80 minutes and is sung in Italian with Dutch and English surtitles.

  IN CONVERSATION WITH DIRECTOR DREYA WEBER

  
  Why did you say yes to the offer to direct Le Villi & Silenzio? ‘In 2022 I performed in an opera for the first time as an adult artist. I was Puck in A Midsummer Night’s Dream by Opera Zuid. I was immediately captivated by the great scope that opera offers for storytelling. When Waut Koeken came up with the idea of ​​having me direct Le Villi & Silenzio he said that I could only say yes if I fell in love with the piece. The story, the music and the theme immediately evoked images, choreographies and ideas: I was in love! Because dance is an intrinsic part of Le Villi & Silenzio, I can also use my experience and love for dance and aerial art. The offer felt like an opportunity I couldn’t pass up. Finally, in theater it does not matter which discipline – dance, cabaret, opera – is used; it is the telling of the story that is decisive.’

  What story do you want to tell with your direction? ‘I see Le Villi & Silenzio as a timeless story about sadness and how one wrong choice can completely change the course of life. For me, it is also about the connection between people and nature and the possibility of forgiveness. The Villi are revenge witches in Eastern European mythology, but to me they represent wild, restless souls; ghosts of people who died from a broken heart. These souls not only inhabit the trees, they are the trees. I have fallen in love with the idea that the forest represents part of our life cycle; we die and are reborn as part of the forest. In my direction, the forest (the Villi) occupies a prominent place. The trees are an integral part of the world of the living; they represent our history and ancestors and they are witnesses to the unfolding story. We are part of a larger whole and of cycles of life and death, with the possibility of renewal. This interpretation makes the story more human, timeless and universal.”

  In your direction there are also male Villi, while in the original mythology it is only young females. Why is that? ‘Precisely because of that universal theme. Tragedy and pain are timeless and affect everyone; woman and man, young and old. I want my Villi to represent all of humanity.”

  What thoughts do you hope audiences leave with after seeing Le Villi & Silenzio? ‘Beautiful art can emerge from intense suffering. Opera perfectly illustrates how we can transform our experiences of both beauty and sadness into art. I would like people to think about the idea that we are part of a bigger picture; a cycle in which man and nature merge in life and death. What if there really is such a thing as a forest of souls that can hold us, offer us peace and security, where we can communicate with our ancestors? That thought delights me. In short, I hope that the audience has also fallen in love with this opera afterwards!’

  TICKETS

  Info

  Le Villi is an unforgettable dance opera full of passion, love and mysticism, and forms a world where past and present meet and where broken hearts are avenged. With Le Villi, Puccini’s first opera, he lays a foundation for his later oeuvre in which human emotion is central. He based Le Villi on the age-old Central European myths of the ‘Vilja’: young women who died of a broken heart. Previously, this myth was used to create the world famous ballet Giselle. Dutch composer Karmit Fadael has composed a prelude, Silenzio, especially for Opera Zuid’s production, inspired by the theme of the dark forest as a metaphor for getting lost in life.

  Anna and Roberto celebrate their engagement, but then he has to collect an inheritance in town. “Non ti scordar di me!” Don’t forget me, young Anna calls after her beloved Roberto for fear that he will not return from this journey. But Roberto assures her that he will return, after which they will get married. Winter arrives and waiting for her lover becomes too much for Anna. She succumbs to a broken heart. On his journey back, not knowing that Anna has died, Roberto is seduced. Once home, Anna’s ghost appears before him. She has become a Villi. Roberto prays in vain for forgiveness, but Anna is determined to avenge him by making him dance to death.

  To direct Le Villi & Silenzio Opera Zuid has chosen none other than the experienced choreographer, actress, aerialist and producer Dreya Weber (known from Pink!). She previously gave impressive performances in Opera Zuid’s A Midsummer Night’s Dream and Lady in the Dark. In this opera dansant, dance is completely interwoven with the story, mythology, dramaturgy and music. With this opera, Dreya Weber makes her opera directorial debut.

  Be transported into a world where love and loss meet in an enchanting interplay of music, drama and dance.

  Le Villi & Silenzio lasts approximately 80 minutes and is sung in Italian with Dutch and English surtitles.

  IN CONVERSATION WITH DIRECTOR DREYA WEBER

  
  Why did you say yes to the offer to direct Le Villi & Silenzio? ‘In 2022 I performed in an opera for the first time as an adult artist. I was Puck in A Midsummer Night’s Dream by Opera Zuid. I was immediately captivated by the great scope that opera offers for storytelling. When Waut Koeken came up with the idea of ​​having me direct Le Villi & Silenzio he said that I could only say yes if I fell in love with the piece. The story, the music and the theme immediately evoked images, choreographies and ideas: I was in love! Because dance is an intrinsic part of Le Villi & Silenzio, I can also use my experience and love for dance and aerial art. The offer felt like an opportunity I couldn’t pass up. Finally, in theater it does not matter which discipline – dance, cabaret, opera – is used; it is the telling of the story that is decisive.’

  What story do you want to tell with your direction? ‘I see Le Villi & Silenzio as a timeless story about sadness and how one wrong choice can completely change the course of life. For me, it is also about the connection between people and nature and the possibility of forgiveness. The Villi are revenge witches in Eastern European mythology, but to me they represent wild, restless souls; ghosts of people who died from a broken heart. These souls not only inhabit the trees, they are the trees. I have fallen in love with the idea that the forest represents part of our life cycle; we die and are reborn as part of the forest. In my direction, the forest (the Villi) occupies a prominent place. The trees are an integral part of the world of the living; they represent our history and ancestors and they are witnesses to the unfolding story. We are part of a larger whole and of cycles of life and death, with the possibility of renewal. This interpretation makes the story more human, timeless and universal.”

  In your direction there are also male Villi, while in the original mythology it is only young females. Why is that? ‘Precisely because of that universal theme. Tragedy and pain are timeless and affect everyone; woman and man, young and old. I want my Villi to represent all of humanity.”

  What thoughts do you hope audiences leave with after seeing Le Villi & Silenzio? ‘Beautiful art can emerge from intense suffering. Opera perfectly illustrates how we can transform our experiences of both beauty and sadness into art. I would like people to think about the idea that we are part of a bigger picture; a cycle in which man and nature merge in life and death. What if there really is such a thing as a forest of souls that can hold us, offer us peace and security, where we can communicate with our ancestors? That thought delights me. In short, I hope that the audience has also fallen in love with this opera afterwards!’

  TICKETS

  Cast

  Anna	Sílvia Sequeira
  Roberto	Denzil Delaere
  Guglielmo	Ivan Thirion
  Dancer	Gijs Hanegraaf
  Dancer	Alice de Maio
  Dancer	Jolanda Bazzi
  Dancer	Benjamin Herder
  Dancer	Tom van de Ven
  Dancer	Joy Brueren (intern)
  Dancer (intern)	Bo Nijssen
  Dancer (understudy)	Rolf Kuijpers
  Choir	Theaterkoor Opera Zuid
  Orchestra	Philzuid

  

  Sílvia
  Sequeira

  Anna

  

  Denzil
  Delaere

  Roberto

  

  Ivan
  Thirion

  Guglielmo

  

  Gijs
  Hanegraaf

  Dancer

  Website

  

  Alice
  de Maio

  Dancer

  

  Jolanda
  Bazzi

  Dancer

  

  Benjamin
  Herder

  Dancer

  

  Tom
  van de Ven

  Dancer

  

  Joy
  Brueren (intern)

  Dancer

  

  Bo
  Nijssen

  Dancer (intern)

  

  Rolf
  Kuijpers

  Dancer (understudy)

  

  Theaterkoor
  Opera Zuid

  Choir

  

  Philzuid

  Orchestra

  Website

  Creatives

  Conductor	Karel Deseure
  Director & choreographer	Dreya Weber
  Composition & text (Silenzio)	Karmit Fadael
  Text (Silenzio)	Rick van Veldhuizen
  Set- en light design	Bretta Gerecke
  Costume, hair & make-up design	Marrit van der Burgt
  Dramaturgy	Joep Hupperetz
  Associate director and choreographer	Lauren Poulton
  Hair & make-up design	Pilo Pilkes
  Choir direction	Jori Klomp
  Assistant conductor	Kent Moussault
  Assistant direction	Dorota Nowak

  

  Karel
  Deseure

  Conductor

  Website

  

  Dreya
  Weber

  Director & choreographer

  

  Karmit
  Fadael

  Composition & text (Silenzio)

  Website

  

  Rick
  van Veldhuizen

  Text (Silenzio)

  Website

  

  Bretta
  Gerecke

  Set- en light design

  Website

  

  Marrit
  van der Burgt

  Costume, hair & make-up design

  Website

  

  Joep
  Hupperetz

  Dramaturgy

  Website

  

  Lauren
  Poulton

  Associate director and choreographer

  

  Pilo
  Pilkes

  Hair & make-up design

  

  Jori
  Klomp

  Choir direction

  Website

  

  Kent
  Moussault

  Assistant conductor

  Website

  

  Dorota
  Nowak

  Assistant direction

  Media

  De Volkskrant recommends Le Villi & Silenzio as one of the best new productions currently playing in theatres!

  Recommendation de Volkskrant

  ‘Bravo! What a magical performance Opera Zuid has created by combining Puccini and Karmit Fadael…beautiful to look at, musically strong and with a real wow factor.’

  Review de Volkskrant

  ‘With ‘Le Villi’, Opera Zuid offers total theatre in a completely relaxed way’

  Review Trouw

  ‘The choir sings beautifully nuanced, as does the playing of Philzuid, where skilful conductor Karel Deseure regularly pours in a dash of character in a deliberate manner.’

  Review De Limburger

  ‘Fadael’s music powerfully shapes Anna’s inner self, sometimes with small means like a glockenspiel and a flute […], and then again with twittering brass added as if in a lightning storm.’

  Review NRC

  ‘Sequeira really knows how to strike a chord with her aria “Se come voi piccina”.’

  Review Theaterkrant

  ‘Fantastic dance in Le Villi by Puccini’

  Review Leeuwarder Courant

  ‘Le Villi & Silenzio is a visually and aurally captivating production that pushes the boundaries of traditional opera.’

  Review Place de l’Opera

  ‘In Le Villi, Karel Deseure made the orchestra play with an unadulterated Puccini sound, lovely to listen to.’

  Review Basia con Fuoco

  ‘The audience in the sold-out Park Theatre is thrilled at the end of the performance and can no longer be kept on their seats.’

  Review Der Opernfreund

  ”The first opera by composer Karmit Fadael: ‘I managed not to sink into ultimate confusion, like my main character”

  Interview with Karmit Fadael in NRC

  ‘She worked with Cher and Madonna, now Dreya Weber is director at Opera Zuid. ‘Puccini seems made for aerials.’

  Interview with Dreya Weber in de Volkskrant

  ‘Puccini combined with a premiere: Opera Zuid opts for an experiment’

  Interview with Karmit Fadael in Brabant Cultureel

  ‘The opera debut of composer Karmit Fadael’

  Interview with Karmit Fadael in Luister

  ‘Most dancers want to fly!’

  Interview Dreya Weber in Dans Magazine

  ‘There is only one thing you can be sure of: eventually that curtain will go up.’ – Bretta Gerecke

  Interview Bretta Gerecke and Marrit van der Burgt

  ‘I wanted to portray Anna’s inner world.’ – Karmit Fadael

  Interview Karmit Fadael and Sílvia Sequeira

  ‘Puccini can express human emotions like no other.’ – Karel Deseure

  Interview Dreya Weber and Karel Deseure

  Foto

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  Video

• Blauwbaards Burcht

  16 April 202411:40 Comments Off on Blauwbaards Burcht
  ‘Strong musical performance’

  > Review de Limburger

  ”Bluebeards Castle’ at Opera Zuid convinces as an intriguing relationship puzzle’

  > Review Trouw

  ‘Opera Zuid does a great job with ‘Bluebeards Castle”

  > Review NRC

  ‘The classic opera ‘Bluebeards Castle’ has been adapted by Opera Zuid as realistic scenes from a wedding’

  > Review de Volkskrant

  ‘Barbe-Bleue en toute intimité à Maastricht’

  > Review Opéra Magazine

  > Review de Theaterkrant

  ‘An absolute must’

  > Review Place de l’Opera

  ‘Opera Zuid’s sober portrayal powerfully expresses the special relationship between Bluewbeard and Judith.’

  > Review Klassiek Centraal

  ‘The deeper you descend into Bluebeard’s castle, the more questions, and the more doors begging to be opened’

  > Review de Volkskrant

  ‘No seven closed doors this time, but you are never done with ‘Bluebeard’s Castle’ by Bartók’

  > Interview Trouw

  ‘World baritone Thomas Oliemans as Bluebeard at Opera Zuid’

  > Interview Brabant Cultureel

  ‘Top residents in Bluebeards’ living room’

  > Interview Place de l’Opera

  

  Info

  Bluebeards Castle is a psychological thriller about the question of how much truth love can tolerate. The opera 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 Béla Bartók pulls out all the stops of the orchestra with a masterful hand, does the rest.

  Bluebeard brings his young love to his dark castle. Here Judith discovers seven locked doors. Despite warnings not to proceed, she insists on opening all the doors and revealing Bluebeard’s hidden chambers. Behind every door she discovers gruesome secrets of Bluebeard and his past. Can Judith’s light dispel the darkness in Bluebeard’s castle?

  Masterful music by Bartók The dark and intriguing story of Bluebeard and Judith is enhanced by Bartók’s music; one of the most influential composers of the 20th century. In Bluebeards Castle he masterfully combines elements from folk music with an enchantingly rich harmonic language. He uses the orchestra as a powerful instrument to underline the emotional depth of the story.

  Enter Bluebeards Castle in an intriguing adventure full of mystery, passion and hidden secrets.

  Internationally acclaimed singers Thomas Oliemans and Deirdre Angenent make their debut at Opera Zuid as Duke Bluebeard and Judith.

  Bluebeards Castle is a co-production of Opera Zuid and Philzuid and lasts approximately 60 minutes and is sung in Hungarian with Dutch and English surtitles.

  IN CONVERSATION WITH DIRECTOR KENZA KOUTCHOUKALI Director Kenza Koutchoukali previously directed Bluebeard for the National Youth Orchestra (NJO) and now immerses himself again in this psychological drama.

  What do you think Bluebeards Castle is about? ‘This story is about a love relationship between two people. 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 have preferred to keep secret from the other person, perhaps even from yourself. Above all, Bluebeard’s Castle is a deeply human and timeless story about getting to know yourself and the crucial question to what extent you can open yourself up to others.’

  Bartók wrote Bluebeards Castle at a time when symbolism, subconsciousness and the understanding of psychology were emerging. To what extent do you see that reflected in this opera? ‘It’s in the way Bartók wrote this music. The characters are pushed to their limits, but they also get a break at exactly the right time, literally a few bars of rest. In one hour, Bartók tells an incredibly rich psychological drama, both orchestral and vocal. It is never too rushed or too slow, never too much, never undeservedly emotional. It comes, at least I think so, straight from Bartók’s emotional world. I would almost say that this is how you experience a psychological drama yourself.’

  How does that become visible on stage? ‘I make very grateful use of the light; for me that plays an even greater symbolic role than the contents of the seven rooms. Thanks to the design of the light, it is no longer so much about Judith opening a physical door to a room, but about how she opens Bluebeard’s soul. The light in combination with the masterful music creates a grandeur where we can show precisely that small, super human theme. For me, the castle could just as well be a living room; we therefore see a recognizable domestic scene where – at the same time – the most existential crises are taking place.’

  So you like to look for humanity and recognition in your directing? ‘Yes, I hope to evoke empathy in this way. I think that is lacking in this society; understanding other people’s stories. I think that will only work if you show how human it is what is happening. I myself belong to the ‘Netflix generation’; I see naturalistic play almost every day. That’s what I aim for in my own work. By working with the players to find out what a character is like and how it physically expresses itself, we can create realistic, believable characters in detail. That’s really in the piece; you feel that there is room for the characters to be people.’

  Bluebeards Castle is inspired by a (horrific) fairy tale and fairy tales have a clear moral. Is that something you deal with in this opera? ‘One of the functions of the moralistic aspects of fairy tales is to teach you the difference between good and evil. I like to focus on the gray area in between. People are complex and in principle always find themselves in that gray area. We all have light and dark within us. For example, Bluebeard is reluctant to let the light in, because that ensures that Judith sees him in his completeness; who he is. I think that is recognizable for all of us. It is sometimes more difficult to show yourself in all your fullness – in the light – than to retreat into the dark.’

  TICKETS

  Info

  Bluebeards Castle is a psychological thriller about the question of how much truth love can tolerate. The opera 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 Béla Bartók pulls out all the stops of the orchestra with a masterful hand, does the rest.

  Bluebeard brings his young love to his dark castle. Here Judith discovers seven locked doors. Despite warnings not to proceed, she insists on opening all the doors and revealing Bluebeard’s hidden chambers. Behind every door she discovers gruesome secrets of Bluebeard and his past. Can Judith’s light dispel the darkness in Bluebeard’s castle?

  Masterful music by Bartók The dark and intriguing story of Bluebeard and Judith is enhanced by Bartók’s music; one of the most influential composers of the 20th century. In Bluebeards Castle he masterfully combines elements from folk music with an enchantingly rich harmonic language. He uses the orchestra as a powerful instrument to underline the emotional depth of the story.

  Enter Bluebeards Castle in an intriguing adventure full of mystery, passion and hidden secrets.

  Internationally acclaimed singers Thomas Oliemans and Deirdre Angenent make their debut at Opera Zuid as Duke Bluebeard and Judith.

  Bluebeards Castle is a co-production of Opera Zuid and Philzuid and lasts approximately 60 minutes and is sung in Hungarian with Dutch and English surtitles.

  IN CONVERSATION WITH DIRECTOR KENZA KOUTCHOUKALI Director Kenza Koutchoukali previously directed Bluebeard for the National Youth Orchestra (NJO) and now immerses himself again in this psychological drama.

  What do you think Bluebeards Castle is about? ‘This story is about a love relationship between two people. 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 have preferred to keep secret from the other person, perhaps even from yourself. Above all, Bluebeard’s Castle is a deeply human and timeless story about getting to know yourself and the crucial question to what extent you can open yourself up to others.’

  Bartók wrote Bluebeards Castle at a time when symbolism, subconsciousness and the understanding of psychology were emerging. To what extent do you see that reflected in this opera? ‘It’s in the way Bartók wrote this music. The characters are pushed to their limits, but they also get a break at exactly the right time, literally a few bars of rest. In one hour, Bartók tells an incredibly rich psychological drama, both orchestral and vocal. It is never too rushed or too slow, never too much, never undeservedly emotional. It comes, at least I think so, straight from Bartók’s emotional world. I would almost say that this is how you experience a psychological drama yourself.’

  How does that become visible on stage? ‘I make very grateful use of the light; for me that plays an even greater symbolic role than the contents of the seven rooms. Thanks to the design of the light, it is no longer so much about Judith opening a physical door to a room, but about how she opens Bluebeard’s soul. The light in combination with the masterful music creates a grandeur where we can show precisely that small, super human theme. For me, the castle could just as well be a living room; we therefore see a recognizable domestic scene where – at the same time – the most existential crises are taking place.’

  So you like to look for humanity and recognition in your directing? ‘Yes, I hope to evoke empathy in this way. I think that is lacking in this society; understanding other people’s stories. I think that will only work if you show how human it is what is happening. I myself belong to the ‘Netflix generation’; I see naturalistic play almost every day. That’s what I aim for in my own work. By working with the players to find out what a character is like and how it physically expresses itself, we can create realistic, believable characters in detail. That’s really in the piece; you feel that there is room for the characters to be people.’

  Bluebeards Castle is inspired by a (horrific) fairy tale and fairy tales have a clear moral. Is that something you deal with in this opera? ‘One of the functions of the moralistic aspects of fairy tales is to teach you the difference between good and evil. I like to focus on the gray area in between. People are complex and in principle always find themselves in that gray area. We all have light and dark within us. For example, Bluebeard is reluctant to let the light in, because that ensures that Judith sees him in his completeness; who he is. I think that is recognizable for all of us. It is sometimes more difficult to show yourself in all your fullness – in the light – than to retreat into the dark.’

  TICKETS

  Cast

  Duke Bluebeard	Thomas Oliemans
  Judith	Deirdre Angenent

  

  Thomas
  Oliemans

  Duke Bluebeard

  Website

  

  Deirdre
  Angenent

  Judith

  Website

  Creatives

  Conductor	Duncan Ward
  Director	Kenza Koutchoukali
  Scenography, costume- en light design	Yannick Verweij
  Dramaturgy	Wout van Tongeren
  Assistant conductor	Lochlan Brown
  Assistant director	Joep Hupperetz
  Assistant dramaturgy (intern)	Cédric Rath
  Orchestra	Philzuid

  

  Duncan
  Ward

  Conductor

  Website

  

  Kenza
  Koutchoukali

  Director

  Website

  

  Yannick
  Verweij

  Scenography, costume- en light design

  Website

  

  Wout
  van Tongeren

  Dramaturgy

  

  Lochlan
  Brown

  Assistant conductor

  Website

  

  Joep
  Hupperetz

  Assistant director

  Website

  

  Philzuid

  Orchestra

  Website

  Media

  ‘Strong musical performance’

  Review de Limburger

  ”Bluebeards Castle’ at Opera Zuid convinces as an intriguing relationship puzzle’

  Review Trouw

  ‘Opera Zuid does a great job with ‘Bluebeards Castle”

  Review NRC

  ‘The classic opera ‘Bluebeards Castle’ has been adapted by Opera Zuid as realistic scenes from a wedding’

  Review de Volkskrant

  ‘Barbe-Bleue en toute intimité à Maastricht’

  Review Opéra Magazine

  Review de Theaterkrant

  ‘An absolute must’

  Review Place de l’Opera

  ‘Opera Zuid’s sober portrayal powerfully expresses the special relationship between Bluewbeard and Judith.’

  Review Klassiek Centraal

  ‘The deeper you descend into Bluebeard’s castle, the more questions, and the more doors begging to be opened’

  Review de Volkskrant

  ‘No seven closed doors this time, but you are never done with ‘Bluebeard’s Castle’ by Bartók’

  Interview Trouw

  ‘World baritone Thomas Oliemans as Bluebeard at Opera Zuid’

  Interview Brabant Cultureel

  ‘Top residents in Bluebeards’ living room’

  Interview Place de l’Opera

  Program booklet

  Bluebeards Castle

  Foto

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  Video

  Partners