{"id":16495,"date":"2025-04-22T11:05:16","date_gmt":"2025-04-22T09:05:16","guid":{"rendered":"https:\/\/operazuid.nl\/hope-forgiveness-and-rebirth\/"},"modified":"2025-04-25T16:25:20","modified_gmt":"2025-04-25T14:25:20","slug":"hope-forgiveness-and-rebirth","status":"publish","type":"post","link":"https:\/\/operazuid.nl\/en\/hope-forgiveness-and-rebirth\/","title":{"rendered":"Hope, forgiveness and rebirth"},"content":{"rendered":"\n<p><strong>From the very first moment that musical director Karel Deseure and director, choreographer and aerialist Dreya Weber meet, they find themselves in an intense conversation about\u00a0<em>Silenzio<\/em>,\u00a0<em>Le Villi<\/em>, and theatre as a whole. They are completely aligned when it comes to the heart of this opera: hope, the possibility of forgiveness, and rebirth, all captured in the theatrical, magical image of a living forest full of <em>Villi<\/em>.<\/strong><\/p>\n\n<p><em>What is it like to conduct the brand-new work<\/em><em>\u00a0<\/em><em>Silenzio of Karmit Fadael<\/em><em>?<\/em><br\/><strong>Karel<\/strong>: \u2018It\u2019s incredibly exciting and a huge responsibility. I\u2019m the first conductor to interpret it, the first to discover the music. I just hope I can make it sound the way Karmit imagined it in her mind.\u2019<\/p>\n\n<p><em>What is the connection between <\/em><em>Silenzio<\/em>\u00a0<em>and<\/em><em>\u00a0<\/em><em>Le Villi<\/em><em>, Puccini\u2019s first opera?<\/em><strong><em>&#13;\n<\/em><\/strong><strong>Dreya<\/strong>: \u2018<em>Le Villi<\/em>\u00a0begins in the middle of the story, at Roberto and Anna\u2019s engagement celebration. We already see that Anna\u2019s mother is missing. So much has happened before we even begin.\u00a0<em>Silenzio<\/em>\u00a0gives us the chance to explore and understand Anna\u2019s inner world.\u2019<br\/><strong>Karel<\/strong>: \u2018In Puccini\u2019s work, there\u2019s very little focus on Anna\u2019s thoughts and questions. That we now begin\u00a0<em>Silenzio<\/em>\u00a0from that perspective is something I find truly fascinating. In\u00a0<em>Le Villi<\/em>, the focus is more on Roberto &#8211; the one who caused the suffering &#8211; and his pain. Anna\u2019s grief is hardly seen. Only at the end she sings of how deeply she suffered in silence, so much so that she died of sorrow. Musically, that\u2019s portrayed so beautifully: Roberto and Anna sing in unison in a low register, where the voice sounds more fragile than in the higher. That vulnerability expresses such deep pain; both in the \u2018betrayer\u2019 and in the one who was betrayed. Gorgeous.\u2019<\/p>\n\n<p><em>What does your direction look like, Dreya?<\/em><br\/><strong>Dreya<\/strong>: \u2018In my direction, the <em>Villi<\/em> are spirits of people who died of a broken heart, their souls reborn as the trees of the forest. That cycle of life and death is a key theme in this piece. The forest of the <em>Villi <\/em>is both witness to the unfolding story and an active participant. It\u2019s the wildness of the forest that makes it hard for Roberto in the end to breathe, he feels suffocated. But is it the <em>Villi <\/em>causing this, or is it his own guilt taking his breath away?\u2019<\/p>\n\n<p><em>How do you incorporate aerial work into the opera?<\/em><br\/><strong>Dreya<\/strong>: \u2018A theatre teacher once told me: \u2018Sometimes characters\u00a0<em>must<\/em>\u00a0sing, because there\u2019s no other way to express what they\u2019re feeling.\u2019\u2019<br\/><strong>Karel\u00a0(interrupts enthusiastically)<\/strong>: \u2018That\u2019s\u00a0<em>exactly<\/em>\u00a0how I feel about opera! It\u2019s like simply speaking the words isn\u2019t enough, it has to be sung.\u2019<br\/><strong>Dreya<\/strong>: \u2018Exactly. And that\u2019s how I feel about being in the air. Sometimes the drama transcends the earth. Some moments are too vast for the ground, then there\u2019s only the sky.\u2019<\/p>\n\n<p><em>What are your thoughts on Puccini\u2019s music?<\/em><br\/><strong>Karel<\/strong>: \u2018Puccini is a genius. People call\u00a0<em>Le Villi<\/em> a youth work, but everything that characterizes his later music is already here! He had the incredible gift of writing deeply moving melodies, and no one captures human emotion like Puccini. In the aria sung by Guglielmo, Anna\u2019s father, he writes <em>straziante<\/em>\u00a0\u2013 that means that it must be played <em>heartbreakingly<\/em>. I\u2019ve never seen that word in a score by any other composer. And it truly sounds that way: the cellos \u2013 representing Guglielmo\u2019s inner turmoil \u2013 play over a sustained low note that stays fixed, like he is stuck in his grief.\u2019<br\/><strong>Dreya<\/strong>: \u2018The magnitude of emotion Puccini conveys\u2026 I get chills every time I hear his music. He knows exactly what humanity should sound like.\u2019<\/p>\n\n<p><strong>Karel<\/strong>: \u2018I believe that\u2019s the most important purpose of theatre: to give space to human emotion, to feel empathy for characters,\u00a0<em>even<\/em>\u00a0if you don\u2019t agree with their actions, to still understand where they\u2019re coming from.\u2019<br\/><strong>Dreya<\/strong>: \u2018That\u2019s why it\u2019s so important to me that this work offers hope. We all make mistakes \u2013 just like Roberto \u2013 but the chance to reinvent yourself, to be forgiven\u2026 it really does exist.\u2019<\/p>\n\n<p>Interview: Kyra Bertram<\/p>\n","protected":false},"excerpt":{"rendered":"<p>From the very first moment that musical director Karel Deseure and director, choreographer and aerialist Dreya Weber meet, they find themselves in an intense conversation about Silenzio, Le Villi, and theatre as a whole. They are completely aligned when it comes to the heart of this opera: hope, the possibility of forgiveness, and rebirth, all captured in the theatrical, magical image of a living forest full of Villi.<\/p>\n","protected":false},"author":3,"featured_media":16418,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ghostkit_customizer_options":"","ghostkit_custom_css":"","ghostkit_custom_js_head":"","ghostkit_custom_js_foot":"","ghostkit_typography":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[37],"tags":[],"class_list":["post-16495","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Hope, forgiveness and rebirth Opera Zuid<\/title>\n<meta name=\"description\" content=\"From the very first moment that musical director Karel Deseure and director, choreographer and aerialist Dreya Weber meet, they find themselves in an intense conversation about Silenzio, Le Villi, and theatre as a whole. 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