{"id":17610,"date":"2025-10-27T13:46:50","date_gmt":"2025-10-27T12:46:50","guid":{"rendered":"https:\/\/operazuid.nl\/die-dreigroschenoper-is-one-big-challenge\/"},"modified":"2025-10-30T14:05:44","modified_gmt":"2025-10-30T13:05:44","slug":"die-dreigroschenoper-is-one-big-challenge","status":"publish","type":"post","link":"https:\/\/operazuid.nl\/en\/die-dreigroschenoper-is-one-big-challenge\/","title":{"rendered":"Die Dreigroschenoper is one big challenge"},"content":{"rendered":"\n

They both love sinking their teeth into something \u2013 and they\u2019ve done so together more than once. But how do musical director Enrico Delamboye and singer Maartje Rammeloo make The Threepenny Opera<\/em> entirely their own? \u2018There are hardly any conventions you have to stick to; that\u2019s refreshing, but also challenging.\u2019 A conversation between two partners in crime about multitasking, connection, and creating something truly unique.<\/strong>

Enrico,\u00a0The Threepenny Opera\u00a0is hard to categorise because of its mix of musical styles. How would you describe the work?<\/em>
Enrico:<\/strong>\u00a0\u2018A\u00a0pastiche de plaisir<\/em>! It\u2019s indeed a blend: there\u2019s classical music,\u00a0Sprechgesang<\/em>, elements of show and musical theatre\u2026 I absolutely love that exchanging of styles. I enjoy bringing together a wide range of styles in one piece.\u00a0The Threepenny Opera<\/em>\u00a0leaves a lot of room for interpretation, and there are few classical conventions to follow. That\u2019s very refreshing. We have to figure out our own approach, and that\u2019s different for every section. But as simple and straightforward as\u00a0The Threepenny Opera<\/em>\u00a0may sound, it demands an enormous amount of stylistic knowledge, focus and skill – not least because I\u2019ve got the singers right behind me in this production, instead of in front.\u2019
Maartje:<\/strong> \u2018Normally, the orchestra is in the pit beneath the stage, and in that setup we often have direct eye contact with the conductor. But since the orchestra and conductor are now positioned at the back of the stage, we have to follow Enrico\u2019s beat on the monitor and try to create some kind of energetic connection… It really shows what a bizarrely multitasking profession opera is – we have to remember our lines, perform physical actions, manage costumes and props, stay vocally precise, and<\/em> remain instinctively connected to everyone around us.\u2019

Maartje, this is your first Threepenny Opera as well, how are you finding Weill?<\/em>
Maartje:<\/strong>\u00a0\u2018I notice that this opera, and the role of Polly Peachum, demand much more from my head than I\u2019m used to. I love diving completely into a role emotionally, singing and acting from my feelings.\u00a0[laughs]<\/em> But that\u2019s exactly what Brecht doesn\u2019t want; for you to feel a connection with your character! The audience isn\u2019t supposed to feel too much either; they\u2019re meant to think. Still, I love the challenge of making the role my own vocally, bringing together all the little technical tricks I\u2019ve gathered over the years into one organic whole that fits the style and character of the piece.\u2019
Enrico:<\/strong>\u00a0\u2018May I tell them what you wrote to me?\u2019
Maartje:<\/strong>\u00a0\u2018Go on, then.\u2019
Enrico:<\/strong> \u2018Before rehearsals began, she sent me a little practice recording, asking: \u201cIs this the right direction?\u201d And I said: it\u2019s beautiful, but sometimes still too<\/em>\u00a0beautiful.\u2019
Maartje:<\/strong> \u2018And I thought: this is completely out of my comfort zone, but I\u2019m on the right track, rougher than I\u2019m used to, with much more focus on the text, and less on vocal beauty!\u2019
Enrico:<\/strong> \u2018Classically trained singers are so used to polishing everything, to making it smooth, to feeling that emotional connection. Whereas in this opera, you\u2019re not only playing a role, but also acting as a reflective element, showing and hearing<\/em> the rawness. It\u2019s a kind of well-coordinated roughness<\/em>. I love that challenge! The more impossible something seems, the more fun it is for me. But Maartje, we can always be open and honest with each other, can\u2019t we? So you didn\u2019t mind me saying that?\u2019
Maartje:<\/strong>\u00a0\u2018No, not at all! We\u2019ve worked together for so long; I really value being able to talk about these things. I do still find it a bit daunting, though, that many audience members already have a fixed idea of how Weill should sound. So I keep asking myself: how can I win the character over, how can I make this my own?\u2019
Enrico:<\/strong>\u00a0\u2018The Threepenny Opera<\/em> sounds completely different in every production. We\u2019re obliged – with great respect for the original – to create our own version. I don\u2019t want a Lotte Lenya sound from you or the other singers; that wouldn\u2019t be right.\u2019
Maartje:<\/strong>\u00a0\u2018Luckily, I love getting my teeth into something and pushing myself to the limit!\u2019

With what kind of mindset should the audience approach\u00a0The Threepenny Opera?<\/em>
Maartje:<\/strong>\u00a0\u2018As blank as possible!\u2019
Enrico:<\/strong> \u2018Bring your brain and your ears!\u2019
Maartje:<\/strong>\u00a0\u2018And leave everything you know about Weill and Brecht at home.\u2019
Enrico:<\/strong>\u00a0\u2018You\u2019re about to see a piece about the darkness of humanity\u2026\u2019
Maartje:<\/strong>\u00a0\u2018Exactly. This piece should really simmer for a while afterwards. Brecht said the audience shouldn\u2019t just\u00a0feel <\/em>something, they should leave the theatre changed<\/em>. So the more open-minded you enter with, the more this production will be able to work it\u2019s magic on you.\u2019

\u00a0<\/p>\n\n\n\n

Interview: Kyra Bertram<\/p>\n","protected":false},"excerpt":{"rendered":"

They both love sinking their teeth into something \u2013 and they\u2019ve done so together more than once. But how do musical director Enrico Delamboye and singer Maartje Rammeloo make The Threepenny Opera entirely their own? \u2018There are hardly any conventions you have to stick to; that\u2019s refreshing, but also challenging.\u2019 A conversation between two partners in crime about multitasking, connection, and creating something truly unique.<\/p>\n","protected":false},"author":3,"featured_media":17498,"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-17610","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"yoast_head":"\nDie Dreigroschenoper is one big challenge Opera Zuid<\/title>\n<meta name=\"description\" content=\"Interview: They both love sinking their teeth into something \u2013 and they\u2019ve done so together more than once. 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