{"id":19048,"date":"2026-04-26T10:06:57","date_gmt":"2026-04-26T08:06:57","guid":{"rendered":"https:\/\/operazuid.nl\/nothing-is-not-serious\/"},"modified":"2026-05-01T09:59:17","modified_gmt":"2026-05-01T07:59:17","slug":"interview-nicolas-kruger-matthew-eberhardt","status":"publish","type":"post","link":"https:\/\/operazuid.nl\/en\/interview-nicolas-kruger-matthew-eberhardt\/","title":{"rendered":"Nothing is (not) serious"},"content":{"rendered":"\n

Reality is stranger than fiction. Does that idea hold true for the absurdist comedy,\u00a0<\/b>L\u2019\u00c9toile,<\/i><\/b>\u00a0by self-made musician\u00a0Emmanuel Chabrier? Director\u00a0Matthew Eberhardt\u00a0and musical director\u00a0Nicolas Kr\u00fcger\u00a0certainly think so. Both are captivated by the composer\u2019s richly imaginative music and firmly believe that the world of\u00a0<\/b>L\u2019\u00c9toile<\/i><\/b>\u00a0deserves to be discovered by a far wider audience. A conversation about absurdity that feels logical, and music that moves in every direction.<\/b><\/p>\u00a0<\/strong><\/p>\n\n

L\u2019\u00c9toile balances between absurdity and logic. Where, for you, is the core of the work, Matthew?<\/i> \nMatthew:<\/b> \u2018Although the piece is absurd, for the characters their behaviour is completely logical, given the situation they are in. I hope the audience can momentarily forget the rules of their own world and immerse themselves in the universe of King Ouf. Only once you step back into reality after the performance do you realise just how strange it all is. Then again, as the saying goes: reality is often stranger than fiction. In a way,\u00a0L\u2019\u00c9toile<\/i>\u00a0is so true and lifelike that this is precisely what makes it absurd. We want to offer the audience a different perspective, a new way of looking at our world.\u2019<\/p><\/p>\n\n

How would you describe Chabrier\u2019s music, Nicolas?<\/i> \nNicolas:<\/b> \u2018Chabrier was extraordinary. He had no formal musical training; he was truly self-made. He came from the countryside and moved to the capital, where he befriended the leading artists of his time. In his music you hear both the refined Parisian salons and the rural landscape; his work is both earthy and delicate.\u2019 \nMatthew<\/b>: \u2018His music is for everyone!\u2019 \nNicolas<\/b>: \u2018He was also a visionary, always curious about new forms of expression. That\u2019s why he was so admired by composers such as\u00a0Claude Debussy,\u00a0Maurice Ravel\u00a0and\u00a0Francis Poulenc; he was far ahead of his time. He refused to be constrained by anything. He invented his music as he went along.\u2019 \nMatthew:<\/b> \u2018He would often improvise with friends: reading a newspaper article and immediately dramatising it. I imagine he composed\u00a0L\u2019\u00c9toile<\/i>\u00a0in much the same way – on the spot, as the story unfolded in his mind. He never chooses the obvious.\u2019 \nNicolas<\/b>: \u2018Exactly, his music is capricious, unpredictable; you never know what\u2019s coming – que sera sera<\/i>, as Siroco says. It\u2019s incredibly surprising and innovative, full of imagination; Chabrier was always trying something new. And yes, sometimes it\u2019s a little bit mad. Like a child\u2019s world it can change in an instant. Nothing is entirely serious, yet nothing is not serious.\u2019<\/p><\/p>\n\n

How do music and direction influence one another?<\/i> \nMatthew<\/b>: \u2018I love seeing how music passes through people and what I can do with that in my direction. Music isn\u2019t tangible; it first has to become human, to be interpreted and felt. From there, we can build together the shape of both the music and the staging.\u2019 \nNicolas<\/b>: \u2018I come from a theatre family – my father was a director – so for me, dialogue is just as important as music. Dialogue is also music; it continues and prepares the next musical line. I sometimes feel like a director for musicians.\u2019 \nMatthew<\/b>: \u2018Music to my ears!\u2019<\/p><\/p>\n\n

What draws you to satirical comedy?<\/i> \nMatthew:<\/b> \u2018It feels very natural to me. Comedy\u00a0is<\/i>\u00a0real life: how you see the world, how you deal with situations. Take Ouf\u2019s birthday – what does he expect, how does he open his presents? It\u2019s all very concrete and recognisable.\u2019 \nNicolas<\/b>: \u2018But comedy is\u2026 not easy! People often say that conductors should begin with comedy, with op\u00e9ra bouffe, because if you can do that, you can do anything. It\u2019s fast, rhythmic, unpredictable. There\u2019s no emotional space like in a romantic aria. You have to be sharp, precise in tempo and timing. I find that challenge exhilarating.\u2019<\/p><\/p>\n\n

How do you hope audiences will leave the theatre afte<\/i>r\u00a0L\u2019\u00c9toile?<\/em> \n<\/i><\/b>Matthew<\/b>: \u2018That they think: how is it possible we didn\u2019t know this? That they\u2019ve enjoyed themselves, and that they look at our world just a little differently.\u2019 \nNicolas<\/b>: \u2018And that they remember the name Chabrier, and go home with open eyes and ears, rediscovering the world, like children.\u2019<\/p><\/p>\n\n

<\/p>\n\n

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

Reality is stranger than fiction. Does that idea hold true for the absurdist comedy, L\u2019\u00c9toile, by self-made musician Emmanuel Chabrier? Director Matthew Eberhardt and musical director Nicolas Kr\u00fcger certainly think so. Both are captivated by the composer\u2019s richly imaginative music and firmly believe that the world of L\u2019\u00c9toile deserves to be discovered by a far wider audience. A conversation about absurdity that feels logical, and music that moves in every direction.<\/p>\n","protected":false},"author":3,"featured_media":19046,"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-19048","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"yoast_head":"\nNothing is (not) serious Opera Zuid<\/title>\n<meta name=\"description\" content=\"Interview: Reality is stranger than fiction. 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