It supports the artistic development of young composers and directors by commissioning small-scale and full-length music theatre pieces. This production house was initiated in 2010. The music is an ebullient mix of prog-rock, wry rhythms and syrupy vocal lines. Director Warre Simons places its original main characters – a cow, a thief and a farmer – in an absurd, dark and physical musical drama. In tribute to the Dutch playwright Gerbrand Adriaenszoon Bredero (1585-1618) the title references his most famous play, De klucht van de koe. In 2018 Brechtje (1993) (also known as Bec Plexus) composed Niet de klucht van de koe (‘Not the comedy of the cow’) for 3 singers, recorder, viola da gamba, harpsichord, electric guitar, drums and percussion. The company works closely together with the ArtEZ conservatoire Zwolle, November Music, Grachtenfestival, Oranjewoudfestival and other arts organisations. In a three-year trajectory writers, composers, directors, singers, musicians and designers get a chance to collaborate and strengthen their position as independent artists. It was founded in 2007 and is based in Zwolle, Eastern Netherlands. KASKO is a development centre for music theatre supporting young, national talents in creating and performing contemporary music theatre. Director Kenza Koutchoukali successfully evokes the stifling atmosphere of living in forced quarantaine. Though the melodic lines contain large leaps between the registers, they remain imitable and pleasing to the ear. De Graaff once again shows his flair for writing vocal music.
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Each opera features one singer and one instrumentalist and is filmed in the singer’s home.
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In 2020, when live theatre was banned because of Covid-19, De Graaff realized Bonsai Garden, 8 miniature operas grown in quarantaine, a series of 8 virtual mini-operas on as many different librettos. Music and scenery hark back to the joint creations of Bertolt Brecht and Kurt Weill. This zooms in on 10 November 2018, when Kaiser Wilhelm II of Germany sought refuge in The Netherlands, just before the end of World War I. In 2018 he presented the short chamber opera De Grens (The Border) by Jan-Peter de Graaff (1992) on a libretto by Yuri Robbers. When Waut Koeken was engaged as artistic director in 2017, the roster became somewhat more adventurous.
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Ritratto was released on CD in October 2020, when the opera got three live runs in a corona proof setting for an audience of 350 people.įounded in 1991 this small company has since toured the Netherlands with the standard repertoire. The soprano Verity Wingate was breath-taking in her role of Luisa Casati.
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The production was further enhanced by dazzling costumes, fascinating stage design and the judicious direction of Marcel Sijm. Press and public were enchanted by Jeths’s soaring vocal lines, sumptuous harmonies and subtle references to music by Puccini, Strauss and Tchaikovsky. The online premiere drew some 76,000 visitors from around the world. She even stabs out her eyes in an effort to become immortal, but dies poor and lonely, forgotten by all. The libretto by Frank Siera tells the story of Luisa Casati (1881-1957), a super-rich marquise who regards herself as a living work of art and lavishly entertains artists and poets of name. The live premiere on 13 March 2020 fell prey to corona, but a video of the dress rehearsal was released on YouTube a week after. Perhaps DNO’s most sensational new opera was Ritratto by Willem Jeths (1959). This article highlights some notable new operas by Dutch composers that have been produced in recent years. In addition, there is a plethora of smaller organizations and festivals that cater for different audience groups.
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There are also two smaller, touring companies: De Nederlandse Reisopera (Dutch National Touring Opera), based in Enschede, Eastern Netherlands and Opera Zuid (Opera South), stationed in Maastricht, Southern Netherlands. There are three major opera companies, of which Dutch National Opera is probably best known abroad. Nor is the performance space strictly defined: this may just as easily be a traditional opera house, a deserted factory, or even the open field. Take note however that the term covers a wide range of appearances, varying from short, purely instrumental solo pieces for a single instrument to full-length operas for choir, orchestra and soloists, and everything in between. Contrary to what our reputation as a down-to-earth, no-nonsense people might suggest, opera is flourishing in the Netherlands.