Der Neue Merker







In Brüssel sind – wie abzusehen war – die Renovierungsarbeiten so weit im Argen, dass mit einer Wiedereröffnung der Monnaie diesen Herbst nicht zu rechnen ist. Man wird also auch noch nächstes Jahr weiter im Zelt spielen müssen. Deswegen musste das Programm jetzt grundlegend verändert werden.  Es gibt deswegen eine neue Spielplanbroschüre


On ne badine pas avec l’opéra…

NOV 3 5 8 10 13 16 2016


Rêvez éveillés

DÉC 13 14 16 18 20 21
22 23 27 28 30 2016


Le saut périlleux pour dernier refuge
JAN 11 12 13 14 15 2016



Elle voltige
De la flamme vivace
Vers l’obscurité

FÉV 1 2 3 5 7 8 9 10 12 14 2017


Après 20 ans d’attente…

FÉV 25 28 2017



…le retour aux sources

MAR 14 16 2017


Sois cruel, sois tendre, vis sauvagement

MAR 17 19 21 23 25 28 30 31
AVR 2 2017

Danse du vent et de la pluie : la beauté dans l’éphémère

MAI 16 17  19 20 23 25 26 28 30 31
JUIN 2 4 2017





Dear Sir, dear Madam,
The Dijon Opera is pleased to announce the 2016/2017 season, which is now available in english on his website. We invite you to use the link below to visit this english website and discover this new operatic and classical season. We enclose here the English editorial by Laurent Joyeux, General and Artistic Director of the Dijon Opera. If you wish to attend any performance, we will be very pleased to assist you, would you please contact us !
The Dijon Opera English website

Chère Madame, cher Monsieur,
L’Opéra de Dijon vient de mettre en ligne la version anglaise de son site internet. Le lien ci-dessous vous permettra de parcourir la programmation de la saison 2016/2017, qui complète la version française. Nous serons heureux d’organiser votre venue à Dijon si vous souhaitez assister à un ou plusieurs des opéras et concerts proposés cette saison.
The Dijon Opera English website
Site de l’Opéra de Dijon

By Laurent Joyeux, General and Artistic Director

The 2016-2017 season of the Dijon Opera will be one of dreams, of fables and tales, of marvels, and of other times and places. For this 9th season, you are invited to join us for another magical and musical voyage. Together we have explored Europe from London to Istanbul, from Venice to Scandinavia, from the capitals of Mitteleuropa to Moscow, and this season a new adventure beckons.

The fable is at the origins of opera. The favola in musica is a story, a tale, that uses myth to incite the imagination: Orfeo is a mirror to the world, a microcosm that must reflect the whole universe. And it is up to Orpheus to re-enchant the world. The new production of Monteverdi’s Orfeo, a major work yet presented only for the first time in Dijon, thanks to Yves Lenoir and Les Traversees Baroques, seeks to develop a new incarnation of the myth, which is deeply rooted in the birth of opera itself. No less than 38 lyric works are based on the story (from the 1600s to the present). It was also important to pay homage to Gluck, with his rarely performed French version of the tale from 1774: Maëlle Poesy, a young stage director whose talents have been confirmed in the theatre (Candide presented at the Théâtre in May 2014) will reveal the subtleties of this work alongside conductor Iñaki Encina Oyón. Nearly two centuries separate the two works, like two visions of a bygone world, and the questions they raise. And for us, what do they teach us.

Speaking of myths, the Magic Flute, the last of Mozart’s operas, is yet another. This masterpiece has only been presented 14 times in Dijon since 1828, and never a complete version in its original language of German. Christophe Rousset and Les Talens Lyrique will be exceptional musical partners to the top-tier cast that David Lescot, a director known for the intelligence of his staging, brings close to us while posing these same questions of our world. Indeed, the initial quest of Tamino and Pamina is also our own. It tells the story of our construction as men and women, in a world in which we are often ignorant of the codes, which we seek to construct or deconstruct. It puts us on our guard, first against ourselves, and then in the hope that what comes to us from the Other and from the necessary fraternity towards that Other will also perhaps change the world.

This, too, is the quest in Il Ritorno d’Ulisse in Patria, Monteverdi’s penultimate opera, which reveals the end of Ulysses’ long odyssey, and his troubled return to Ithaca. This production will be staged by Mariame Clement, with Emmanuelle Haïm at the head of her Concert d’Astrée, and the marvelous singers Rolando Villazón and Magdalena Kožená in the roles of Ulisse and Penelope.
    Two contemporary creations (one from Moneim Adwan and the other from David Chaillou) demonstrate that the power of dream and the ability to invent a world, or to construct one’s own, are not the exclusive preserve of works from the last four centuries but are very much alive and well today: Kalîla wa Dimna, inspired from a collection of Arab fables originally from India, and from which La Fontaine took inspiration from his fables, and Little Nemo, Back to Slumberland, based on the legendary weekly comic strip by Winsor McCay in the New York Herald, which marked the birth of the genre in the US.

America itself will be a new musical destination this season: discover (or rediscover) the American minimalists with the LSO conducted by John Adams in person, the Kronos Quartet and many others. Share the spirit of composers in exile, with Les Dissonances and David Grimal, or enjoy swing on historic instruments with Jos van Immerseel and Anima Eterna Brugge. If we reach beyond the geographical confines of Europe in our musical exploration, it is to better understand the values, the ideas, the dreams of those European musicians who emigrated and lived and created there. It is therefore only natural that Gilles Abegg, photographer in residence at the Opera since 2008, should devote the next three years to this theme. He has chosen to start in Italy, the birthplace of opera. More than 50 years have passed since Cartier-Bresson’s publication of The Europeans, and nearly a century since the work of August Sander and the publication of Antlitz der Zeit: it seems only right to pay homage to these great masters of photography and to show the faces of Europeans today.

Lastly, it is with great joy that we celebrate the return of Dance to the Opera, with the Ballet du Grand Théâtre de Genève — for a choreography by Joëlle Bouvier based on Tristan & Isolde —the Lyon National Opera Ballet —which proposes two fantastic works by Merce Cunningham and Lucinda Childs, and the dancers of Rachid Ouramdane. Four shows have also been programmed in partnership with the Festival Art Danse. With 8 new lyric productions, 40 concerts, 7 dance shows, a particularly rich season awaits you at the Dijon Opera.

New for this season, we will present 12 shows during school hours, so that young people can discover music and the lyric arts. Whether by transatlantic liner, on a flying carpet, with your best pillow, on foot, on horse, on sailboat, in a tram, come experience the waking dream of the 2016-2017 season!

Die komplette Spielzeit 2016/17 steht  – auch auf englisch – auf der homepage der Oper:



Dutch National Opera 2016-2017 season
 Seven new productions, world premiere of Mohammed Fairouz’ The New Prince, two
productions presented for the first time at Dutch National Opera, and four reprises
 Second edition of Opera Forward Festival in March 2017, with the theme ‘potent vs.
powerless’: the opportunity for new works, new initiatives and new talent
 Eva-Marie Westbroek and her husband Frank van Aken together in a new production
of Wozzeck
 Co-productions with Opéra National de Paris, Metropolitan Opera New York, Holland
Festival and more
 Monteverdi Year 2017: a new production of the Marian vespers in the Westerfabriek’s
Gashouder and reprise of Madrigals in National Opera & Ballet’s Décor Atelier
 Guest production of And you must suffer by Music Theatre Transparent and B’Rock:
Pierre Audi’s staging of Bach’s St. John’s Passion
One central theme in Dutch National Opera’s 2016-2017 season jumps to the fore: potent vs.
powerless. Whether political, spiritual or strictly personal, this season’s productions all seem to
express, one way or another, this timeless antithesis. A subject that has never been so linked
to current events, now that the world must take a stance in regard to totalitarian ideologies, the
concept of national identity is being challenged, and hard-earned freedoms are being eroded.

Dutch National Opera 2016-2017 season
Le nozze di Figaro – new production
Dutch National Opera opens its 2016-2017 season with a new staging of Le nozze di Figaro. For this new production DNO welcomes a new, young stage team. The German director David Bösch (DNO debut) has a long list of productions to his name: not only dramas by Wedekind, Shakespeare, Fallada, Ibsen, Dorst and Kleist, but also operas such as Vivaldi’s Orlando furioso (Oper Frankfurt), L’elisir d’amore, Mitridate, re di Ponto, The Cunning Little Vixen and L’Orfeo Bayerische Staatsoper M nchen . B sch will direct a new production of Die Meistersinger von Nürnberg for the Münchner Festspiele in July 2016.
Ivor Bolton, music director at the Teatro Real in Madrid since 2015, will lead the Netherlands Chamber Orchestra. Previous DNO engagements include Cos fan tutte, Ercole amante, Billy Budd, Deidamia and Armide; in November he will return for Handel’s Jephtha. The title role will be taken by Alex Esposito (Il turco in Italia , with Stéphane Degout Don Chisciotte in Sierra Morena) as Count Almaviva. They will be supported by Eleonora Buratto (Il viaggio a Reims) and Christiane Karg (DNO-debut as the Countess and Susanna, Figaro’s bride.
The Chorus of Dutch National Opera will be prepared by Ching-Lien Wu.
6 September 2016
8, 11*, 13, 15, 18*, 21, 23, 27 September 2016 19:00/*14:00

National Opera & Ballet
Manon Lescaut – new production
Dutch National Opera presents Puccini’s beloved opera Manon Lescaut for the first time, in a new production by the celebrated director Andrea Breth.
In the novel by Abbé Provost, which served as the basis for the libretto, Manon’s lover Des Grieux is the narrator. Director Andrea Breth (The Gambler, Macbeth) shifts this accent, allowing Manon herself to look back on her life. The point of departure for Breth’s staging is Manon’s death in an American desert. Hallucinating at the very end, she recalls significant moments from her life.

The title role will be sung by the popular Dutch soprano Eva-Maria Westbroek. She made a magnificent debut at Dutch National Opera as Katerina Izmailova in Lady Macbeth of Mtsensk (2006) and returned in 2009 as Minnie in Puccini’s La fanciulla del West, likewise a rousing success. In March-April 2017 she will also appear in a new production of Wozzeck as Marie. Thomas Oliemans, in the role of Manon’s brother, has numerous outstanding DNO performances to his name, including Legende, Adam in Ballingschap, Laika, Die Zauberflöte and Hänsel und Gretel (2015).
The British conductor Alexander Joel makes his DNO debut, leading the Netherlands Philharmonic Orchestra. Joel has conducted at the Royal Opera House Covent Garden (La bohème, La traviata, Carmen) as well as appearing as guest conductor at the opera houses of Geneva, Munich and Oslo.
The Chorus of Dutch National Opera will be prepared by Ching-Lien Wu.
10 October 2016
13, 16*, 19, 22, 25, 28, 31 October 2016 20:00/*14:00
Foyer evening
19 September 2016

National Opera & Ballet
Jephtha – new production
Director Claus Guth (previously: Un ballo in maschera, Don Giovanni) will direct a new production at DNO for the first time. He tells, in a parable, the age-old story of a misfortunate unable to escape the fateful course of his life. Having been shunned, Jephtha is given the chance to rejoin the community, but makes a poor decision… The story alternates between hope and fear.
Ivor Bolton appears at DNO for the second time this season, following Le nozze di Figaro, now conducting the Baroque orchestra Concerto Köln. The ensemble has accompanied DNO performances of Samson, Ercole amante, Deidamia and, most recently, Ariodante.
Bejun Mehta Hamor is one of the world’s most sought-after countertenors. He performs in opera houses and festivals such as ROH Covent Garden, Theater an der Wien, Opéra National de Paris, Staatsoper Berlin, Metropolitan Opera, Salzburger Festspiele and Glyndebourne Opera Festival. DNO productions: L’incoronazione di Poppea, Tamerlano, Don Chisciotte in Sierra Morena, Written on Skin.
The American tenor Richard Croft will sing the title role. He returns to Dutch National Opera after appearing in Amsterdam in the 1990s as Il Conte d’Almaviva Il barbiere di Siviglia and Sifare Mitridate, Re di Ponto and Agenore Il Re pastore. The soprano Anna Prohaska makes her DNO debut as Iphis. Prohaska is an ensemble member at the Komische Oper Berlin, and has sung guest roles at the Bayerische Staatsoper München, Teatro alla Scala Milano and Royal Opera House Covent Garden.
Co-production with Opéra National de Paris
9 November 2016
11, 15, 17, 20*, 24, 27* November 2016 19:00/*14:00
Foyer evening
in combination with Die Entfuhrung aus dem Serail
17 October 2016
National Opera & Ballet
Parsifal – reprise
This production was first presented, to great acclaim, at the 2012 Holland Festival. Chief conductor Marc Albrecht will lead the Netherlands Philharmonic Orchestra; Parsifal and Kundry will once again be sung by Christopher Ventris and Petra Lang. Ryan McKinney makes his DNO debut as Amfortas.
DNO director Pierre Audi has opted for a sober staging, finely suited to Anish Kapoor’s décor. A particularly successful element of his stage design was the huge round mirror in Act II, which produces spectacular effects.
Anish Kapoor (Bombay, 1954) is known for his sculptures that play with space and perception. Colour, light and mirror effects play an essential role in his art. The massive CLOUD GATE
2004 in Chicago reflects not only passersby, but the entire city. Kapoor’s monumental triptych Internal Object in Three Parts hung in the Rijksmuseum’s Gallery of Honour from November 2015 through March 2016, entering into a dialogue with late Rembrandts.
The Chorus of Dutch National Opera will be prepared by Ching-Lien Wu.
6 December 2016
9, 12, 15, 18*, 21, 25*, 29 December 2016 17:30/*13:30

National Opera & Ballet
Die Entführung aus dem Serail – reprise
Director Johan Simons has created an intimate, colourful staging that combines political drama with humour. By playing with theatre-within-a-theatre effects, the production is given a provocative double entendre.
The French conductor Jérémie Rhorer makes his DNO debut, leading the Netherlands Chamber Orchestra. The sole speaking role in the Entführung, perhaps in fact the main role, is that of Bassa Selim, the forgiving pasha. This part will once again be taken by the Flemish actor Steven Van Watermeulen. Of the other roles, Lenneke Ruiten (Gretel in Hänsel und Gretel) as Konstanze and Peter Rose (Baron Ochs in Der Rosenkavalier) as Osmin return to Dutch National Opera.
In addition to theatre, Johan Simons has also staged numerous operas: Simon Boccanegra Opéra National de Paris, 2006 , Fidelio Opéra National de Paris, 200 , Bluebeard’s Castle (Salzburger Festspiele, 2008) and Boris Godunov Teatro Real, Madrid, 2012 . From 2010-201 he was intendant at the M nchner Kammerspiele. In May 2014 Johan Simons was awarded the prestigious Theaterpreis Berlin for his achievements in German theatre, as well as the Prins Bernhard Cultuurfonds Prize. Since mid-2015 Simons divides his time between the Ruhrtriennale (intendant) and NTGent (artistic director). Starting in September 2018 he will be intendant at the Schauspielhaus Bochum in Germany.
13 January 2017
15*, 18, 21, 24, 26 January 2017
Foyer evening
in combination with Jephtha
17 October 2016

National Opera & Ballet
Prince Igor – new production for DNO
Dmitri Tcherniakov’s high-profile staging of Prince Igor (2014), a co-production with the Metropolitan Opera in New York, will now be presented in Amsterdam. The staging is dreamlike, heartrendingly personal and extraordinarily theatrical. With Prince Igor, Dutch National Opera continues its course of presenting the great Russian repertoire, following successful productions of Boris Godunov, Yevgeni Onegin, The Legend of the Invisible City of Kitesh and Chovanshchina.
Many audience members are already familiar with the Polovetsian Dances as a concert piece and may recall the Chorus of Dutch National Opera’s impressive contribution to the 201 Anniversary Gala with this work. Izhak Galili (the creator of Is it far to go? in 1998 for Dutch National Ballet) has choreographed the Polovetisian Dances for this production of Prince Igor.
The subject of Prince Igor is borrowed from an ancient Russian epic describing the campaign of the Russian prince Igor Svyatoslavich against the invading Polovetsians, a Tatar tribe. Alongside his Russian sound, Borodin’s use of ‘Oriental’ elements gives the work a fascinating, exotic tint. Amorous lyricism alternates with robust choral scenes.
Stage director Dmitri Tcherniakov is known for his unorthodox approach. In Prince Igor he rearranges certain scenes and added external musical numbers. With the help of black-and-white silent film, he brings the singers close to the audience. Igor’s inner struggle is given extra emphasis. Tcherniakov’s staging and design for the 2012 production of The Invisible City of Kitesh was treated to salvos of applause, and the DVD won an International Classical Music Award. The Rotterdam Philharmonic Orchestra will be conducted by Sanislav Kochanovsky (DNO debut). As in New York, the demanding title role will be sung by the Russian bass Ildar Abrazakov, seconded by the Ukranian soprano Oksana Dyka as his wife Jaroslavna. Both singers make their debut at Dutch National Opera.
Co-production with The Metropolitan Opera
7 February 2017
10, 13, 17, 20, 23, 26* February 2017
Foyer evening
30 January 2017

National Opera & Ballet
Wozzeck – new production (Opera Forward Festival)
The Polish director Krzysztof Warlikowski is known for his deeply personal working method, allowing him to stimulate actors and singers to delve into the depths of their creativity. This approach makes him the ideal director for an emotionally-laden work like Wozzeck. He makes his debut at Dutch National Opera.
Eva-Maria Westbroek sings the role of Wozzeck’s girlfriend Marie, her second role this season, following Manon Lescaut. Her husband, the tenor Frank van Aken, will appear in his first leading role at DNO (Drum Major), having sung secondary roles in Amsterdam in the past. DNO veteran Sir Willard White (roles including Méphistophélès La damnation de Faust, Golaud Pelléas et Mélisande and Nick Shadow The Rake’s Progress) is the cynical Doktor.
Chief conductor Marc Albrecht leads the Netherlands Philharmonic Orchestra. The Chorus of Dutch National Opera will be prepared by Ching-Lien Wu.
In addition to Poland and Russia, Krzysztof Warlikowski has made waves in Brussels, Paris and New York. During his studies he was assistant to Giorgio Strehler, Ingmar Bergman and Peter Brook. Warlikowski’s oeuvre extends from Shakespeare, Sophocles and Euripides to Kafka, Koltès, Kane and Kushner. He has also directed Verdi’s Don Carlos and staged a Proust adaptation for the Ruhrtriennale. Warlikowski is the artistic director of the Nowy Teatr in Warsaw, and works regularly at the opera houses of Brussels, Munich and Paris. Toneelgroep Amsterdam and the Holland Festival have also welcomed him as guest stage director.
18 March 2017
21, 23, 26* March 2017
4, 6, 9* April 2017
Foyer evening
in combination with The New Prince / Opera Forward Festival
28 February 2017

National Opera & Ballet
The New Prince – world premiere (Opera Forward Festival)
Contrary to what the title might suggest, The New Prince is not about a fairytale prince, but rather focuses on the title’s connotation as ‘ruler’, a reference to the infamous treatise Il Principe ‘The Prince’, 1 13-1515) by Niccolò Machiavelli. Machiavelli wakes up in the year 2032. He visits a New York publisher and is given the assignment to prepare an updated edition of ‘The Prince’ for the 00th anniversary of its first printing – but now with ‘bankable names’ so as to attract new buyers for his old theories. Via figures from the recent and not-so-recent past—Hitler, the Clintons and Osama bin Laden—Machiavelli goes in search of ‘The New Prince’. It promises to be a colourful revue about power, with Fortuna joining world leaders, a chorus of oppressors and the oppressed, President Wu of 2032 and many others.
‘The Prince’ describes the means a ruler has at his disposal to strengthen his position: in fact, he can get away with anything—even lies and deceit—as long as no one finds out. The politician/diplomat/writer and schemer Machiavelli was far ahead of his time, and can be seen as the inventor of ‘Realpolitik’. The lasting topicality of the subject inspired composer Mohammed Fairouz to compose this, his second opera, which will receive its world premiere at Dutch National Opera. As an artist, Fairouz is actively involved with social issues. He collaborates for this project with librettist David Ignatius, a American foreign affairs expert, Washington Post journalist and novelist.
As with the world premiere of Robin de Raaff’s Waiting for Miss Monroe (DNO, 2012), Steven Sloane is musical director and Lotte de Beer the stage director. They are joined by the designer duo Clement & Sanôu. In the roles of Machiavelli and Fortuna we will hear Nathan Gunn (DNO debut) and Karin Strobos (Der Rosenkavalier, La traviata, Armide).
The young, talented Arab-American composer Mohammed Fairouz (33) is, in his own words, ‘obsessed with text’, and harbours a great respect for the human voice. Fairouz has a cosmopolitan outlook and composes in practically every musical genre: opera, symphonic music, chamber music, solo voice and chorus.
‘Mohammed Fairouz is … one of the most talented composers of his generation.’
(BBC World News)
The Chorus of Dutch National Opera will be prepared by Ching-Lien Wu.
24 March 2017
25, 26, 28, 29, 31 March 2017 at 19:30
Stadsschouwburg Amsterdam
Foyer evening
in combination with Wozzeck / Opera Forward Festival
28 February 2017, National Opera & Ballet
A Dog’s Heart – reprise
The world premiere of Alexander Raskatov’s A Dog’s Heart, based on a novella by Michail Bulgakov, was a rousing triumph in 2010 and continued its wave of success abroad. After productions in London, Milan and Lyon it now returns to Amsterdam. Simon McBurney’s staging is breathtaking, humorous and dynamic. His staging of Die Zauberflöte at DNO was likewise a great success.
A Dog’s Heart, created on a commission from DNO, was one of the most talked-about productions of the 2010 Holland Festival. Bulgakovs’ story takes a satirical jab at the Soviet system. Having undergone the transplant of human testicles and pituitary gland, the dog Sharik is transformed into the incorrigible criminal Sharikov. Only a second operation can fix the problem…
Director Simon McBurney, an aficionado of Russian music, was deeply inspired by Raskatov’s score. The satirical text did the rest. One remarkable and unique feature of the production is the use of onstage puppeteers, who operate the more-than-lifesize dog. Martyn Brabbins, conductor for the world premiere, returns to take the musical lead, this time conducting the Netherlands Chamber Orchestra. Many of the singers from the original cast return for this reprise, including Sergei Leiferkus and Ville Rusanen as the scientists Filipp Filippovich and Bormental. Peter Hoare (Knusperhexe in Hänsel und Gretel, 2015) will sing Sharikov, having sung this role previously at English National Opera.
‘The British director Simon McBurney keeps exaggeration and caricature under control. He produces, in an ingenious décor with 1920s-style Russian film images, a convincing and humoristic performance.’
(Kasper Jansen on A Dog’s Heart, NRC Handelsblad 2010)
Simon McBurney is one of the leading English theatre-makers today. With his London-based Complicite Theatre he brings about a robust interaction between music, visual theatre and text. In his own words: ‘In the theatre, seeing is as important as listening.’
The Chorus of Dutch National Opera will be prepared by Ching-Lien Wu.
In co-operation with Complicite, London
22 April 2017
25, 28, 30* April 2017
2, 5, May 2017

National Opera & Ballet
Rigoletto – new production
The young stage director Damiano Michieletto returns to Dutch National Opera following his successful debut with Il viaggio a Reims (2015), which he placed in a museum. Conductor Carlo Rizzi is a welcome guest at DNO (most recently for Lucia di Lammermoor) and will lead the Netherlands Philharmonic Orchestra. Luca Salsi makes his DNO debut in the title role; Gilda will be sung by Lisette Oropesa, an audience favourite since her performance as Nannetta Falstaff (2014).
‘By undoing Il viaggio of all realism and presenting it as a surrealistic fairytale, Michieletto succeeded in brilliantly revitalizing this opera.’
(Theaterkrankt, 2015)
Baritone Luca Salsi made his debut at a young age in La scala di seta (Bologna) and won first prize in the Concorso Internazionale di Musica Viotti. He has sung at the Metropolitan Opera in in New York, the Bayerische Staatsoper, Deutsche Oper Berlin and Teatro Real in Madrid. Verdi roles include Giorgio Germont La traviata, Don Carlo Ernani, title role Macbeth, Il Conte di Luna Il trovatore, Renato Un ballo in maschera, Rodrigo Don Carlo and Ford Falstaff. His other repertoire includes Figaro Il barbiere di Siviglia, Belcore L’elisir d’amore, Valentin Faust and Sharpless Madama Butterfly.
Rigoletto is based on Victor Hugo’s stage play Le roi s’amuse, which portrays king François I as a libertine skirt-chaser. When Verdi set out to use it for an opera, the censors forbade him to make the main character a king, so it became the Duke of Mantua. Alongside many ‘darker’ elements, such as Rigoletto’s curse—a higher, merciless force—are ‘lighter’ elements like the fickleness of the Duke’s sex addiction and Gilda’s naiveté. With this tragedy about true-to-life characters with whom we can easily identify, the modern Italian music-drama was born.
9 May 2017
12, 15, 18, 21*, 24, 28*, 31 May 2017
2, 5* June 2017

National Opera & Ballet
Marian Vespers – new production (Monteverdi Year)
Dutch National Opera has performed all of Claudio Monteverdi’s surviving stage works, in much-lauded stagings. Now his powerful Vespro della Beata Vergine, or the Marian Vespers, will receive a visual rendering by DNO director Pierre Audi, in an installation by the Belgian artist Berlinde De Bruyckere. The location is the suitably monumental Gashouder at Amsterdam’s Westergasfabriek. The premiere of this co-production with the Holland Festival marks the opening performance of the 2017 Holland Festival.
Monteverdi was not only the first important opera composer, but he also breathed new life into the sacred music of his day. In the Vespers he combined the traditional rigid style with the modern, free approach to composition that paved the way to music theatre. Musicologist Denis Morrier calls the Vespers ‘a splendid tree. Its deep roots plunge into a rich past. Its huge, solid trunk evokes the pomp and circumstance of a tumultuous present, while its leafy branches spread generously toward the future.’
The colourful and impassioned Vespers are profoundly well-suited to a visual interpretation. Since there is no straightforward ‘plot’, Pierre Audi has chosen for a ‘mise-en-space’ rather than a traditional staging. Audi and the artist Berlinde De Bruyckere continue their collaboration following the joint operatic project Penthesilea in Brussels. The musical performance is in the hands and voices of the period-instrument ensemble Pygmalion. The music director is Raphaël Pinchon. Both he and the young Baroque ensemble make their debut at DNO.
The Fleming Berlinde De Bruyckere’s breakthrough came at the Venice Biennale 2003. She makes three-dimensional sculptures, installations and watercolours. Her early work has a minimalist and abstract character; later she turned to more recognizable forms. Religious symbolism and mythology are crucial elements in De Bruyckere’s oeuvre. In 201 The Hague Gemeentemuseum presented an overview of her work.
3 June 2017
4*, 4, 5 June 2017

Westergasfabriek, Amsterdam
Salome – new production
Ivo van Hove (DNO: The Makropulos Case, Iolanta, Der Schatzgräber) will direct this new production of Strauss’s Salome. Van Hove, director of Toneelgroep Amsterdam, has shaken up the theatre and opera world at home and abroad with his idiosyncratic stagings. He won the 2015 Olivier Award for A View from the Bridge, first staged in London and followed by a successful run on Broadway. His opera repertoire includes Der Ring des Nibelungen (2006-2008, Vlaamse Opera) and Brokeback Mountain (2014, Madrid). In December 2015 Van Hove staged the musical Lazarus by David Bowie in New York.
Following his spectacular DNO debut with Falstaff, Daniele Gatti returns to conduct the Royal Concertegebouw Orchestra, where he is now chief conductor. Gatti’s German opera repertoire
13 also includes Parsifal (Bayreuth) and Elektra (Salzburg). Malin Byström makes her Amsterdam debut in the title role, while Doris Soffel (Das Rheingold, Die Walküre, Die Frau ohne Schatten, Dialogues des Carméliltesi will sing Salomé’s scheming mother Herodias.
The Royal Concertgebouw Orchestra’s recent guest appearances at Dutch National Opera include the successful productions of Yevgeni Onegin, Parsifal, Falstaff and Lulu.
Under the auspices of the Holland Festival
9 June 2017
12, 18*, 21, 24, 27 June 2017
2*, 5 July 2017
Foyer evening
22 May 2017

National Opera & Ballet
Opera Forward Festival
From 18 through 29 March 2017 Dutch National Opera presents the second Opera Forward Festival, with the central theme ‘potent/powerless’. Opera Forward is the place where DNO gives free rein to new works, new initiatives and new talent.
World premiere
On Friday 24 March 2017 DNO presents the world premiere of The New Prince, directed by Lotte de Beer and written by the American composer Mohammed Fairouz, in a daring collaboration with Washington Post journalist David Ignatius as librettist. The artistic team were inspired by the fifteenth-century philosopher/writer/politician Machiavelli’s now-infamous prescription for power.
The festival also includes Alban Berg’s Wozzeck, directed by Krzysztof Warlikowski. The tribulations and final act of desperation of the fragile Wozzeck, and the work’s innovative musical language combine to give Opera Forward’s central theme of ‘potent vs. powerless’ a new dimension.
Interdisciplinary co-operation
In the first Opera Forward Festival in 2016, DNO collaborated with a number of academic institutions: University of Amsterdam, Free University, Amsterdam Conservatory, Netherlands Film Academy and the Theatre School. Students, divided into interdisciplinary teams, created short operas of their own. This co-operation will be continued in the 2017 Opera Forward Festival. Additionally DNO will establish new partnerships with enterprising, innovative and distinctive organizations which operate in the heart of society. Music Theatre Transparant, for instance, will appear at Opera Forward with its own unique vision of Bach’s Johannespassion. Other partners include the companies Opera Trionfo and Opera Front.
Music Theatre Transparant, the Antwerp-based international production house for music theatre, presents a new adaptation of Johann Sebastian Bach’s St. John Passion under the title And you must suffer. The text adds poetry to the Biblical story of the passion; Bach’s music will be combined with new compositions by the Israeli-Palestinian Samir Odeh-Tamimi and the Flemish composer Annelies van Parys, performed by the Baroque ensemble B’Rock. Director Pierre Audi gives the work a sober scenography, based on images by the artist and iconoclast Wim Delvoye, creating a modern reflection on the role of religion, identity, suffering and compassion.
Opera Trionfo
Director Floris Visser, artistic leader of Opera Trionfo, aims to produce, under the title Sign of the Times, a series of performances examining current political and social trends. Visser: “Not all of today’s problems can be told by the classics anymore. They demand a response from the arts in general, and specifically from us as the creators of opera.” The successful Greek-Dutch composer Calliope Tsoupaki wrote the music for the first instalment of Sign of the Times.
Opera Front
In the opera Caliban, produced by the company Opera Front, director Lotte de Beer pursues understanding for the monsters of our day. Caliban, from Shakespeare’s The Tempest, has everything: he is captured and humiliated, but also warns the audience that he’s a monster who can’t be trusted. He is both victim and perpetrator.
More information about the festival programme will be made available in the fall of 2016. See also:

Opera Forward Festival 2017 programme overview:
Festival dates
Wozzeck 18, 21, 23, 26 (matinee) March 2017
The New Prince 24, 25, 26, 28, 29, 31 March 2017 (Stadsschouwburg Amsterdam)
And you must suffer 2 , 29 March 2017 Muziekgebouw aan ’t IJ
Foyer evening
Tuesday 28 February 2017 : Wozzeck and The New Prince under the auspices of Opera Forward Festival
Dutch National Opera talent programme
Dutch National Opera’s talent programme bridges tertiary arts training conservatory, theatre school, and design study) with the professionalism of Dutch National Opera and the international opera world. The talent programme is not only designated for singers, but for other opera-related disciplines, including conductors, stage directors, dramaturges, librettists, pianists/repetiteurs, and décor, costume and lighting designers. The programme consists of masterclasses, workshops and talent-opera productions. Additionally, young singers will be given minor roles on the main stage, and for every DNO production there are intern spots for aspiring directors. Also, ten young artists per year are given the opportunity to participate in international workshops and opera productions via the ‘European Network of Opera Academies’ ENOA .
Madrigals – reprise (Monteverdi Year)
Madrigals is the reprise of the 2007 production. Pierre Audi will once again direct a cast of young singers, and Christophe Rousset will conduct his orchestra Les Talens Lyriques. The performances will be held in Dutch National Opera’s Décor Atelier in Amsterdam Zuidoost.
Of Monteverdi’s opera oeuvre, only three full-length works survive. Combining separate works by Monteverdi can shed light on various aspects of this early master’s art. The only surviving fragment of L’Arianna is the Lamento, in which the princess of Crete yearns for death after being abandoned by her lover Theseus. Il ballo delle Ingrate and Il combattimento di Tancredi e Clorinda are both drawn from the Eighth Book of Madrigals. Death is likewise the central theme of these works. In the former, The Ballet of the Ungrateful Ladies, spirits of women who rejected love show in dance what fate awaits those who reject Amor’s arts. The latter depicts the senselessness of war and strife: in a struggle, Tancredi kills his supposed enemy, who turns out to be his lover Clorinda.
11, 13*, 13, 16, 17 and 19 May 2017
Dutch National Opera
Dutch National Opera (DNO) is known for its versatile programming of traditional as well as modern operas, and for the consistently high quality of its performances. Dutch National Opera’s innovative productions, commissioned works and fresh approach to standard repertoire keep the art form alive and safeguard its place for the future. With director Pierre Audi at the helm, Dutch National Opera has earned a formidable reputation in the international opera world, and new productions invariably attract worldwide attention. DNO’s regular co-productions are carried out with renowned companies and houses such as the Metropolitan Opera in New ork, de Opéra National de Paris or the Teatro alla Scala in Milan.
Dutch National Opera has its own chorus, the 46-member Chorus of Dutch National Opera, widely considered one of Europe’s best opera choruses. While Dutch National Opera does not have its own house orchestra, the majority of its productions enjoy the participation of the Netherlands Philharmonic Orchestra|Netherlands Chamber Orchestra. Marc Albrecht is chief conductor of both opera and this orchestral combination.



Strasbourg: Die neue Spielzeit 2016/17 der Opéra du Rhin – 8 V 2016

Copyright: Opéra du Rhin

 Es war eine besondere Pressekonferenz zu der die Opéra du Rhin einlud: die achte und letzte Spielzeit von Intendant Marc Clémeur wurde vorgestellt. Nachdem die Kultursprecher von Straßburg, Mulhouse und Colmar – die drei Städte an denen die Oper spielt – die große Arbeit Clémeurs würdigten, bedankte sich der Intendant zuerst bei de 42 Journalisten die „von London bis Tokyo angereist“ waren – ein deutliches Zeichen dafür, welch internationale Ausstrahlung die Oper inzwischen aufgebaut hat. In den vergangenen sieben Jahren hat Clémeur das Stammrepertoire der Opéra du Rhin, an der deutsche Komponisten traditionell eine große Rolle spielen, mit vielen selten gespielten Werken des französischen Repertoires bereichert. Nach „Hamlet“ von Ambroise Thomas, „Le Roi Arthus“ von Ernest Chausson, „Ariane et Barbe-Bleue“ von Paul Dukas und „Pénélope“ von Gabriel Fauré, wird nächste Spielzeit „La Juive“ von Fromental Halévy gegeben. Die Produktion kommt aus Antwerpen und mit ihr wird der 71-jährige Regisseur Peter Konwitschny sein Debüt in Frankreich geben. So wie jedes Jahr wird die Spielzeit im September mit einer zeitgenössischen Oper eröffnet, dieses Jahr im Rahmen des modernen Musikfestivals „Musica“ mit einer neuen Oper des marokkanischen Komponisten Ahmed Essyad, „Mririda“. Gleichzeitig wird Benjamin Brittens „The Turn of the Screw“ wieder aufgenommen, in der Inszenierung von Robert Carsen, die schon im Theater an der Wien zu sehen war. Danach folgt Donizettis „L’Elisir d’amore“ in einer neuen Inszenierung des jungen Italieners Stefano Poda, der – so Clemeur – als Ausgangskonzept unsere „ökologische Naivität“ nehmen wird. Zu Weihnachten folgt noch einmal „Das schlaue Füchslein“ in der sehr erfolgreichen Inszenierung von Robert Carsen, die inzwischen auch schon in Lille und Torino gespielt wurde, zusammen mit einer Kinderoper, „Schneewittchen“, an der junge deutsche Komponist Marius Felix Lange gerade schreibt. Nach „La Juive“ im Februar, folgt im März eine neue „Salomé“, unter der Leitung von Constantin Trinks – der im Augenblick Wagners „Liebesverbot“ dirigiert – und in einer Inszenierung von Olivier Py, mit der hochbegabten Finnin Helena Juntunen als Salomé. Barockopern waren nicht unbedingt die „cup of tea“ von Marc Clémeur, denn sie werden zur Zeit in ganz Frankreich, von Versailles bis Nancy, gespielt. Doch im April 2017 gibt es dann doch noch „La Calisto“ von Francesco Cavalli, in einer Inszenierung von Mariame Clément, mit Christophe Rousset am Pult. Genau so fröhlich wird sicher auch Rossinis „Il signor Bruschino“ in der Inszenierung von Jean-Michel Criqui. Zum Abschluss gibt es im Juni 2017 „Cavalleria Rusticana“ und „Pagliacci“, die seit dreißig Jahren nicht mehr in Straßburg gespielt wurden. Der letzte Satz von Pagliacci ist „la commedia è finita“. Dann wird Marc Clémeur nach 28 Jahren ununterbrochener Intendanz in Antwerpen/Gent und an der Opéra du Rhin den Theatervorhang fallen lassen und wahrscheinlich – er sagte dies in einem persönlichen Gespräch – nach Belgien zurückkehren und als Sängeragent weiterarbeiten. Er wird uns fehlen und mancher wird eine „furtiva lacrima“ weinen, denn Clemeur war ein Intendant, der ganz im Dienste seiner Häuser stand, der nicht sich selbst sondern die Kunst (und die durch ihn engagierten Künstler) ins Rampenlicht stellte und der auch bewusst an sein Publikum dachte. In seiner letzten Spielzeit werden über 100.000 Besucher in der Opéra du Rhin erwartet, darunter 900 Gruppen mit Schülern. 30% des Publikums ist unter 26 Jahre alt und 23% kommt aus dem Ausland (Deutschland und Schweiz). Welche andere Oper in Frankreich kann das von sich behaupten?

 Waldemar Kamer, Paris

 Die komplette Spielzeit 2016/17 steht  – auch auf deutsch – auf der homepage der Oper:


Laurent Spielmann, Director of the Opéra national de Lorraine (Nancy, France), just annouced his new 2016-2017 new season – a season with a taste of happiness and joy.

6 productions of operas will be proposed to you this season among which 5 New Productions:

* Maurice Ravel: L’heure espagnole / Giacomo Puccini: Gianni Schichi
Musical direction: Michael Balke – Staging: Bruno Ravella
Young singers New Productions in coproduction with Nancy Opera Passion
5 performances from September 27th to October 6th, 2016

* Jacques Offenbach: Genevieve de Brabant
Musical direction: Claude Schnitzler – Staging: Carlos Wagner
Soloists: Sandrine Buendia, Eric Huchet, Rémy Mathieu, François Piolino, Diana Higbee, Raphaël Brémard…
New Production – Coproduction with the Opera Orchestre national de Montpellier Languedoc-Roussillon
5 performances from December 27th, 2016 to January 3rd, 2017

* Domenico Cimarosa: Il matrimonio segreto
Musical direction: Sascha Goetzel – Staging: Cordula Däuper
Soloists: Emmanuelle de Negri, Bruno de Simone, Maria Savastano, Cornelia Oncioiu…
Production Opernhaus Zürich
5 performances from January 31st to February 9th, 2017

* Nicolaï Rimsky-Korsakov: Le Coq d’Or
Musical direction: Rani Calderon – Staging: Laurent Pelly
Soloists: Svetlana Moskalenko, Alexey Tikhomirov, Alexey Mikhalyov…
New Production – Coproduction Opéra national de Lorraine, La Monnaie / De Munt and Teatro Real de Madrid
5 performances from March 12th to 21st, 2017

* Gioachino Rossini: Semiramide
Musical direction: Domingo Hindoyan – Staging: Nicola Raab
Soloists: Salome Jicia, Franco Fagioli, Matthew Grills, Nahuel Di Pierro, Antonio Di Matteo…
New Production
5 performances from May 2nd to 11th, 2017

* Richard Strauss: Ariadne auf Naxos
Musical direction: Rani Calderon – Staging: David Hermann
Soloists: Josef Wagner, Andrea Hill, Michael König…
New Production
5 performances from June 6th to 15th, 2017

Please find the complete season in details in the joined brochure or on the Opera website:


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