L’ELISIR D’AMORE - Operazuid.nl
GAETANO DONIZETTIL’ELISIRD’AMORE1
L’ELISIR D’AMOREL'elisir d'amore (The Elixir of Love) is a two-act opera by the Italian composerGaetano Donizetti (1797–1848).Poet and scholar Felice Romani (1788–1865) wrote the Italian libretto.In a new musical adaptation by Pedro Beriso.World premiereTeatro della Canobbiana in Milan, 12 May 1832.Premiere of Pedro Beriso’s versionStudio Malpertuis in Maastricht, 23 May 2021.CoproductionL'elisir d'amore is a coproduction of Opera Zuid with Nederlandse Reisoperaand Dutch National Opera.Performed in Italian with English subtitles.2
CREDITSAdina Julietta AleksanyanNemorino José RomeroBelcore Martin MkhiziDulcamara Sam CarlGiannetta Bibi OrtjensMusical adaptation Pedro BerisoMusical director Enrico DelamboyeStage director Marcos DarbyshireScenographer Amber VandenhoeckCostume designer Luis F. CarvalhoLighting designer Glen D’haenensOrchestra philharmonie zuidnederland3
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SYNOPSISSecret love, a medieval saga, asultry summer evening and fiveyoung people form the ultimaterecipe for the romantic opera L'elisird'amore.The young, somewhat geeky andnaive Nemorino is secretly in lovewith the hip and rich Adina. She,however, is candid about not beingin love with him. By ‘chance’, sherecites the love story of Tristan andIsolde. The elixir of love that bringsthese two lovers together is centralto this medieval saga. This givesNemorino an idea: he must also finda love potion so that Adina will fall inlove with him.Nemorino's ‘rival’ soon makes hisappearance. The dashing Belcoreuses his confidence to get Adina’sattention. However, determinedNemorino tries to convince Adinathat he is the one for her, and sheshouldn’t just surrender to thebraggart Belcore. Adina againrejects Nemorino, but he findsanother glimmer of hope.The conman Dulcamara arriveson the scene with his arsenal ofmiracle cures for every situation.He has a cure-all for Nemorino: alove elixir with which he can getthe love of any woman. Nemorino,convinced his advances will workthis time, again tries to woo Adina.Dulcamara’s magic potion turns outnot to work. Adina has had enough.To hurt Nemorino deeper, shedecides to marry Belcore that same5day. Everyone declares Nemorino’sconstant begging is making himcrazy.Belcore, playing on Nemorino’semotions, persuades him to join thearmy. It will bring him money andstatus. When he receives his pay,he rushes to Dulcamara to buy moreelixir. Nemorino still believes thedrug will work.Meanwhile, Dulcamara andGiannetta learn Nemorino hasinherited a fortune from a late uncle.The inheritance turns out to be amore potent drug than Dulcamara’spotions. But Dulcamara keeps thissecret from Nemorino to maintainhis belief in the love potion’s ability.Nemorino’s sudden popularityfrom his recent inheritance makesAdina jealous. She dare not admitit, but she is in love with him. WhenNemorino announces to Adina hislooming departure with the army,she declares her love. He does notknow what is happening to him.Convinced Dulcamara’s potion isthe cause, Nemorino thanks him.Embittered, Belcore has to endureNemorino’s triumph.
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INTERVIEW WITH STAGE DIRECTORMARCOS DARBYSHIREIt was all handed to me on a silverplatter, says stage director MarcosDarbyshire. He was invited todirect Donizetti’s L'elisir d'amorein a contemporary version and,with Pedro Beriso, write a newarrangement for five soloistsand twelve musicians since thecoronavirus measures do not allowfor a performance with choir. Addto this the opportunity to make thisopera about love with five youngtalents from the National OperaStudio, then you are definitely in theright place. ‘These are the perfectcircumstances for my vision ofL'elisir d'amore – which is one of myfavourite operas.’Marcos Darbyshire was born inCórdoba, Argentina, where he trainedas a pianist, specialising in chambermusic, and as a lieder accompanist.In 2008, he moved to Germany,and started studying Opera StageDirection. As a freelance directorand assistant he has worked atStaatstheater Nürnberg, La Fenice,Teatro Real, Palau Reina Sofia,Teatro de la Maestranza and OperaVlaanderen.Why do you like L'elisir d'amore somuch?‘The opera explores identity andloss of innocence. I consider L'elisird'amore a coming-of-age opera.Then to have the opportunity to workwith a group of young performers,it doesn’t get much better. Theystill have that delicateness. If youperformed it at the Royal OperaHouse with established opera stars,you’d get a very different version.’Why do you consider L'elisir d'amoreas a coming-of-age opera?‘The characters’ psychologicalgrowth is key. On a long summerevening, we follow the twoprotagonists’ emotional development.By dawn, they are different people.The notion of development, bothindividually and as a group, is7
at the heart of this opera. Thecharacters’ interactions and thetensions between them accentuatetheir personal growth. These groupdynamics play a prominent role in mystage direction.’Besides group dynamics, what arethe other significant subjects?‘The discovery of sexuality is crucialto this work because everyoneremembers those feelings of doubtand not being ready or not knowinghow to handle this sexual tension.Of course, drinks and stimulants arealso important in my stage direction.The text leaves no doubt about that:Nemorino gets drunk. But it’s tooeasy to laugh at him. What happensif everyone gets drunk and suddenlymakes stupid decisions? Would thatgroup dynamic change anything?’L'elisir d'amore is a comic opera, willthere be lots of laughter?‘There certainly will be laughter, butwith the characters rather than atthem. I don’t consider the loss ofinnocence as a funny thing. But bypresenting the subject with a certainlightness and in an Italian summeratmosphere, it does become comical.The fun and lightness are mainly inDonizetti’s music and the characters’connections. My directing alsolooks for melancholy and thememory of innocence first lost.One’s first heartbreak is dramatic8and earth-shattering. Now you’llremember your youthful sorrow witha smile.’Pedro Beriso made an adaptedmusical arrangement in collaborationwith you. Did this present anychallenges?‘To begin with, the libretto in L'elisird'amore is simply fantastic. Thestructure is perfect. Each characterhas a particular presence, and everyinteraction is in the libretto. It allfalls into place in Donizetti’s music.Since we are performing a versiontailored to coronavirus measures,we’ve had to shorten the opera. Itwas a challenge, but we did verywell. We consistently respondedto how we can get the material weneed for what I have in mind for theopera. Fortunately, Pedro understoodthat the relationships between thecharacters are more important to methan the storyline, which gave methe freedom to enrich some of thecharacters.’How did you do that?‘Adina’s rejections and the reactionsof her popular group of friends area big blow to the confidence of theinexperienced Nemorino. But I didn’twant this to be a reason to laugh athim. I want the audience to identifywith him. His suffering is so real thatyou feel for him. Hasn’t everyonefelt like Nemorino? He hasn’t yet
found his place in the world; thatis, his position in the world of theothers. Social standing plays a vitalrole in this. In contrast, Adina’spopularity and wealth relieve herof having to fall in with the group.At least, it seems so. She also hasinsecurities but can easily hide them.Her character is also layered andcomplex. When other girls throwthemselves at Nemorino, she getsjealous and realises her true feelingsfor him.’And how did you add more depth tothe other three characters?‘For the new musical arrangement,we had to tinker with the partygoerand swindler Dulcamara. Based onthe original text, I tried to make him9more human: a smooth talker secretlytrying to find himself. Furthermore,Belcore is a brash villain. I wantedhis inner being for the arias so thatwe were able to give him moredepth. Finally, Giannetta’s characteris somewhat subdued in the originalversion because the chorus isso dominant. The advantage ofhaving no choir in my production isGiannetta can stand out more andbecome a character in her own right:a young girl desperately wanting tobe popular.’Is it complicated to expand uponexisting characters?‘The use of bel canto in Donizetti’smusic makes it easier for me asa stage director to portray the
characters from the inside. Togetherwith Rossini and Bellini, Donizettiis the composer of the Italian belcanto from the early 19th century.In this singing style, the performer’semotion and timbre play a majorrole. If you listen carefully, there aremoments in the arias when you canindeed experience the characters’thoughts, feelings and perceptions.In this version, we play with thosedifferent perspectives. And the useof stimulants changes the perceptionof reality to an even more extremedegree.’Other than the opera itself, whatinspired your production?‘You can feel the attraction betweenNemorino and Adina from themoment the curtain raises. Like inromantic comedies on TV and infilms, you just know: they are meantfor each other. Romcoms like thishave been a source of inspirationfor me. It’s worth rememberingthat all of these comedies havetheir origins in L'elisir d'amore andother comic operas from this era.In this time of the coronavirus, filmshave inspired me more than usual.Watching Netflix has become auniversal activity, connecting us inthe lockdown loneliness.’10What emotion will the audiencebe left with after watching theperformance?‘I hope people see somethingof themselves on stage and thatDonizetti reveals things aboutyou that you didn’t know. Theevents take place in the swelteringatmosphere of an Italian summer,with a sun that dazzles and a nightthat envelops the characters withmystery and uncertainty. A night fullof unprecedented possibilities.’
ENRICO DELAMBOYECONDUCTS L’ELISIR D’AMOREHe has seldom looked forward to aperformance as much as this. After ayear in which almost all operas werecancelled due to the coronavirus,Enrico Delamboye conductsDonizetti’s L'elisir d'amore, adaptedby Pedro Beriso. ‘Everyone is longingfor this production. We can finally alldo what we believe in and what weare good at again.’Dutch conductor Enrico Delamboyewas music director at TheaterKoblenz for years. He has previouslyconducted Offenbach’s Fantasio, andsince returning to the Netherlands,he has found time for a collaborationwith Opera Zuid. He thinks L'elisird'amore is timeless, pure and full ofhumour and drama. ‘You immediatelysense someone’s sadness. Themusic’s restraint and calm are carriedin its minor key and dark instrumentation. When upbeat, the orchestra’scolouring is much more brilliantand the keys are clear. Bel canto’singenious structure and instrumentation offer the singers wonderfulmoments of expression.’L'elisir d'amore is performed witha new musical arrangement andsmaller line-up. What will changefor the musicians, singers andconductor?‘The small line-up maintains thepiece’s character and substance.You can’t shorten a Strauss orWagner opera without significantloss. Mass is just one element of thecomposition. But Donizetti is all aboutrefinement. In his fantastic reduction,Pedro Beriso works with the materialand makes something new fromit, but completely in the spirit ofDonizetti. He has considered everynote and wondered how he can givethe composer and his colouring awhole new form.’ The collaborationbetween Delamboye and Beriso isintensive. He shows the recent appmessages on his phone. ‘We sendphotos of parts of the arrangementback and forth with questions like“how can we resolve this evenbetter?” We just ping-pong ideasback and forth.’Delamboye considers having asmaller orchestra perform thisversion of L'elisir d'amore as anadvantage. A large orchestra has11
more margin. The opposite is thecase for a chamber ensemblebecause every instrument is solo.You can’t omit two notes, becausesomething is immediately missing.Musically, everyone is virtually nakedand indispensable, which demandsheightened concentration from themusicians and more alertness toindividual playing from me. Chambermusic is even more difficult becauseyou can’t hide behind anything.Thus, everyone gets the opportunityto express themselves. Musiciansfrom larger groups often flourish insmaller ensembles because they aresuddenly allowed to ‘audibly’ pull thecart. The new musical arrangement isalso a nice challenge for the singers,and since there is no choir, thesoloists have to sing more.Donizetti is famous for his belcanto. As a conductor, how do you12experience this style?‘A bel canto opera lives through thevoice and demands the singers tohave more technical precision andcontrol of the voice. The orchestrahas a more supporting role that isneither passive nor dominant. Aswith any opera, my role is to balanceits entirety and make sure thatmusicians and singers get enoughroom to flourish.’Finally, which of the characters doyou identify with most?‘Actually, none of them! Certainlynot with Nemorino, because if Ilike something or someone, I stepup, and I’m not afraid of rejection.Nor with that braggart Belcore. Hethinks he’s great but has nothing tooffer. Perhaps I admire Dulcamarathe most. He’s not the smartest,but there are always more stupidcustomers, and he exploits that!’
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MEET THE CASTJulietta Aleksanyan / Adina‘I was in Madrid performing anopera when I was asked to play thispart. My spontaneous reaction was,“Adina! Wow!” It has been one of mydream roles for a long time becauseof the beautiful bel canto music. Thissinging style demands a lot from asinger, so it’s a huge challenge. ButI also aspire to this young lyricalsoprano role because it suits myage perfectly in terms of looks andvoice. Before we started rehearsals,I had mixed feelings about Adina,who is a rather complex character.I wasn’t sure whether she is a niceand sincere person. However, duringrehearsals, the interaction betweenthe different characters revealed whoAdina is. She isn’t mean, but she isyoung and insecure, which is whyshe doesn’t yet know how friendshipand love are related. I recognise14myself in her insecurities, which Ialso had as a high school student.She has a good heart, though, andI hope I have too. The fact that Irecognise myself in Adina makes iteasier to portray her true to life. I candraw on my memories and emotions,but I have to imagine the wealth inwhich Adina was raised because mychildhood wasn’t like that.’
José Romero / Nemorino‘When I found out I could playNemorino, I thought, “Oh boy, Belcanto!” Despite my limited experiencewith this music style, it was awelcome challenge at just the righttime. It is a role that young tenorscan sing for a while, and I’m nowat the right age for it. By learningthe role as quickly as possible, Icould then improve my technique. Ipractised the arias endlessly to makethem sound very natural. Nemorinohas to act and do a fair amount ofrunning around, which requires a lotof energy. Nemorino and I have a lotin common. I was a bit of a geek atschool. A good Christian boy whodidn’t experiment or liked going toparties. I was quite awkward withgirls. I’ve changed a lot since then,but I remember how different I wasfrom the cool guys. Nemorino is very15relatable, and this contemporaryversion makes this easier. In thetraditional version, Nemorino is abit of a village idiot. However, heis as honest and transparent as aperson can be, which appeals tome. It’s fantastic to work with theother young opera singers at OperaZuid. I can experiment here, which isimportant at this stage of my career.’
Martin Mkhize / Belcore‘I was thrilled when my agent calledto tell me I could sing Belcore. It’sone of the roles in my repertoirethat I would like to perform andpreferably in Europe. It’s fantasticto have the opportunity to singduring this time of the coronavirusbecause most singers are stuckat home without work. Belcoreis an ordinary guy but quite full ofhimself. He really loves himself. Hesees opportunities everywhere, andhis motto is “some you win, someyou lose”. Like Belcore, the old mewas quite arrogant. I had a machoattitude, which I haven’t fully shakenoff, but life and the opera professionhave made me more humble. I dobelieve in myself, like Belcore, but Ithink that’s a positive trait. To preparefor this role, I’ve watched manyperformances of L'elisir d'amore.16The contemporary interpretationof the opera is wonderful. When Ifirst saw the set, I was amazed. Ican easily empathise with this storybecause, at high school, I went tomany house parties without parentsaround and with drinking and music.This performance of L'elisir d'amorefeels like it’s based on events frommy own life.’
Sam Carl / Dulcamara‘It’s wonderful to be on stage againwith a conductor and director.Marcos obviously has a plan forus, but he’s mostly interested inwhere we want to go. He doesn'twant us to play our part, but ratherthat we respond to the otherson stage and create charactersbased on ourselves. The firstrehearsals allowed lots of room forimprovisation. Such creativity makesme feel like an artist again. In thetraditional version, Dulcamara is areal charlatan who loves being thecentre of attention. I’m glad that I getto portray a contemporary Dulcamaraand not a 19th-century character. Inthis version, I'm not 100% sure thathe’s a bad person. I see him as arather hyped-up guy whose boredomleads to him messing aroundand experimenting. In a tragedy,17Dulcamara would have been the badguy. But L'elisir d'amore is a comedy,and Dulcamara is actually hilarious.Now that we are performing L'elisird'amore without a choir, all thesingers are almost always on stage.That’s a great challenge for us youngsingers.’
Bibi Ortjens / Giannetta‘This is a home game for me becauseI study at the conservatory inMaastricht. I am not staying in a hoteland can easily switch off at home.As a student, Opera Zuid introducedme to opera’s joyful and energeticaspects. It’s fantastic to be invited toperform this role. Like me, Giannettais the youngest of the group. Butbecause she knows everyoneinside out, she knows exactly howthe group members relate to oneanother. She’s clever and has aninstinctively quick grasp of things.Of course, she’s the first to knowthat Nemorino is a millionaire. Inthis production, she is mischievous,and I like playing that role. Operaturns me into a hyperactive, bouncycreature, so Giannatta’s energycomes naturally, without acting. Sheis bitchier than I am and enjoys when18things go wrong, but she wouldn’thurt a fly. To be involved in such aproduction as a master’s studentis a big deal for me. Nevertheless,I try to remain open-minded andto concentrate on the singing andbodywork.’
THE NATIONAL OPERA STUDIOThe National Opera Studioprogramme for young singersand repetiteurs started in 2018.Its artistic leader is internationally renowned soprano RosemaryJoshua. The studio’s members gainessential professional experienceby being challenged at the highestlevel in the Dutch National Opera’sprofessional environment. They arecoached individually and intensivelyin all aspects of their professionaldevelopment. Sometimes themembers are also guests at DutchNational Touring Opera and OperaZuid and work on their annualopera productions and concerts. Indoing so, they gain the necessaryexperience to further theirinternational career. In the comingseasons, the Opera Studio’s alumniwill feature in productions of Dutchopera companies.PHILHARMONIE ZUIDNEDERLANDThe philharmonie zuidnederlandmoves people with classical music.The company is the SouthernNetherlands’ professional symphonyorchestra and is committed toconnecting with all residentsof Noord-Brabant, Limburgand Zeeland. The philharmoniezuidnederland achieves this througha rich array of activities, includingambitious symphonic concerts withbeloved concert hall repertoire,new concert formats in unexpectedlocations, carnival concerts, filmprojects, centuries-old masterpieces,scintillating world premieres,19business events and educationalprojects. The philharmoniezuidnederland is an orchestra of andfor the people: a vibrant companythat works with inspiring musiciansand staff members to deliver customwork at the highest level. Led by itsintendant, Stefan Rosu, philharmoniezuidnederland continues to innovateand shift boundaries.
BIO’S CAST & CREATIVESJulietta Aleksanyan - AdinaYerevan, ArmeniaYerevan State ConservatoryWhat inspired you to work in opera?‘I first learned about opera when I wasfifteen. It was like finding a big oasis inthe desert. I simply fell in love with thisart form. I was lucky enough to work inthe Yerevan Opera Theatre for a year, andthen I found my second home theatre atthe Dutch National Opera in Amsterdam.’operaballet.nl/julietta-aleksanyanIf you could make a magic elixir, whatwould it do?‘I would make a truth elixir! I’d like to hearonly the truth from people.’Jose Simerilla Romero – NemorinoBuenos Aires, Argentina; raised in Florida,United StatesAA Vocal Performance, Valencia CollegeBA Vocal Performance, Stetson UniversityWhat inspired you to work in opera?‘My house has always been filled withmusic, and both my parents are great fansand admirers of classical music and opera.My father is my greatest inspiration;he is the singer of the family and hasa spectacular voice. When I chose topursue a music career, his encouragementbecame my inspiration.’If you could make a magic elixir, whatwould it do?‘I would make an elixir that could cureevery disease in the human body, bothmental and physical. It would make20josesimerillaromero.com
everyone 100% healthy for the rest oftheir life. I’m thinking about what hashappened with the pandemic over thepast year. I hope such a magic elixir wouldprevent this from ever happening again.’Martin Mkhize – BelcoreJohannesburg and Cape Town, SouthAfricaPerformer’s Diploma in Opera, Universityof Cape TownWhat inspired you to work in opera?‘Being successful in local and internationalsinging competitions gave me tremendousconfidence and inspiration to pursue acareer in opera. The support I receivedfrom my family, friends and teachers alsoplayed a prominent role.’martinmkhize.comIf you could make a magic elixir, whatwould it do?A pill to free humanity from the limitedworld view that blinds us from the truth.Sam Carl – DulcamaraLondon, United KingdomOpera Course, Guildhall School of Musicand DramaWhat inspired you to work in opera?‘Being cast as Sweeney Todd in aproduction of the musical in my final yearat school. I thought, “How can I keepdoing this for the rest of my life?”’If you could make a magic elixir, whatwould it do?‘An elixir to speak new languages fluently.’21samcarlbassbaritone.com
Bibi Ortjens - GiannettaMaastricht, the NetherlandsSolo Singing Classical & Opera,Maastricht ConservatoryWhat inspired you to work in opera?‘When I think of opera, my strongestfeeling is that of vibrant energy. It’s thecumulative energy that arises wheneveryone combines their best abilities tocreate a staged production. Blend thiswith the wonderful tradition of classicalmusic, and you have. opera!’bibiortjens.comIf you could make a magic elixir, whatwould it do?‘A pill that would eradicate your deepestfears and insecurities and ensure thateveryone can function optimally.’Pedro Beriso – Musical adaptationCartagena, SpainInternational Opera Studio, ZurichOpernhaus as pianist. BA OrchestraConducting, ESMUC, BarcelonaWhat inspired you to work in opera?As a teenager, I became obsessed withMozart’s music, which inevitably ledto discovering his opera masterpieces.This opened a world of opportunities: Istarted learning bel canto repertoire anddeveloping a passion for the voice, Italianmelodramma and theatre.If you could make a magic elixir, whatwould it do?The elixir would prevent you from lyingto yourself and induce self-reflectivehonesty. If everyone had this, the worldwould undoubtedly be a better place.22www.pedroberiso.com
Amber Vandenhoeck – Set designAntwerp, BelgiumMonumental Arts/Scenography, RoyalAcademy AntwerpWhat inspired you to work in opera?‘After working in music and dancetheatre, I inadvertently ended up in opera.Opera often requires greater staging;everything can be more grandiose, whichI especially like.’If you could make a magic elixir, whatwould it do?‘I would like to make a drink that takesaway all fear, especially nowadays. Wecould start thinking with an open mindand breathe with open lungs.’Glen D'haenens - Lighting designAntwerp, BelgiumMA Audiovisual Communication, GenkAcademy of Visual Arts & MediaWhat inspired you to work in opera?‘The music’s driving emotional power andhow this combines with the visual andtechnical.’If you could make a magic elixir, whatwould it do?‘People are fascinating precisely becauseof their differences, and I love them forall the experiences, inhibitions and detailsthat make them who they are. Artificiallyemphasising or suppressing that diversityseems unfortunate and terrifying.’23ambervandenhoeck.be
Luis F. Carvalho – Costume designPortugalTechnical Arts Design, Wimbledon Schoolof ArtWomenswear Fashion Design, CentralSaint Martins College of ArtWhat inspired you to work in opera?‘I was ten years old when I first visited thetheatre. I went to London’s West End withmy family to watch a Cinderella Christmaspantomime. At that age, children are fullof wonder, but when I left the theatrethat night, I knew I wanted to be partof that world. It wasn't until years later,when I was studying art, that I realisedthat production design for theatre andopera was a vocation. After completingmy exams, I took a foundation course inart and then went on to study set andcostume design.’lfctheatre.comIf you could make a magic elixir, whatwould it do?‘I would create an elixir to eradicateracism and bigotry of any kind. Why?Because the world we live in needs toeliminate such behaviour.’Lochlan Brown - Assistant ConductorPerth, AustraliaMA Collaborative Piano and OrchestralConducting, Mannes College NYCBA Music in Composition, The Universityof Western AustraliaWhat inspired you to work in opera?‘When I was sixteen, some singers askedme to play the piano for their concertof fun Mozart scenes. It was for youngschool children, who laughed hysterically24lochlanjbrown.com
even though they didn't understand aword. I never realised that opera was sopowerful.’If you could make a magic elixir, whatwould it do?‘A drug to increase curiosity. All goodthings come from seeking better answersor at least from better questions. Ifprejudice is rooted in ignorance andcomplacency, the cure is curiosity andwillingness to learn.’Wilko Jordens - RepetitorDrenthe, the NetherlandsPiano and Conducting, UtrechtsConservatoriumWhat inspired you to work in opera?‘My teacher invited me to work on hisproduction at the Dutch National Opera inAmsterdam, and I've loved it ever since!’If you could make a magic elixir, whatwould it do?‘It would ensure a sustainable life andrespect all living things on Earth.’25
OPERA ZUIDOpera Zuid brings opera closer toyou: opera that moves, amazesand transports you, drawingon humankind’s inexhaustibleimagination. We want ourproductions to contribute to the bigdiary of the world. Tradition andinnovation go hand in hand and greatmasterpieces from the past touchthe heart of the here and now. Weconnect new creations with traditionand current events.We believe the operatic experienceis more relevant than ever andcan change your life. From thisconviction, we tour with operaproductions to be shared and enjoyedby as large and diverse an audienceas possible.NEDERLANDSE REISOPERANederlandse Reisopera (DutchNational Touring Opera) is thelargest travelling opera companyin the Netherlands. For more than65 years, we have been inspiringand delighting audiences with ouropera productions. From Enschede,we take our opera productions andperformances to all parts of thecountry.Our mission is, among other things,to create relevant and beautifuloperas that touch and connectpeople. But the Reisopera is morethan just opera. With our ownChildren's Choir, our talent projectDe Maakers and our educationalprojects, we actively introduce newgenerations to music theater.With our participation projects wewant to stimulate the love for singingtogether with as many people aspossible.DUTCH NATIONAL OPERADutch National Opera presentsopera in the broadest senseof the word. Classics from therepertoire, forgotten works and newcompositions are made relevant fortoday’s audience. Dutch NationalOpera also offers a platform forthe best national and internationalperformers. DNO builds bridges26to other art forms, innovates andprovides opportunities for a newgeneration of artists and audiences.
PRODUCTION TEAMProduction manager Lotte LindelauffProduction assistant Joep HupperetzProduction intern Hasna ZahriStage manager Arlette SchriekAssistant director Saskia BonariusAssistant Conductor Lochlan BrownRepetitor Wilko JordensItalian Language Coach Marco CanepaMusicians philharmonie zuidnederland1st violin Adelina Hasani (concertmaster)2nd violin Mia Knippenberg-VandewieleViola Arms NazarianCello Paul UyterlindeDouble bass Wouter SwinkelsFlute Angela StoneOboe Alexander van EerdewijkClarinet Arno van HoutertBassoon József AuerFrench Horn Peter HoebenTimpani/Percussion Bas VoorterPiano Lochlan Brown (Dutch National Opera Studio)Technical realisation Rudy van Wijk, Sylvain Smeets, Mick HöfelmannSet construction Decoratelier van de Nederlandse ReisoperaTechnicians Paul Francot, Paul Hendrix, Kevin LiedekerkenVideo design and light/video operation MartinJan GaasbeekSoundscape Hjorvar RognvaldsonProps Nathalie SmeetsHead of costume department Leo van den BoornCostume department Ben van Buuren, John Meertens, Anny KrutzenHair and make-up Pilo Pilkens, Roxane ZandijkTitles director Joep HupperetzSubtitle operator Aiske FondaTranslation English titles JLC Coburn27
OPERA ZUID EMPLOYEESArtistic & General manager Waut KoekenExecutive producer Rudy van WijkHead of operations and fina
L'elisir d'amore (The Elixir of Love) is a two-act opera by the Italian composer Gaetano Donizetti (1797–1848). Poet and scholar Felice Romani (1788–1865) wrote the Italian libretto. In a new musical adaptation by Pedro Beriso. World premiere Teatro della Canobbiana in Milan, 12 May 1832. Premiere of Pedro Beriso’s version
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2016 SEASON The Drowsy Chaperone L y r i c O p era T h e a t r e COMPANY Guadalupe l’elisir d’amore Company Music and lyrics by Stephen Sondheim Book by George Furth Sept. 25, 26; Oct. 2, 3 at 7:30 p.m. Sept. 27 & Oct. 4 at 2 p.m. Guadalupe Music composed by James DeMars Libretto by James DeMars, Music and lyrics by Lisa Lambert and Greg .
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1 La Dipendenza affettiva: L’AMORE OLTRE L’AMORE. Ivano Cincinnato1 Il concetto di dipendenza è un concetto complesso che implica non solo aspetti neurobiologici, ma anche comportamen
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conforms to the ISO 14001 Standard.1 While ISO 14001 has existed for more than 20 years, the changes adopted by the International Organization of Standards in 2015 are the most sweeping since the standard’s inception. Organizations certified to the former version must incorporate the new requirements by September 15, 2018. The articles that follow examine key changes in the ISO 14001:2015 .
