Press and public reactions: “OPERA2DAY lives up to its reputation once again.”
On Thursday 15 January the moment finally arrived: the premiere of The Opera Circus. After two years of research, preparation and rehearsals, our homage to Handel, Baroque opera and the spectacular theatre of that era finally saw the light of day. And just as the performance ends with a radiant appearance of the sun on stage, so radiant was the premiere evening itself. De Theaterkrant wrote: “Director Serge van Veggel and Aedín Walsh once again do justice to OPERA2DAY’s reputation as an idiosyncratic opera company.”
Radiant Sun
The press response was overwhelmingly positive. NRC headlined: “OPERA2DAY mixes circus and Handel operas into a refreshing Baroque spectacle.” ArtsTalk Magazine stated: “OPERA2DAY, once again, contrived a brilliant new opera for themselves.” Soprano Maud Bessard-Morandas made a deep impression with her portrayal of the Sun. De Theaterkrantwrote that she quite literally seemed to glow: “The lightning-fast embellishments of her vocal line, which she takes over from and varies with the oboe, flow smoothly from her throat.” NRC praised her contribution to the “resilient happy ending.”
Trapeze Work and Rope Climbing
Maria Schellenberg, as the goddess of war, also received praise. “With her full, rounded voice and subtle dynamics she even manages to move the audience at times, for instance in the aria Morirò,” according to De Theaterkrant. Place de l’Opera noted that she sang virtuosic coloratura with a “powerful voice.” De Volkskrant likewise called Morirò a “strong moment.” ArtsTalk Magazine was particularly impressed by countertenor James Hall, who according to De Volkskrantseized his opportunity in the aria Vaghe pupille.
The combination of singing and circus was considered exceptional. ArtsTalk Magazine wrote: “Maria Schellenberg as the Queen of War sang beautifully despite having to do the first few minutes balanced on a small platform halfway up a rigging pole. Maud Bessard-Morandas was excellent as The Sun, who also fearlessly demonstrated her trapeze skills.” The trapeze work and rope climbing by the circus artists were also described as “excellent.”
A Feast for the Eyes
The Netherlands Bach Society, conducted by Hernán Schvartzman, played “as always impeccably,” according to ArtsTalk Magazine. De Volkskrant was surprised by the recorder as a “melancholic creator of atmosphere” and the “inventively plucked lute.” According to Place de l’Opera, the orchestra played “with colour and virtuosity.”
The reconstructed Baroque theatre on stage was widely praised. ArtsTalk Magazine called the set “the highlight of the show.” De Theaterkrant wrote: “The Baroque mini-theatre built by the circus artists, with its columns entwined with flower garlands, is a feast for the eyes.” And: “Herbert Janse’s set simultaneously evokes a devastated city and a circus theatre, with vague ruins and acrobats swinging smoothly through the air.”
NRC called the scenario “inventive,” though it was less enthusiastic about the opening: “With gods who keep wallowing in their misery, the story gets off to a somewhat slow start.” The newspaper nevertheless concluded positively that “the mix of opera and circus is an entertaining pick-me-up.” ArtsTalk Magazine is already looking forward to the next production: “It has reached a point where Serge van Veggel and OPERA2DAY can be relied on to produce new, exciting and innovative theatre every time.” Place de l’Opera summed up The Opera Circus as: “A cleverly constructed Handellian operatic world based on a colourful circus feast.”
Audience Reactions
The first reactions from the audience were very positive. One visitor said: “I thought the sets and costumes were beautiful, and the singers were so good!” Moments of humour and spectacle alternated with moments of emotion, which greatly impressed the audience. One visitor who travels the world to see opera everywhere remarked: “I have seen and heard countless interpretations of Handel, but this one truly stands out. The music was beautiful and the staging exceptionally creative. Compliments!”
The Netherlands Bach Society also received much praise, with reactions such as “beautiful” and “absolutely fantastic.” Striking was the large number of young people in the audience. For one of them, it was the very first time she had ever attended an opera, which she described as “enormously impressive.”