Tuesday 4 February 2020



"With this production OPERA2DAY adds a new hit to an already impressive list." We cannot let this conclusion in Opera Magazine go unnoticed. On 29 January our new production Opera Melancholica premiered in a fully booked Koninklijke Schouwburg in The Hague. Reactions from press and audience are starting to trickle out and of course we love to share them with you.

“A psychoanalytic view of Philip Glassl” (NRC), “Total theatre” (Place de l'Opera), “An exceptionally beautiful performance” (Theaterkrant) and “Seductively morbid” (OPERA TODAY): just a few quotes from the press about the new opera, which can be admired in the Dutch theatres up to 19 March. 

NRC critic Joep Christenhusz was pleasantly surprised by Philip Glass's music: "Remarkable from a musical point of view: unlike the loose scenes in Glass’s revolutionary anti-opera Einstein on the Beach (1976) his minimalist notes in Usher serve a dramatic development. The music [...] effectively navigates between pushing, pulsating tuttis and intimate chamber music vistas."

The new production's concept and direction also brought on interesting responses. Theaterkrant critic Max Arian noted that "What you see on stage, may very well - if you are open to it - lead to a confrontation with yourself and your own struggle to balance feelings and thoughts." The audience felt the same. After the premiere we received an email from a visitor: "I have seldom felt so fulfilled, I would almost say 'comforted', after leaving a theatre. A lecture for everyone concerned in any way with the human psyche and its naked truth." The ultimate reaction, however, came from Paul Korenhof, who prefaced his review for Opus Klassiek as follows: "Is there perfection in theatre? Until a few days ago I frankly would have answered: 'no', but I am not so sure anymore. And my doubt was not caused by a heavily subsidised company but by OPERA2DAY from The Hague, a dwarf in the land of opera, but a dwarf with great ambitions." "... the Opera Melancholica project sets the seal on OPERA2DAY's work for the time being."

De Volkskrant critic Frits van der Waa was impressed with the singing in Opera Melancholica. Both Santiago Burgi (Roderick) and Drew Santini (William) are lauded. However: "Both men sing extremely well, but even more beautiful is the sung, invisible and wordless contribution by soprano Lucie Chartin as Madeline."

The press was positive about the co-operation with the New European Ensemble and Scapino Ballet Rotterdam. Both the Dutch media and their international colleagues sung Ellen Landa's praises as Madeline: "Twitchy, obsessively repetitious choreography by Ed Wubbe of Scapino Ballet captured the seductiveness of the mad and the morbid. Snaking across the dirty water, her wet robe dragging behind her, Landa was a horrific and fascinating apparition" said the American website OPERA TODAY, and Theaterkrant observed she played a "beautiful, languishing, almost ethereal Madeline". 

The New European Ensemble was complimented from France: "Les douze instrumentistes du New European Ensemble sont dirigés avec rigueur et enthousiasme par Carlo Boccadoro, grand défenseur du répertoire contemporain." 

And on Instagram WEHAGUE posted a text which made us very happy: "What a cool, intense and great performance. Why should opera not be for young people? @Opera2Day makes opera accessible and this Opera Melancholica is an absolute must!" 

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    On its way to theatrical perfection

  • Opus Klassiek
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