Hamlet

Psychological Opera Thriller

In 2018, OPERA2DAY and the New European Ensemble presented Hamlet, a grand opéra by Ambroise Thomas and a psychological thriller like no other. The French composer based his masterpiece on Shakespeare’s famous play, creating one of the most beloved operas of his time. In a new, compact version, we fused opera and film to delve deep into the protagonist’s inner world.

The opera by Ambroise Thomas (1811-1896) comes up to every expectation of what a Hamlet performance has to offer. We see King Claudius’s degenerated court in all its pomp and circumstance, an intense inner struggle of the hero, a mysteriously accompanied appearance of his father, and there is exceptionally moving music for the insane Ophélie. The librettists, who earlier provided texts for Gounod’s Faust, brought the play back to its very core. The masterly music is a revelation to both opera and Shakespeare enthusiasts.

After its première in Paris in 1868 – exactly 150 years before 2018 – the opera Hamlet was one of the most performed for decades, as one of the vast parts of the repertoire. Until 1919, for example, the opera was staged 153 (!) times in the Koninklijke Schouwburg at The Hague, mainly an opera house in those days.

Close on 100 years later the Dutch companies OPERA2DAY and the New European Ensemble base their musical interpretation on the scores and parts of these performances, which they unearthed from the archives. The two partners recently worked together in a similar way in Dr. Miracle’s last illusion, a performance that was – as the press said – ‘spectacular’ (de Volkskrant) and ‘a hit’ (Theaterkrant).

Download the programme book accompanying Hamlet (Dutch only).

Act 1 and 2

The Danish king Hamlet has passed away. His widow Gertude is remarrying her brother-in-law Claudius no more than two months later. The opera starts on the day of the coronation of Gertrude. Son of the late king, Hamlet junior, Prince Hamlet, son of the late King and Gertrude, is upset that his mother has remarried so soon and wants to leave the court. Hamlets love Ophélie is worried about his melancholy and his departure. Hamlet comforts her and tells her never to doubt his love for her. Laërte, Ophélie’s brother, interrupts them and says that he is being sent to Norway as an envoy. He entrusts Ophélie to the care of Hamlet. Courtiers, on their way to the banquet, enter. Hamlet refuses to join Laërte and Ophélie as they leave to join the banquet.

Horatio and Marcellus meet the sequestered Hamlet and they tell him that they have seen the ghost of Hamlet’s father the previous night. As the clock strikes midnight, the Ghost also appears to Hamlet. The Ghost tells him that Claudius murdered him with poison and asks his son to take vengeance on Claudius, but Gertrude must be spared. The Ghost withdraws and Hamlet swears to avenge his father.

A first confrontation follows quickly. King Claudius and Gertrude enter. Hamlet, full of aversion to the royal couple, feigns madness, while he develops his plan of approach. That same night he will engage a troupe of actors to perform a play for his uncle and mother.

Ophélie is concerned at Hamlet’s new indifference towards her. Hamlet, working on his theatre performance, gives her no attention. It all becomes to much for Ophélie. She confides in Gertrude that she would like to leave the court, but the queen begs her to stay. The players come in and Hamlet asks them to mime the play The Murder of Gonzago.

While singing a drinking song with the players, the courts arrives for the pantomime. It tells a story similar to how Hamlet’s imagines the murder of his father. The audience sees how the poison is administered and how the assassin places the crown on his head. Claudius, looking at this turns pale, commands the play to stop and the actors to leave. Hamlet believes that this proves that Claudius is guilty and attacks him. The upset assembly sees how a revenge murder is scarcely avoided.

– Intermission –

Act 3, 4 and 5

Hamlet wonders why he didn’t kill the king when he had the opportunity. Thinking about his father returning as a Ghost he reflects on the mystery of life and death in the aria ‘Être ou ne pas être’, based on the most famous monologue of all. A next opportunity to kill Claudius arises. The king appears and kneels in prayer. Claudius asks his brother to advocate him to the eternal judge. Hamlet, deciding Claudius’ soul may be saved if he is killed while praying, delays again his revenge. When Claudius experiences a presence, Hamlet understands from his exclamation that Polonius, father of Ophélie is complicit in the murder. Gertrude and Ophélie enter. The queen tries to persuade Hamlet to marry Ophélie. But Hamlet refuses and tells Ophélie to resort to a monastery. When alone with his mother, Hamlet tries to force her to confront her guilt, but she resists. As Hamlet threatens her, he sees the Ghost, who reminds him he must spare his mother.

After Hamlet’s rejection, Ophélie has gone mad with grief. She commits suicide.

Hamlet, moving away from the court to avoid the revenge of the king, comes upon two gravediggers digging a new grave. He asks who has died, but they do not know. On this contemplative place, he realizes the grief that he put Ophélie through by leaving her. He doesn’t know yet about her death. Laërte has learned of his sister’s death and Hamlet’s role in it. He challenges Hamlet to a duel, that is interrupted by Ophélie’s funeral procession. Hamlet finally realizes the new-dug grave is meant for her. In despair he kills Claudius, and confronts the choice about his own life: Être… ou ne pas être’…

THE OPERA VERSUS SHAKESPEARE’S PLAY

The two librettists Michel Carré and Jules Barbier were quite faithful to Shakespeare’s play. However, as always with opera libretti based on plays, they abbreviated the text and sometimes opted for a different structure. They also left out several characters, such as Fortinbras, and Rosenkranz and Guildenstern. Polonius has a less important part. Moreover, he is not murdered in the opera. The opera’s original length of 3.5 hours was narrowed by OPERA2DAY to its essence. For example the ballet, which takes half an hour, was deleted.The final act of Thomas’ s opera departs the most from Shakespeare’s play. Laërte and Gertrude do not die. Moreover, Thomas composed two versions of the end. In the Parisian one Hamlet lives on and is crowned king. In the London version he takes his own life. OPERA2DAY combines the most important parts from these finales, keeping the best of both versions, both in content and in music.

Artistic Team

Artistieke leiding en regie Serge van Veggel

Muzikale leiding Hernán Schvartzman

Projectontwikkeling Alice Gubler

Artistieke leiding New European Ensemble Emlyn Stam

Ontwikkeling versie OPERA2DAY Serge van Veggel, Hernán Schvartzman

Compositie en arrangementen Daniël Hamburger

Cineast Margo Onnes

Regie comédiens Femke Luyckx

Scenografie Herbert Janse

Licht Uri Rapaport

Geluidsontwerp en soundscape Arne Bock

Technische productie Ronald Tebra

Kostuums Mirjam Pater

Kap en grime Nienke Algra, Marissa Coster

Research historische opnames Emlyn Stam & Hernán Schvartzman

Singers / Actors

Hamlet Quirijn de Lang

Ophélie Lucie Chartin

Claudius Martijn Sanders

Gertrude Martina Prins

Laërte / Comédien Koningin Jan-Willem Schaafsma

Horatio / 1e Fossoyeur Patrick Pranger

Geest van de vader / Comédien oude koning Joop Keesmaat, Hans Peter Ligthart (8 &17 maart)

Polonius / Spectre (zang) / Comédien nieuwe koning Yavuz Arman Isleker

Marcellus / 2e Fossoyeur Georgi Sztojanov

Courtisanes Judith Pranger, Sonja Volten, Adélaïde Rouyer

Voice-over Hamlet Jonathan Rouah

Understudies Horatio Gulian van Nierop, Arnout Lems

New European Ensemble

Eerste viool Rada Ovcharova

Tweede viool Joanna Wronko / Anoek Brokaar

Altviool Emlyn Stam

Cello Willem Stam / Sebastiaan van Halsema

Contrabas James Oesi

Hobo Roger Cramers / Arthur Klaassens

Fluit Felicia van den End / Mirjam Teepe

Klarinet James Meldrum / Jasper Grijpink

Fagot Amber Mallee / Gretha Tuls

Trompet Ryan Linham / Sven Berkelmans / Marc Kaptijn

Eerste hoorn Martijn Appelo / Hanna Guirten

Tweede hoorn Edward Peeters

Trombone Jaume Gavillan / Alejandre Luque Belmonte

Harp Astrid Haring

Slagwerk Natalia Alvarez-Arenas Arias

Hamlet Grabs You by the Throat – “A Successful Production on All Fronts”

Our new production of Hamlet, Ambroise Thomas’ opera, has been enthusiastically received. After the first performances in a sold-out Koninklijke Schouwburg, the audience responded with prolonged ovations. The press is equally enthusiastic. “Hamlet by OPERA2DAY grabs you by the throat,” headlines NRC in its four-star review. Trouw, also awarding four stars, states: “A brand-new Hamlet that demonstrates insight into psychological drama.” Theaterkrant, giving even five stars, praises: “An abundance of carefully thought-out details in this beautifully performed, sung, and acted opera that you must not miss.”

Den Haag Centraal recommends Hamlet as “a must for anyone with even the slightest interest in opera.” The production is also attracting international attention. Journalists travelled from England, France, and Germany for the premiere. The German online magazine O-Ton has already published its review: “The company can look back on a successful production on all fronts, which was received with great enthusiasm by the audience.” The reviewer from Opera Nowdescribes Hamlet as “a remarkable reinvention of the piece.”

Ingenious Film Projections

Hamlet is OPERA2DAY’s first production where film and opera merge—and it leaves an impression. “The entire drama is ingeniously supported by film projections from filmmaker Margo Onnes” (Den Haag Centraal). Trouw adds: “OPERA2DAY makes functional use of video projections, displayed on two screens—one in front of the action and one behind it. The rear screen, cleverly tilted, adds depth and dynamism to the stage image.” De Volkskrant praises: “The visual rhyme at the beginning and end is striking. When Hamlet witnesses his father and Ophélie entwined in a death dance, he musters all his courage for a surprising final act.” Opera Magazine states: “Thanks to the film projections by filmmaker Margo Onnes, the perfect atmosphere is created for this dark drama, sometimes even adding an extra layer.” OPERA2DAY has removed the ballet and other redundant scenes from Thomas’ grand opéra, to keep the drama as powerful as possible. According to Opera Now, the result is “lithe, focused, and highly dramatic.”

The Singers: “A Joy” and “A Revelation”

Critics highlight the musical excellence of Hamlet. Den Haag Centraal writes: “Singers and instrumentalists made it a joy.” De Volkskrant adds: “Baritone Quirijn de Lang perfectly captures the wavering Hamlet. Mother Gertrude and murderer Claudius are given fine voices by Martina Prins and Martijn Sanders. Joop Keesmaat, a seasoned actor, impresses even in silence as the ghost of Hamlet’s father.”

Spine-Chilling

Quirijn de Lang receives widespread acclaim for his portrayal of the title role. Opera Magazine calls him “a dream Hamlet, not only vocally but in every aspect. At times convincingly manic, at times deeply withdrawn, at times furious.” Opera Now echoes the praise: “Quirijn de Lang was such an expressive and intensely dramatic performer.” The rest of the cast also receives high praise. NRC writes: “Martina Prins (Queen Gertrude) seamlessly blended her powerful soprano into the ensemble and portrayed her character compellingly. Equally impressive was Lucie Chartin (Ophélie), who delivered a spine-chilling madness scene with hysterical coloratura, piercing eyes, and a butcher’s knife.” De Volkskrantraves: “Lucie Chartin is a soprano who shatters all prejudices about 19th-century bel canto. No Bianca Castafiori, no warbling. High notes, trills, or runs—everything flows perfectly from the madness that drives Ophélie towards suicide … a brilliantly spun-out mad scene that knocks you out.” Opera Now concludes: “The remaining singers were all admirably vivid … forming a strong backdrop for the protagonists.”

The acting performances and direction are also praised. Trouw notes: “It is a revelation that the singers do not trudge through hours of opera with artificial acting, but instead passionately bring their fate to life … moving naturally in sync with the rhythm of the music.”

Historically Inspired New European Ensemble Plays “Shamelessly Beautiful and Expressive”

The New European Ensemble and conductor Hernán Schvartzman studied historical recordings from the early 1900s to perform Hamlet with historical inspiration. The results are well received. NRC describes: “With expressive glissando lines and elastic phrasing, the ensemble creates a richly coloured soundscape for the singers, glowing or dark as required.” De Theaterkrant praises the chamber arrangement by Daniël Hamburger: “The music, originally intended for a large orchestra, has been arranged for the much smaller New European Ensemble. The result is shamelessly beautiful and expressive, yet subtle … The choir has been removed, with its parts taken over by the ensemble—an excellent choice that keeps the focus on the main characters.” Trouw adds: “The New European Ensemble and conductor Hernán Schvartzman do everything to make the score sing from beginning to end.” Opera Now concludes: “We were always going to lose something by playing Thomas’ score with a 15-piece band with just five string players, but under Hernán Schvartzman’s direction, the remarkable thing was how much was preserved, and how the players made this new lithe version of the score work so well.”