J.S. Bach – The Apocalypse

The enraged citizens of Münster call for the death of the leaders of the just-conquered Anabaptists, including ‘king’ Jan van Leiden. Catholic bishop Von Waldeck has their corpses hung in cages from the tower of St Lambert’s church.

Joiner Heinrich Gresbeck is brought before the bishop. He fled the besieged city and made a model showing how the city could be recaptured. The bishop is unsure what to do with Gresbeck, who stayed in the enemy camp almost to the end. Gresbeck begs to be allowed to write an account of all the events; it will prove his innocence.

We go back in time with Gresbeck. Outside the walls of Münster, we see a rebellious group surrounding merchant Bernhard Knipperdollinck. He is outraged: the bishop has banned the popular preacher Bernhard Rothmann from preaching in the city. Rothmann appears and says the tide will turn. Listeners in the group are two Hollanders, including Jan van Leiden.

The two Hollanders return to Leiden. There, Jan and his wife Marijtje are managers of a pub where bawdy entertainment is presented. We see how actors, dressed as hypocritical bishop and innocent girl, ridicule Catholic confession. The guest is Dieuwer Brouwersdochter. She talks about the ideas of her husband Jan Matthijsz, who feels appointed as a prophet and predicts that the end times will come. A city of heaven will arise on earth. Jan van Leiden realises that Rothmann in Münster needs to hear this. Münster is that heavenly city! Marijtje already sees the storm coming: her husband will once again go out to improve the world elsewhere instead of at home.

In Münster, Rothmann and Knipperdollinck’s protest group has been successful. They managed to chase the Catholic troops out of the city. The group from Leiden joined them. They celebrated the victory. Jan Matthijsz, the man who provided everything, is enthusiastically honoured. People share their possessions, shackled nuns are freed and an iconoclasm is imminent. The mood turns when Jan Matthijsz preaches that all are doomed. But Rothmann reminds Jan Matthijsz of his own words: whoever is rebaptised belongs to the elect. Fanatically, the people unite in the idea of a purifying baptism.

The Catholics lay siege to the city. Jan Matthijsz, convinced that he is the hand of God, makes a raid – alone. He is immediately shot dead.

With bread and games, the people are kept happy. The blind seer Dusentschuer is brought before the people. He had a vision in which God designated Jan van Leiden as king, with Dieuwer as queen. Jan says he also dreamt this. The coronation feast can begin, but is disturbed a bishop’s envoy who issues an ultimatum. Jan says God has already given him another date, however: the Lord will return to earth at Easter with his followers in Münster. The envoy is chased away. John fires the people to declare war on the pagan enemy. Women must be at the forefront of that battle. John introduces polygamy in order to bring about the army of 144,000 – the number of the elect spoken of in the Bible.

Months later. The siege is suffocating, food is running out. Neither the Messiah nor outside auxiliaries have shown up. John wonders if God is supporting his followers. He tells Rothmann that they will have to unleash the final battle themselves. A handcuffed woman, Elisabeth Wandscherer, is brought in. She refuses to be forcibly married. Knipperdollinck would like to punish her; Dieuwer pleads for compassion. King Jan combines both wishes: he takes her to wife himself, his seventeenth. Dieuwer points out to Jan how far away he has become from the original ideals they shared in Leiden. Jan points out to Dieuwer her hypocrisy: after all, she enjoys her privileged life as queen. After an argument, Dieuwer is left alone and considers her fate.

Gresbeck, in a letter to the bishop, describes the dire hunger in the city, and asks him to relieve the city.

King John does all he can to keep the people on his side. By force, but also by raising their spirits. He organises a parody mass. The Catholic mass, in which the ‘real’ flesh and blood of Christ is consumed, is ridiculed. In a pagan sacrificial ritual, all citizens bring the last edible goods in the city to the altar. Knipperdollinck steals the show with a real ‘Lamb of God’. When he unveils his copious scho- tel, however, the mood turns. Jan forces the Münsterans to keep celebrating. He realises that the apocalypse has indeed come, but that it is they themselves who are going down. Jan sinks into depression. Rothmann and Dieuwer plot to escape from the city together. Many civilians also flee the city in desperation, shelling from both the city and enemy forces. Gresbeck manages to reach the bishop’s troops alive. He tells them how to recapture the city.

The bishop moves into the conquered city. He interacts with the still depressed ‘king’ Jan. Jan has ruined him and the city, says the bishop. Jan sees it differently: the bishop is famous for his recapture. And Jan can make the bishop rich. All he has to do is exhibit the Anabaptist king in a cage and sell tickets for it. Jan is taken away. The bishop tells the people that whoever denounces an Anabaptist will himself be spared. The Münsterans start pointing at each other. But they realise: everyone was complicit.

In prison, Jan receives the bishop’s chaplain for a final confession. Jan says he deserves to be killed ten times over. However, the curate makes Jan think more deeply about his own words and actions.

In Cathedral Square, we hear the angry mob. The Anabaptist leaders are led off in chains, heading for their execution. The bishop has (cynically) adopted John’s suggestion: the corpses will be displayed in cages. Gresbeck is released and fobbed off with a tip. With his report, he managed to save his life.

J.S. Bach – The Apocalypse is a co-production of OPERA2DAY & the Netherlands Bach Society.

Music Johann Sebastian Bach, Panos Iliopoulos

Libretto Thomas Höft

Scenario and stage direction Serge van Veggel

Musical direction Hernán Schvartzman

Scenography Herbert Janse

Light design Uri Rapaport

Sound design Arne Bock

Technical production Ronald Tebra

Costumes Mirjam Pater

Hair & make-up Pilo Pilkes

Artistic leader Netherlands Bach Society Shunske Sato

Cast

Jan van Leyden Florian Sievers, tenor

Bernhard Knipperdollinck Wolf Matthias Friedrich, bass/baritone

Bisschop / Jan Matthijsz James Hall, counter tenor

Dieuwer Brouwersdochter Cecilia Amancay Pastawski, Georiga Burashko, mezzosoprano

Bernhard Rothmann Mattijs van de Woerd, baritone

Henrick Hendrickz / Jacob Dusentschuer Kaspar Kröner, Oscar Verhaar, countertenor

Claes Janssen / Gezant / Kapelaan Johannes von Siburg Wiebe-Pier Cnossen, baritone

Marijtje IJsbrandsdochter / Elisabeth Wandscherer Michaela Riener, soprano

Heinrich Gresbeck Jobst Schnibbe, actor

Katharina Lauren Armishaw, soprano

Woman in rebellious group (scene 3) Emilie Wijers, alt

Jan van Leyden’s friend Mike Wijdenbosch, acteur

The bishop’s captain Freek van Zonsbeek

The bishop’s soldiers Boris van Bochoven, Janusz Pawlak, Zweitze Zwart, Romy Nijendaal, Madhu Teunissen

Vocalists Netherlands Bach Society

Soprano: Aldona Bartnik, Amelia Berridge, Heleen Bongenaar, Lauren Armishaw

Alto: Emilie Wijers, Oscar Verhaar, Iris Bouman, Mercè Bruguera Albello

Tenor: Joao Moreira, Emilio Aguilar, Hugo Maille, Carlos Negrín López

Bass: Matthew Baker, Bram Trouwborst, Hidde Kleikamp, Mitchell Sandler, Samuel Wong

Understudies

Jan van Leyden Carlos Negrín López

Heinrich Gresbeck Martin van Duijn

Bernhard Knipperdollinck Wiebe-Pier Cnossen

Bernhard Rothmann Matthew Baker / Hidde Kleikamp

Bisschop Franz von Waldeck tba

Dieuwer Brouwersdochter Lauren Armishaw

Marijtje IJsbrandsdochter Amelia Berridge

Claes Janssen and others Hidde Kleikamp

Envoy / Priest Mitchell Sandler

Katharina Heleen Bongenaar

Vrouw op uitkijk Mercè Bruguera Abelló

Instrumentalists Netherlands Bach Society

Violin: Cecilia Bernardini, Evgeny Sviridov, Lidewij van der Voort, Annelies van der Vegt, Andrew Wong, Sayuri Yamagata, Anneke van Haaften

Viola: Femke Huizinga, Isabel Franenberg

Cello: Lucia Swarts

Double bass: Robert Franenberg, Guiseppe Ciraso Cali

Gamba: Mieneke van der Velden, Anna Lachegyi

Traverso: Marten Root, Doretthe Janssens, Aysha Wills

Oboe: Rodigro Lopez Paz, Katharina Verhaar

Bassoon: Benny Aghassi, Hannah Voss

Trumpet: Christopher Price, Amir Rabinovitz

Percussion: Marianna Soroka

Organ, harpischord: Menno van Delft, Andrea Friggi

Theorbo: Mike Fentross, Regina Albanez

“OPERA2DAY, once again, has contrived a brilliant new opera” (Arts Talk Magazine). “J.S. Bach – The Apocalypse is fortunately more than just a bold idea; it is full-blooded opera,” wrote NRC after the premiere on February 9, 2022, of “the opera Bach never wrote” by OPERA2DAY and the Netherlands Bach Society. The premiere took place in a “corona-sold-out” Koninklijke Schouwburg, as NRC described it: “Around 170 visitors in The Hague witnessed the first and, for now, last performance of a production that deserves a much wider audience.” Indeed, the premiere was also the final performance—for the time being. Due to the uncertain circumstances surrounding the pandemic, we had to postpone the tour to 2024.

Bach as an Adventurous Opera Composer (Theaterkrant)

Fortunately, we were able to complete the entire production, and it was well appreciated: “The sense of camaraderie and dedication to the production is evident at every level. You can hear and see that a great deal of hard and sincere work went into getting this ‘ill-fated’ project off the ground.” (Operagazet). Ill-fated? A little—after all, an opera by Bach? Could it work? Yes, writes Theaterkrant: “The surprising thing is that Bach is also an opera composer.” Operagazet was “absolutely convinced of the dramatic power of Bach” and noted that staging early music enhances its impact: “The dynamics of the stage add depth, warmth, and humanity to vocal tone and expression. There is joy, humor, and energy.”

De Groene Amsterdammer described the production as “highly refined” and “impressive,” while Trouw praised its boldness: “Respect for the courage” and “Onward to a grand and extensive tour, even if it is two years away.”

A Lively Spectacle Where All Elements Strengthened Each Other (Operagazet)

“The bizarre 16th-century story of Jan van Leiden was an excellent choice for the opera Bach never composed,”according to Concertzender. De Groene Amsterdammer succinctly characterized the protagonist as “a recognizable man who begins as a passionate idealist and ends as a bloody dictator.” NRC praised “the well-structured scenario by director Serge van Veggel,” and Operagazet wrote: “Kudos to librettist Thomas Höft, who, with a keen sense of Bach’s style—as well as language, meter, rhythm, timing, and drama—has delivered a fine piece of work.”

De Volkskrant found “the radicalization process that turns Van Leiden into a theocratic despot all too familiar,” while Arts Talk Magazine captured the downfall of the Anabaptist kingdom well: “Van Leiden’s New Jerusalem soon became Dante’s Inferno.”

Place de l’Opera noted: “OPERA2DAY’s artistic director Serge van Veggel and his team have once again succeeded in creating a remarkable theatrical work. A captivating performance that fully fits OPERA2DAY’s tradition—always surprising, always seeking something new.” According to Theaterkrant, “Director Van Veggel skillfully alternates between grand scenes and intimate moments.” De Volkskrant highlighted “visually striking scenes, such as a coronation feast in milky-white garments and a macabre banquet with rats on the menu.”

Arts Talk Magazine offered high praise: “Serge van Veggel paints with very broad strokes and has created a stunning piece of opera.”

Visuals and Design Well-Received

Theaterkrant wrote: “The revolving stage at the heart of Herbert Janse’s scenography seamlessly connects the scenes and time periods.” NRC described how “an orgy of madness, violence, and obscenity unfolds on the turntable.” Arts Talk Magazine called the production “visually impressive […] The excellent lighting by Uri Rapaport and costumes by Mirjam Pater added to a near-flawless production.”

Fantastic Performance by the Netherlands Bach Society Under Hernán Schvartzman (Volkskrant)

Naturally, there was much discussion of the music—both by Bach and by Panos Iliopoulos, who wove the opera together. Concertzender noted: “What a joy it must be to choose from the delicatessen supermarket of Bach’s vocal music. A striking bouquet was selected, carefully arranged and placed.”

Theaterkrant described how “Iliopoulos also composed completely original musical passages,” which were modern yet “constantly rooted in Bach’s music. This results in beautiful musical lines, where Baroque sounds from instruments like the viola da gamba and traverso harmonize smoothly with contemporary music.”

Trouw wrote: “The choir and orchestra of the Bach Society sing and play beautifully,” while De Volkskrant highlighted the “fantastic accompaniment by the Netherlands Bach Society under the direction of Hernán Schvartzman.” Operagazetadded: “The orchestra, under Schvartzman’s baton, enveloped the cast in warm, resonant tones.”

NRC commended this joint Bach adventure in celebration of the Bach Society’s centenary: “For OPERA2DAY, reimagining the opera genre is second nature; it speaks volumes about the Netherlands Bach Society that they dared to take on this project.”

The Cast’s Camaraderie Was Palpable, With Joy in Singing and Acting (Operagazet)

The soloists also received high praise. Theaterkrant wrote: “Tenor Florian Sievers delivers a powerful, incendiary, and intense Jan van Leiden—unyielding, initially charming, later ruthless.” NRC observed: “Florian Sievers convincingly portrays the radicalization of a petty criminal.” Operagazet noted: “At the end, there is space for Jan’s human, vulnerable side as he confesses his sins to the chaplain (baritone Wiebe-Pier Cnossen). A beautiful musical moment.” De Groene Amsterdammer found this “desperate confession” particularly “moving.”

Regarding bass-baritone Wolf Matthias Friedrich (Bernhard Knipperdollinck), Concertzender called him “very convincing,” NRC described his “strong performance,” and Place de l’Opera stated that “he excelled.” Operagazetconcluded: “His voice carried beautifully, and his acting blazed in his role as a bloodthirsty schemer.”

Operagazet described baritone Mattijs van der Woerd (Bernhard Rothmann) as “pleasant and slightly detached, fitting for the role of the intellectual mastermind behind the sect.” Concertzender found him “very convincing.”

Mezzo-soprano Cecilia Amancay Pastawski, playing Queen Divara, was praised by Operagazet: “She has a beautiful, warm voice, very musical, especially in her plea to God.” Countertenor Kaspar Kröner was “vocally strong and believable as the blind seer Dusentschuer.” Soprano Viola Blache, as Marijtje and Elisabeth, “shone particularly in the higher tessitura.”

Actor Jobst Schnibbe was “a passionate narrator, guiding us through the story as an eyewitness,” noted Operagazet. De Groene Amsterdammer found “the magnificent choruses deeply moving.” Concertzender called “the choir of the Netherlands Bach Society the star of the show, singing radiantly and powerfully.” Place de l’Opera remarked that “the choir gives this new theatrical work its character,” while De Volkskrant stated: “The choral sections are almost all highlights.”

NRC wrote: “With their inspired acting, the choir members prove themselves to be a true opera chorus.” And Operagazetconfessed: “The choir’s very first entrance brought tears to our eyes.”

Onward to 2024!

We conclude with a striking statement from Arts Talk Magazine:

“The authors of J.S. Bach – The Apocalypse should be congratulated for having created an opera which, if there is any justice, will be performed in opera houses around the world for years to come.”

After an opera, we usually send out a survey to the audience to find out how they experienced it. Even after working on a production for two years, we are still (or perhaps even more so) eager to know if everything resonates well—how the music is received, whether the dramaturgical concepts come across, and so on. After J.S. Bach – The Apocalypse, we were already pleasantly surprised by the positive reviews from the press. But all of that paled in comparison to the wildly enthusiastic responses we received through the survey from the Koninklijke Schouwburg. No less than 82% of the audience gave our performance the highest possible rating! We were a little taken aback—blushing, even.

The feedback from our audience was truly wonderful to read and touched on all aspects of the performance: “Kudos to OPERA2DAY for bringing this to the stage despite the current circumstances and all the restrictions. Original, unique, and with an impressive message—huge applause!” The “outstanding performance by the choir, orchestra, and soloists”received much praise from our audience, as did the set design and the “brilliant costume choices.”

The overall concept was also well received: “I had seen a previous work of theirs that was good, but that they would succeed so brilliantly with this approach (reconstructing Bach + a historical subject + updating it to the present) exceeded my expectations.”

The cherry on top for us is when we surprise people who don’t necessarily attend opera frequently. We strongly believe that opera can offer a meaningful experience to its audience, but only the audience itself can confirm that. That’s why we were especially thrilled by this reaction: “I was deeply and intensely moved by this performance, in a genre (opera) that is not naturally my thing. I simply cannot recall ever being so profoundly touched by the libretto, the music, the performance, and the staging all at once. This was truly, truly excellent and of international quality.” Or, quite simply: “I was on the edge of my seat.”