Vivaldi – Dangerous Liaisons

Download the accompanying programme book.

Prelude

Early morning, January 17?? A Venetian palace. The opening feast of the carnival season has just ended. Marquise de Merteuil’s guests have left and she is the only one still dancing in the rooms of her palace. Merteuil orders Victoire, her matron and confidante, to serve breakfast, which brings a retinue of servants on the stage.

First act

The Vicomte de Valmont, who was asleep in a corner of the ballroom, shows up at the breakfast table. Valmont is Merteuil’s best friend and former lover. Merteuil tells him that her most recent lover, the rich Gercourt, just ditched her for the young Cécile de Volanges. Merteuil is bent on revenge and wants Valmont to help her. She suggests that Valmont should deflower Cécile before she marries Gercourt. Valmont thinks it is not worth bothering because Cécile is so inexperienced. He is planning a far more interesting conquest: Madame Présidente de Tourvel, the beautiful but pious and virtuous wife of the president of the supreme court. Valmont intends to court her until she has yielded to his charms. He prefers to have Cécile conquered by her music teacher: Chevalier Danceny, who at the fencing club has confided to him to be in love with Cécile.

Second act

The next day. Merteuil’s music room. Cécile comes storming in. Upset she tells her mother intercepted a love letter to her from Danceny. Her mother then said she will be given in marriage to Gercourt. Subsequently Valmont pops in with Danceny, who has just been dismissed by Cécile’s mother from his music teaching job.

The two young sweethearts are moved by their encounter. Merteuil offers to have the music lessons at her home from now on.

When Cécile and Danceny have left, Merteuil makes it clear that she wants things to speed up. She challenges Valmont to seduce both Cécile and Tourvel as soon as possible. She demands written proof of the seduction of Tourval: a letter in which Tourvel declares her love to Valmont. In reward Merteuil will spend the night with him once again.

Third act

Tourvel’s garden. She is reading a love letter to her from Valmont. Then she sees Valmont, who treats his servant Azolan surprisingly nice after a mishap. In order to get a better view, she trips and thus betrays her presence. Valmont takes tender care of her. Tourvel utters her amazement at the way he treats her and his servant, which is very different from what is to be expected from his bad reputation. Valmont says he used to give in to casual pleasure, but that her good, virtuous example has led him to reform his ways. He then declares his love for her. Tourvel wants none of it and walks off in anger.

Fourth act

A few days later. A private room in Merteuil’s palace. She is writing a letter to Valmont to tell that Cécile’s mother has advised Tourvel to keep away from him. She hints that this should give him sufficient reason for prioritising the seduction of Cécile.

When Danceny arrives to give a music lesson he finds the room empty. He rehearses a song he has written for Cécile about a caged bird. Merteuil catches him singing. She says Cécile will not come and the love aria will not do anything for him. Merteuil will teach him how to seduce a woman: with a daring letter. She is going to dictate this letter to Danceny. Meanwhile she seduces him.

Danceny’s letter is delivered to Valmont. He takes it to young Cécile’s bedroom. Together they read it. Cécile gets impressed with both the words written by her beloved Danceny and the seductive Vicomte in her bed. Valmont understands that the letter was dictated by Merteuil. He suggests to reply together. When they begin to write a playful letter, Cécile starts to like this game and soon she takes the lead.

Fifth act

Valmont does not have the letter written by Cécile delivered to Danceny, but – slightly adapted by Azolan – to Tourvel. She reads it as one of the many love letters she received from Valmont during the past weeks. We see how Tourvel, married and virtuous, is struggling with Valmont’s affectionate words and persistent adoration. She is not familiar with such kind of love in her arranged marriage. Tourvel tries to avoid Valmont, but does not succeed. She hopes he will settle for her friendship. Valmont refuses. When he asks her to say out loud she does not love him, she cannot. She begs him to leave her alone and cries for redemption.

Sixth act

Valmont has discovered that Tourvel, who has been avoiding him for more than a month and refuses his letters, goes to confession in the Gesuati church each week. Valmont sees an opportunity to meet her there. Frustrated by the slow progress of his amorous project he vents his emotions with physical violence on Azolan and other servants. Thus he exceeds the bounds of the maltreatment and humiliation his servants are willing to put up with. Some of them turn their back on Valmont and their serfdom.

Valmont writes a letter to Merteuil interpreting Tourvel’s evasion as a sign of his near victory. He will win her in the church that day. He thanks Merteuil for introducing him to Cécile, who gives him some pleasure in his melancholy. As yet Cécile does not know she is pregnant with Valmont’s child. Thus Valmont fulfils the first part of his promises to Merteuil.

Tourvel enters the church. In her prayer she confesses that her heart belongs to someone other than her husband. Valmont approaches and says he has come to say goodbye. Tourvel holds on to him. Merteuil, who went to the church immediately after receiving Valmont’s letter, sees all this from behind a pillar. When Valmont spots her, he frees himself of Tourvel. She declares her love for him, but he leaves her dangling. First, she has to write a letter to him confirming her love.

Seventh act

Ash Wednesday, the first day of Lent. Merteuil’s palace is deserted. After recent lower-class uprisings in the city most servants have left. The few servants that have remained loyal are trying to keep up the appearances of a luxury palace life.

Merteuil is reading a letter from Valmont in which he describes his ‘total win’ of Tourvel. He announces to come over with the promised written declaration of love to claim his reward from her.

On his arrival Merteuil tells Valmont that he did not conquer Tourvel, but that Tourval has conquered him, which is quite different. Valmont is the laughing-stock in their circles these days. Merteuil has no intention of rewarding him for this. She asks for another sacrifice. He has to break up with Tourvel. He is allowed to say it is not his fault, but the request of another woman. This is the only way in which he can earn his reward and restore his reputation.

Upset Valmont rushes away, ignoring Cécile who has just arrived for one of Danceny’s music lessons. She finds him in Merteuil’s private rooms, asleep. She realises that Danceny and Merteuil have deceived her. It is more than she can take. The shock causes her to start bleeding. Merteuil coldly observes she has lost Valmont’s child. Furiously, Danceny goes after Valmont.

Left alone Merteuil realises the carnival has truly ended. She will organise a final ball, which all characters of the play will attend. She makes Victoire, her only servant left, write the invitations.

Valmont returns and announces he has broken up with Tourvel. Merteuil, however, tells him it does not matter anymore. It is obvious he still loves Tourvel and has chosen his vanity and reputation over true love. Desperately, Valmont leaves, knowing he has lost everything of value now.

While Merteuil prepares herself for the ball we see Cécile retreating into a convent. Tourvel is already there. She became insane. Restrained in a straitjacket she thinks she sees Valmont everywhere.

Danceny has challenged Valmont to a duel. Valmont offers no resistance and is stabbed to death.

When Merteuil is fully dressed for her final ball she gives Victoire permission to leave the palace and join the rebellious population which is sacking the town and driving the elite from their palaces.

Alone in her palace Merteuil opens the ball.

Artistic Team

Music Antonio Vivaldi and Vanni Moretto
Libretto Stefano Simone Pintor and Serge van Veggel
Concept, theatrical and musical scenario Serge van Veggel
Dramaturgy Karim Ameur
Musical direction Hernán Schvartzman
Stage direction Serge van Veggel
Project development Alice Gubler
Artistic Leader Nederlandse Bachvereniging Shunske Sato
Scenography Herbert Janse
Lighting Marc Heinz
Sound Design Arne Bock
Technical production Ronald Tebra
Costumes Mirjam Pater
Hair and make up Nienke Algra

CAST

Singers
Marquise de Merteuil Candida Guida / Sophia Patsi
Vicomte Valmont Yosemeh Adjei
Présidente de Tourvel Barbara Kozelj / Ingeborg Bröcheler (13/2 & 21/2)
Chevalier Danceny Maayan Licht
Cécile Volanges Stefanie True / Emma Fekete (1/2 & 8/2)

Orchestra
Netherlands Bach Society

Actors
Victoire (Head of Merteuil’s household ) Emma Linssen
Azolan (Valet to Valmont / Abbot of monastry) Merijn de Jong
Lahaye (Butler to Merteuil / Male nurse) Fabian Smit
Serafia (Housemaid to Merteuil / Nun) Emma van Muiswinkel
Faubourg (Footman to Merteuil / Male nurse) Luciaan Groenier
and many others

It’s raining stars. The press is raving about the premiere of Vivaldi – Dangerous Liaisons on January 17 in a sold-out Koninklijk Schouwburg. The first 'impressive collaboration (NRC)' between OPERA2DAY and the Netherlands Bach Society proves to be a bullseye. The audience has also embraced the performance, with more than 12,000 tickets already sold.

Cannot Be Praised Loudly Enough

A selection of Vivaldi’s most beautiful opera music is combined with a new libretto based on Dangerous Liaisons, the famous epistolary novel from 1782. The result is “a perfect synthesis (Place de l’Opera)” and “the most convincing proof that Vivaldi’s opera music has been unjustly forgotten (Theaterkrant).” A new opera with existing music. In the Baroque era, they called it a pasticcio. Vivaldi was a master of the genre. “This combination of historicizing and innovative opera practice cannot be praised loudly enough… The masterminds of OPERA2DAY, led by Serge van Veggel, once again provide a fine example of out-of-the-box thinking (De Volkskrant).”

A Delight for the Senses

To weave the opera arias and scenes together, Vanni Moretto composed new music. He gave his own twist to Vivaldi’s style. “A delight for the senses. His brand-new recitative music crackles and sparks, sharpening the ears (Trouw).” “You can hear that he is also a Baroque conductor, and a good one at that. He mostly respects the rules of the Baroque but colors within those lines wildly with cinematic effects, modern harmonies, and stylistic references from Tata Mirando to Bernard Herrmann. And it works: the ear and heart accept the coherence, while at the same time, you feel that this new construct draws its brilliance from Vivaldi (NRC).”

A “Sophisticated” Stage Design Shows the Decay of the Baroque World

A Baroque world slowly falls apart. Director Serge van Veggel presents this together with scenographer Herbert Janse, lighting designer Marc Heinz, technical producer Ronald Tebra, and Mirjam Pater and Nienke Algra (costumes and makeup).

“Inventive sets and well-thought-out character direction provided a pleasant visual experience, with touches of subtle humor here and there (Place de l’Opera).” “The base colors green and fuchsia dominate the visual palette and are refined for each main character (Trouw).” “The choreographed scene changes are as meticulously executed as the sets and costumes, featuring green liveries, opulent wigs, and boudoirs, with stage backdrops depicting cherubs flanked by lobsters and scorpions (De Volkskrant).”

Press Highlights a Strong Cast Across the Board

The five singers of Vivaldi – Dangerous Liaisons receive high praise. In the opera, Marquise de Merteuil and Vicomte de Valmont challenge each other to seduce others. “The Italian alto Candida Guida portrays a cool, calculating Merteuil, exactly as expected from her character (Place de l’Opera).” “An impressive Merteuil (De Volkskrant).” She is passionately countered by Yosemeh Adjei as Valmont, a “fine (NRC)” and “mellifluous (De Volkskrant)” countertenor.

“Brilliant Duets”

The press also praises the singers in supporting roles. Barbara Kozelj makes a strong impression as the virtuous Présidente de Tourvel, who is cunningly ensnared and ultimately brought down by Valmont. “She acts with brooding restraint, sings magnificently (NRC).” “She gave a stunning performance (Place de l’Opera).” “Her deep and powerfully expressive voice lingers in the ear for a long time (Trouw).”

The first victims of Merteuil and Valmont are music teacher Chevalier Danceny and his beloved Cécile de Volanges. Danceny is portrayed by Maayan Licht – “he dazzled with his coloratura (Theaterkrant).” “Stefanie True convinces as the equally naive Cécile de Volanges (De Volkskrant).” In their “brilliant duets (De Volkskrant),” they emerge as “vocal artists (Trouw).”

The Dutch Bach Society Excels

In Vivaldi – Dangerous Liaisons, OPERA2DAY collaborates with the Netherlands Bach Society for the first time. The instrumentalists of the renowned ensemble fully live up to their reputation.

A Passionate Vivaldi

“In energy, elasticity, and swift transitions, the Bach Society proves to be a flexible top ensemble (NRC).” “The Vivaldian aspects of the orchestral accompaniment shine in their full radiance and brilliance, including mandolins and chalumeaus (De Volkskrant).”

“The ensemble plays attentively under Hernán Schvartzman and dares to take risks, which strongly enhances the sensation of a fresh production (Trouw).” “The entire performance is delivered with great energy by the Netherlands Bach Society under the direction of Hernán Schvartzman. Under his musical leadership, a passionate, thoroughly Italian Vivaldi was heard (Theaterkrant).”