{"id":4764,"date":"2026-01-23T11:49:59","date_gmt":"2026-01-23T10:49:59","guid":{"rendered":"https:\/\/opera2day.nl\/default\/press-and-public-reactions-opera2day-lives-up-to-its-reputation-once-again\/"},"modified":"2026-01-23T11:49:59","modified_gmt":"2026-01-23T10:49:59","slug":"press-and-public-reactions-opera2day-lives-up-to-its-reputation-once-again","status":"publish","type":"post","link":"https:\/\/opera2day.nl\/en\/news-en\/press-and-public-reactions-opera2day-lives-up-to-its-reputation-once-again\/","title":{"rendered":"Press and public reactions: \u201cOPERA2DAY lives up to its reputation once again.\u201d"},"content":{"rendered":"

On Thursday 15 January the moment finally arrived: the premiere of The Opera Circus<\/em>. 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<\/em> wrote: \u201cDirector Serge van Veggel and Aed\u00edn Walsh once again do justice to OPERA2DAY\u2019s reputation as an idiosyncratic opera company.\u201d<\/em><\/p>\n

Radiant Sun<\/h3>\n

The press response was overwhelmingly positive. NRC<\/em> headlined: \u201cOPERA2DAY mixes circus and Handel operas into a refreshing Baroque spectacle.\u201d ArtsTalk Magazine<\/em> stated: \u201cOPERA2DAY, once again, contrived a brilliant new opera for themselves.\u201d<\/em> Soprano Maud Bessard-Morandas made a deep impression with her portrayal of the Sun. De Theaterkrant<\/em>wrote that she quite literally seemed to glow: \u201cThe lightning-fast embellishments of her vocal line, which she takes over from and varies with the oboe, flow smoothly from her throat.\u201d NRC<\/em> praised her contribution to the \u201cresilient happy ending.\u201d<\/em><\/p>\n

Trapeze Work and Rope Climbing<\/h3>\n

Maria Schellenberg, as the goddess of war, also received praise. \u201cWith her full, rounded voice and subtle dynamics she even manages to move the audience at times, for instance in the aria Morir\u00f2,\u201d<\/em> according to De Theaterkrant<\/em>. Place de l\u2019Opera<\/em> noted that she sang virtuosic coloratura with a \u201cpowerful voice.\u201d<\/em> De Volkskrant<\/em> likewise called Morir\u00f2<\/em> a \u201cstrong moment.\u201d ArtsTalk Magazine<\/em> was particularly impressed by countertenor James Hall, who according to De Volkskrant<\/em>seized his opportunity in the aria Vaghe pupille<\/em>.<\/p>\n

The combination of singing and circus was considered exceptional. ArtsTalk Magazine<\/em> wrote: \u201cMaria 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.\u201d<\/em>\u00a0 The trapeze work and rope climbing by the circus artists were also described as \u201cexcellent.\u201d<\/em><\/p>\n

A Feast for the Eyes<\/h3>\n

The Netherlands Bach Society, conducted by Hern\u00e1n Schvartzman, played \u201cas always impeccably,\u201d<\/em> according to ArtsTalk Magazine<\/em>. De Volkskrant<\/em> was surprised by the recorder as a \u201cmelancholic creator of atmosphere\u201d<\/em> and the \u201cinventively plucked lute.\u201d<\/em> According to Place de l\u2019Opera<\/em>, the orchestra played \u201cwith colour and virtuosity.\u201d<\/em><\/p>\n

The reconstructed Baroque theatre on stage was widely praised. ArtsTalk Magazine<\/em> called the set \u201cthe highlight of the show.\u201d<\/em> De Theaterkrant<\/em> wrote: \u201cThe Baroque mini-theatre built by the circus artists, with its columns entwined with flower garlands, is a feast for the eyes.\u201d<\/em> And: \u201cHerbert Janse\u2019s set simultaneously evokes a devastated city and a circus theatre, with vague ruins and acrobats swinging smoothly through the air.\u201d<\/em><\/p>\n

NRC<\/em> called the scenario \u201cinventive,\u201d<\/em> though it was less enthusiastic about the opening: \u201cWith gods who keep wallowing in their misery, the story gets off to a somewhat slow start.\u201d<\/em> The newspaper nevertheless concluded positively that \u201cthe mix of opera and circus is an entertaining pick-me-up.\u201d ArtsTalk Magazine<\/em> is already looking forward to the next production: \u201cIt has reached a point where Serge van Veggel and OPERA2DAY can be relied on to produce new, exciting and innovative theatre every time.\u201d<\/em> Place de l\u2019Opera<\/em> summed up The Opera Circus<\/em> as: \u201cA cleverly constructed Handellian operatic world based on a colourful circus feast.\u201d<\/em><\/p>\n

Audience Reactions<\/h3>\n

The first reactions from the audience were very positive. One visitor said: \u201cI thought the sets and costumes were beautiful, and the singers were so good!\u201d<\/em> 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: \u201cI have seen and heard countless interpretations of Handel, but this one truly stands out. The music was beautiful and the staging exceptionally creative. Compliments!\u201d<\/em><\/p>\n

The Netherlands Bach Society also received much praise, with reactions such as \u201cbeautiful\u201d<\/em> and \u201cabsolutely fantastic.\u201d<\/em> 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 \u201cenormously impressive.\u201d<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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. 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