Programma content

Introductie tekst

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Complete your visit to aus LICHT with a catering arrangement

During the long performances of parts 2 and 3 of aus LICHT, you’re going to want something to eat during the intervals that is both healthy and delicious and that you don’t have to rush. With this in mind we have designed these wonderful take-away lunch and dinner menus for you. To be enjoyed in the public space of the venue or outside.


Part 2 Menu:

Lunchbox (availabe from 2 - 4.50 pm)
Cheese sandwich with mustard mayo and romaine lettuce
Cream cheese, grilled vegetables and rocket wrap
- Slice of cake
 

Dinner (5.45 - 6.50 pm)
Rice noodle salad with yardlong beans, soybeans and cucumber
  with a light sesame & soy sauce dressing


PuntKookt offers these sustainably prepared vegetarian dishes, 
including 2 drinks, for only € 29.50.

Only available till 48 hours prior to the start of the performance. Order now!

Do you have any food allergies? Email us at [email protected]

During the long performances of parts 2 and 3 of aus LICHT, you’re going to want something to eat during the intervals that is both healthy and delicious and that you don’t have to rush. With this in mind we have designed these wonderful take-away lunch and dinner menus for you. To be enjoyed in the public space of the venue or outside. 

Part 3 Menu:


Lunchbox
Brie, caramealised onion and iceberg lettuce sandwich
Hoummous, grilled pepper and rocket wrap
Slice of Dutch butter cake

Dinner (8.10 - 9.25 pm)
Mexican rice salad with pico de gallo, guacamole and sour cream 

PuntKookt offers these sustainably prepared vegetarian dishes, 
including 2 drinks, for only € 29.50.

Only available till 48 hours prior to the start of the performance. Order now!

Do you have any food allergies? Email us at [email protected]

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Sacred Environment

Oratorio for choir, soloists, electronics and orchestra by composer Kate Moore

Accompanying live VR installation by visual artist Ruben van Leer

Music
Music & Libretto Kate Moore
Conductor Brad Lubman
Choir Conductor Daniel Reuss
Didgeridoo Lies Beijerinck
Soprano Alex Oomens
Performed by Radio Filharmonisch Orkest, Groot Omroepkoor
Production Holland Festival, NTR Radio

Visual VR Installation
Visual Artist Ruben van Leer
Performer Esther Mugambi
Dramaturgist Martin Butler
Lead Creative coder Victor Martins
Interactive Design Roy Gerritsen 
Interactive Coder Tim Gerritsen
Line Producer Rogier van Ostaijen
VR studio Boompje Studio
Costume Design Clifford Portier
Lidar scanning Andrew Borsch
Light design Robert Wit
VR video Peejee Doorduin
Produced by Truth.io & Holland Festival

We wish to acknowledge the custodians of this land, the people of the Wonnarua and Darkinjung nations and their Elders past and present. I acknowledge and respect their continuing culture and the contribution they make to the life of this region.

Special thanks to: Nina Frankova, Marion Winkler, Trevor Wilson, Fiona Crain, Stuart McMinn, Leanne King, Phil Sheppard, John Shipp, Stuart Gibson, Rex Thompson, Nerida Moore, Chris Moore. The Holland Festival, Robert Nasveld, NTR, Daniel Reuss, Brad Lubman, Lies Beijerinck, Alex Oomens, Ruben van Leer, Clare Gallagher, Arno Peeters, Gobo Image, Tiemen Rapati, David Zaagsma, Mai Marie Dijksma, Rebecca Baart, Ersinhan Ersin and Vincent Lindeboom (Next Empire)

Cardboards supported by Google Arts & Culture

The VR installation is supported by the AFK

Festival website: www.hollandfestival.net

Project website: www.sacredenvironment.net

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Come to the Holland Festival in Amsterdam after the ISPA Conference in Leeuwarden!

ISPA members get 15% discount on the performances below.

Your coupon code for online ordering is ISPA18

landingspagina End Credits
 landingspagina Les contes d'Hoffmann
landingspagina Sight Machine  landingspagina Roman Tragedies
landingspagina JR

 landingspagina Der mude Tod

landingspagina Stadium

 landingspagina Kronos Sessions
landingspagina Ladilikan

 landingspagina The Way You Sound Tonight

landingspagina JRTristan and Isolde

 

PREFERRED HOTEL: HOTEL CASA

Hotel CasaDuring the Holland Festival you can sleep in the festival hotel Casa. There is a sparkling atmosphere, because all the artists of the festival will be staying in the hotel! The hotel is located in Amsterdam East, one of the most vibrant neighborhoods of the city, with many cool bars, restaurants and museums. Book your room now and benefit from the special rate offer which will be bookable until the 30th of April. The rate is including breakfast and excluding 6% city tax. 

Book now!

 



Der Startenor ist bisher in den Niederlanden noch nie in einem Solo-Konzert aufgetreten. Das Holland Festival konnte ihn anlässlich des glanzvollen 70-jährige Jubiläums für einen Auftritt mit dem Residentie Orkest im Concertgebouw Amsterdam gewinnen. Jonas Kaufmann gilt weltweit als einer der bedeutendsten Sänger unserer Zeit. Mit seiner reichen glanzvollen Stimme und seinen feinsinnigen Interpretationen verfügt er über ein außerordentlich breites Repertoire. In diesem Konzert am Mittag beginnt er mit Verdi. Nach der Pause erklingt Wagner in der atemberaubenden Schlussszene des ersten Aufzugs von Die Walküre. Special guest ist die weltweit anerkannte niederländische Sopranistin Eva-Maria Westbroek, mit der Kaufmann bereits im Covent Garden in London und an der Metropolitan Opera New York gesungen hat.

Sonntag 4. Juni, 15.00 - 16.45 Uhr
Het Concertgebouw, Amsterdam

€ 120 / 100 (inklusiv Pauzegetränk)

BESTELLEN
(auf Englisch - maximal 6 Tickets)

Programm

Giuseppe Verdi (1813-1901)

Aus Aida (1871):
-Preludio
-Scena e romanza Se quel guerrier io fossi! … Celeste Aida (Akt I)

Aus La forza del destino (1862):
-Ouverture
-Scena e romanza La vita è inferno all’infelice … O tu, che in seno agli angeli (Akt III)

From Don Carlo (1884):
-Scena ed aria Tu, che le vanità (Akt V)

Otello, Preludio (1887)

From Otello (1887):
-Gia nella notte densa (Akt I, Szene 3)

- Interval -

Richard Wagner (1813-1883)

From Rienzi (1842):
-Ouverture

From Die Walküre (1856):
-Akt I, Szene 3

Besetzung

Musik                                                   
Giuseppe Verdi,
Richard Wagner

Tenor                                                    
Jonas Kaufmann

Sopran
Eva-Maria Westbroek


Musische Ausführung
Residentie Orkest

Dirigent
Jochen Rieder

Bimhuis

2:30 pm Jherek Bischoff, stargaze strings
The composer and multi-instrumentalist Jherek Bischoff has collaborated with the Kronos Quartet, David Byrne, Robert Wilson and Neil Gaiman. His work spans a variety of genres such as pop, indie rock, classical music and ambient music. At this concert he will performs his works backed by Stargaze Strings, four players from the ensemble stargaze – which will alsof perform together with Jherek Bischoff in Tribute to Blackstar at the Holland Festival Proms

5:00 pm Trio Da Kali 
In this session, Trio Da Kali plays songs from their own repertoire of contemporary griot music. The Malian trio consists of Hawa Kasse Mady Diabaté (vocals), Mamadou Kouyaté (bass ngoni) and Fodé Lassana Diabaté (balafon). ‘Da kali’ means ‘to swear an oath’, in this case the oath of the griot (a kind of bard and custodian of history) to continue this tradition.


7:45 pm Masterclass David Harrington with Pelargos Kwartet
David Harrington, founder and artistic director of the Kronos Quartet, is giving a public masterclass. He has been working with composers and musicians from all over the world for more than forty years. Under his supervision the Pelargos Kwartet is working on Ken Benshoof’s Sweeter Than Wine, a work from Kronos’s Fifty for the Future repertoire.

Grote Zaal

1:00 pm Kronos Quartet & Masha Vahdat
For the first concert in the Main Hall, Kronoswill fi rst share the stage with the Iranian singer Mahsa Vahdat. She is one of the most influential singers and performers of Persian vocal music. Accompanied by Kronos, she will be singing her own songs and settings of texts by classical Persian poets. The Kronos Quartet is also performing the world premiere of one of the newest commissions from the Fift y for the Future project: Little Black Book by the American electronic producer Jlin, renowned for her dark and futuristic music. Her debut album Black Origami was hailed the best electronic album of the year by Rolling Stone in 2017.

3:45 pm Ragazze Plays Kronos Classics with Kapok
If there is a Dutch string quartet as adventurous as the Kronos Quartet and as eager to explore the discipline’s boundaries, then it is the Ragazze Quartet. At last year’s festival the quartet performed George Crumb’s Black Angels, one of the first compositions in Kronos’s repertoire. In this concert Ragazze will perform its other favourite Kronos classics, including works by composers such as Aleksandra Vrebalov, Terry Riley (with Kapok) and Carlos Paredes (arr. Osvaldo Golijov).


6:15 pm Kronos Quartet & Vân-Ánh Võ & Jherek Bischoff 
Vân-Ánh Võ is a Vietnamese-American musician and Emmy Award winning composer who combines traditional Vietnamese instruments with influences from around the world. Together with Kronos, she will take the audience on a musical journey through Vietnam. In the second half of the concert the Kronos Quartet will share the stage with the American musician and composer Jherek Bischoff, who has been described as ‘the connecting factor’ between pop, rock and classical music. 

9:00 pm Kronos Quartet & Trio Da Kali 
The highlight of the full-day of the Kronos Quartet at the Muziekgebouw is Kronos’ concert with the Malian Trio Da Kali. 
Please note: For this concert you need to order a separate ticket (sold out).

setlist Kronos Quartet / Ragazze

1 pm Kronos Quartet

Mario Galeano Toro / Microsurco de Liebre *
Philip Glass / Quartet Satz *
            Composed for Fifty for the Future: The Kronos Learning Repertoire
Jlin (arr. Jacob Garchik) / Little Black Book *
            Composed for Fifty for the Future: The Kronos Learning Repertoire
Wu Man (arr. Danny Clay) / Four Chinese Paintings: IV. Silk and Bamboo 丝与竹 *
            Composed for Fifty for the Future: The Kronos Learning Repertoire

1:30 pm Kronos Quartet & Mahsa Vahdat

Mahsa Vahdat (arr. Sahba Aminikia) / The Sun Rises +
                        The Sun Will Rise
                        Vanishing Line
                        My Ruthless Companion
Mahsa Vahdat (arr. Atabak Elyasi) / Dead yet I was, then came to life +
Mahsa Vahdat (arr. Sahba Aminikia) / Kurdish Song +

3:45 pm Ragazze play Kronos Classics

Tusen Tankar (swedish traditional)
Alexandra Vrebalov / Hold me neighbour in this storm 
Carlos Paredes (arr. Osvaldo Golijov) / Anhos Verdes 
Terry Riley (arr. Kapok en Ragazze) / Sunrise of the planetary dream collector

6:15 pm Kronos Quartet & Vân-Ánh Võ


Traditional/Kim Sinh (arr. Jacob Garchik) / Lưu thủy trường +
Jonathan Berger / My Lai Lullaby *
            written in collaboration with David Harrington and Vân-Ánh Võ
Henry Purcell (arr. Vân-Ánh Võ) / The Cold Song from King Arthur +
John Dowland (arr. Kronos Quartet and Vân-Ánh Võ) / Lachrymæ Antiquæ +
Gustav Mahler(arr. Kronos) / Ich bin der Welt abhanden gekommen + 


6:45 pm Kronos Quartet & Jherek Bischoff

Konono No1 (arr. Jherek Bischoff) / Kule Kule +  
Jherek Bischoff / A Semiperfect Number
Jherek Bischoff / Flying Rivers
Jherek Bischoff / Stranger *
Jimi Hendrix (arr. Steve Riffkin) / Purple Haze +

9:00 pm Kronos Quartet & Trio da Kali

    Selection of CD Ladilikan:
Tita
Kene Bo
Kanimba
Garaba Mama
God Shall Wipe All Tears Away
Lila Bambo
Sunjata
Eh Ya Ye

Encore: Ladilikan

* Written for Kronos
+ Arranged for Kronos

KLEINE ZAAL

2:30 pm Masterclass Sunny Yang & John Sherba with De Formule
Sunny Yang and John Sherba give a public masterclass. Under their supervision, De Formule is working on Laurie Anderson’s Shutter Island, a work from Kronos’s Fifty for the Future

5:00 pm Masha Vahdat, Tord Gustavsen
The songs of Iranian Mahsa Vahdat are based on the Persian vocal tradition of classical and regional folk music, but with a contemporary expression. She composes most of her songs herself, often with poems by classical Persian poets like Hafez and Rumi. Here, she performs with Norwegian jazz pianist Tord Gustavsen.


7:45 Vân-Ánh Võ 
The Vietnamese musician Vân-Ánh Võ, who lives in America, is one of the most prominent players of Vietnamese instruments, such as the đàn tranh (a string instrument). In this concert she merges music from different regions of Vietnam with contemporary soundscapes. She also plays adaptations of American music for her instruments. 

ATRIUMKAMER

from 2:00 pm films 
Kronos has played many memorable soundtracks. 

2:00 - 5:00 pm - Heat (1995)
music Elliot Goldenthal, direction Michael Mann
5:00 - 6:30 pm - Dracula (1931)
music Philip Glass, direction Tod Browning
7:45 - 8:30 pm - Beyond Zero: 1914-1918 (2014)
music Aleksandra Vrebalov, direction Bill Morrison
8:45 - 10:30 pm - Requiem for a Dream (2000)
music Clint Mansell, direction Darren Aronofsky


ATRIUMZAAL

2:30 pm Masterclass Hank Dutt with Babylon Quartet
The Kronos Quartet’s Hank Dutt (viola) is giving a public masterclass. Supervised by Dutt , the Babylon Quartet is working on Garth Knox’s Satellites, a composition from Kronos’s Fifty for the Future.

5:00 pm Fifty for the Future Talk
Today, on the day of the Kronos Sessions, the five newest compositions from the Kronos Quartet’s Fifty for the Future project are being presented. The release of these brand-new works by Islam Chipsy, Aft ab Darvishi, Philip Glass, Onutė Narbutaitė and Yevgeniy Sharlat, means that 25 of the 50 planned works have now been published. In a lively panel discussion with many images and sound clips, Janet Cowperthwaite (the Kronos Quartet’s managing director), David Harrington (violinist and founder of Kronos) and Jochem Valkenburg (the Holland Festival’s programming director music and music theatre) will take stock, halfway through this ground-breaking composition project. The Holland Festival is a Fifty for the Future legacy partner. 

7:45 pm Ebonit Saxophone Quartet 
This Dutch saxophone quartet did a master class at the Holland Festival two years ago with Kronos Quartet’s Hank Dutt. They worked with him on Sunjata’s Time by Fodé Lassana Diabaté (Trio Da Kali). This year they are performing this work at their own concert during the Kronos Sessions, alongside works by Philip Glass and Tristan Keuris. 


FOYERDECK 1 - FIFTY FOR THE FUTURE STAGE
Up-and-coming string quartets from the Royal Conservatoire in The Hague and the Dutch String Quartet Academy are playing on the special Fifty for the Future stage. Each quartet is playing a composition it has selected from Kronos’s Fifty for the Future repertoire. Throughout the day they will be working with one of the Kronos Quartet’s members on this composition in one of the public masterclasses. 

2:00 pm Babylon Quartet 
The Babylon Quartet is an innovative string quartet with a repertoire that includes Haydn, Stravinsky and Britten, as well as The Beatles and Radiohead. Its members compose their own music too. The quartet won the Big Chamber Music Award in 2015. It was awarded the Kersjes Fonds String Quartet Scholarship in 2016. The Babylon Quartet has played at The Concertgebouw, De Doelen, TivoliVredenburg and Muziekgebouw Eindhoven and consists of Leonid Nikishin (violin), Danielle Daoukayeva (violin), Kellen McDaniel (viola) and William McLeish (cello). Babylon Quartet is playing the Irish violist and composer Garth Knox’s Satellites. 

3:15 pm Pelargos Kwartet
The Pelargos Kwartet consists of Hadewych de Vos (violin), Kaja Majoor (violin), Anna Jurriaanse (viola) and Wilma de Bruijn (cello). All its members study at the Royal Conservatoire in The Hague. The quartet participated in the Prinses Christina Concours in Rotterdam and won the Ensemble Incentive Award. The Pelargos Kwartet is playing the American composer Ken Benshoof’s composition Sweeter Than Wine. ‘A good challenge for us, which will help us further develop our ensemble.’

4:30 pm De Formule
De Formule has five members: Laura Lunansky, Coraline Groen, Michiel Wittink, Rogier Tamminga and Rik Kuppen. In various combinations they play new music in varied programmes. The members play instruments loaned from the Dutch Nationaal Muziekinstrumenten Fonds. The ensemble won the Big Chamber Music Award in March 2018. De Formule is playing the American composer Laurie Anderson’s Shutter Island.

A whole new world opened up when I first heard Stockhausen’s music. It was as if the definition of what music could be had been expanded.’ At a panel discussion at Amsterdam Dance Event, the British producer Darren Cunningham asserted that Karlheinz Stockhausen (1928-2007) was extremely important, if not ‘life changing’, in his musical development. Under the pseudonym Actress, he has been pushing musical boundaries in techno with international success. It was Stockhausen, he says, who showed him the path less travelled. Cunningham is not the only one. Since Stockhausen acquired cult status, beginning in the middle of the previous century, artists from The Beatles to Björk, Brian Eno and Miles Davis have cited him as a source of inspiration. He also became – and still is – of immense significance to fellow composers. As composer Michel van der Aa put it when Stockhausen died: ‘I think he is in the musical residue of every contemporary composer.'

Stockhausen_630x280

Whether you agree with him or not: you always have to take him into account.’ Stockhausen was a tireless innovator, who greatly influenced music history. He was one of the first to compose electronic music, move the music (and sometimes the musicians) through the concert hall so that the sound no longer statically emanated from the stage, and deploy instrumentalists theatrically: not only singers, but also clarinettists or trumpet players could interpret characters. He also developed many new musical forms, tools and methods, including a scale of twelve tempos analogous to the chromatic pitch scale, and ‘intuitive music’ which relies heavily on the musicians’ collective imaginations. 

These innovations would have been musicological footnotes if the vast majority of his music had not sounded so convincing and overwhelming, testifying to his flawless ear, masterly control over the resulting sound, and an unmatched sense of sound and structure. From his early, electronic Gesang der Jünglinge or his young masterpiece Gruppen für drei Orchester to the hushed final notes of DONNERSTAG aus LICHT, from the meditative mantras in Stimmung to the full-surround swirling COSMIC PULSES: hearing these pieces once, preferably live, will leave an unforgettable impression on you. 

Stockhausen’s ambitions were literally sky high (HELIKOPTER-STREICHQUARTETT), and regularly even more exulted (COSMIC PULSESSiriusSternklang). They are not gimmickry – as is sometimes alleged, especially about the helicopter quartet. Rather, Stockhausen simply followed artistic ideas through to their ultimate consequences. After making full use of the musical possibilities of the space in a concert hall in early compositions, the ultimate next step would be to get the music to actually take to the air. It also makes dramaturgical sense as a scene in the opera MITTWOCH, in which air is the central element, a debate about love has already been held atop a skyscraper, and auditions for a heavenly orchestra take place high in the air.

This unbridled imagination and ambition, suffused with the need to think big and when necessary beyond all bounds give Stockhausen’s oeuvre a sublime quality. Consequently, it is not surprising that it puts off or even repels some people. Neither is it difficult for sceptics to find aspects of Stockhausen’s work and life to ridicule. For instance, LICHT’s idiosyncratic theology, his flirtation with the controversial spiritual book Urantia, and the autobiographical myth about his birth on the star Sirius. This is overshadowed by his impolitic comment – taken out of context by journalists eager for a scoop – on the 9/11 attacks, which Stockhausen said demonstrated that Lucifer, the representative of evil, still exists. Yet this is the same oeuvre with the same limitlessness that continues to fascinate, inspire, and enchant musicians and listeners as well as artists to this day. 

At the upcoming festival several composers are working on the implications of Stockhausen’s work. Colin Benders is working on a larger scale than ever, departing from the simple stereo of electronic dance music, with a spatially arranged ‘electro-symphonic orchestra’. Michel van der Aa, like Stockhausen, often composes the theatrical aspects of his music. He aims to use virtual reality to achieve a spatial experience of music theatre in Eight. Actress is presenting a twenty-first century counterpart to Stockhausen’s WELT-PARLAMENT, in which he is breaking new ground by using artificial intelligence to generate music. Using the latest electronic resources in their music is self-evident to all three composers. How different things were when Stockhausen made his first electronic compositions.

The ultimate Stockhausen experience is the three-day marathon performance aus LICHT, composed of scenes from Stockhausen’s magnum opus – the seven-part opera cycle LICHT. Many music students in The Hague are following a special LICHT master’s programme designed specifically for this purpose and will also be playing with the professionals. They are already making many discoveries during rehearsals, giving expressions such as ‘live changing’ meaning once more. aus LICHT, a historic project, could well be the opera event of the year. At least as important, and more relevant than ever, is its implicit message. Like the rest of Stockhausen’s oeuvre, it is an affirmation that you should pursue your dreams – in music, and beyond.