ANNUAL OPERA PRODUCTION
Directors :
Marnik Baert, Mien Bogaert, Benoît De Leersnyder, Luc De Wit, Aïda Gabriëls, Inne Goris, Korneel Hamers, Ronny Lauwers,
Alex Mallems, Caroline Petrick, Gidon Saks, Sigrid T'Hooft, Vincent Van Den Elshout, Catrin Wyn-Davies
Conductors :
Ewald Demeyere, Bruno Ferrandis, Karin Hendrickson, Kevin Hendrickx, Daan Janssens, Florian Heyerick,
Guy Penson, Matteo Pirola, Michel Tilkin, Wouter Vande Ginste, Hans Vercauteren, Andrew Wise
MASTERCLASSES
B'Rock, Yann Beuron, Soon Cho, Ubaldo Fabbri, Lyne Fortin, Delphine Galou, Jennifer Hamilton, Salome Kammer, Gabriele Micheli, Sara Mingardo, Ratas del viejo Mundo, Giuseppe Ravi, Marcel Reijans, Gidon Saks, Michael Spyres, Trio Medievale, Neue Vocalsolisten Stuttgart, Dominik Wörner
Directors :
Marnik Baert, Mien Bogaert, Benoît De Leersnyder, Luc De Wit, Aïda Gabriëls, Inne Goris, Korneel Hamers, Ronny Lauwers,
Alex Mallems, Caroline Petrick, Gidon Saks, Sigrid T'Hooft, Vincent Van Den Elshout, Catrin Wyn-Davies
Conductors :
Ewald Demeyere, Bruno Ferrandis, Karin Hendrickson, Kevin Hendrickx, Daan Janssens, Florian Heyerick,
Guy Penson, Matteo Pirola, Michel Tilkin, Wouter Vande Ginste, Hans Vercauteren, Andrew Wise
MASTERCLASSES
B'Rock, Yann Beuron, Soon Cho, Ubaldo Fabbri, Lyne Fortin, Delphine Galou, Jennifer Hamilton, Salome Kammer, Gabriele Micheli, Sara Mingardo, Ratas del viejo Mundo, Giuseppe Ravi, Marcel Reijans, Gidon Saks, Michael Spyres, Trio Medievale, Neue Vocalsolisten Stuttgart, Dominik Wörner
MICHEL TILKIN, muzikale leiding
LUC DE WIT, regie
ALEX MALLEMS, dramaturgie / regie
at the Ghent School of Arts :
Purcell's Dido and Aeneas (2023)
Purcell's Dido and Aeneas (2023)
MARNIK BAERT, scenographie / regie
at the Ghent School of Arts :
Purcell's Dido and Aeneas (2023)
Purcell's Dido and Aeneas (2023)
KEVIN HENDRICKX, muzikale leiding
at the Ghent School of Arts :
Purcell's Dido and Aeneas (2023)
Kevin Hendrickx graduated in 2008 from the SAMWD Lier as a piano student of Christine Baeten. Hereafter, he studied choral conducting with Geert Hendrix the same academy. In 2013 he continued to study orchestral conducting with Bart Piqueur in Ghent, which he graduated from in 2017. Afterwards, he studied composition and conducting at the Royal Ghent Conservatory with teachers such as Kristiina Poska, Daan Janssens, Filip Rathé, Johan Duijck and Florian Heyerick.
He followed courses and masterclasses with renowned conductors such as Kristiina Poska, David Hill, Martin Sieghart, Alexander Polyanichko, Frieder Bernius. He appeared with the Flanders Symphony Orchestra, Manchester Camerata, Budapest Symphony Orchestra MAV, Moravian Philharmonic Orchestra, London Classical Soloists, Bulgarian State Opera Stara Zagora and Orchestra da camera Fiorentina. In 2017 he was laureate of the Beethoven competition organized by the London Classical Soloists. Regularly performing new music, he worked with SPECTRA ensemble, NEMO ensemble and Ensembles and orchestra from the Royal Ghent Conservatory. Also, with his own orchestra (www.continuo-ugent.be) he follows an adventurous course.
As a choir conductor, Kevin is the artistic leader of the Leuven University Choir and the Chamber Choir Roeselare. He worked with the Kammerchor Stuttgart, RNCM Chamber choir, Ghent University Choir, Helicon Chamber choir, Choeur Universitaire de Liège and Chorale de la CIUP.
Next to his musical ambitions, Kevin obtained in 2018 his PhD in chemistry and teaches physical chemistry at AP University of applied arts and sciences in Antwerp, Belgium.
Purcell's Dido and Aeneas (2023)
Kevin Hendrickx graduated in 2008 from the SAMWD Lier as a piano student of Christine Baeten. Hereafter, he studied choral conducting with Geert Hendrix the same academy. In 2013 he continued to study orchestral conducting with Bart Piqueur in Ghent, which he graduated from in 2017. Afterwards, he studied composition and conducting at the Royal Ghent Conservatory with teachers such as Kristiina Poska, Daan Janssens, Filip Rathé, Johan Duijck and Florian Heyerick.
He followed courses and masterclasses with renowned conductors such as Kristiina Poska, David Hill, Martin Sieghart, Alexander Polyanichko, Frieder Bernius. He appeared with the Flanders Symphony Orchestra, Manchester Camerata, Budapest Symphony Orchestra MAV, Moravian Philharmonic Orchestra, London Classical Soloists, Bulgarian State Opera Stara Zagora and Orchestra da camera Fiorentina. In 2017 he was laureate of the Beethoven competition organized by the London Classical Soloists. Regularly performing new music, he worked with SPECTRA ensemble, NEMO ensemble and Ensembles and orchestra from the Royal Ghent Conservatory. Also, with his own orchestra (www.continuo-ugent.be) he follows an adventurous course.
As a choir conductor, Kevin is the artistic leader of the Leuven University Choir and the Chamber Choir Roeselare. He worked with the Kammerchor Stuttgart, RNCM Chamber choir, Ghent University Choir, Helicon Chamber choir, Choeur Universitaire de Liège and Chorale de la CIUP.
Next to his musical ambitions, Kevin obtained in 2018 his PhD in chemistry and teaches physical chemistry at AP University of applied arts and sciences in Antwerp, Belgium.
KARIN HENDRICKSON, muzikale leiding
at the Ghent School of Arts :
Puccini's Suor Angelica (2022)
Karin Hendrickson is a conductor equally at home with opera and orchestra. Upcoming engagements include the Belgium National Symphony, BBC Philharmonic, and the London Symphony Orchestra, among others. Past engagements include the Orchestre national d'Ile de France and the BBC Concert Orchestra, Pittsburgh Symphony Orchestra, Nashville Symphony Orchestra, Kammersymphonie Graz, Orchestra Sinfônica da USP (Brazil), Sao Paulo Symphony, London Mozart Players (UK) and multiple appearances with the Royal Northern Sinfonia (UK) and the Southbank Sinfonia (UK), as well as productions of Brundibar for The London Mozart Players, and Paris and Helena for Bampton Opera (UK).
Karin was previously Assistant Conductor at the Royal Northern Sinfonia in England (Lars Vogt, Music Director). Often called to assist other conductors on large projects, the list includes standing in for Lorenzo Viotti/The Gulbenkian Orchestra’s complete singer and orchestral preparation of Eugene Onegin; hired to assist Vladimir Jurowski and the London Philharmonic Orchestra at the Proms; and assisting Marin Alsop at the Proms with the Orchestra of the Age of Enlightenment. Karin was also engaged as Assistant Conductor for Alsop’s first international tour as Music Director of the Sao Paulo Symphony and their debut at the BBC Proms and Snape Proms (England), the Rheingau Musik Festiva (Germany), and the Concertgebouw (Amsterdam), as well as being called to assist Alsop’s performances at the World Economic Forum in Davos, Switzerland.
Karin was one of three conductors invited as the Atelier des Créatrices d’Opéra Conductor Participant at the Festival Aix-en-Provence (Academie), France, and was subsequently awarded the prestigious European Network of Opera Academies Young Conductor Residency, selected from a pool of nominated candidates across institutions including the Dutch National Opera (Netherlands), Snape Maltings (England), Helsinki Festival (Finland), and Opera Narodowa (Poland). Opera credits include Music Director for the premiere and tour of Opera for the Unknown Woman (Melanie Wilson/Fuel Opera), Music Director for Bloomsbury Opera, Chorus Master for The Royal Opera House, Covent Garden, and Chorus Master for Longborough Festival Opera. Karin was also Assistant Conductor for the Longborough Festival Opera’s production of Donizetti’s Anna Bolena (Jeremy Silver, Music Director), and will return as Associate Conductor for their production of Carmen in 2022.
Karin maintains a growing international profile as an exceptional orchestra and opera pedagogue. Past appointments include: Royal Conservatoire of Music, Ghent, Belgium, for both opera and orchestra; the National Youth Orchestra of Scotland; the National Youth Orchestra of Great Britain and The National Youth Orchestra of Great Britain Inspire! Orchestra; the Royal Welsh College of Music and Drama; preparation of players for the London Symphony Orchestra/Guildhall School Orchestra Artistry candidates side-by-side for Michael Tilson-Thomas; preparation of players for Lorenzo Viotti and the Gulbenkian Orchestra for Mahler Symphony No. 3; preparation of players for Gustavo Dudamel with the Barbican Centre’s collaboration between the London Symphony Orchestra and the Los Angeles Philharmonic youth orchestras; visiting conductor for the Royal Academy of Music Symphony Orchestra and Marin Alsop on Britten’s War Requiem for the Southbank Centre at Royal Festival Hall (Royal Philharmonic Society Award for Learning and Participation) ...
http://www.karinhendrickson.com/
Puccini's Suor Angelica (2022)
Karin Hendrickson is a conductor equally at home with opera and orchestra. Upcoming engagements include the Belgium National Symphony, BBC Philharmonic, and the London Symphony Orchestra, among others. Past engagements include the Orchestre national d'Ile de France and the BBC Concert Orchestra, Pittsburgh Symphony Orchestra, Nashville Symphony Orchestra, Kammersymphonie Graz, Orchestra Sinfônica da USP (Brazil), Sao Paulo Symphony, London Mozart Players (UK) and multiple appearances with the Royal Northern Sinfonia (UK) and the Southbank Sinfonia (UK), as well as productions of Brundibar for The London Mozart Players, and Paris and Helena for Bampton Opera (UK).
Karin was previously Assistant Conductor at the Royal Northern Sinfonia in England (Lars Vogt, Music Director). Often called to assist other conductors on large projects, the list includes standing in for Lorenzo Viotti/The Gulbenkian Orchestra’s complete singer and orchestral preparation of Eugene Onegin; hired to assist Vladimir Jurowski and the London Philharmonic Orchestra at the Proms; and assisting Marin Alsop at the Proms with the Orchestra of the Age of Enlightenment. Karin was also engaged as Assistant Conductor for Alsop’s first international tour as Music Director of the Sao Paulo Symphony and their debut at the BBC Proms and Snape Proms (England), the Rheingau Musik Festiva (Germany), and the Concertgebouw (Amsterdam), as well as being called to assist Alsop’s performances at the World Economic Forum in Davos, Switzerland.
Karin was one of three conductors invited as the Atelier des Créatrices d’Opéra Conductor Participant at the Festival Aix-en-Provence (Academie), France, and was subsequently awarded the prestigious European Network of Opera Academies Young Conductor Residency, selected from a pool of nominated candidates across institutions including the Dutch National Opera (Netherlands), Snape Maltings (England), Helsinki Festival (Finland), and Opera Narodowa (Poland). Opera credits include Music Director for the premiere and tour of Opera for the Unknown Woman (Melanie Wilson/Fuel Opera), Music Director for Bloomsbury Opera, Chorus Master for The Royal Opera House, Covent Garden, and Chorus Master for Longborough Festival Opera. Karin was also Assistant Conductor for the Longborough Festival Opera’s production of Donizetti’s Anna Bolena (Jeremy Silver, Music Director), and will return as Associate Conductor for their production of Carmen in 2022.
Karin maintains a growing international profile as an exceptional orchestra and opera pedagogue. Past appointments include: Royal Conservatoire of Music, Ghent, Belgium, for both opera and orchestra; the National Youth Orchestra of Scotland; the National Youth Orchestra of Great Britain and The National Youth Orchestra of Great Britain Inspire! Orchestra; the Royal Welsh College of Music and Drama; preparation of players for the London Symphony Orchestra/Guildhall School Orchestra Artistry candidates side-by-side for Michael Tilson-Thomas; preparation of players for Lorenzo Viotti and the Gulbenkian Orchestra for Mahler Symphony No. 3; preparation of players for Gustavo Dudamel with the Barbican Centre’s collaboration between the London Symphony Orchestra and the Los Angeles Philharmonic youth orchestras; visiting conductor for the Royal Academy of Music Symphony Orchestra and Marin Alsop on Britten’s War Requiem for the Southbank Centre at Royal Festival Hall (Royal Philharmonic Society Award for Learning and Participation) ...
http://www.karinhendrickson.com/
AÏDA GABRIËLS, regie
at the Ghent School of Arts :
Puccini's Suor Angelica (2022)
Aïda Gabriëls graduated in performative arts at Ghent University. She's been active as a stage director assistant and dramaturge for several opera and theatre projects in Belgium and the Netherlands. As a stage director assistant she was collaborating with Sjaron Minailo for La Monnaie in Brussels (Medúlla & To Be Sung) and Hollandfestival in Amsterdam (The Transmigration of Morton F.). Spring 2016 she worked on several projects as a dramaturge at La Monnaie (Mme Butterfly, Macbeth, European Opera days 2016). Currently she's working as a director for Medeamaterial, a freshly written opera for soprano and double bass, demanded by Muziektheater Transparant (Antwerp). With a true belief in the emancipative power of arts and fascinated by the broad possibilities of interdisciplinary cooperations.
Puccini's Suor Angelica (2022)
Aïda Gabriëls graduated in performative arts at Ghent University. She's been active as a stage director assistant and dramaturge for several opera and theatre projects in Belgium and the Netherlands. As a stage director assistant she was collaborating with Sjaron Minailo for La Monnaie in Brussels (Medúlla & To Be Sung) and Hollandfestival in Amsterdam (The Transmigration of Morton F.). Spring 2016 she worked on several projects as a dramaturge at La Monnaie (Mme Butterfly, Macbeth, European Opera days 2016). Currently she's working as a director for Medeamaterial, a freshly written opera for soprano and double bass, demanded by Muziektheater Transparant (Antwerp). With a true belief in the emancipative power of arts and fascinated by the broad possibilities of interdisciplinary cooperations.
WOUTER VANDE GINSTE, muzikale leiding
at the Ghent School of Arts :
Paul Hindemith's Hin und zurück, Douglas Moore's Galantry, and Noah Thys' Huldegedicht aan Singer (2021)
Paul Hindemith's Hin und zurück, Douglas Moore's Galantry, and Noah Thys' Huldegedicht aan Singer (2021)
MIEN BOGAERT, regie en scenographie
at the Ghent School of Arts :
Paul Hindemith's Hin und zurück, Douglas Moore's Galantry, and Noah Thys' Huldegedicht aan Singer (2021)
Paul Hindemith's Hin und zurück, Douglas Moore's Galantry, and Noah Thys' Huldegedicht aan Singer (2021)
BENJAMIEN LYCKE, beelregie
at the Ghent School of Arts :
Paul Hindemith's Hin und zurück, Douglas Moore's Galantry, and Noah Thys' Huldegedicht aan Singer (2021)
Paul Hindemith's Hin und zurück, Douglas Moore's Galantry, and Noah Thys' Huldegedicht aan Singer (2021)
BRUNO FERRANDIS, muzikale leiding
at the Ghent School of Arts :
Stravinsky's Mavra and Le Rossignol (2019)
BRUNO FERRANDIS vient d’être nommé Laureate Conductor of the Santa Rosa Symphony Orchestra.
Directeur Musical en Californie pendant une décennie, BRUNO FERRANDIS a reçu avec son orchestre, le Prix ASCAP, récompense décernée à la programmation la plus audacieuse de la saison 2013-2014.
Il a étudié avec de grands Maestros tels que Leonard Bernstein, Franco Ferrara, Seiji Ozawa et Sixten Ehrling.
Diplômé de la Guildhall School de Londres et de la Juilliard School de New York, il est nommé chef du Juilliard Opera Center et co-fonde à New York, l’Ensemble « Music Mobile » avec le compositeur Martin Matalon.
Son expérience professionnelle englobe tous les genres : le répertoire symphonique comme le lyrique (du baroque au contemporain), le ballet et l’accompagnement de musique cinématographique.
Chef résident à la Canadian Opera Company de Toronto, il a collaboré avec des metteurs en scène tels que John Neville, Atom Egoyan, Robert Lepage, François Girard, Steven Wadsworth ou encore Martha Clark et de 1991 à 2000 il occupe les fonctions de directeur Musical du Banff Art Center (Alberta).
En Asie, il dirige le Hong Kong Philharmonic et le Hong Kong Sinfonietta, l’Orchestre Philharmonique de Seoul et collabore avec le Tokyo New National Theater.
En Israël, il dirige le Jerusalem Symphony Orchestra et en Europe, le Polish Radio Orchestra, l’Orchestre de l’Opéra d’état de Prague, l’Orchestre Philharmonique de Belgrade, le BBC Northern Orchestra, les orchestres de la RTVE, Séville et Valencia, l’Orchestre Hanséatique de Lübeck, le Mainz Bach Chor, l’Orchestre du Teatro Regio de Turin, l’Opéra de Gênes, l’Orchestre Friuli-Venezia Giulia, l’Orchestre Philharmonique de Monte-Carlo, l’Orchestre Philharmonique de Radio France, avec lequel il enregistre pour Naxos et MFA (Claude Ballif/Le livre du Serviteur, Ahmed Essyad/L’Exercice de l’Amour, Yves Prin/Dioscures-Ephémères-Le Soufle d’Iris).
Parmi ses derniers engagements comme chef invité figurent l’Opéra de Lausanne et l’Opéra Comique à Paris, l’Opéra de Dublin, le San Francisco Conservatory Opera, l’Opéra de Nice, le Grand Théâtre de Tours, L’Orchestre National de Lorraine à Metz, mais aussi l’Orchestre Philharmonique de Buffalo, l’Orchestre de Charlotte pour la National Flute Association, l’Orquesta Filarmonica de Bogota, le Hawaii Symphony Orchestra.
En avril 1997, il reçoit, avec Marc Adam, le Grand Prix de la critique pour « Wozzeck » de Manfred Gurlitt, production Opéra de Rouen.
Stravinsky's Mavra and Le Rossignol (2019)
BRUNO FERRANDIS vient d’être nommé Laureate Conductor of the Santa Rosa Symphony Orchestra.
Directeur Musical en Californie pendant une décennie, BRUNO FERRANDIS a reçu avec son orchestre, le Prix ASCAP, récompense décernée à la programmation la plus audacieuse de la saison 2013-2014.
Il a étudié avec de grands Maestros tels que Leonard Bernstein, Franco Ferrara, Seiji Ozawa et Sixten Ehrling.
Diplômé de la Guildhall School de Londres et de la Juilliard School de New York, il est nommé chef du Juilliard Opera Center et co-fonde à New York, l’Ensemble « Music Mobile » avec le compositeur Martin Matalon.
Son expérience professionnelle englobe tous les genres : le répertoire symphonique comme le lyrique (du baroque au contemporain), le ballet et l’accompagnement de musique cinématographique.
Chef résident à la Canadian Opera Company de Toronto, il a collaboré avec des metteurs en scène tels que John Neville, Atom Egoyan, Robert Lepage, François Girard, Steven Wadsworth ou encore Martha Clark et de 1991 à 2000 il occupe les fonctions de directeur Musical du Banff Art Center (Alberta).
En Asie, il dirige le Hong Kong Philharmonic et le Hong Kong Sinfonietta, l’Orchestre Philharmonique de Seoul et collabore avec le Tokyo New National Theater.
En Israël, il dirige le Jerusalem Symphony Orchestra et en Europe, le Polish Radio Orchestra, l’Orchestre de l’Opéra d’état de Prague, l’Orchestre Philharmonique de Belgrade, le BBC Northern Orchestra, les orchestres de la RTVE, Séville et Valencia, l’Orchestre Hanséatique de Lübeck, le Mainz Bach Chor, l’Orchestre du Teatro Regio de Turin, l’Opéra de Gênes, l’Orchestre Friuli-Venezia Giulia, l’Orchestre Philharmonique de Monte-Carlo, l’Orchestre Philharmonique de Radio France, avec lequel il enregistre pour Naxos et MFA (Claude Ballif/Le livre du Serviteur, Ahmed Essyad/L’Exercice de l’Amour, Yves Prin/Dioscures-Ephémères-Le Soufle d’Iris).
Parmi ses derniers engagements comme chef invité figurent l’Opéra de Lausanne et l’Opéra Comique à Paris, l’Opéra de Dublin, le San Francisco Conservatory Opera, l’Opéra de Nice, le Grand Théâtre de Tours, L’Orchestre National de Lorraine à Metz, mais aussi l’Orchestre Philharmonique de Buffalo, l’Orchestre de Charlotte pour la National Flute Association, l’Orquesta Filarmonica de Bogota, le Hawaii Symphony Orchestra.
En avril 1997, il reçoit, avec Marc Adam, le Grand Prix de la critique pour « Wozzeck » de Manfred Gurlitt, production Opéra de Rouen.
KORNEEL HAMERS, regie
at the Ghent School of Arts :
Stravinsky's Mavra and Le Rossignol (2019)
Korneel Hamers is acteur, theatermaker en mede-oprichter van het succesvolle theatercollectief SKaGeN, alsook The Ministry of Operatic Affairs. Sinds 2000 speelde, produceerde en/of regisseerde hij meer dan 50 theater- en muziekproducties. Tijdens zijn werkzaamheden in Berlijn verzamelde Korneel Hamers een sterke internationale ploeg: Hij ontving samen met zijn vaste kern, de ontwerpers Julia Weisbrich (D) en Julia Rommel (A), de ‘Operare10 Preis’ voor libretto en regieconcept van de Zeitgenössische Oper Berlin.
Stravinsky's Mavra and Le Rossignol (2019)
Korneel Hamers is acteur, theatermaker en mede-oprichter van het succesvolle theatercollectief SKaGeN, alsook The Ministry of Operatic Affairs. Sinds 2000 speelde, produceerde en/of regisseerde hij meer dan 50 theater- en muziekproducties. Tijdens zijn werkzaamheden in Berlijn verzamelde Korneel Hamers een sterke internationale ploeg: Hij ontving samen met zijn vaste kern, de ontwerpers Julia Weisbrich (D) en Julia Rommel (A), de ‘Operare10 Preis’ voor libretto en regieconcept van de Zeitgenössische Oper Berlin.
VINCENT VAN DEN ELSHOUT, regie
at the Ghent School of Arts :
Mozart's La finta giardiniera (2018)
Vincent Van Den Elshout began his formal dramatic studies in his native Holland at the tender age of 16. Following completion of his training at the Academy of the Theatre of Utrecht in 1987, he further perfected his dramaturgical skills at the Royal Academy of Dramatic Art in London. He also followed a series of international specialised theatre training courses with the Comedia d’ll arte, Milan, Theatre Sports, London, Theatro Classico, Madrid, Berliner Ensemble, Berlin and Theatre du Soleil, Paris. His all-round professional experience as a teacher, actor and producer has developed his deep understanding of the important and intricate relationship between acting, body language and expression, and this has turned him into a highly skilled dramaturgist and a specialist in stage movement. Interested in helping young actors feel and look more natural and at home on stage, he has taught at the Koninklijk Conservatorium - School of Arts Gent, Hogeschool voor de Kunsten, Amsterdam, Studio Herman Teirlinck, Antwerp, Darlington College of Art, England, Circulo des Bellas Artes, Madrid, the Royal Conservatory of Music, Brussels and the Julliard School in New York. On stage, he has acted with a wide variety of theatre groups and has interpreted many roles in conventional and avant-garde theatre, including two one-man shows, Tijger and De geboorte van een jongleur, Antwerpen. For his performance in Het ontstaan van de wereld he was awarded the Grote Prijs van Brussel. He has also staged many works, from classics such as The Tempest, by Shakespeare, Cyrano de Bergerac, by Edmond Rostan, and Liasons Dangereuses, by David Perkovitch. In music-theatre he has staged productions of Fame, (written by Christopher Gore, original music score by Michael Gore and choreography by Louis Falco), and Les Misérables, (by Alain Boublil and Claude-Michel Schönberg, with lyrics by Herbert Kretzme, after a book by Victor Hugo).
He worked from 2004 until 2013 for the Flanders Opera Studio where he directed: The Full Monteverdi (operapieces from the composer), „Die DreigröchenOper“ of Kurt Weill, „Der Kaiser von Atlantis“ of Victor Ullmann, Alcina van Handel, „The Battle oft he Sexes“ (pieces from operas of Mozart), „Les Miserables“ (pieces of songs, opera, musical of Victor Hugo) „ Wat te zeggen tegen een directeur die afscheid neemt“ (Saying goodby to the Intendant oft he Flemisch Opera), Benjamin Britten Project (operapieces of Benjamin Britten), Elle est moi und töte mich of Joris Blanckaert en Tom Hannes. In Holland he directed the opera „Onbestorven Weduwe“ of Marco Kalkman / Anna maria Versloot, „Bommelding“ of Hannie van Velthoven / Nirav Christophe, „Kabaal“ / Bestevaer“ of Douwe eisinga / Nirav Christophe and Stadsopera Jheronimus of Peter van Beijnem / Yvon Haan. In Great Britain he directed „Two Caravans“ of Guy Harries / Ace Mc Caron. For Purper and NEO in Vienna he directed Orlando Paladino. He also did the direction of Banksy Boheme for BangUpOpera. At this moment he is preparing De Schrijver, zijn vrouw en haar minnares for Zeeland Nazomer Festival.
Mozart's La finta giardiniera (2018)
Vincent Van Den Elshout began his formal dramatic studies in his native Holland at the tender age of 16. Following completion of his training at the Academy of the Theatre of Utrecht in 1987, he further perfected his dramaturgical skills at the Royal Academy of Dramatic Art in London. He also followed a series of international specialised theatre training courses with the Comedia d’ll arte, Milan, Theatre Sports, London, Theatro Classico, Madrid, Berliner Ensemble, Berlin and Theatre du Soleil, Paris. His all-round professional experience as a teacher, actor and producer has developed his deep understanding of the important and intricate relationship between acting, body language and expression, and this has turned him into a highly skilled dramaturgist and a specialist in stage movement. Interested in helping young actors feel and look more natural and at home on stage, he has taught at the Koninklijk Conservatorium - School of Arts Gent, Hogeschool voor de Kunsten, Amsterdam, Studio Herman Teirlinck, Antwerp, Darlington College of Art, England, Circulo des Bellas Artes, Madrid, the Royal Conservatory of Music, Brussels and the Julliard School in New York. On stage, he has acted with a wide variety of theatre groups and has interpreted many roles in conventional and avant-garde theatre, including two one-man shows, Tijger and De geboorte van een jongleur, Antwerpen. For his performance in Het ontstaan van de wereld he was awarded the Grote Prijs van Brussel. He has also staged many works, from classics such as The Tempest, by Shakespeare, Cyrano de Bergerac, by Edmond Rostan, and Liasons Dangereuses, by David Perkovitch. In music-theatre he has staged productions of Fame, (written by Christopher Gore, original music score by Michael Gore and choreography by Louis Falco), and Les Misérables, (by Alain Boublil and Claude-Michel Schönberg, with lyrics by Herbert Kretzme, after a book by Victor Hugo).
He worked from 2004 until 2013 for the Flanders Opera Studio where he directed: The Full Monteverdi (operapieces from the composer), „Die DreigröchenOper“ of Kurt Weill, „Der Kaiser von Atlantis“ of Victor Ullmann, Alcina van Handel, „The Battle oft he Sexes“ (pieces from operas of Mozart), „Les Miserables“ (pieces of songs, opera, musical of Victor Hugo) „ Wat te zeggen tegen een directeur die afscheid neemt“ (Saying goodby to the Intendant oft he Flemisch Opera), Benjamin Britten Project (operapieces of Benjamin Britten), Elle est moi und töte mich of Joris Blanckaert en Tom Hannes. In Holland he directed the opera „Onbestorven Weduwe“ of Marco Kalkman / Anna maria Versloot, „Bommelding“ of Hannie van Velthoven / Nirav Christophe, „Kabaal“ / Bestevaer“ of Douwe eisinga / Nirav Christophe and Stadsopera Jheronimus of Peter van Beijnem / Yvon Haan. In Great Britain he directed „Two Caravans“ of Guy Harries / Ace Mc Caron. For Purper and NEO in Vienna he directed Orlando Paladino. He also did the direction of Banksy Boheme for BangUpOpera. At this moment he is preparing De Schrijver, zijn vrouw en haar minnares for Zeeland Nazomer Festival.
EWALD DEMEYERE, muzikale leiding
at the Ghent School of Arts :
Mozart's La finta giardiniera (2018)
As a player of chamber music Ewald Demeyere has worked with, among others, Barthold, Sigiswald and Wieland Kuijken, and with Paul Dombrecht. For many years he has been a member of La Petite Bande (Sigiswald Kuijken) and was also part of the discontinued ensemble Il Fondamento (Paul Dombrecht). In July 2004 he was Guest of Honour at the Festival of Flanders Musica Antiqua in Bruges.
Ewald Demeyere has taken part in many recordings for radio and television. Among his CD recordings are Eight Keyboard Sonatas by Thomas Augustine Arne, Sonatas & Fugues by Wilhelm Friedemann Bach, the sonatas for flute and harpsichord by Johann Sebastian Bach (with Barthold Kuijken), the complete sonatas for flute and basso continuo by Carl Philipp Emanuel Bach (with Barthold Kuijken), Pièces de Clavecin by Joseph-Hector Fiocco and Sonatas by Domenico Scarlatti.
In 2007 he founded the Baroque orchestra Bach Concentus, which has already appeared in Belgium, Italy and Spain. Bach Concentus realized recordings of overtures by Johann Bernhard Bach and Georg Philipp Telemann, vocal and orchestral works by Telemann inspired by the commedia dell’arte and symphonies of the sons of Johann Sebastian Bach.
Apart from his work as a harpsichordist and conductor, Ewald Demeyere is active in the field of musical theory. He is principally interested in the influence of the theories from the Baroque era on instrumental practice, and in particular on the interpretation of the music of Johann Sebastian Bach.
In 2009 he obtained a PhD at the University of Antwerp and the Artesis Hogeschool Antwerpen (Associatiefaculteit Kunsten), when he presented his thesis A Contextual, Text-Critical Analysis of Johann Sebastian Bach’s Art of Fugue – Reflections on Performance Practice and Text-Critical Analysis, and the interaction between them.
His book Johann Sebastian Bach’s Art of Fugue – Performance Practice based on German Eighteenth-Century Theory was published by Leuven University Press in 2013.
Recent performances include a programme of Mozart concert arias with Jodie Devos and Bach Concentus at deSingel in Antwerp, and performances of Mozart's La finta giardiniera at the Koninklijk Conservatorium - School of Arts Gent.
Mozart's La finta giardiniera (2018)
As a player of chamber music Ewald Demeyere has worked with, among others, Barthold, Sigiswald and Wieland Kuijken, and with Paul Dombrecht. For many years he has been a member of La Petite Bande (Sigiswald Kuijken) and was also part of the discontinued ensemble Il Fondamento (Paul Dombrecht). In July 2004 he was Guest of Honour at the Festival of Flanders Musica Antiqua in Bruges.
Ewald Demeyere has taken part in many recordings for radio and television. Among his CD recordings are Eight Keyboard Sonatas by Thomas Augustine Arne, Sonatas & Fugues by Wilhelm Friedemann Bach, the sonatas for flute and harpsichord by Johann Sebastian Bach (with Barthold Kuijken), the complete sonatas for flute and basso continuo by Carl Philipp Emanuel Bach (with Barthold Kuijken), Pièces de Clavecin by Joseph-Hector Fiocco and Sonatas by Domenico Scarlatti.
In 2007 he founded the Baroque orchestra Bach Concentus, which has already appeared in Belgium, Italy and Spain. Bach Concentus realized recordings of overtures by Johann Bernhard Bach and Georg Philipp Telemann, vocal and orchestral works by Telemann inspired by the commedia dell’arte and symphonies of the sons of Johann Sebastian Bach.
Apart from his work as a harpsichordist and conductor, Ewald Demeyere is active in the field of musical theory. He is principally interested in the influence of the theories from the Baroque era on instrumental practice, and in particular on the interpretation of the music of Johann Sebastian Bach.
In 2009 he obtained a PhD at the University of Antwerp and the Artesis Hogeschool Antwerpen (Associatiefaculteit Kunsten), when he presented his thesis A Contextual, Text-Critical Analysis of Johann Sebastian Bach’s Art of Fugue – Reflections on Performance Practice and Text-Critical Analysis, and the interaction between them.
His book Johann Sebastian Bach’s Art of Fugue – Performance Practice based on German Eighteenth-Century Theory was published by Leuven University Press in 2013.
Recent performances include a programme of Mozart concert arias with Jodie Devos and Bach Concentus at deSingel in Antwerp, and performances of Mozart's La finta giardiniera at the Koninklijk Conservatorium - School of Arts Gent.
SIGRID T'HOOFT, regie
at the Ghent School of Arts :
Conti's Don Chisciotte in Sierra Morena (2017)
A native of Ghent, Sigrid T'Hooft worked after Musicology studies as an editor of classical music programs at Flemish radio station Klara, while simultaneously, starting in the early 90s, making a name as a choreographer and opera stage-director specialised in the Historical Informed Performance practice.
With the staging of Händel's Radamisto in 2009 at the Baden State Theatre Karlsruhe, her breakthrough as stage-director and her personal theater language has been known and appreciated on the international stage. In the following years Sigrid T'Hooft staged at the Goethe Theater Bad Lauchstädt, (Germany) the Drottningholm Theatre (Sweden), the Opera Theatre Perm (Russland) , Trondelag Teater Trondheim (Norway) and others.
She was invited by the Paris Opera ensemble Opera Fuoco and the Händel Festival Göttingen, cooperates since 2011 regulary with the Budapest Festival Orchestra, and has worked with leading musical directors in the field of early music such as Peter Van Heyghen, Reinhard Goebel, Andrew Parrott, Mark Tatlow, Laurence Cummings , Sigiswald Kuijken and many others.
In the last 15 years she choreographed several dance performances with her baroque dance company Corpo Barocco, staged more than 25 operas, as well as numerous concerts "mise-en-geste". In her repertoire one can find not only many rediscoveries of long forgotten works from the 17th & 18th century, but also the established repertoire of G. F. Handel, W. A. Mozart, J. Haydn is represented. Her directing recently extended to romantic works (A. Borodin) and the spoken theater (A.V. Kotzebue).
Sigrid T'Hooft taught Period Acting at the Music Conservatories of Leipzig and The Hague, historical dance in Trossingen, is a well regarded speaker on International scientific conferences, and is invited as a guest teacher in numerous International Institutions.
Conti's Don Chisciotte in Sierra Morena (2017)
A native of Ghent, Sigrid T'Hooft worked after Musicology studies as an editor of classical music programs at Flemish radio station Klara, while simultaneously, starting in the early 90s, making a name as a choreographer and opera stage-director specialised in the Historical Informed Performance practice.
With the staging of Händel's Radamisto in 2009 at the Baden State Theatre Karlsruhe, her breakthrough as stage-director and her personal theater language has been known and appreciated on the international stage. In the following years Sigrid T'Hooft staged at the Goethe Theater Bad Lauchstädt, (Germany) the Drottningholm Theatre (Sweden), the Opera Theatre Perm (Russland) , Trondelag Teater Trondheim (Norway) and others.
She was invited by the Paris Opera ensemble Opera Fuoco and the Händel Festival Göttingen, cooperates since 2011 regulary with the Budapest Festival Orchestra, and has worked with leading musical directors in the field of early music such as Peter Van Heyghen, Reinhard Goebel, Andrew Parrott, Mark Tatlow, Laurence Cummings , Sigiswald Kuijken and many others.
In the last 15 years she choreographed several dance performances with her baroque dance company Corpo Barocco, staged more than 25 operas, as well as numerous concerts "mise-en-geste". In her repertoire one can find not only many rediscoveries of long forgotten works from the 17th & 18th century, but also the established repertoire of G. F. Handel, W. A. Mozart, J. Haydn is represented. Her directing recently extended to romantic works (A. Borodin) and the spoken theater (A.V. Kotzebue).
Sigrid T'Hooft taught Period Acting at the Music Conservatories of Leipzig and The Hague, historical dance in Trossingen, is a well regarded speaker on International scientific conferences, and is invited as a guest teacher in numerous International Institutions.
FLORIAN HEYERICK, muzikale leiding
Handel's Serse (2020),
Domenico Scarlatti's Stabat Mater, Te Deum, Magnificat (2017-18-19)
Conti's Don Chisciotte in Sierra Morena (2017), Ravel's L'Enfant et les sortilèges (2016), Monteverdi's L'incoronazione di Poppea (2015), Mozart's Mitridate (2013)
Florian Heyerick studeerde in Gent, Brussel en Leuven en behaalde Eerste Prijzen voor blokfluit, dwarsfluit en kamermuziek. Tevens behaalde hij aan de Universiteit te Gent het licentiaatsdiploma in de muziekwetenschap.
Hij is artistiek docent aan het Muziekconservatorium te Gent (School of Arts, Hogeschool Gent) en werkt aan een onderzoeksproject rond de muziek van Christoph Graupner, met als hoogtepunt het Graupner2010-project. Verder stichtte hij het gespecialiseerde CD-label Vox Temporis, waarbinnen hij meer dan 50 unieke opnames realiseerde als producer.
Florian Heyerick is de stichter en sinds 1989 artistieke leider van het Vocaal Ensemble Ex Tempore. Hij was ook regelmatig gastdirigent bij o.a. het Collegium Instrumentale Brugense, het barokorkest Les Agremens, het Vlaams Radiokoor, Musica Antiqua Köln, de Komische Oper te Berlijn, de Nederlandse Bachvereniging, enz. Tevens is hij sinds 1998 een vaste gast bij het Nederlands Balletorkest te Amsterdam, tegenwoordig de Holland Symfonia. Ook als solist op blokfluit en clavecimbel treedt hij veelvuldig op.
Van 2002 tot 2004 was Florian Heyerick chefdirigent van het Kurpfälziches Kammerorchester Mannheim/Ludwigshafen. Hij dirigeerde daarnaast tevens het Wereldjeugdkoor (Namen), deFilharmonie (Antwerpen), het Gelders Orkest (Arnhem), de Rotterdamse Philharmonie, en een productie aan de Operastudio Gent (Reinhard Keiser). Tegenwoordig is hij artistiek leider van het Musikforum Mannheim en het barokorkest Mannheimer Hofkapelle (D).
Hij realiseerde als instrumentist en dirigent talloze CD-opnames: samen met Ex Tempore in werk van o.a. Telemann, Händel, Monteverdi, Herzogenberg, Scarlatti, M. Haydn, Graupner, Johann Ludwig Bach en Krebs; met het Nederlands Balletorkest in de opgemerkte productie 'Toverfluit' van Mozart; als instrumentist in werken voor twee clavecimbels en cantates van Bononcini en Telemann.
In 1997 was Florian Heyerick bovendien festivalster van het Festival van Vlaanderen, en in 2000 ontving hij de cultuurprijs van de Stad Gent. Tevens is hij cultureel ambassadeur van zijn woonplaats Merelbeke.
Zijn efficiënte en frisse benadering, zijn stilistisch inzicht in veel verschillende stijlperiodes en zijn streven naar professionalisering van het koorzingen worden door vele musici en organisatoren in binnen- en buitenland gewaardeerd.
Zijn voortdurende aandacht voor de vernieuwing van het repertoire draagt hij uit via ontelbare lezingen en originele concertprogrammaties, zoals vormgegeven in het opmerkelijke Kantata-project (2001-2010) en het festival Cydonia Barocca (vanaf 2017).
Domenico Scarlatti's Stabat Mater, Te Deum, Magnificat (2017-18-19)
Conti's Don Chisciotte in Sierra Morena (2017), Ravel's L'Enfant et les sortilèges (2016), Monteverdi's L'incoronazione di Poppea (2015), Mozart's Mitridate (2013)
Florian Heyerick studeerde in Gent, Brussel en Leuven en behaalde Eerste Prijzen voor blokfluit, dwarsfluit en kamermuziek. Tevens behaalde hij aan de Universiteit te Gent het licentiaatsdiploma in de muziekwetenschap.
Hij is artistiek docent aan het Muziekconservatorium te Gent (School of Arts, Hogeschool Gent) en werkt aan een onderzoeksproject rond de muziek van Christoph Graupner, met als hoogtepunt het Graupner2010-project. Verder stichtte hij het gespecialiseerde CD-label Vox Temporis, waarbinnen hij meer dan 50 unieke opnames realiseerde als producer.
Florian Heyerick is de stichter en sinds 1989 artistieke leider van het Vocaal Ensemble Ex Tempore. Hij was ook regelmatig gastdirigent bij o.a. het Collegium Instrumentale Brugense, het barokorkest Les Agremens, het Vlaams Radiokoor, Musica Antiqua Köln, de Komische Oper te Berlijn, de Nederlandse Bachvereniging, enz. Tevens is hij sinds 1998 een vaste gast bij het Nederlands Balletorkest te Amsterdam, tegenwoordig de Holland Symfonia. Ook als solist op blokfluit en clavecimbel treedt hij veelvuldig op.
Van 2002 tot 2004 was Florian Heyerick chefdirigent van het Kurpfälziches Kammerorchester Mannheim/Ludwigshafen. Hij dirigeerde daarnaast tevens het Wereldjeugdkoor (Namen), deFilharmonie (Antwerpen), het Gelders Orkest (Arnhem), de Rotterdamse Philharmonie, en een productie aan de Operastudio Gent (Reinhard Keiser). Tegenwoordig is hij artistiek leider van het Musikforum Mannheim en het barokorkest Mannheimer Hofkapelle (D).
Hij realiseerde als instrumentist en dirigent talloze CD-opnames: samen met Ex Tempore in werk van o.a. Telemann, Händel, Monteverdi, Herzogenberg, Scarlatti, M. Haydn, Graupner, Johann Ludwig Bach en Krebs; met het Nederlands Balletorkest in de opgemerkte productie 'Toverfluit' van Mozart; als instrumentist in werken voor twee clavecimbels en cantates van Bononcini en Telemann.
In 1997 was Florian Heyerick bovendien festivalster van het Festival van Vlaanderen, en in 2000 ontving hij de cultuurprijs van de Stad Gent. Tevens is hij cultureel ambassadeur van zijn woonplaats Merelbeke.
Zijn efficiënte en frisse benadering, zijn stilistisch inzicht in veel verschillende stijlperiodes en zijn streven naar professionalisering van het koorzingen worden door vele musici en organisatoren in binnen- en buitenland gewaardeerd.
Zijn voortdurende aandacht voor de vernieuwing van het repertoire draagt hij uit via ontelbare lezingen en originele concertprogrammaties, zoals vormgegeven in het opmerkelijke Kantata-project (2001-2010) en het festival Cydonia Barocca (vanaf 2017).
INNE GORIS
at the Ghent School of Arts :
Ravel's L'Enfant et les sortilèges (2016)
Inne Goris graduated from the Maastricht Theatre Academy in 1997 with the performance Niet in staat tot slechte dingen. After a stint at BRONKS as an educational assistant and a job as a dramaturge with Ultima Vez (Wim Vandekeybus), she founded her own company, ZEVEN. This word/verb (which can mean either ‘seven’, or ‘to sieve’) is the driving force behind Inne Goris’ work. She actively searches for the remnants of a greater whole, for the essence of things, aiming to render visible that which is hidden. This results in quirky performances that balance on the delicate boundaries between art, theatre and dance. Her creations take you to another world, alive with pent-up emotions, stimulating images and movements. This is theatre that doesn’t always have to make sense, but which is intended to surprise, and may be subversive. Inne Goris premiered Zeven under the auspices of BRONKS, and it was from this point that she really came into her own. This production marked the beginning of her progress as a theatre-maker. Drie Zusters (2003), her company ZEVEN’s first production, is loosely based on Chekhov’s classic Three Sisters. The performance won the 1000Watt prize for the most striking performance for children and young people created in Flanders and the Netherlands. Pride&Prejudice (2004) was also nominated for the 1000Watt prize. De dood en het meisje (2005), based on Schubert’s string quartet ‘Death and the Maiden’, was a visual and musical creation about absence, acted by six teenage girls. La petite fille qui aimait trop les allumettes (2006), based on the novel by Gaétan Soucy, was ZEVEN’s first creation for adults. Naar Medeia (2008) andNachtevening (2009), both based on the story of Medea, were also aimed at an older audience. Since 2009, Inne Goris has also created various productions under the auspices of LOD, including Equinox (2009), Muur (Wall) (2010), Daydream (2011), Father, Mother, I and We (2011) and Long Grass (2012). Here too she continues on the same path, serving up theatre that the audience can taste with all its senses. In 2013, Inne Goris was a guest with several of her productions at the Manchester International Festival along with LOD. Zigzag Zigzag (2013) also premiered there, and went on to tour Belgium in 2014, where it was selected by the children’s jury for the 2014 Theatre Festival. In 2015, Snow (4+), premiered, her first colloaboration with Thomas Smetryns. In 2016 she will be working again with Dominique Pauwels for Without Blood, after the novel by Alessandro Barrico.
Ravel's L'Enfant et les sortilèges (2016)
Inne Goris graduated from the Maastricht Theatre Academy in 1997 with the performance Niet in staat tot slechte dingen. After a stint at BRONKS as an educational assistant and a job as a dramaturge with Ultima Vez (Wim Vandekeybus), she founded her own company, ZEVEN. This word/verb (which can mean either ‘seven’, or ‘to sieve’) is the driving force behind Inne Goris’ work. She actively searches for the remnants of a greater whole, for the essence of things, aiming to render visible that which is hidden. This results in quirky performances that balance on the delicate boundaries between art, theatre and dance. Her creations take you to another world, alive with pent-up emotions, stimulating images and movements. This is theatre that doesn’t always have to make sense, but which is intended to surprise, and may be subversive. Inne Goris premiered Zeven under the auspices of BRONKS, and it was from this point that she really came into her own. This production marked the beginning of her progress as a theatre-maker. Drie Zusters (2003), her company ZEVEN’s first production, is loosely based on Chekhov’s classic Three Sisters. The performance won the 1000Watt prize for the most striking performance for children and young people created in Flanders and the Netherlands. Pride&Prejudice (2004) was also nominated for the 1000Watt prize. De dood en het meisje (2005), based on Schubert’s string quartet ‘Death and the Maiden’, was a visual and musical creation about absence, acted by six teenage girls. La petite fille qui aimait trop les allumettes (2006), based on the novel by Gaétan Soucy, was ZEVEN’s first creation for adults. Naar Medeia (2008) andNachtevening (2009), both based on the story of Medea, were also aimed at an older audience. Since 2009, Inne Goris has also created various productions under the auspices of LOD, including Equinox (2009), Muur (Wall) (2010), Daydream (2011), Father, Mother, I and We (2011) and Long Grass (2012). Here too she continues on the same path, serving up theatre that the audience can taste with all its senses. In 2013, Inne Goris was a guest with several of her productions at the Manchester International Festival along with LOD. Zigzag Zigzag (2013) also premiered there, and went on to tour Belgium in 2014, where it was selected by the children’s jury for the 2014 Theatre Festival. In 2015, Snow (4+), premiered, her first colloaboration with Thomas Smetryns. In 2016 she will be working again with Dominique Pauwels for Without Blood, after the novel by Alessandro Barrico.
CAROLINE PETRICK
at the Ghent School of Arts :
Monteverdi's L'incoronazione di Poppea (2015)
Caroline Petrick volgde een acteursopleiding aan het conservatorium van Luik. Na 2 jaar behaalde ze een eerste prijs. In die tijd werkte ze met Jacques Delcuvellerie (Groupov). Vervolgens wordt haar parcours gekenmerkt door ontmoetingen en affiniteiten in een zoeken, onderzoeken. Haar voorkeur gaat uit naar creaties waarin verschillende artistieke disciplines worden gebruikt.
Ze werkte met verschillende regisseurs, in het bijzonder met Thierry Salmon, bij wie ze in zijn Les Amazones in Volterra speelde. Voor deze interpretatie ontving ze de Ubu-prijs. Ze speelde ook in voorstellingen van Ingrid von Wantoch-Rekowski (A-Ronne, van Luciano Berio; In h-moll, een voorstelling waarin tien acteurs delen uit Bach's gelijknamige mis zingen; Métamorphoses d'Avilla). Verder was ze ook te zien in muzikale vertellingen voor kinderen, zoals Mijn hart is een pinguïn (productie Pantalone) en Het verhaal van Babar op muziek van Poulenc (Vlaamse Opera Gent, mei 2004). Caroline Petrick houdt van poëtische vertellingen en neemt graag deel aan literaire festivals, bijvoorbeeld het Groot Beschrijf.
Vanuit haar achtergrond als actrice gaat Caroline Petrick steevast op zoek naar een fysieke en ruimtelijke confrontatie met muziek. Oorspronkelijk als regie-assistente bij Jean-Claude Berutti (Old Times van Harold Pinter en Dantons Tod van Gottfried von Einem) en Guy Joosten (OEdipus Rex), daarna regisseert ze zelf. Haar voorkeur gaat uit naar vergeten geraakte stukken en hedendaagse composities.
In 2001 maakte ze haar eerste voorstelling, Golden Vanity naar de gelijknamige opera van Britten, opgevat als muziektheater. Deze voorstelling ging in première in de Opéra de Wallonie te Luik en werd hernomen in de Munt en in het Concertgebouw Brugge. In 2003 regisseerde ze Weisse Rose van Udo Zimmermann, die na opvoeringen op het Festival de Liège en in De Munt en in coproductie met Transparant op tournee door Europa ging. Haar derde operaproductie Jakob Lenz (Wolfgang Rihm) maakte ze onder Muziektheater Transparant. Vanaf 2006 is ze artiest in residentie bij dit gezelschap. Daar regisseerde ze vorig seizoen La Mort de Sainte-Alméenne (Arthur Honegger) en Reset (Vasco Mendonça). In Wolpe! ging ze aan de slag met de geëngageerde muziek van Stefan Wolpe, en voor Waar is mijn ziel? verdiepte ze zich in de erotische geladenheid van de madrigalen van Claudio Monteverdi. Voor de Messiaenhappening in deSingel bedenkt ze een concept voor de Harawiliedcyclus.
Monteverdi's L'incoronazione di Poppea (2015)
Caroline Petrick volgde een acteursopleiding aan het conservatorium van Luik. Na 2 jaar behaalde ze een eerste prijs. In die tijd werkte ze met Jacques Delcuvellerie (Groupov). Vervolgens wordt haar parcours gekenmerkt door ontmoetingen en affiniteiten in een zoeken, onderzoeken. Haar voorkeur gaat uit naar creaties waarin verschillende artistieke disciplines worden gebruikt.
Ze werkte met verschillende regisseurs, in het bijzonder met Thierry Salmon, bij wie ze in zijn Les Amazones in Volterra speelde. Voor deze interpretatie ontving ze de Ubu-prijs. Ze speelde ook in voorstellingen van Ingrid von Wantoch-Rekowski (A-Ronne, van Luciano Berio; In h-moll, een voorstelling waarin tien acteurs delen uit Bach's gelijknamige mis zingen; Métamorphoses d'Avilla). Verder was ze ook te zien in muzikale vertellingen voor kinderen, zoals Mijn hart is een pinguïn (productie Pantalone) en Het verhaal van Babar op muziek van Poulenc (Vlaamse Opera Gent, mei 2004). Caroline Petrick houdt van poëtische vertellingen en neemt graag deel aan literaire festivals, bijvoorbeeld het Groot Beschrijf.
Vanuit haar achtergrond als actrice gaat Caroline Petrick steevast op zoek naar een fysieke en ruimtelijke confrontatie met muziek. Oorspronkelijk als regie-assistente bij Jean-Claude Berutti (Old Times van Harold Pinter en Dantons Tod van Gottfried von Einem) en Guy Joosten (OEdipus Rex), daarna regisseert ze zelf. Haar voorkeur gaat uit naar vergeten geraakte stukken en hedendaagse composities.
In 2001 maakte ze haar eerste voorstelling, Golden Vanity naar de gelijknamige opera van Britten, opgevat als muziektheater. Deze voorstelling ging in première in de Opéra de Wallonie te Luik en werd hernomen in de Munt en in het Concertgebouw Brugge. In 2003 regisseerde ze Weisse Rose van Udo Zimmermann, die na opvoeringen op het Festival de Liège en in De Munt en in coproductie met Transparant op tournee door Europa ging. Haar derde operaproductie Jakob Lenz (Wolfgang Rihm) maakte ze onder Muziektheater Transparant. Vanaf 2006 is ze artiest in residentie bij dit gezelschap. Daar regisseerde ze vorig seizoen La Mort de Sainte-Alméenne (Arthur Honegger) en Reset (Vasco Mendonça). In Wolpe! ging ze aan de slag met de geëngageerde muziek van Stefan Wolpe, en voor Waar is mijn ziel? verdiepte ze zich in de erotische geladenheid van de madrigalen van Claudio Monteverdi. Voor de Messiaenhappening in deSingel bedenkt ze een concept voor de Harawiliedcyclus.
RONNY LAUWERS
CATRIN WYN -DAVIES