Lotte de Beer // Artistic leader / Director
With future engagements in opera houses inlcluding, Aalto Theater Essen, The Danish Royal Opera and Dutch National Opera, Lotte de Beer is one of the most sought after stage directors of the young generation. In the four years since she graduated (and won the Ton Lutz award for most promising stage director), she made productions in opera houses all over Europe including Theater an der Wien, De Nationale Opera and Oper Leipzig which received great acclaim of audience and press. The New York Times called her production of Waiting for Miss Monroe (Holland Festival) ‘outstanding’. The magazine Opernwelt described her staging of Eugene Onegin as ‘overwhelming’ ‘entrancingly humorous’ and called it “Welttheater”. As artistic leader of the 25th anniversary of the Muziektheater Amsterdam, she programmed 25 different music theatre productions together with De Nederlandse Opera and Het Nationale Ballet especially meant for new audience groups. It became an overwhelming success with 11.000 visitors in only one weekend.
Her work is often described as intelligent and fresh. The detailed ‘Personenregie’, that is always based upon the music as most important subtext, is one of the returning elements in her stagings She tries to leave the tradition of ‘Regietheater’ behind and searches for different ways in every piece to tell the story to an audience of the 21st century without necessarily forcing it in a ‘modern’ shape. ‘Theatre is communication’, according to the young stage director, ‘so if an audience does not understand what you are portraying, you have to find a different language to tell your story. The search for new audiences is one of the main missions of artists nowadays. If we don’t find a connection with the people for whom we are making our art, we will lose our right to exist. On the other hand, art has a unique position outside the laws of commerce where it can surprise, move, arouse and stimulate without being forced into the iron laws of supply and demand. Making our works accessible without losing its core, that is the challenge of the opera of tomorrow.'
Clement & Sanou // Designers
Since 2004 Eddy van der Laan and Pepijn Rozing work together as the designers duo Clement & Sanôu. Their cooperation focuses on all visual elements of a performance: scenography, costume design and light design. Clement & Sanôu’s goal is to make a total design in which all elements are in harmony. All disciplines are thoroughly analysed from the start to be tested against the visual dramaturgical concept of a performance.
Clement and Sanôu have worked with different directors such as Pierre Audi, Lotte de Beer, Michiel Dijkema, Marcel Sijm, Jim Lucassen, Johan Doesburg and Robert Nemack. Their productions included PIERROT LUNAIRE by A. Schönberg, DER VAMPYR by H. Marschner, ROBINSON CRUSOE by J. Offenbach, DIE ENTFÜHRUNG AUS DEM SERAIL by W.A. Mozart, L’ORFEO by Monteverdi and have played in theatres throughout The Netherlands and festivals like the Gergiev festival, Oerol and the Grachtenfestival. They were given the opportunity to work twice for the Kameroperahuis and with the Nederlandse Reisopera in Enschede they made three successful productions in their Resident Artists Programme.
In june 2012 they had to make for the Dutch National Opera the scenography, costumes and light for the newly written opera WAITING FOR MISS MONROE by Robin de Raaff. This production was a start up for their international career. From 2012 untill now they worked for houses like Theater a/d Wien (LA BOHÈME – Puccini), Staatstheater Braunschweig (COSÌ FAN TUTTE – Mozart and VIVIER | EIN NACHTPROTOKOLL), Theater Regensburg (TRISTAN & ISOLDE - Wagner), National Theatre of The Netherlands (BLAUWDRUK VOOR EEN NOG BETER LEVEN – I.L. Pfeijffer). Future coming projects are commissioned at the Aalto Theater Essen (RUSALKA– Dvorak), Danish Royal Opera (BOULEVARD SOLITUDE – Henze), Dutch National Opera (HÄNSEL & GRETEL - Humperdinck) and the Dutch National Ballet.
Kirsten Visser // Managing Director
In 2009 Kirsten Visser graduated as a production and stage manager from the Hogeschool voor de Kunsten in Amsterdam.
After graduation she started working as a stage manager, production manager and administrative director and expanded her experience working as a tour manager and assistant director. As a freelancer Kirsten worked for example for De Nationale Opera, Het Muziektheater and JMTManagement. Kirsten always aims to develop herself as a theatre manager and explore the profession through working for different companies and in different fields of theatre and entertainment. Currently her main focus lies with her roles as managing director of Operafront and stage manager at De Nationale Opera.
Steven Sloane // Musical Director
American-Israeli conductor Steven Sloane is an internationally renowned musician. He served as music director of the Spoleto Festival, artistic director of Opera North in Leeds and principal conductor of the Stavanger Symphony Orchestra. Steven Sloane has guest conducted many prestigious orchestras, including the London Philharmonic Orchestra, San Francisco Symphony Orchestra, Israel Philharmonic, Sydney Symphony, Tokyo Metropolitan Orchestra, Deutsches Symphonie-Orchester Berlin, and Chicago Symphony Orchestra.
The 2014/15 season marked Steven Sloane’s 20th anniversary with the Bochumer Symphoniker. Under his direction, the ensemble has been transformed into one of Germany’s leading orchestras.
Steven Sloane is a sought-after opera conductor, whose engagements have taken him to the Royal Opera House Covent Garden (Nozze di Figaro), Los Angeles Opera (Goldenthal: Grendel), San Francisco Opera (Wallace: Bonesetter’s Daughter), Brooklyn Academy of Music (Turnage: Anna Nicole), Houston Grand Opera (The Makropulos Case, The Magic Flute), Welsh National Opera (Iphigenia in Tauris), Stuttgart (Macbeth), as well as to festivals in Hong Kong (Salome), Santa Fe (Katja Kabanova), Edinburgh (Genoveva) and Salzburg (Feldman: Neither). Recent highlights include a new production of The Love for Three Oranges at the Deutsche Oper Berlin, Madama Butterfly at the Copenhagen Opera, as well as the pairing of Duke Bluebeard's Castle and Dido and Aeneas at the Frankfurt and L.A. Opera.