holland festival You Us We All Shara Worden, Andrew Ondrejcak, BOX (Baroque Orchestration X) info credits dates Wed 18, Thu 19 June 2014 starting time 8.30 pm venue Theater Bellevue running time 1 hour 20 minutes, no interval running time English with Dutch surtitles introduction by Brendan Walsh 7.45 pm meet the artist with Shara Worden, Andrew Ondrejcak, Pieter Theuns Thu 19.6 after the performance moderator Brendan Walsh websites www.mybrightestdiamond.com www.andrewondrejcak.com www.boxcollective.be www.arktype.org music Shara Worden text, direction, design Andrew Ondrejcak cast Shara Worden (Hope) Helga Davis (Virtue) Martin Gerke (Love) Bernhard Landauer (Death) Carlos Soto (Time) music performed by BOX, cond. by Pieter Theuns a consort of viols – Liam Byrne, treble viol, bass viol Pieter Vandeveire, bass viol Christine Sticher, violone an alta capella of winds – Lambert Colson, cornett, flutes Jon Birdsong, cornett, trumpet Adam Woolf, sackbut (baroque trombone) a continuo/rythm section – Anthony Romaniuk, harpsichord, organ Jutta Troch, baroque harp Mattijs Vanderleen, drums, percussion Pieter Theuns, theorbo, artistic direction holland festival partners Hoofdbegunstiger assistant director Cécile Tonizzo costume co-design Zane Philstrom light design Lutz Deppe choreography Pedro Lozano sound engineer Koen Keevel rehearsal conductor and coach Benjamin Gordon stage and company manager Valerie Oliveiro production BOX Office vzw in association with ArKtype coproduction deSingel, Internationales Sommerfestival Hamburg with support by Vlaamse overheid, Huis Happaert special thanks to Ellen Wezenbeek and Het Huis Happaert, Peter & Christophe Bernaerts from Huis Bernaerts, Laura Berman, Sofie Tack, Judith Van Herck, Jan Devroede, Ayco Duyster, Johanna & Wilbert, Ilse, Hendrik-Jan, Lieve, Lieselot, and many many many more. world premiere Kampnagel, Hamburg, 16.8.2013 You Us We All You Us We All is a collaboration initiated by the Antwerp musicians’ collective, BOX. Together with New York writer, director and stage designer Andrew Ondrejcak, and the likewise American pop singer and composer Shara Worden, the group has come up with a show full of postmodern pastiche. You Us We All revives the 17th century English masque in a 21st century Baroque opera. Says Ondrejcak, “Look at it as a reaction to the bare minimalist approach that holds sway in modern opera. In You Us We All, the anarchist in me comes out.” The masque, a grandly staged spectacle with dance, dialogue and music, won the hearts of aristocratic audiences in England during the first half of the 17th century. The production You Us We All has taken the masque as its starting point – not only in terms of content, but also in terms of form and musical colour. In the 16th century, so-called ‘disguisings’, masked balls with a particular allegorical theme, had already been held at the court of Henry v111. Under Queen Elizabeth, they developed into the true masque. Here too, the dancers were disguised. But much more than had been the case with the disguisings, the masque ultimately grew into an actual production, with elaborate staging and a written script. Exuberant costumes and grandiose scenic machineries inspired by the French ‘ballets de cour’ or the Italian ‘intermedii’ were typical of the masque. Like the disguising, the masque also had an allegorical theme. The allegorical story often contained clearly articulated political or moral messages, which naturally could only be understood by an audience that was thoroughly familiar with the symbolic associations that were typically assigned to certain figures and storylines. In this manner, the performers of the masque, among whom were often members of the royal family or highly placed nobles, personified the divine virtues which were ascribed to the sovereign. Many people considered the allegorical content of the masque to be the essence of the entire event. Andrew Ondrejcak has already experimented with archetypal characters in earlier productions: ‘flat characters’, loaded with symbolic meaning, but without personal history. In You Us We All, he goes a step further. He lets the characters Love, Death, Hope and Virtue aimlessly wander around the stage as if they are in a decadent soap opera. The character Time is the true kingpin of this idle show. At first, he appears to be hardly more than an extra, sitting motionlessly on his chair with his back to the audience, but gradually it becomes clear that he holds the key to the piece. Every once in a while, he stands up and lashes out – ripping the masquerade to shreds, just as was done in the real masque when the dancers took off their disguises at the end. The historical masque always contained an ‘antimasque’ as well, a burlesque intermezzo in which the noble values of the masque were turned upside down. The antimasque was peopled by comic or grotesque beings, characters from the commedia dell’arte, demons, witches, birds, apes…. In You Us We All, the comic antimasque seems to have burst its banks: the comic and the serious, the sublime and the earthly continually flow into one another. For instance, the character Death alternates metaphysical considerations over the relation between body and soul with the dry remark, “I fuck’ed Tina yesterday”. The language that Ondrejcak has his exalted characters sing is also a comic mixture of old English and contemporary platitudes. In You Us We All, sung fan mail addressed to American pop stars goes like this: “Dear Beyoncé, Sometimes I feel aloneith and thy music, alone, comfortith. Do you ever think that you’re like e’erybody else - just another human fartin’ around this damn’ed earth? Cause I can identify with that feeling. Yours.” Historically, various groups of musicians were on stage during the masque: a string ensemble, a group of lutes and often a wind ensemble as well. The line-up of BOX is loosely based on the musical sounds of the masque. Here, too, we have three groups: a gamba consort (strings), an alta capella (loud wind instruments) and a continuo group with lute, harp and clavier. Shara Worden not only wrote all of the music for You Us We All, but also did all the arrangements. Purcell was floating through her mind when she was thinking up the melodies for You Us We All, but the score is just as full of contemporary rhythms and American soul. In this way, You Us We All ends up in a fascinating in-between space: with no specific home but with a story that is about you and me, all of us. Edited by Frederike Berntsen Source: Annemarie Peeters BIOGRAPHIES The American composer, vocalist and multi-intrumentalist Shara Worden is best known as the lead singer of indie-rock band My Brightest Diamond. For the last seven years, Worden has toured extensively with My Brightest Diamond. Worden has had a classical music education. In her performances she also introduces other disciplines such as storytelling, custome design and puppetry. Her last solo album All things will unwind (2012), which she performed at the Holland Festival in 2012, showcases her exceptional qualities as a composer and vocalist. It’s an album of chamber pop music inspired by the city of Detroit. Worden has performed at major venues such as the Sydney Opera House and Lincoln Center, as well as on smaller stages such as House of Blues. She counts Bruce Dessner (The National), Justin Vernon (Bon Iver), David Byrne, Laurie Anderson and The Decemberists among her friends and fans. They are just a few of the many who’ve fallen in love with Worden’s mystical voice and mythic storytelling. Worden studied opera at the University of North Texas and composition under Padma Newsome and Kristy Kuster. As well as on her own material, she has worked with artists such as David Lang, The Decemberists, Sufjan Stevens, David Byrne, Bryce Dessner, Sarah Kikland Snider and Matthew Barney (on River of Fundament; which also features at this festival). She has performed at the Museum of Modern Art and Carnegie Hall in New York. This season she’s performing with the BBC Symphony Orchestra at the South Bank Centre and the Barbican in London. Born and raised in Mississippi, The New York writer, director and set designer Andrew Ondrejcak studied architecture and painting at Savannah College of Art and Design then playwriting at Brooklyn College. While making experimental theatre in New York, Ondrejcak was asked to conceptualize a fashion show; he quickly became one of New York’s most sought-after production designers in the fashion industry, including Vogue (in the US, China, Germany and Italy), Bazaar, V, W and Numero. Since 2002, Ondrejcak has also been a lecturer at MoMA. His recent performances included Veneration # 2 (SCAD MUSEUM, 2013), Kings of Macedonia, with music by Shara Worden (Prelude Festival 2012) and Veneration #1: The Young Heir takes Possession of The Master’s Effects, curated by Robert Wilson at the Guggenheim Museum in New York. Ondrejcak reperformed the work of Marina Abramovič for her exhibition The Artist is Present at MoMA in New York and at The Garage in Moscow (2011). Currently, Ondrejcak is developing projects for the Baryshnikov Arts Center and the Lower Manhattan Cultural Council, as well as working on a new creation in collaboration with composer Bryce Dessner. After having started on electric guitar, Pieter Theuns obtained a master’s degree in classical guitar from the Lemmensinstituut in Leuven, Belgium. Through the world of classical guitar he discovered the world of early music. At the Royal Brussels conservatory he went on to obtain a bachelor’s degree in lute and historical performance practice. In 2010 he founded BOX (baroque orchestration x) and the baroque trio Bel Ayre. Having played numerous concerts in venues such as the festival Monteverdi-Vivaldi (Venice), Operadagen Rotterdam, Bozar (Brussels), New year Music Festival (Gstaad), Les Promenades musicales du Pays d’Auge (Normandy, France) and many others, Bel Ayre has been steadily building its international reputation. The singer Helga Davis is based in New York. She is presently starring in the 25th anniversary production of Einstein on the Beach by Robert Wilson and Philip Glass. In December 2012, she performed at the Park Avenue Armory in Ann Hamilton’s The Event of a Thread with music by David Lang. She starred in Prestini’s Oceanic Verses at the Barbican as part of Nico Muhly’s Scream and an Outrage festival and made two appearances at BAM’s Next Wave Festival in both Einstein on the Beach and Elsewhere, a new multimedia opera by cellist Maya Beiser and Robert Woodruff, with music by Missy Mazzoli, among others. Previously she was the co-star of The Temptation of St Anthony, also directed by Robert Wilson with libretto and score by Bernice Johnson Reagon, as well as The Blue Planet by Peter Greenaway, directed by Saskia Boddeke. In 2013, Davis was a recipient of the BRIC Media Arts’ Fireworks grant and is in production on her new work, Cassandra, which will have its premiere this year. Robert Wilson says of her, “Helga Davis is a beautiful, natural performer with an inner power and strength that is truly unique. She combines voice and movement in a united whole that is spellbinding. Her genius inner stillness and quietness evoking a very deep emotion. She is radiant in every way.” Countertenor Bernhard Landauer was born in Innsbruck and lives in Salzburg. His wide-ranging repertoire spans the Middle Ages to the contemporary, including works unusual for the countertenor voice such as the song cycles by Franz Schubert and Richard Strauss. Landauer has sung world premieres of various roles in works by Giorgio Battistelli, René Clemencic, Alfred Schnittke, Lin Wang and Simon Wills. Stage productions by Philippe Arlaud, Nicolas Brieger, Nick Broadhurst, Brigitte Fassbaender, Achim Freyer, Harry Kupfer and David Pountney have taken him to the Staatsoper Berlin, Bregenz Festival, Essen’s Aalto Theater, Frankfurt Opera, Händel Festival Halle, Innsbruck Festival, Opéra National in Nancy and the Schwetzingen Festival as well as Vienna’s Staatsoper and Volksoper. Among his musical partners are the Amsterdam Baroque Orchestra under Ton Koopman, René Clemencic, Laurence Cummings, Bertrand de Billy, Diego Fasolis, the Freiburger Barockorchester, Thomas Hengelbrock, René Jacobs, The King’s Consort, Bernhard Kontarsky, the Orchestra of the Age of Enlightenment and Mstislav Rostropovitsj. From 1998 until 2004, Bernhard Landauer taught at the Department of Early Music of the Vienna Conservatoire. Since 2005, he works for the Austrian Master Classes. In addition to Shara Worden’s pop opera You Us We All, his current projects include a production of George Benjamin’s opera Written on Skin with the Landestheater Detmold and the Royal Opera of Stockholm and the world premiere of a sitcom series by Austrian composer Bernhard Gander for the Bregenz Festival and wien modern. Bariton Martin Gerke was born in 1982 in Hildesheim, where he had his first singing lessons in the municipal boys’ choir. He studied with Thomas Quasthoff in Detmold and Berlin. While still studying, he participated in various operas produced by the Stadttheater Hildesheim, the Landestheater Detmold, Kammeroper Schloss Rheinsberg and Hebbel am Ufer in Berlin. Later, he sang in productions by the Neukölln Opera: Mitleid (2008) and the role of Golaud in Pelléas et Mélisande, directed by Miriam Salevic. In 2010, he made his debut in a leading role as Figaro in Mozart’s Le nozze di Figaro and sang the role of Don Giovanni in Mozart’s opera of the same name. He has also sung roles in numerous contemporary opera productions, including Wanderland by Genoel Rühle and Beate Baron in Saalbau Neukölln, Kopernikus by Claude Vivier at the Crescendo Festival in Berlin and Der Sonne entgegen by Lucia Ronchetti, directed by Michael von zur Mühlen in Berlin during Maerzmusik 2010. Director Willy Decker asked Martin Gerke to solo in his opera productions for the Ruhr Triennial from 2009 to 2011. He sang the role of Steuermann in Tristan und Isolde with Kirill Petrenko as conductor in 2011. Born in 1980 in New York City, Carlos Soto withdrew from his studies in art history and literature at the Pratt Institute, Brooklyn, to embark on a longterm collaboration with Robert Wilson, with whom he has worked closely since 1997 as a performer, designer and assistant on numerous productions and installations throughout the US and Europe. Throughout the last decade and a half, Soto has collaborated with Richard Foreman, Dan Graham (Don’t trust Anyone Over 30, 2005), The Hotel Savant, Terence Koh, Maison Martin Margiela, Andrey Bartenev and Voluptuous Horror of Karen Black, among others, and presented work at the Guggenheim Museum, Istanbul Biennial, Kunstverein in Hamburg, Schauspielhaus Wien, Moscow Museum of Modern Art, Staatsoper Unter den Linden, Wiener Festwochen Walker Art Center, Palais de Tokyo and the Whitney Biennial. In 2008, Soto was artist in residence at Kampnagel, Hamburg. He performed in Robert Wilson’s The Life and Death of Marina Abramovic´, in which he had the role of the young Marina Abramovic´ next to Willem Dafoe and Antony Hegarty. In 2012 and 2013 he was artist in residence at the Willem De Kooning Studio. Productions of his own include Girlmachine, Pig Pig Pig, Have Mercy on me and the project my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught. This year he is collaborating with Davide Balula on a performance at Palais de Tokyo. Soto is currently creating a new opera work together with composer Marcos Balter, which will premier in Spring 2015. BOX, which stands for Baroque Orchestration X, are an indie baroque collective who in their music examine the potential of using historical instruments in a contemporary context. The ensemble demonstrated their special approach to the creation of ‘baroque orchestrations’ at TEDx Flanders in 2010. Their debut project included comprehensive reworkings of two classic indierock masterpieces: White Chalk by PJ Harvey and Radiohead’s Amnesiac. In 2011, in collaboration with the popular Belgian band Dez Mona, BOX created Sága, an opera of ballads which was received to international acclaim. The members of BOX are all seasoned musicians who have played with some of the leading European ensembles, including Fretwork, the English Baroque Soloists and The King’s Consort; they have performed with global stars such as Beck, Damon Albarn, Björk, Valgeír Sigurdsson, Arno and dEUS. ArKtype / Thomas O. Kriegsmann (producer) is a producer of acclaimed international projects and tours whose work has been seen worldwide, including projects with Mikhail Baryshnikov, Yael Farber, Peter Brook, Jay Scheib, Julie Taymor, Yaron Lifschitz, Dmitry Krymov and Victoria Thiérrée-Chaplin. Recent premieres include Big Dance Theater / Mikhail Baryshnikov’s Man In A Case and the off-Broadway run of Nalaga’at Deaf-Blind Theater’s Not By Bread Alone. Additional projects include Theatre for a New Audience & Julie Taymor; Rude Mechs (Austin); Big Dance Theater; Baryshnikov Productions; Lisa Peterson & Denis O’Hare / Homer’s Coat; Soho Rep.; Aurélia Thiérrée & Victoria Thiérrée-Chaplin (France); Andrew Ondrejcak / Shara Worden; En Garde Productions / Basetrack; Byron Au Yong & Aaron Jafferis (Seattle/ New Haven); Young Vic / Kafka’s Monkey (London); Christeene / Paul Soileau (Austin); Jessica Blank & Erik Jensen; Circa (Brisbane); Compagnia T.P.O. (Italy); Erth (Sydney); Sam Green / Yo La Tengo & yMusic; Arcane Collective (Dublin); Joshua Light Show; and World/Inferno Friendship Society. Upcoming premieres include Sam Green’s The Measure of All Things with yMusic and Jessica Blank & Erik Jensen’s How to Be A Rock Critic. HOLLAND FESTIVAL 2014 directie Pierre Audi, artistiek directeur Annet Lekkerkerker, zakelijk directeur bestuur Martijn Sanders, voorzitter Ben Noteboom, waarnemend penningmeester Mavis Carrilho Joachim Fleury Renze Hasper Marjet van Zuijlen Het programma van het Holland Festival kan alleen tot stand komen door subsidies, bijdragen van sponsors en fondsen en door de gewaardeerde steun van u, ons publiek. subsidiënten Ministerie van Onderwijs, Cultuur en Wetenschap Gemeente Amsterdam Het Holland Festival is lid van Réseau Varèse, Europees netwerk voor de creatie en promotie van nieuwe muziek, gesubsidieerd door het Culturele Programma van de Europese Commissie. hoofdbegunstiger SNS REAAL Fonds sponsors, fondsen, instellingen VandenEnde Foundation, Stichting Ammodo, Rabobank Amsterdam, Clifford Chance LLP, DoubleTree by Hilton, Westergasfabriek / MeyerBergman, Kempen & Co, Automobielbedrijf Van Vloten, Stichting Dioraphte, Turing Foundation, Prins Bernhard Cultuurfonds, The Brook Foundation, Fonds Podiumkunsten, Ernst von Siemens Music Foundation, Ambassade van Pakistan, Dr. Hofstee Stichting, Gemeente Amsterdam/Stadsdeel Oost, Regionale Regering van Koerdistan, Goethe-Institut, Ambassade van de Verenigde Staten van Amerika, Gravin van Bylandt Stichting, Institut Français des Pays-Bas, Ambassade van de Bondsrepubliek Duitsland/Den Haag, Pro Helvetia hf business Beam Systems, De Nederlandsche Bank, Double Effect, G&S Vastgoed, ING Groep, Ten Have Change Management, TNT express, WPG Uitgevers mediapartners NTR, VPRO board of governors De genereuze, meerjarige verbintenis van de Governors is van groot belang voor de internationale programmering van het Holland Festival. 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Een periodieke gift is een gift waarbij voor een periode van ten minste vijf opeenvolgende jaren een gelijke uitkering wordt gedaan, vastgelegd in een periodieke akte. De gift is volledig aftrekbaar zonder aftrekdrempel of aftrekplafond. Wilt u ook Vriend van het Holland Festival worden? Ga voor meer informatie en een aanmeldformulier naar www.hollandfestival.nl / steun HF of neem vrijblijvend contact op met Leonie Kruizenga, hoofd development op 020 – 788 21 18. Holland Festival Piet Heinkade 5 1019 br Amsterdam tel. +31 (0)20 – 7882100 [email protected] www.hollandfestival.nl redactie en vertaling Frederike Berntsen overige vertalingen Margriet Agricola