CONDITIONS The production of the Pearl-fishers marks a new faze in the young cooperation between the Charkov Opera and Ballet and Senf theatre-partners. After having scheduled productions of Traviata and Tosca the partners have decided to venture into creating new productions in cooperation. Senf wishes to import and program traditional productions of high quality in all departments: singing, acting, sets, costumes and lights. Charkov seeks to add newly conceived productions of high production value that will easily sell in western Europe, Asia and America and will set a new standard at home. Both in the design, staging and interpretation. The (dutch) market has lately been flooded by “cheap” eastern European productions that lack high overall value. In the case of the Tartastanopera, sets and costumes seem to be up to scratch but staging and singing are mostly the old-fashioned “park and bark” style, while others suffer from poor designs, abominable craftsmanship, outdated sets and amateurish costumes and such. Charkov and Senf seek to set a new level of quality and with this level to become the leader in (traveling) opera productions in the Netherlands. They want to overcome the afore mentioned shortcomings by coupling east European tradition in singing and workmanship with west European standards in craftsmanship, design and creativity. That this is possible prove earlier productions set up in this fashion that I directed. They were hailed exactly for that “east-west symbioses”. I quote the NRC and composer-page: This Zigeunerbaron is strong and successful indeed. Sweeping, and full of nuance in both music and acting. Great drama, intimate moments and seeming lightheartedness thanks to the excellent, for operetta exceptional, stage direction. All this thanks to the directors duo, cast, and musical ensemble (an eastern European orchestra with a western sound) It is quite clear that Charkov/Senf don’t wish for modern productions. Charkov wants the transition to a newer form of opera productions to take place gently and gradually. The audiences in Charkov are very much used to very traditional productions. To change all components of their productions at the same time would alienate their audience and make them stay away. Charkov seeks to slowly entice audiences into new realms, step by step. Senf on the other hand wants to fill the huge void in the Netherlands where traditional stagings are concerned. The DNO has with it’s modern stagings become more and more the domain of the elite art lovers. And none of the three opera companies in Holland really travel extensively. Thus Opera has lost the connection with most of the theatres around. Senf seeks to tend to these theatres and their audiences and needs therefore accessible productions with a traditional touch. 5
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