The Netherlands Opera does not have a reputation as one of the great opera companies of the world, but there is a hope, an expectation, and a determination that this will change beginning in the autumn of this year. Until now the company, based in Amsterdam, has never had a theater of its own; indeed, it has not had its own permanent orchestra. Plans were put forward a hundred years ago for a national opera house but nothing happened, and the Netherlands Opera itself was not formed until 1964.
This September, however, will see the Opera performing in its own permanent home, Het Muziektheater, at Amsterdam's Waterlooplein. The stage capacity of the new theater is twice that of the Stadsschouwburg, where the company normally performs in Amsterdam, and storage and rehearsal facilities will give a new freedom to the creative spirit. The Opera will share the theater, with its 1,600-plus seating capacity, with the Dutch National Ballet. Foreign companies will also present performances there.
At the same time, the Opera will also acquire its own permanent orchestra, to be called the Netherlands Philharmonic Orchestra, drawn from members of the Amsterdam Philharmonic, the Netherlands Chamber Orchestra, and the Utrecht Symphony. Of equal, if not greater significance, is the appointment, for the first time in fifteen years, of a new intendant, or general manager. The new appointee, Jan van Vlijmen, is currently head of the Conservatorium in The Hague and is a composer in his own right. He has a great interest in the music of the first thirty years of this century, and his influence should help attract a new generation to the opera.
The opening of the Het Muziektheater and the beginning of the new season will take place on September 23. On that evening the Netherlands Opera will share the stage with the Dutch National Ballet. The Opera will present Ithaka by Dutch composer Otto Ketting. The National Ballet will perform a work by Dutch choreographer Toer von Schayk. On September 24, the Netherlands Opera will premier a production of Verdi's Falstaff directed by Liviu Ciulei, the Rumanian-American director who has made his mark in theater, film, and opera, and whose great success with the highly innovative Welsh National Opera is well remembered. Another opera to be presented during the 1986-87 season is The Barber of Seville. This is to be directed by Dario Fo, the Italian playwright, actor, comedian, expert on commedia del l'arte, and eternal enfant terrible - or perhaps one should say bambino terrible. This will be Fo's first opera production, and it is certain to be a hilarious smash hit.
The most recent production of the Opera was Beethoven's Fidelio. The only opera ever written by Beethoven, Fedelio had a checkered history from its start, its first performance in 1805 being only three weeks after Napoleon's armies had invaded Austria and occupied Salzburg. Many opera devotees had fled, and a number of French officers attended only on instruction from their commander to treat the population with "correctness," so it cannot have been the best atmosphere. The house was half full and the performance a failure, and after two repetitions it was dropped from the repertoire. The opera was staged again during the following two seasons, but even though the composer made changes, under heavy pressure and with great reluctance, Fidelio failed to capture an audience. It was not until 1814 that it was finally acclaimed, with the great Schroeder-Devrient in the title role. Beethoven later said, "Of all my children, this is the
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