12th – 22nd June. Jerome Robbins created Other Dances in 1976 for the international stars Natalia Makarova and Mikhail Baryshnikov. The exquisite…
Read more7th June. Four female composers write for NEuE. A unique concert performance with readings from the novels Spring, Summer, Autumn…
Read more12th – 14th June. Rotterdam International Duet Choreography Competition is a unique annual dance festival that brings together new choreographic…
Read moreUntil 19th June. An unforgettable dance opera full of passion, love and mysticism, Le Villi shapes a world where past and present…
Read more11th to 29th June. Every year, the Holland Festival presents a carefully curated programme with excellent creators of theatre, dance,…
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Dressed in a classic black tuxedo, he stepped into the soft light without ceremony, yet with a quiet command that filled the hall. There were no announcements, no words. From the moment he entered, it was clear that the stage belonged to him — not through force or ego, but through presence alone. He bowed once, sat at the piano, and began to play. And with that, the world outside seemed to vanish.
Over the past few weeks, we’ve introduced the 16 duets selected for this edition, each created by choreographers with different backgrounds, ideas, and questions. With just a few days to go, here is the full line-up for the semi-finals on 12th and 13th June before the Grand Final on the 14th
The ubiquitous black box set in which many contemporary dance pieces take place can get a bit boring, lacking the ability to create more visual impact in a show. The black box in this production was like that of a magician out of which untold wonders and surprises were conjured up.
The best part of the show was how curiosity-driven it was, it is narrated with a child-like innocence. The performers, enacting women from an older time, play out every stereotype of masculinity they come across, not just because they think it is better, but because they truly want to feel what it is like to be a man.
Matisse made Olive Grove in Collioure in 1905 during his first summer in the Southern French town, where he painted many significant works. Matisse shared Van Gogh’s fascination with the sun-drenched Mediterranean landscape; he used vivid and unmixed colours to capture the shimmering summer light.
This opera addresses climate change not only with positivity but curiosity. It beckons viewers to innovate, to disrupt, and puts the power in their hands. Spread across five songs, the best way to describe the production is: intuitive. The music by Gary Shepherd feels elemental, the choreography a conversation, and the overall performance highly participatory.
I had chosen this concert above all for Jun Märkl. After reading his biography and discovering that he had studied under both Sergiu Celibidache and Leonard Bernstein — two conductors I deeply admire — my expectations were high. They were not only met, but quietly surpassed.
At the heart of A Myth is the question: what stories do we tell ourselves to understand our world, and what happens when those stories fail us? Vervuurt’s composition is a remarkable balancing act between familiarity and alienation. Echoing arias swell and collapse into sirens and metallic groans.
