March 8 kicks off a busy month for Michel van der Aa, who has two major works receiving US premieres: his 2014
Michel van der Aa’s 2017–2018 season (which kicked off with the hugely successful US premiere of
Van der Aa’s Violin Concerto – championed by Jansen in cities around the world since its 2014 world premiere in Amsterdam with the Royal Concertgebouw Orchestra – was described by Trouw as “a musical duel between the soloist and the orchestra with challenging music for both partners. The skill of Van der Aa’s writing and his musical approach is, in a word, ‘sensational,’ with an immediately recognizable personal style.” In a Playbill interview, Jansen described the Violin Concerto as “a very powerful and rhythmic piece” with “wonderfully lyrical moments.”
> Watch an excerpt of the Violin Concerto on the composer’s website
> More information about the Violin Concerto
> Event Page: March 8 at Verizon Hall in Philadelphia
> Event Page: March 13 at Carnegie Hall in New York
The US premiere of Van der Aa’s critically acclaimed film opera Sunken Garden at the Dallas Opera will feature singers Roderick Williams, Katherine Manley, and Miah Persson. They will be accompanied by the Dallas Opera Orchestra, conducted by Nicole Paiement.
Written with a libretto by British novelist David Mitchell (author of Cloud Atlas), Sunken Garden dives into a surreal world of crime and mystery that straddles two alternate realities. The opera features Van der Aa’s signature combination of live action and video projections using 3D imagery.
This will be a fully staged performance of the reimagined adaptation conceived for Opéra Lyon – more intimate and more physical – and premiered there in 2015. It follows previous performances of Sunken Garden at London’s Barbican Hall (2013) and the Holland Festival (2013), and semi-staged versions given last October at the Royal Concertgebouw in Amsterdam and Essen Philharmonie.
Performances take place on 9, 11, 14 and 17 March, and more details and booking can be found via Dallas Opera.
Performances of both of these works continue what has been a successful US-focused season so far for Van der Aa. In November the short choral piece