ACTRESS XSTOCK-HAUSENSIN {X} II

hollandfestival

aCtRess X stoCKhaUsensin {X} iiActressNederlands Kamerkoor

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this performance is part of the HF Youngprogramme

Info & context

Credits

Characters

About SIN {X} II

Synopsis

Libretto

Content

About the artists

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info ConteXt

date & starting timeFri 14 June 2019, 8.30 pm

venueMuziekgebouw

running time1 hourno interval

introductionby Jochem Valkenburg7.45 pm

CRedits

opera byActress {X} Karlheinz Stockhausen

arrangementActress {X} Robert Ames

additional arrangementBen Corrigan

librettoActress {X} Ruth Saxelby

musicDarren J. Cunningham using The Young Paint Music Software (YPAi) Synthesized using the Kurzweil K2500R and Korg Kronos

set designBrigitte

performed byActressYoung PaintRobert Ames (conductor)Vanessa Benelli Mosell (piano)Nederlands Kamerkoor sopranoElisabeth BlomHeleen KoeleCressida Sharpmezzo sopranoRosina FabiusÅsa OlssonaltoElsbeth GerritsentenorEmilio AguilarSteven van GilsHenk Gunneman

baritoneFlorian JustRobbert Muusebass baritoneMatthew Baker

Darren, Robert and Vanessa would like to thank and acknowledge, in no particular order: Nederlands Kamerkoor, Ruth Saxelby, Stockhausen-Stiftung für Musik, Suzee Stephens, Lloyd Hotel, Bengi Unsal, Jochem Valkenburg, Simon Hendry, Jonathan Green, Jon Skerrit, Patrick Morris, James Stringer, Ed Borgnis, David Frerichs, Annie Roseberry, Erna Theys, Ben Corrigan, Danielle Wade, Simon Ashcroft, Wannes van der Veer, Dora, Hiroki Shirasuka, Ad van der Koog, Annelot Rijkaart, An de Ridder, Iris van ‘t Veer, Tido Visser, Baroness Anne Jenkin, Lloyd Russell-Moyle, Pauline Latham, Ed Vaizey, Sir Bernard Jenkin

… and finally to Karlheinz Stockhausen whose music & inspiration continues to challenge and push us forward.

productionHolland Festival

commissioned by Holland Festival, Southbank Centre

world premiere14 May 2019, Royal Festival Hall, Southbank Centre, London

websitesActress Nederlands Kamerkoor

ChaRaCteRs

President Heleen Koele, sopranoStenographer Vanessa Benelli Mosell, piano

Eve (The Romantic) Elisabeth Blom, high sopranoChorus: Cressida Sharp, soprano Elsbeth Gerritsen, alto Florian Just, baritone

Michael (The Rationalist) Emilio Aguilar, tenorChorus: Heleen Koele, soprano Henk Gunneman, tenor Matthew Baker, bass baritone

Lucifer (The Antagonist) Robbert Muuse, baritoneChorus: Åsa Olsson, mezzo soprano Steven van Gils, tenor Rosina Fabius, mezzo soprano

Actress x Stockhausen Sin {x} II – the latest large-scale work from British contemporary electronic artist Actress (Darren J. Cunningham), and his Artificial Intelligence recording and perfor-mance group, Young Paint.

Co-commissioned by Southbank Centre and Holland Festival, this new composition for choir, AI, piano and electronics sees Actress present his reimagining of Karlheinz Stockhausen’s WELT-PARLAMENT (1995). In the original, members of a fictional parliament in the sky discuss the meaning of love. This live per-formance used recordings of real-life debates on the subject of

aboUt sin {X} ii

love, held at House of Lords in December 2018 and at House of Representatives in 2019. Participants included Baroness Jenkin, Labour MP Lloyd Russell-Moyle, Conservative MPs Pauline Latham, Ed Vaizey, Sir Bernard Jenkin, Maurits von Martels (CDA), Lenny Geluk Poortvliet (CDA) and Nevin Özütok (GroenLinks). Their in-sight and wisdom have been used to inspire the debate within the Libretto, lifting out headlines from each participating Member.

synopsis

Love is in crisis. Self-Love has become self-interest. Love is being used as a political instrument by corporate and media forces as a tool to stimulate discourse among the World Nation and promote financial subterfuge. Love for the planet and its inhabitants has been abandoned to make way for the brutal and endlessly ruth-less pursuit of power.

The President of the World Parliament has declared a legislative pledge to modernize Sin {X} II, a politically scientific Treaty on Love originally introduced to bond the Self with the Other, and create a path to an elevated state of consciousness through Good and Evil.

In a live-streamed speech, it is announced that there is a need for a Universal definition of Love to decelerate Total Planetary Catastrophe. The World Parliament will meet to debate Love and define a new Treaty to be signed into global law. Life cannot be sustained without Love. It is time to act.

libRetto

ACT 1

i. Pro-Tec

Amid a Haze of civil unrest at the gathering of World Parliament, Pro-Tec escorts the parliamentary members to a Nubian Spaceship. Similar in shape to the Philips Pavilion designed many generations ago by Le Corbusier, its carbon body is sleek against the stark blue-grey skyline. The ship gravitates towards The Shard where the debate on Love and the reformation of Sin {X} II will take place.

[Sonic collage and words]

I’m at the doorIn spaceThe data starMe’anzdronik

10

We he bb en za te rd ag co ng re

sg eh ad

Da ar he bb en op te ru gg ek ek

ek da th

et he ‘ en he le mo oi sf ee rw

as mi jd

ag wa se ig en li jk ee nh el eg

ew on ed

ag en er ei ge li jk ni ks so le

uk al se

ge wo on le ve ni ee ng ew oo nl

ve no nt

mo et je me ns en wa ar je va nh

ou dt mi tt wo ch is vo or mi

ja lt ij

de en sp ec

ia le da yb ni ki ed er

rk ee rw ee rd

an

kb aa rd ai kd it we

rk ma gd oe nD us da

nh eb je ee nm oo ic

on ce pt en

ii. Echo Chambers

The World Parliament enters a glass lift that carries them at speed to the top floor. Each member is wearing a transparent waterproof rain poncho over their formal attire.

As they make their way through the galleries of power, they quietly whisper to one another. Their voices rebound off the cold reflective surfaces that surround them, only audible in frozen fragments that fall like sonic stalagmites. A series of chimes synchronize to their movements as they enter the monolithic debating hall.

EVEMICHAELLUCIFER[soprano (tenor, alto, bass baritone)] Pur hur la die ez nez (Pur hur la die)Zen pu so vu o est ke ru hu do (Zen pu so o hu do)Lu we gu so o so vu o ist bot (Lu so o so o bot)Ro me dat to gu ke he (Ro me dat to gu ke he te)Te we pur hur la die ez nez zen (Be we pu hur la die zen)Pu so vu o ist bot ro me dat to (Pu so o bot ro dat to)Gu ke he te we (Gu ke he te be we)

iii. Sin {X} II Choir

Entering the debating hall, the members of the World Parliament are confronted by The Network. Seamlessly integrated into the debating hall’s gargantuan architecture, The Network scans everything. It will collect data from the debate on Love for later codifica-tion. As World Parliament members Eve, Michael, and Lucifer settle into their seats, they size one another up. In their eyes, a question flickers: Whose perspective on Love will triumph?

EVEMICHAELLUCIFER[chorus]

Quid amor ? What is love ?Peccatum X duo Sin X twoAmor qu Love is the questionDisposito conflictus Designed for conflictAmor LoveDurum ut amor It is hard to love

*

ACT 2

iv. Public Life

The Stenographer is summoned by the World Parliament. An unassuming and underpaid civil servant, she is acutely aware that her role is a performative one. Tradition dictates the Stenographer’s transcriptions be filed for posterity. They will remain unread by human eyes. It will be The Network’s debate data on Love that will be used to rewrite Sin {X} II.

[Piano solo]

v. SIN {X} II

Ahead of the debate, the members of the World Parliament agree the agenda. Eve and Michael take on the task with earnestness. Lucifer snidely pontificates from a sedentary position out of view, occasionally laughing for no particular reason.

EVEMICHAELLUCIFER[chorus]

Love is all encompassing We are made with love

vi. NDA

The Network Design Architect enters the debating hall to conduct The Network’s encryp-tion. He computes a Bass Tone ephemeris for Sirius with YPAi and notates a logarithmic chart using the Sin {X} II formula.

Low Frequency Oscillations stimulate the debate, which begins with lengthy formalities. Weighed down by centuries of convention, these exchanges are impenetrable. Eve has long campaigned to abort this outdated practice for something more accessible, but Lucifer, ever the antagonist, sides with Michael on this issue: Tradition must be upheld.

[Live electronics]

EVEMICHAELLUCIFER[sopranos]

Di dag is vo or mi atTa im ro ovsi gad idId gad ovsi ro im ta

Ij en sp ec ia le eE el ai ce ps ne ji Ji ne ps ce ai el e

Da dt is de eeSt ka ak tsEe ed si td ad

EVE[alto]

Me da en zo dr ik vn Nv ki rd oz ne ad emDe tr ri ch ti ng heEh gn it hc ir ed

MICHAELLUCIFER[tenors]

Pi ci nn 10 op en he / eh ne po 10 nn ic ipGe bo uw zi be ik ie / ei ki eb iz wu ob egDe re ke er we er da / ad re ew re ek er de

Nk ba ar da ti kd it / it dk it ad ra ab knWe rk ma do en da ik / ki ad ne od am kr ewHe vo ik me ve rt eg / ge tv eve m ki ov heEn wo or di ge nn / nn eg id eg nn

EVEMICHAELLUCIFER[bass, baritone]

Mn da ws ei ge ni jkEe nh el eg ew on edAg en er is ei geNi ks zo leUk al se en

LUCIFER[chorus]

Kj in eg ie sw ad nmDe no we ge le hn eeEg ie si re ne ga

EVEMICHAELLUCIFER[chorus]

111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111

ACT 3 vii. What Is Love

Overwhelmed by the opening remarks, the President raises her palm to silence the room.

PRESIDENT[a little defeated but still hopeful]

I’m not sure I can summarise what the Parliament has presented or present a policy that can be the principle legislation on Love

Could we go on from here to a definition…?

EVE [gently, with precision]

Sometimes you wonder…

Of course, there are different degrees of Love

Love between Women and Women

Between Men and Men

Everyone is allowed to be as they are

But, of course, the rest is Love

LUCIFER[dismissive]

Love? Who loves?

MICHAEL [mechanically]

Love is the most beloved theme of people EVE[in unison]

LIFE IS ABOUT LOVE ART IS LOVE

LUCIFER[impatient]

Put your finger on it – what is it? MICHAEL

Take a look a little

Love is not a condition

The whole world is upside down

EVEMICHAELLUCIFER [in unison]

LOOK AT THE ANIMAL WORLD MICHAEL

Love is essential to human beings

EVE[in unison]

Ebenbürtig Equal

PRESIDENT [enthused] I agree Everything we do is about Love Whether it is music, literature, the arts, daily life It’s all about Love

MICHAEL[stiff]

Categorization…

LUCIFER[enraged and encouraged]

Systematic?! Maybe you should clarify…

EVE [urgent, emboldened]

Love is all encompassing

Something universal

We are made with Love

Let us take action

I am very concerned

Be free to Love

Self-Love

MICHAEL [slow, reflective]

It is not only the concrete Love between individuals…

It is quite some incentive to use politics, however

Love is a bit more… EVEMICHAEL[in unison]

LOVE IS THE DRIVING FORCE BEHIND EVERYTHING

viii. Stenographer

Her head bowed, the Stenographer takes a moment to reflect on what she has heard. So much has been said and yet at the same time so little. To her, it seems like the conversati-on is going round in circles. She’s not being paid to think, she reminds herself, just to type.

[Piano solo]

ix. Designed For Conflict

Frustrated by the President’s apparent lack of interest in his viewpoint, Lucifer takes advantage of the pause to deliver a scathing attack on the political stance of his con-temporaries.

LUCIFER[sneering, sarcastic]

Imagine… your closest relationships…

BECAUSE YOU LOVE THEM TOO MUCH! [Laughter] [Bell chimes X2+1]

But I LOVE my work… I LOVE the significance… I LOVE being able to make a difference

[Laughter]

You cannot deal with an expression of given love

Great rivers, they make SUCH noise!

*

ACT 4

x. SIN {X} II

The members of Parliament retreat from the debating hall. As they leave, Eve and Michael throw a retort to Lucifer over their shoulders. He shall not have the last word. EVEMICHAEL[chorus]

Love is all encompassing We are made with love

xi. Viewers of Power

In a dimly lit lounge decorated with the heads and hides of long extinct species, the World Parliament members continue the discussion in more unfiltered terms. It’s all offici-ally off the record, but The Network breathes it in all the same.

MICHAEL[matter of fact]

Love makes the world go round

You can’t exist without Love

EVE[impassioned]

I believe Love to be the need and desire for human contact

MICHAEL [clarifying]

Emotional and physical contact

The whole political environment is making it harder for the people involved to feel loved or be loved

EVE[insistent]

There’s a lot that binds us together

MICHAEL[brusque]

Principles are important, and views and ideas are important

Human fashion can be very frustrating, on a human level we must find a common soluti-on

LUCIFER[shouting from across the room]

INITIATION CEREMONY!

PRESIDENT[ignores Lucifer]

What loving gestures have you received today?

[Long pause]

MICHAEL[bold but a little sheepish as he pulls out phone and starts scrolling]

Twitter has been very kind to me today…

PRESIDENT[aghast and dismissive]

So…having spoken of the need for human contact, impersonal technology has been your greatest source of Love today?!

LUCIFER[creeps up on the group]

What about emotional censorship?

EVE[a little desperate]

It’s an unpleasant time, but there is an opportunity for reconciliation

It is, of course, important that if you Love someone that you are loyal to them

I think they deserve love in this very fractured political landscape

LUCIFER[exasperated]

I’m amid a bunch of idiots!!!

[Exits]

xii. Hard II Love

It’s been a long day. As the remaining World Parliament members hurry off into the night to chink crystal glasses in private members’ clubs, The Network spits out its findings to compose the new Treaty on Love. Somewhere amid the sea of data is the new law. It’s only a matter of time before The Network finds it.

[The Network emits a variety of tones and vibrations as it scans and categorizes the World Parliament’s debate. Love reduced to data, a billion bits to sort and file.]

ActressWhen Darren Cunningham was just a kid, DAZ or DAZ AUTOMATIC, growing up in Wolverhampton, there was something about him which stood out. ‘When I was at school, I was always creative,’ he remem-bers. ‘I was a very good counterfeiter – good at copying pictures. I was able to recreate pictures perfectly. At school, you’d have projects for the term, and we were looking at Sikhism. I think I was about seven. I was asked to create this massive mural of Guru Nanak using different forms – using sequences, dipped painted cotton wool, Sikh fabrics. I ended up applying that to music. I create sketches, essentially like these fabrics, and I collage them together. Once I see the picture, it’s embellished further, and the proceeds repeat.’Over ten years, Darren Cunningham has had an illuminating career as Actress releasing seven long-player records; five as Actress, one as Levantis and one in collaboration with London Contemporary Orchestra. At the beginning of Darren

Cunningham’s journey through music was an extraordinary encounter with the work of Stockhausen. As a student of Recorded Arts, he witnessed the great man in action and was immediately thrust into a world where anything was possible with music. This understanding has been fundamen-tal to the work of Actress, allowing him to move fearlessly through his recording and performing career.

For more than eighty years, the Nederlands Kamerkoor (Netherlands Chamber Choir) has enjoyed a place at the top of the international choral world. Since the very beginning, the choir has been known for being adventurous and innovative. It owes this reputation to commissions of works by both well-known composers and young talent, and a con-stant search for new formats and exciting collaborations. This results in concerts that appeal to all the senses. The choir have been praised by critics in and outside the Netherlands: ‘highly rewarding’, accord-ing to The Times (London, 2017) and de Volkskrant (Amsterdam, 2016): ‘a leading top ensemble.’Education and participation is a vital part of the choir’s mission. The Netherlands has thousands of amateur choirs and numerous youth choirs. The Nederlands Kamerkoor provides coaching and work-

aboUt the aRtists

shops and adopts choirs as supporting act for their concerts. Since September 2015 Peter Dijkstra has been chief-conductor of the Nederlands Kamerkoor. He is one of the most in-de-mand choral conductors worldwide and is known for his sparkling performances. Amongst his predecessors were such renowned conductors like Uwe Gronostay, Tõnu Kaljuste, Stephen Layton, Risto Joost and founder Felix de Nobel.

Robert Ames is at the forefront of a new generation of musicians questioning the

conventions and rituals surrounding clas-sical music. He is co-artistic director and conductor of the London Contemporary Orchestra and is also well known as an innovative programme curator. Robert has led the LCO in sell-out concerts at The Printworks and Oval Space in East London, the Royal Festival Hall, Barbican Centre, Royal Opera House, Covent Garden and BBC Proms at the Tate Modern and Royal Albert Hall.Robert has worked closely with many lead-ing figures in new music, including Philip Glass, Meredith Monk, Bryce Dessner, Mica Levi, Nico Mulhy, Richard Reed Parry, Terry Riley, Anna Meredith and Steve Reich. He is also passionate about championing

music from the leading composers of his generation, premiering works by Shiva Feshareki, Claire M Singer, Emilie Levenaise Farrish, Catherine Lamb and Edmund Finnis amongst others. He has also col-laborated with a variety of artists in other fields including fashion designer Vivienne Westwood, architect-designer Ron Arad and Sculptor Conrad Shawcross. Recent forays and collaborations have also taken him into the world of pop working with artists such Actress, DJ Shadow, Jonny Greenwood, Thom Yorke, Jamie XX and Frank Ocean.His work has encompassed several film projects, as a conductor, orchestrator and producer. These include the soundtracks for Naji Abu Nowar’s Theeb (Oscar nom-ination 2014), John Maclean’s Slow West (Sundance Film festival 2015), Ridley Scott’s Alien: Covenant (2017) Paul Thomas Anderson’s Phantom Thread (Oscar nomi-nation 2018) and Alma Har’el’s Honeyboy (Sundance Film Festival 2019).‘New music presented with style rather than po-faced seriousness…performed with such devoted care.’ – The Telegraph

Vanessa Benelli Mosell (1987) is a rising star on the international music scene, much praised for her virtuosity and technical brilliance, and for the sensitivity of her mu-sical insight which she brings to her piano playing and now also to her conducting and directing from the keyboard. Benelli Mosell is acclaimed for her passion, in equal measure, for the great clas-sics and her championing of the newest composers. She has received praise for her recordings of Stockhausen and for her debut concerto cd for DECCA Classics of Rachmaninov’s Piano Concerto No.2 with the London Philharmonic Orchestra. She began her studies at seven years old at the International Piano Academy in Imola studying with Franco Scala. At

the age of 11, she performed her debut with Pascal Rogé, who described her as ‘the most natural musical talent I have encountered in my entire life’. In 2007 she travelled to the Moscow Tchaikovsky Conservatory to study with Mikhail Voskresensky and then studying with

Dmitri Alexeev at the Royal College of Music in London, graduating in 2012, sup-ported by the Russell Gander Award. Following Vanessa’s own private recording of Karlheinz Stockhausen’s Klavierstücke I-IV when she was 17, she was invited by the composer to study under him, as he be-lieved that she ‘has the power to let peo-ple appreciate my music’. Vanessa worked closely with Stockhausen who remains an essential influence on her music making, encouraging her passion for contemporary music and her championing of composers of today as well as the great classics.

Young Paint (aka Jade Soulform aka Francis aka Generation 4 aka AZD) is a Learning Program progressively emulating the Greyscale to Silvertone process Darren J. Cunningham started during the record-ing of his Hazyville LP. Over a decade later and much of the composed and recorded Actress material incorporates partially independent YPAi motifs. In 2019 Young

Paint has evolved into a graphical struc-ture and artificial intelligence for both mu-sical analysis and performance. The soft-ware has been designed and developed with Dr Louis McCallum of Goldsmiths Digital Department. The neural learning was programmed by Professor Nick Collins of Durham University.Working closely with Werkflow, an ex-perimental digital arts studio based in Somerset House, Actress has lovingly brought Young Paint to life. Operating from a contained virtual world fabricated from Darren Cunningham’s childhood in Wolverhampton, Young Paint has access to virtual instruments and music production software. During live performances Actress allows Young Paint to take leads, solos and improvise. The Young Paint visual was developed and directed by James B. Stringer of Werkflow Studio. Based in London, Werkflow create stunning consult with acclaimed artists, designers and institutions to create exper-imental computer-generated imagery, vir-tual reality pieces, interactive installations and online projects. Recent clients include Nike and the fashion Designer Samuel Ross, which utilised similar technology and performance disciplines.

Visual ambience Designed and produced by Brigitte, a London based design studio. ‘From the outset, the title WELT-PARLAMENT, stamps the opera with a precise architecture, an architecture of proceedings. The atmos-phere takes on this formal role but as the “debate happens in the clouds”, it asks to dissolve, revealing the importance of rising and falling, the ups and downs for love to exist.’

fRiendsEvery year the Holland Festival brings world class international performing arts to Amsterdam. The festival is staged at theat-res, concerts halls and unexpected venues throughout the city. Visitors meet in a welcoming and festive atmosphere and always have something to talk about: the artist’ high-profile and innova-tive work and the irresistible magic of theatre and music.

The Holland Festival cannot be made without the support of private donors. Friends are the heart of the festival and their ge-nerous support helps the festival to create an exciting programme each year. We are delighted to be able to present this performan-ce with support from the Friends of the Holland Festival.

Annet Lekkerkerker,general director Holland Festival

holland festival 2019general directorAnnet Lekkerkerker

supervisory boardMartijn Sanders, chairman Gert-Jan van den Bergh Mavis CarrilhoAstrid HelstoneJet de RanitzTom de Swaan

The Holland Festival cannot be made without the support of funding institutions, private funds, corporate sponsors and individuals.

holland festival 2019general directorAnnet Lekkerkerker

supervisory boardMartijn Sanders, chairman Gert-Jan van den Bergh Mavis CarrilhoAstrid HelstoneJet de RanitzTom de Swaan

The Holland Festival cannot be made without the support of funding institutions, private funds, corporate sponsors and individuals.

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board of governorsThe generous, multi-year support of the Governors not only con-sists of a financial component. With their expertise, active involve-ment and network they contribute significantly to the success of the Holland Festival.

Ronald Bax and Frank Lunenburg, G.J. van den Bergh and C. van den Bergh-Raat, Leni Boeren, Jéhan van Dijk, Bernard and Ineke Dijkhuizen, Jeroen Fleming, A. Fock, H.J. ten Have and G.C. de Rooij, J. Kat and B. Johnson, Ton and Maya Meijer-Bergmans, Françoise van Rappard-Wanninkhof, M. Sanders, Tom de Swaan, Elise Wessels-van Houdt

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hartsvriendenR.F. van den Bergh, Kommer and Josien Damen, Sabine van Delft-Vroom, J. Fleury, V. Halberstadt, Astrid Helstone and Diederik Burgersdijk, Nienke van den Hoek and Alexander Ribbink, Isaäc and Francien Kalisvaart, Giovanna Kampouri Monnas, Luuk H. Karsten, Kristine Kohlstrand, Joost and Marcelle Kuiper, Cees Lafeber, Emma Moloney, Sijbolt Noorda and Mieke van der Weij, Ben Noteboom, Robert Jan and Mélanie van Ogtrop-Quintus, Jeroen Ouwehand, Marsha Plotnitsky, Anthony and Melanie Ruys, Rob van Schaik and Wijnanda Rutten, Ingeborg Snelleman and Arie Vreugdenhil, Coen Teulings and Salomé Bentinck, Patty Voorsmit, Hans Wolfert and Marijke Brinkman

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beschermersM. Appeldoorn, Lodewijk Baljon and Ineke Hellingman, Maarten Biermans and Helena Verhagen, S. Brada, Frans and Dorry Cladder-van Haersolte, J. Docter and E. van Luijk, Huub A. Doek, L. Dommering-van Rongen, E. Granpré Moliere, M. Grotenhuis,S. Haringa, B. Heijse and A.M. Heijse-Verbeek, J. Houwert, W. andJ. Jansen-Straver, R. Katwijk, R. Kupers and H. van Eeghen, Monique Laenen and Titus Darley, A. van der Linden-Taverne, F. Mulder, Adriaan and Glenda Nühn-Morris, G. van Oenen, Marinus Pannevis and Caroline Polak, H. Pinkster, Pim and Antoinette Polak, H. Sauerwein, Lisette Schuitemaker and Jos van Merendonk, C.W.M. Schunck, A.N. Stoop and S. Hazelhoff, Wolbert and Barbara Vroom, P. Wakkie, Martine Willekens, O.L.O. and Tineke de Witt Wijnen-Jansen Schoonhoven

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begunstigersB. Amesz, A. van de Beek en S. van Basten Batenburg, Ellen Birnie, Co Bleeker*, Jasper Bode, K. Bodon, Jan Bouws, E. Bracht, W.L.J. Bröcker, F. van den Broek, G. Bromberger, D. de Bruijn, G. van Capelleveen, P.M. Op de Coul, M. Daamen, J. Dekker, M. Doorman, Sylvia Dornseiffer, Chr. van Eeghen*, Ch. Engeler*, E.L. Eshuis*, Sandra Geisler, Susan Gloudemans, E. de Graaff Van Meeteren,F. Grimmelikhuizen D. Grobbe, Annelies Heidstra and Renze Hasper J. Hennephof, G. van Heteren, L. van Heteren, S. Hodes, J. Hopman*, J. Houtman, E. Hummelen, Wendy van Ierschot, Yolanda Jansen, P. Jochems, Jan de Kater, Ytha Kempkes,J. Keukens, E. Kocken, Bas Köhler, A. Ladan, M. Le Poole,M. Leenaers, K. Leering, M. Levenbach, T. Liefaard, A. Ligeon,T. Lodder, R. Mackenzie, D. van der Meer, E. van der Meer-Blok,A. de Meijere, E. Merkx, Jaap Mulders, H. Nagtegaal, La Nube, Kay Bing Oen*, E. Overkamp and A. Verhoog, P. Price, F. Racké,H. Ramaker, J. Rammeloo, Wessel Reinink, M. Roozen,A. Schneider, H. Schnitzler, G. Scholten, Joanne Schouten,R.W. Siemers and I. Janssen, P. Smit, G. Smits, A. Sonnen,W. Sorgdrager and F. Lekkerkerker, K. Spanjer, Reinout Steenhuizen, Farid Tabarki, P.-M. H.-L. Tegelaar, C. Teulings,H. Tjeenk Willink, A. Tjoa, M. Tjoe-Nij, Y. Tomberg, Kurt Tschenett en Sasha Brunsmann, H. van der Veen, M.T.F. Vencken, A. van Vliet, R. Vogelenzang, M.M. de Vos van Steenwijk, A. Wertheim,M. Witter, M. van Wulfften Palthe, M. Yazdanbakhsh, P. van der Zant, M.J. Zomer, P. van Zwieten and N. Aarnink

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jonge begunstigersHelene Bakker, Aram Balian, Ilonka van den Bercken, Femke Blokhuis, Quirijn Bongaerts, Jonne ter Braak, Dirk Dekker, Matthijs Geneste, Hagar Heijmans, Ric van Holthe tot Echten, Brendon Humble, Jort van Jaarsveld, Aron Kovacs, Judith Lekkerkerker, Gustavo López, Pieter van der Meché, Frans Muller, Boris van Overbeeke, Jill Pisters, Menzo Reinders, Peter Ruys, Guus Schaepman, Eerke Steller, David van Traa, Rosanne Thesing en Melle Kromhout, Frank Uffen, Frank Verschoor, Tristen Vreugdenhil, Lonneke van der Waa.

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Begunstiger - from € 250 annually (or € 21 per month)Your contribution goes directly to the Holland Festival’s international programming. As a Begunstiger, you have aright to free tickets and other attractive privileges.

Jonge Begunstiger (<42) - from € 250 annually (or € 21 per month)Receive the same privileges as the Begunstigers and participa-te in a special programme with activities that bring you closer to the makers of the festival and where you meet other Jonge Begunstigers.

Beschermer - from € 1.500 annually (or € 125 per month)As thanks for your considerable contribution to the Holland Festival’s international programming, you receive an invitation to the opening performance and exclusive gatherings in addition to free tickets and other privileges.

Hartsvriend - from € 5.000 annually We invite Holland Festival Hartsvrienden to become more closely acquainted with the makers of the Festival and meet like-minded people and guests.

Donations to the festival are tax-deductibleSince January 2012 a special tax law is in effect which makes it more advantageous to make charitable donations. Called the ‘Geefwet’, this law allows you to claim your deductions to cultu-ral organizations with ANBI status with an additional 25% for tax benefits (a total of 125%). The Holland Festival has such an ANBI status. The fiscal advantage applies to donations that total a maximum of € 5.000 annually. If you donate more than € 5.000 to regis-tered charities, you can deduct the remaining amount for the re-gular percentage (100%). The advantages of the Geefwet apply to all taxpayers (private parties and businesses) and are applicable to both individual and periodical gifts.

Advantages of a periodical gift Restrictions apply to deductions for individual gifts. Individual gifts are tax-deductible when the total amount of gifts given in one year surpasses 1% of your income, with a minimum of € 60. The amount given above the minimum threshold is tax-deducti-ble. The maximum deductible amount is 10% of your threshold in-come. There are fiscal benefits for periodical gifts with an annuity construction for five years and upwards. If you choose to support the Holland Festival for a minimum of five years, your gift will be fully tax-deductible.

If you would like to join us, go to our website hollandfestival.nl (Support HF) for more information or call Liza Meulenbroek for an informal talk without obligations: +31(0)20 – 788 21 20.

Leave a legacy or a bequest The Holland Festival believes that live, performing art can contribute to a better world. Art expands the viewer’s horizon. It requires effort from the audience: sitting still, turning off phones and surrendering to the artwork. This investment and concentra-tion offers a different perspective – a look at other people’s lives and their choices – which can be surprising, shocking or moving the viewer.

For over 71 years the festival has been playing a leading role in the introduction of new names to a large audience. It invests in artis-tic venture capital, which produces unforgettable eye-opening and exciting experiences.

Remembering the Holland Festival by leaving a gift in your will, no matter what size, allows the festival to build and develop its work for future generations. We are happy to discuss the possibilities with you. For more information, please contact Liza Meulenbroek on +31(0)20 – 788 21 20 or liza.meulenbroek@hollandfestival.nl.

Holland FestivalPiet Heinkade 51019 BR Amsterdamtel. +31 (0)20 – 788 21 00info@hollandfestival.nlwww.hollandfestival.nl

text editorKaren Welling design thonik

lay-out Mark Drillich, Erna Theys

photographys© Denelle & Tom Ellis© Laura Fiorioportrait Vanessa Benelli Mosell © Michele Maccarrone

© Holland Festival, 2019 No part of this publication may be reproduced and/or published by any means whatsoever without the prior written permission of the Holland Festival.

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