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Speakers’ Biographies Crossing Borders Conference Het Muziektheater, Amsterdam 13-16 November 2008 Artists Leaders - Creative Residencies Rachel Leach Rachel Leach was born in Sheffield. Whilst studying with Simon Bainbridge at the Guildhall School of Music and Drama, she completed pieces for the BBC Singers, London Contemporary Dance School, London Sinfonietta and the Philharmonia Orchestra. Erratic Static her second string quartet won the Dorothy Adams String Quartet Prize, and a setting of Sylvia Plath’s Edge won the first Tracey Chadwell memorial prize. Rachel has also studied with Robert Saxton and Jane Manning at Opera Lab, and with Louis Andreissen at Dartington. Recent commissions include Tantivy for LSO and Voithia, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Rachel is heavily involved in education. She has worked within the education departments of many orchestras and opera companies including the London Sinfonietta, Philharmonia Orchestra, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North. Furthermore she completed a year as the Edward Heath Assistant Animateur at the London Symphony Orchestra. Rachel has completed twelve commissions for LSO Discovery for children and community groups and nine community operas. She is the resident composer for Three Strange Angels (percussion ensemble). Rachel is increasingly in demand as a concert presenter. She is the presenter of the LSO St Lukes lunchtime concert series and regularly presents children’s concerts and pre-concert events for LSO and London Sinfonietta. [email protected] Tim Yealland Tim read English at Cambridge, and then studied singing at the Guildhall School of Music in London, and at the Hochschule für Musik in Munich. As an opera singer he sang the titlerole in Don Giovanni and Schaunard in La Bohème for ETO, The Martyrdom of St Magnus (Maxwell Davies) and The Pilot’s Consent (Hindemith) for Opera Factory, London Sinfonietta, The Hunchback of Notre Dame for Opera Factory, Zurich; extensive work also for English National Opera, the Royal Opera and the Batignano Festival. He has worked also as an actor, including Robespierre in Nick Hytner’s production of The Scarlet Pimpernel (Chichester Festival). He has led diverse community projects for The Royal Opera, English National Opera, Opera North, London Symphony Orchestra, London Sinfonietta, Glyndebourne, Young Vic, Welfare State, Casa da Musica (Porto), City of London Sinfonia, Share Music, and the Philharmonia Orchestra. For 6 years he directed Live Wires, English National Opera’s children’s group. For Opera North he has directed O4E, a new community opera at the Lowry Centre in Manchester, and last summer Hippo with an entire primary school in Leeds. He devised On a Dark Dark Night for Glyndebourne at the Theatre Royal, Margate, working with disabled adults; and three times in the last few years Turtle Opera for the Royal Opera House, a project for young people on the autistic spectrum. He wrote, directed and designed The Will o’the Wisps for Wonderful Beast Theatre Company. Leading the outreach work of English Touring Opera since 2002 his projects have included One Breath, a large-scale community opera in Doncaster and Sheffield, Ice, an opera with film for teenagers, A House on the Moon, a new community opera at the Grand Theatre in Wolverhampton, and Voithia!, an opera for primary schools. [email protected] Carlo Scheldwacht Since graduating from the Toneelschool Amsterdam as an actor, Carlo Scheldwacht has appeared with Toneelgroep Amsterdam, RO-Theater, Trust, and Theatergroep Wederzijds. He also directs and writes. These projects include Moeder van Tuig ("Mother of Scum", a piece of music theatre about street children in Sudan), Tarantino! (a play for young people about violence), and the Indische Trilogie (a trilogy about Holland's colonial past). He is currently directing Oorlog (War, a play with and for young people, loosely based on Shakespeare's Richard II, Henry IV, prts 1 and 2, and Henry V)--for more information see: www.jts-meeuw.nl As a teacher he has worked for, amongst others, War Child, the Theatre & Education Course of NHL University, Internationale Theater Scholing De Nieuw Amsterdam, and De Nederlandse Opera. He has appeared in one opera. [email protected] A New Cosmopolitanism Rachida Azough Rachida Azough is a journalist, columnist and panel chair. She studied English language and literature and social geography at the University of Amsterdam. Between 2000 and 2007, she worked for the Dutch daily newspaper de Volkskrant. Her current post is as creative director of Kosmopolis, the platform for intercultural dialogue. Kosmopolis works together with its partner organisations in the four big Dutch cities and is financed by the Dutch Ministries of Foreign Affairs and Education, Culture and Science. Kosmopolis' key mission is to employ the power of art and culture to bring people closer together. Rachida Azough is also a member of the National Unesco Committee. [email protected] Education at Het Muziektheater Margriet Prinssen Margriet Prinssen is head of the Education Department since 1998. She studied Dutch literature and theatre science and graduated in 1982. She worked a long time as a jounalist and editor, writing articles and books about theatre and dance. In 1992 she started working as a freelancer for Het Muziektheater in different functions. [email protected] Lin van Ellinckhuijsen Lin van Ellinckhuijsen studied modern dance at the Fontys Dance Academie and graduated in 1982. She taught amongst others at the Dance Academy and the Theatre School in Anhem, for Scapino Ballet Amsterdam and for operastudents at the Music Academy in Amsterdam. She worked for the Youth Theater Company Wederzijds to develop educational programs. From 1999 onwards she works at the Education Department of Het Muziektheater. [email protected] Bart Hermans Bart Hermans studied (and in some cases still studies) Civil Engineering, Art History, Filosophy and Cultural Sciences. Bart started as a guided tourleader in 1997 and never left Het Muziektheater since. He started working for the Education Department in 2000, first as productional and secretarial assistant and from January 2007 onward as educational officer for operaprojects. Apart from his work at Het Muziektheater he also plays French Horn in several orchestras and ensembles. [email protected] Marco Polo in Amsterdam Truze Lodder Truze Lodder is Managing Director of De Nederlandse Opera. She stared her career with Holland-America Line as assistant General Affairs/Staff Member. During the 1970s, she worked at AVRO (Public Broadcasting Company), as Head Financial Management Radio and Television. During the 1980s she held several management positions in advertising/communication, before joining the De Nederlandse Opera as Managing Director in 1987. In 1992, she became Managing Director of Het Muziektheater, and its Executive Chairwoman in 2006. She is also actively involved of the following organizations: Nederlandse Spoorwegen, F. van Lanschot Bankiers , I Care Productions, Universiteit Maastricht, VSB Fonds, Stichting Praemium Erasmianum , Yo! International Youth Opera Festival and the Stichting Literaire Activiteiten Amsterdam (SLAA). [email protected] Anthony Heidweiller Anthony Heidweiller, artistic director of the Yo! Opera Festival & Laboratory developed from singer in the chorus of De Nederlandse Opera to freelance opera maker. In 1998 he made a flying start with Hot Hands, the Basketball Opera, performed by his own company, Buffo Operamakers. By now he is not only singer/opera maker but also developer/inspirator/booster of innovative forms of opera. Among others he created the concept for Opera from the Heart (thirty 3 minutes' shopping mall opera's), Opera in de the Bus (community opera project in coproduction with GVU city bus company) and Water (site specific vocal journey on a water sewage plant). Apart from his work as artistic director of the Yo! Opera Festival, Heidweiller teaches at the Royal Conservatoire the Hague and works as freelance director. [email protected] Engaging Local Communities – Case Studies Rhian Hutchings Rhian Hutchings was born in Newport, Gwent. After attending Reading University and the Royal Welsh College of Music and Drama, Rhian began her working life as a stage manager. In 2000 she became a staff director at English National Opera, assisting various directors including Richard Jones, Keith Warner and Neil Armfield. As a freelance director she worked extensively with young people, directing work for WNO MAX, Music in the Round and Royal Welsh College of Music and Drama. Her interest in commissioning led her to work with Music Theatre Wales, Genesis at Almeida Opera and finally to join the WNO MAX team as a producer. She took over as WNO MAX Director in August 2007. [email protected] Paul Reeve Paul Reeve’s interest in opera and theatre began at the age of 11 when he was chosen from the local school to appear in a production at Glyndebourne. After graduating with a Theatre Arts degree he worked as a performer and director in theatre and music theatre, and was involved in a number of innovative educational projects with several arts organisations. Writing credits include a children's book and educational television series. He joined the Royal Shakespeare Company as Education Officer in 1994, moving to English Touring Opera as Education Manager before joining the Royal Opera House in 2000. He was appointed Director of Education in 2006 [email protected] Kevin Rainey Kevin Rainey is currently Opera Education Manager for the Royal Opera House, Covent Garden, working to deliver a programme of educational projects primarily focussing on the work of The Royal Opera. Kevin graduated from Exeter University with a BA (Hons) degree in Music, where he concentrated in particular on 19th and 20th Century Opera. His previous employment includes General Manager for the British Arts Festivals Association, Overseas Examinations Manager for Guildhall School of Music and Drama and Administrator of Birmingham Opera Company, where he worked with Director Graham Vick to establish large scale community involvement in fully staged operatic works alongside professional singers and performers. [email protected] Hélène Sauvez A graduate in music, political science and arts management, Hélène Sauvez started her career in 1995 working for a festival and a piano competition in Switzerland. She went on to work for a chamber music organisation in Paris. She started work for the Opéra de Lyon in 1996 as the assistant to the Lyric Studio before becoming head of the education in 1999. She is currently head of cultural development since 2004. In her current post, Hélène Sauvez is responsible for making culture accessible to people unfamiliar with opera, music and dance (children, students, seniors, amateur artists, women victim of violence, hospital patients, people with learning difficulties, prisoners and people on re-intregration programmes). She manages a programme of performances and workshops for young people. She organises introductions to opera, professional workshops, guided tours, open rehearsals, and opportunities to meet artists. She produces new works that bring together professional artists and young people. She is also works with young amateur artists and she is responsible for the Opéra de Lyon’s annual open day. She also works with the Opera’s permanent artists, for whose professional development she is also responsible. [email protected] Michael Ajzenstadt Born in Jerusalem, Israel, Michael Ajzenstadt studied at the Hebrew University Jerusalem (BA in English Literature and in Arabic Literature and MA in Comparative Religion – final thesis on the Literary Sources of Wagner’s Parsifal) and at Simon Fraser University, British Columbia, Canada (MA in English Literature, specializing in Canadian theatre). He has been the senior classical music/opera feature writer/critic for the Jerusalem Post (Israel’s leading daily in English) and Vesti (Israel’s leading Russian daily). For many years he has written on the arts in general and on music, opera, theatre and dance in particular for professional magazines and newspapers in Canada, the USA, France, Great Britain, Spain, Sweden and Israel. He also writes program notes for classical music, dance, theatre and opera performances in Canada, the USA and Israel and gave lectures and moderated panels for arts organisations, symphony orchestras and opera companies in Canada, the USA and Israel. He has served as adjudicator in singing competitions in Israel and abroad. He is the editor and moderator of the Preview Forum demonstration lectures presented by the Israeli Opera. As Artistic Administrator of the Israeli Opera, Michael Ajzenstadt is in charge of casting, dramaturgical work, as well as the company’s extensive community and outreach program, education program, the company’s Opera Studio (young artists programme) and all Israeli Opera special activities. [email protected] Linda Lovrovic Linda Lovrovic studied pedagogy of music and history of art at the Royal Flemish Conservatory of Music, Antwerp, graduated in both with distinction. She spent 10 years working as a teacher at the Academy of Music, Antwerp. She was also a member of the Pedagogical Council of the Academy. In 1991, the education of music in Flanders was profoundly reorganised. The Co-ordinated Organisation OVSG (Secretary of Education of Flemish Cities and Municipalities) asked her to give additional education to Flemish teachers on the new subject: general musical education. Between 1995 and 1999, she worked as a freelance contributor at the education department of La Monnaie/De Munt, in Brussels. Since February 1999, she is responsible for the Dutch-speaking projects of the Educational department of La Monnaie/De Munt. With De Munt, she developed, in 2005, a Don Giovanni project in a Japanese primary school near Tokyo. She has been a member of RESEO’s Steering Committee since 2008. [email protected] Discussion - Engaging Local Communities Peter Renshaw In 2001 Peter Renshaw retired from the Guildhall School of Music & Drama as Head of Research and Development, where he pioneered the innovative programme in performance and communication skills (1984-2001) and was Gresham Professor of Music (1986-1993). Formerly he was Lecturer in Philosophy of Education at the University of Leeds Institute of Education (1970-1975) and Principal of the Yehudi Menuhin School (1975-1884). He has a special interest in organisational change and lifelong learning, and most recently he has focused on arts evaluation, development and mentoring. Recent clients have included the National Institute of Creative Arts and Industries, University of Auckland, Queensland Conservatorium, University of the Arts London, Prins Claus Conservatoire Groningen, YO Opera The Netherlands, the International Yehudi Menuhin Foundation, Brussels, The Sage Gateshead and the London Borough of Newham. From 2001-2002 he was Chair of the Steering Group for Youth Music's Creating a Land of Music and from 2001-2003 he was Moderator of the EU Socrates project, Sound Links, on cultural diversity in music education. In 2005 The Paul Hamlyn Foundation published his research report on Guildhall Connect, titled Simply Connect: 'Next Practice' in Group Music Making and Musical Leadership. His Report Lifelong Learning for Musicians: the Place of Mentoring was published in 2006 by the Lectorate Lifelong Learning in Music at Prins Claus Conservatoire Groningen and The Royal Conservatoire the Hague. In 2008 The Sage Gateshead published his Evaluation Report on REFLECT, the Creative Partnerships National Co-mentoring Programme. [email protected] Merlijn Twaalfhoven Composer Merlijn Twaalfhoven and his La Vie sur Terre Foundation’s unusual and often large-scale projects immerse a wide public in an experience for all the senses. In unique locations (for example the Rijksmuseum, Vredenburg, Paradiso, the harbours or dunes), classical musicians work together with performers such as farmer bands, DJs, children, cooks and hair dressers. Merlijn’s compositions find inspiration in archaic and non-Western music, in which a balance between the vital sounds of nature and refined melodies offer a multi-faceted sound palette. His works have been performed by orchestras in the Netherlands, Japan, Belgium, Jordan and Switzerland, and have been recipients of several prizes. Recently he worked in the Middle East, combining for example the Amman Symphony Orchestra with 80 Palestinian refugee children. He took “bridging the gap” literal and positioned 400 musicians on rooftops on both the Greek and Turkish side of the buffer zone in Nicosia, the capital of Cyprus. As a professor in “PopKunst” at ArtEZ academy of arts, he researches how artists can reach a new and diverse public without compromising their artistic vision and ideas. He is himself striving to accomplish this in his projects with La Vie sur Terre and in cooperative projects with, among others, Theatre Group Amsterdam, the dance company Emio Greco|PC and the Springdance Festival. He has also produced numerous projects on location with local musicians in Central Europe. www.twaalfhoven.net [email protected] Zwanenmeer Bijlmermeer II Ted Brandsen Artistic Director and Resident Choreographer Het Nationale Ballet (HNB) Ted Brandsen was a dancer with HNB from 1981 till 1991. In 1985 he took his first steps as a choreographer in the annual choreographic workshop. Brandsen gave up dancing in 1991 in order to concentrate on his choreographic career. His first work in this new capacity was Four Sections, which he made for Het Nationale Ballet, and for which, in 1992, he received the Perspectiefprijs, an incentive prize for young artists. Following that, he also made Crossing the Border (1993), Blue Field (1995) and Bach Moves (1995) for HNB. Nowadays, there are works by Brandsen in the repertoire of several dance companies, including the Istanbul Staatsballet, the Ballet-Théâtre de Bordeaux, the Israel Ballet, the DonauBallett, the Nationale Ballet of Portugal, the American Ballet West, Les Ballets de Monte-Carlo and the Dutch companies Introdans and Djazzex. In 1998 Brandsen was appointed artistic director of the West Australian Ballet in Perth. He created several pieces for this company, including Carmen (2000) and Pulcinella (2001). In January 2002, Brandsen returned to the Dutch National Ballet, originally in the position of assistant director and resident choreographer. At the start of the 2003 - 2004 season, Brandsen succeeded Wayne Eagling as artistic director. Since then he created Body (2004), Firebird (2004) and Stealing Time (2006). In 2007 he made Hallelujah Junction and in 2008 he premiered his remarquable version of Coppelia. In 2008 he created In Between for the program In Space, a cooperation between nine choreographers. [email protected] Nita Liem Nita Liem studied modern Dance in Amsterdam, where she graduated in 1984. Since she studied among others with Germaine Acogny in Senegal, Afro-American dance in New York and urban styles with dance historian and professor Sally Sommers in 2000.Nita danced herself in several productions: Nanacht in 1988, De Nachtegaal 1990 and Samangat 2000 .From 1994 -2000 she was the founder and artistic director, together with David Greaves, of the youththeatregroup Artisjok Nultwintig, where she realized twelve productions and many more projects and workshops. From 2000 on she is artistic leader of her own company Don't Hit Mama. Until now she created several successful productions: Hier Ben Ik (2000), Guts (2001), Lucid Liminality (2003), Rent a Granny (2004, together with Het 5e Kwartier), Go Big Or Go Home (2007). She also works as a teacher and advisor on the field of young urban dance. www.donthitmama.nl [email protected] Titia Bouwmeester Titia studied Art Management in Utrecht and graduated in 1993 on Theatredesign at the Art Academy in Groningen. From 1989 -1999 she worked as a teacher visual arts education, among others for Krater in Amsterdam Southeast and for Stichting Buitenkunst. From 1997 tot 1999 she was artistic membre of staff for a youththeatrecompany Kalebas (Wijnand Stomp). Titia worked from 1991-1998 as a theatremaker and visual artist for several companies like Dogtroep, Artisjok Nultwintig, Kalebas, Vis-a-Vis, Munganga and Het Filiaal. She became the artistic leader and director of Dogtoep from 1999 -2003 and since 2004 she is the artistic leader of 5eKwartier and specializes in community projects. www.5ekwartier.nl [email protected]