DE SYNODE ('The Synod', 2019) is the third opera composed by Jan-Peter de Graaff, based on a libretto by Yuri Robbers. Commissioned by Muziektheater Hollands Diep for the celebration of the 400th anniversary of the 'Synod of Dordrecht', the first time in history where democracy was used as a tool to solve a religious conflict within a country. During this time, the country was also on the brink of a civil war between monarchists and republicans.
In the opera, a merchant tries to gain financially from the outcome of the religious conflict by collaborating with both opposite sides of the conflict. Unfortunately for him, both outcome of the religious conflict and the outcome of the political conflict don't go as planned, resulting in him losing his daughter and all his possessions, leaving him to the mercy of his debt owners.
Musically, the opera draws heavily from religious and folk music from The Netherlands in the 1600's, but putting it in an 'anachronistic' context, by using mainly modern instruments. To start a musical dialogue with the present day, this music is frequently contrasted by edgy rhythmic grooves, glacial metallic lines and soaring melodies that unveil the character's true motives and intensions.
Press: "Composer Jan-Peter de Graaff, just in his late twenties, did provide the cast with comfortable, singable lines, which are accompanied, at many times even pierced by multifunctional sound sculptures, performed by the 6-part ensemble Shapeshift. In contrast with spicy tuttis there are subtle pizzicato sections, the tonally oriented idiom always finds a way to keep your attention, not even mentioning the subtle hints at church chorals and 17th century folk songs" - DE VOLKSKRANT - Frits van der Waa
In the opera, a merchant tries to gain financially from the outcome of the religious conflict by collaborating with both opposite sides of the conflict. Unfortunately for him, both outcome of the religious conflict and the outcome of the political conflict don't go as planned, resulting in him losing his daughter and all his possessions, leaving him to the mercy of his debt owners.
Musically, the opera draws heavily from religious and folk music from The Netherlands in the 1600's, but putting it in an 'anachronistic' context, by using mainly modern instruments. To start a musical dialogue with the present day, this music is frequently contrasted by edgy rhythmic grooves, glacial metallic lines and soaring melodies that unveil the character's true motives and intensions.
Press: "Composer Jan-Peter de Graaff, just in his late twenties, did provide the cast with comfortable, singable lines, which are accompanied, at many times even pierced by multifunctional sound sculptures, performed by the 6-part ensemble Shapeshift. In contrast with spicy tuttis there are subtle pizzicato sections, the tonally oriented idiom always finds a way to keep your attention, not even mentioning the subtle hints at church chorals and 17th century folk songs" - DE VOLKSKRANT - Frits van der Waa
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Dramatis Personae:
MAARTEN - Baritone JOHANNA - Soprano JACOBUS - Counter-Tenor FRANCISCUS - Baritone MICHIEL - Counter-Tenor (doubles with JACOBUS) ENGEL - Soprano (doubles with JOHANNA) Instrumentation: ob.ssax/bsax | hp pno(luthéal) | vln. db. Duration: approx 80 mins. Published by Donemus |
First performance:
Berend Eijkhout Renate Arends Joël Vuik Jorne van Bergeijk Shapeshift Ensemble, cond. by Mark Biggins |
Copyrights: Jan-Peter de Graaff, 2024 all rights reserved.