Jac van Steen (conductor)

You are of Dutch origin and therefore I am starting by asking about the Amsterdam opera ensemble – their wonderful productions in just as great modern theatre. According to you, what is the reason behind such great quality of local performances? And is that wonderful theatre seen as such by the artists performing there?

The Amsterdam operatheatre is nowadays an international temple , both for audiences and for musicians. Being able to conduct in this house from the very beginning I witness the fact, that the big opposition as a buildinbg at this very centered spot in town , this instutute manifests itself as one of amsterdam’ s or better Europe’ s cultural centre for opera and ballet.

I am sure every !!! artist enjoys the buzzing atmosphere of this place as well as the enormous energy that has been invested to make it all work at the highest level. We consider it as a privelege to make music overthere.

Throughout the eighties and nineties, you were the musical director of the Het Nationale Ballet in Amsterdam for five years, if I recall well. When you look back, any good memories from that time? What can you tell us about that ballet ensemble? Is it just as good as the opera one?

There are many good memories of my time with the dutch national ballet: first of all the enormous energy of the dancers and staff: the fact that they give their whole being for the dancing – art in the awareness of o pretty short timeslot in life (till their 35-40th year) made me feel having to do the same: the energyboost never left me and helped me survive in the busy conducting-career.

Furthermore the reperoire with major works by Stravinsky, Ravle, Prokofiev and ofcourse Tsjaikovsky, but also lesser known music used for ballet as there are Alban Berg’ s violinconcerto , or Beethoven’ s 7th or Strauss 4 last songs!!!! never got out of my performing life in concert venues….

And the endless repeats of the programs made the repertoire feel really belonging to one’s self.

You have been artistically active in Germany for many years now, where many a Czech opera lover visit. Certainly some of them remember you as a director of the Staatskapelle Weimar and Deutsches Nationaltheater Weimar. Is there any production from that era that you would like to fondly recall for us?

In Weimar unforgetable was Janacek’s cunning little vixen: modern for the majority oif conservatives in the city and in the theatre, difficult to play even for this world class orchestra : in short: a challenge.

Also the sound of a Wagner in Weimar is a constant returning point of joy: here I learnt how to perform this music the sound being rich, warm , well timed and very authentic: don’ t forget : Liszt was Wagner’ s biggest advocat: he conducted Lohengrin and I used his bowings…!!!

When talking about Weimar, does their orchestra Staatskapelle Weimar also follow the usual German practice of performing both in the opera and the symphony? Do you see any advantages or disadvantages of such arrangement? I am asking because such practice does not exist in the Czech Republic.

The german repertoire-system is unique in the world: every selfrespecting city takes responsability for a theatre – program:Almost every day audiences can enjoy opera , ballet, play and concerts.Bur it being a 19th or early 20th century relic, the competion of modern times with TV, Internet-downloads DVD etc make the competion enorm big and therefor some cities struggle to survive: nvertheless the support for the arts is big.

A repertoire theatre needs a good urban infrastucture in the hope audiences keep coming in.

Weimar – like dresden , leipzig etc- do both opera and concerts , even abroad-touring which is an extra impuls for symfonic quality. As a GMD we are responsible for a good balance in being a servant in the theatre and playinf concerts on the highest possible level. Both discipines should benefit from each others specialities.!!!

Currently, you are the general musical director in Dortmund. Could you introduce us to your opera ensemble? Namely regarding the cast, repertoire, number of premieres. And what else is part of your professional duties there?

To find information about the dortmund ensemble I would advise to go to our website: then it will be easy to find all the names and programs you need.

The duties of a GMD in these times in Dortmund (and I guess everywhere else sort of the same:)are manyfold: Sponsoring-activities, Educationwork, Meetings, Auditions , Press-info, writing on music: it is all part of the wide spectrum. Unfortunately making music is only half of the job. But with a good team around oneself it is an ever joy…

The opening night of Der fliegende Holländer in Dortmund is just behind you. How was it received? Looking at some pictures, it does not really resemble classical production. Are you not disturbed by occasional arguments about modernization of the opera scores, so typical of German theatres?

To be honest: I am very ! proud of my Hollander: The musical side of this production is very well received(as was Lohengrin!!). Dortmund can build on a rich Wagnertradition as well as Weimar. The score is briljant and I think we were able to underline the geniality of the music.

Regie-Theatre is a hot topic and in the given short time I wont go into details.

From the conductor’ s point of vieuw I will fight for the MUSIC-theatre and not for the THEATRE-music: one should not forget where its all about. Mind you: nothing against modern, contemporary interpretation but a lot against unmusical, therefor bad staging.

You have frequesntly conducted the best British orchestras. Would you see any significant difference between the sound of German and British orchestras? And more recently, would you not say that any potential differences are in the process of disappearing due to globalization?

The aspect of identity is a big issue in our modern world.

Globalisation takes place: in my Dortmund orchestra 26 nationalities are present, but: the sound of the orchestra is only one. Orchestra’s all over the world mainly keep there identity as a unique form of being.

I conduct a lot in Germany and a lot in the UK: two completely different worlds of playing, and being dutch I find myself right in the middle: my task to bring the good elements of one style over to the other and vice versa, ofcourse related to the repertoire.

Music is beyond all discussioins of race and preference: the score is the matter….!!!

You will be coming to Prague with a very attractive repertoáre – Mendelssohn, Strauss and Sibelius. Do you feel certain attachment to that repertoire? Or is there anything else that you love more?

Programming is like cooking a good mailk for your best friends: every program should bring something special at least by the combination of the works. To prague I bring one of the greatest symfonic composers ever: Sibelius : a master in exploring orchestral sounds and nature: My experience with this music with worldwide renowen orchestras is a joy to bring this music to the great players of the FOK.

Strauss 4 last songs being another highlight of musical-emotional-vocal-orchestral experience: in short a dream to perform.A heavenly score.

Do you have any professional experience with Czech music? Is there a particular piece there that would especially like?

Dvorak I made to composer in focus in my first dortmund-year: so we had the change tp play a lot of this superb music: I am a very big fan of his symfonis music: the vitality and sheer beauty brings me as a conductor alwys in a special slavonic atmosphere. It is not easy to perform but once the work is done the bigger the joy…

Janacek is another composer I come to conduct a lot: the challenge is to find the modernities in his vocabulaire and make it work for a non Tsjech audience… Would love to do more….

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