BRUSSELS PHILHARMONIC, RUFUS WAINWRIGHT & CLARK RUNDELL

Welcome to the 19th edition of Klarafestival! The theme Crossroads - Come Together keenly evokes the convergence of the audience, the artists and their inspiring concerts. A meeting place where the leading lights of international classical music enter into dialogue with challenging creations and young talent. 

The inspiration for this edition comes from festival artist Claron McFadden. As she told us in an interview, “I stand at a crossroads where styles and generations cross, meet, and collide”. This notion forms the core of the programme. We hope you will enjoy Klarafestival as a sanctuary of hope, polyphony and beauty in all its forms. As a place where the familiar takes on new meaning and where new experiences take you by surprise. 

Jan Raes, chairman

Joost Fonteyne, intendant

Chantal Pattyn, manager Klara

The truth will always out

Rufus Wainwright (°1973) made his first forays into opera at the age of thirteen. Not yet as a composer, but as a young fan full of curiosity and ambition. After a classical music summer camp, he decided to take the obvious path after all, as a singer and pianist on the North American folk circuit. Both his parents – Kate McGarrigle and Loudon Wainwright III – were musicians, so Rufus played on international stages when he was only in his teens, alongside his mother, aunt and sister. Music flowed through their veins, but like a wild Canadian salmon, Wainwright could not resist swimming against the current. Opera, it turned out, was spinning like a five-letter top around his youthful mind. Lalo’s Le Roi d’Ys was his favourite LP, and he acted out scenes from Puccini’s Tosca as plays at home. Eight studio albums later, after international tours and his first steps into film music, Wainwright turned his predilection for opera into an impressive achievement. He wrote his first musical drama, Prima Donna, in 2009. He attended the première dressed up as Verdi, as a nod to the plays he had put on as a child. In the meantime, he has reached a total of 11 studio albums and also has a second opera under his belt: Hadrian (2018). This evening, you will hear the key scenes from that opera with photography by Robert Mapplethorpe projected behind the cast. For the second half of the concert, Wainwright has curated a selection of original songs.

From baroque pop to opera

It was no surprise that Wainwright wanted to get his teeth into the genre of opera. He has allowed classical music to wind its way through his work as a songwriter for a long time, sometimes in a clearly recognisable form but more often without reference. Franz Schubert’s song ‘Nacht und Träume’ has been revived in the 2023 song of the same name. Rufus hums over the piano part, dispenses with the singing and lulls us into gentle dreams. Few people would link Giuseppe Verdi with Barcelona, but the quotation ‘Fuggi, regal fantasima’ from Macbeth is unmistakeable in ‘Barcelona’ (1998). This line is sung when Macbeth loses his mind and sees Banquo’s ghost before him. Around the time of ‘Barcelona’, the threat of HIV was the evil spirit in the air. Aside from literal references, Wainwright’s discography presents a successful array of orchestral arrangements in pop music. In the second half of this concert, Brussels Philharmonic puts this to the test with a carefully selected set list, although Wainwright can silence an audience solo, with his untrained baritone voice. His prominent vibrato and impressive range stand out particularly in ‘Beauty Mark’ (1998). In the final verse, he sings, “I think Callas sang a lovely Norma”. However, the tale of Ancient Rome we will discover this evening is a completely different one.

Hadrian

Wainwright’s operas recount personal stories whilst simultaneously revealing relatable inner conflicts. The choice of a historical figure from the first century after Christ may not strike a chord from the very first note, but it is sure to resonate emotionally after four acts. Hadrian tells the story of the eponymous Roman emperor (76-138 CE), who ruled over the Roman Empire when it was larger than at any other point in history and – more importantly still – kept it safe with constructions such as Hadrian’s Wall. It is not the immense scale of his actions that inspired Wainwright, but the greatness of Hadrian’s love. All the historical facts he mentions are a mere backdrop to Wainwright’s fictional, surreal creativity. The composer learned the story from the novel Mémoires d'Hadrien by Marguerite Yourcenar. With the help of the librettist Daniel MacIvor, he has transformed the ancient epic through a postwar interpretation into a colourful, modern ‘soul twister.’

We meet Hadrian on the last day of his life. He is sick. Dying. Is his conscience gnawing at him after the bloody suppression of a Jewish uprising in Judea? Or is he still grieving for his lover, the Greek Antinous, who died in mysterious circumstances? Both Hadrian’s political decisions – against a backdrop of emerging monotheism – and his homosexual relationship with Antinous are given pride of place in Hadrian. Wainwright was exploring his own homosexuality at the same time he discovered opera in his teens, and he feels entirely in his element in this story. At the beginning of the Christian Era, homosexual relationships between masters and younger subordinates were commonplace among the Roman aristocracy. The relationship between Hadrian and Antinous is unusual in that the latter was a free man in the same generation as Hadrian. For six years, he accompanied the emperor as his equal on his journeys around the Roman provinces. Hadrian’s fascination with Greece led to the nickname Graeculus (‘Little Greek’). His love for Antinous was an embodiment of his appreciation of Greek culture, but it did not last long: Antinous drowned in the Nile, in suspicious circumstances. You can almost see Hercule Poirot’s eyes light up.

Death on the Nile

Two gods appear at Hadrian’s deathbed in the first act: his godparents Plotina and Emperor Trajan, Hadrian’s predecessor. Plotina begs the current emperor to use the last of his strength to put down the rebellion in Judea, because if monotheism were to gain the upper hand there, they would cease to exist as gods. She succeeds in persuading Hadrian by granting him a single visit to the past, for two nights and no more. He hopes to use this time to find out how Antinous died. In the second act, Hadrian relives one of his most meaningful memories: the first encounter with Antinous in Greece, about seven years earlier. He discovers who the disruptors are who opposed his relationship with Antinous. The warm love that Hadrian’s wife Sabina and childhood friend Turbo initially felt for him is transformed by neglect into cold jealousy. It grows like a carpet of snow, causing an avalanche of bad decisions in the third act. Turbo manipulates Sabina into joining his plan to force the soulmates apart, although she will ultimately withdraw. By that point, it is too late. Antinous still dies, “as a result of fear and betrayal”. There is blood on Turbo’s hands. When the truth floats to the surface like Antinous’ lifeless body, the opera returns to the present day. Hadrian dies and is given a place among the gods as consolation. But how long will they continue to exist, if the rebels in Judea only worship one ‘true’ God?

Was Wainwright able to predict, as a thirteen-year-old, that he would emerge as a genuine composer of operas? That Prima Donna and Hadrian would be inescapable stopovers on his artistic journey? In a retrospective overview, the signs are plain to see: his encounters with Lalo, Verdi, Bellini and Puccini sparked his interest and became a lifelong source of inspiration.

Guillaume De Grieve, translated by Helen White

Brussels Philharmonic

The current Brussels Philharmonic was founded in 1935 as the symphony orchestra of the Belgian public broadcast service and has been an independent institution since 1998. The orchestra is in residence at Flagey and has been led since 2022 by music director Kazushi Ono, who, together with the orchestra, is committed to bringing both the symphonic repertoire and contemporary music to a wide audience. In addition, the Brussels Philharmonic has an affinity for film music: it has recorded several soundtracks and even won an Oscar in 2012 with the music for The Artist. Outside of Flanders and Brussels, the orchestra has played on international stages such as Carnegie Hall New York, the Philharmonie de Paris, the Wiener Musikverein and the Großes Festspielhaus Salzburg.

Rufus Wainwright

Canadian-American Rufus Wainwright is considered one of the greatest singers, songwriters and composers of his generation. In his music, which is sometimes characterised as 'popera' or 'baroque pop', he combines different styles from classical music and pop music. Wainwright has collaborated with leading musicians such as Elton John, Jessye Norman and Paul Simon, and with various directors and visual artists. In addition to eleven studio albums, which received several nominations and awards, he has written music for film and theatre and composed two operas. In 2024, his first musical, Opening Night, was created in collaboration with Ivo van Hove.

Clark Rundell

American conductor Clark Rundell is known for his versatility. He conducts various types of music from different periods, from classical to jazz and tango, and has a preference for large-scale projects. Rundell has worked with orchestras and ensembles such as SWR-Sinfonieorchester Baden-Baden, Asko|Schönberg and Klangforum Wien, and with renowned jazz musicians such as Elvis Costello, Esperanza Spalding and the Wayne Shorter Quartet. He has also conducted premieres of work by composers such as Steve Reich, Julia Wolfe and Louis Andriessen. His opera performances mainly include 20th-century repertoire, in addition to creations by James MacMillan, Orlando Gough and Oscar Bettison, and others.

Daniel MacIvor - libretto

Daniel MacIvor is a Canadian actor, playwright and theatre and film director. Together with Michelle Jelley, he founded the theatre company Da Da Kamera in 1986, which focused on the creation of new theatre, including numerous plays by MacIvor himself. His best-known works are solo performances in collaboration with director Daniel Brooks, in which he explores the boundaries of theatre by playing different characters and interacting with the audience. MacIvor has co-written several independent films and appeared as an actor in various films and television series, including director Laurie Lynd's early films and the Canadian sitcom Twitch City.

Davóne Tines

American bass-baritone Davóne Tines is known for his creations of roles in newly composed operas. He made his international breakthrough with his leading role alongside Philippe Jaroussky in the premiere of Kaija Saariaho's opera Only the Sound Remains (2015). He then sang roles in opera creations by Matthew Aucoin, John Adams and Terence Blanchard, among others. He actively opposes racism and discrimination and in 2020 made the music video VIGIL about Breonna Taylor, an African-American woman who was killed as the result of police brutality. In recognition of the combination of his musical qualities and his activism, he was named a Next Generation Leader by TIME in 2019.

Denzil Delaere

The Belgian tenor Denzil Delaere studied at the Royal Conservatory of Ghent with Marcos Pujol and Gidon Saks, among others, and continued his training at the International Opera Academy with Guy Joosten. He was part of the soloist ensemble of the Lucerne Opera and of the Young Ensemble of Opera Ballet Vlaanderen. He has also played roles at the Nederlandse Reisopera, the Grand Théâtre de Genève, Opéra National de Montpellier and Opéra Royale de Wallonie. He is co-founder of the ensemble La Chapelle Sauvage, which focuses on concert and oratorio repertoire and with which he has performed works such as Bach's Weihnachtsoratorium and Magnificat. Delaere has a special interest in 20th-century and contemporary repertoire and has performed work by composers such as Olivier Messiaen, Wolfgang Rihm, John Cage and Wim Henderickx.

Iris van Wijnen

The Dutch mezzo-soprano Iris van Wijnen is known for her wide vocal range, which also allows her to perform soprano repertoire. She studied at the Utrecht Conservatory and continued her training at the Opera Studio of the Bayerische Staatsoper. She has sung various roles for opera houses such as the Bayerische Staatsoper, the Dutch National Opera, Théâtre des Champs-Élysées, Festspielhaus Baden-Baden and La Monnaie. For Stadtheater Klagenfurt, she sang one of the leading roles in the world premiere of Il canto s'attrista, perché? by Salvatore Sciarrino. She has also performed various concert works, oratorios and cantatas and given Lieder recitals.

Katrien Baerts

Soprano Katrien Baerts is one of the most important Belgian performers of 20th-century and contemporary music, although she is equally at home in older repertoire. She studied violin and voice at the Royal Conservatory of Brussels, continued her voice training at the Dutch National Opera Academy and reached the semi-finals of the Queen Elisabeth Competition. She has performed roles in contemporary operas by Olga Neuwirth, Beat Furrer and Philippe Boesmans, among others, and sang in premieres by Robert Zuidam, Theo Loevendie, Jan-Peter de Graaff and Tony Prabowo. She has also worked with orchestras and ensembles such as the Concertgebouw Orchestra, the WDR Sinfonieorchester, Klangforum Wien and Ensemble Intercontemporain.

Christian Federici

Italian baritone Christian Federici made his debut in 2016 as Count Almaviva in Mozart's Le Nozze di Figaro at the Teatro Alessandro Bonci in Cesena, where he later also sang the title role of Don Giovanni. In 2018 he won the international singing competitions of the Teatro Lirico Sperimentale ‘Adriano Belli’ in Spoleto and Concorso Toti dal Monte in Treviso. Since then, he has sung for opera houses and festivals such as the Teatro Real de Madrid, Opéra de Marseille, Opernhaus Kiel, Teatro alla Scala, Opera Hong Kong, and the Puccini Festival. He is also active with Lieder recitals and concert appearances, performing works such as Schubert's Winterreise, Schumann's Dichterliebe and Mahler's Kindertotenlieder.

Jörn Weisbrodt

Jörn Weisbrodt is a German film director and artistic director. During his opera directing training, he worked with renowned directors such as Ruth Berghaus, Heiner Müller and Peter Konwitschny. From 2002 to 2007 he was artistic production manager at the Staatsoper Berlin, where he collaborated on creations by Hans Werner Henze and Pascal Dusapin, among others. He later moved to the US to become director of Robert Wilson's artistic laboratory The Watermill Center. Between 2012 and 2016, Weisbrodt was artistic director of Luminato, an international arts festival in Toronto, where he commissioned new work from artists such as Marina Abramović, Lemi Ponifasio and R. Murray Schafer.

Robert Mapplethorpe

Robert Mapplethorpe (1946-1989) was an American photographer best known for his black and white photographs. He made self-portraits, portraits of other artists, photographs of nude models and still lifes with flowers. His work regularly sparked controversy due to its extremely explicit images, such as in his exhibition The Perfect Moment (1989), which featured a series of photos from the New York BDSM subculture. After his death, diverse exhibitions of his work have been mounted around the world, including at the Guggenheim Museum in New York, the J. Paul Getty Museum Los Angeles, the Grand Palais des Champs-Élysées, Xavier Hufkens Gallery and Galleria dell'Accademia di Firenze.

Violin 1 (12)
Vadim Tsibulevsky Concertmeester
Bart Lemmens Solist
Olivia Bergeot Tutti
Annelies Broeckhoven Tutti
Cristina Constantinescu Tutti
Justine Rigutto Tutti
Kristina Rimkeviciute Tutti
Elizaveta Rybentseva Tutti
Anton Skakun Tutti
Alissa Vaitsner Tutti
Gillis Veldeman Tutti
Dante Cáceres

Violin 2 (10)
Mari Hagiwara Aanvoerder
Aline Janeczek Tutti
Eléonore Malaboeuf Tutti
Sayoko Mundy Tutti
Julien Poli Tutti
Julien Olive Tutti
Véronique Burstin Tutti
Zofia Hutnik Tutti
José Manuel Jiménez Garcia Tutti
Anna Zaitseva Tutti

Viola (8)
Yee Ling Elaine Ng Aanvoerder
Griet François Solist
Philippe Allard Tutti
Thi Ngoc Phung Ha Tutti
Agnieszka Kosakowska Tutti
Stephan Uelpenich Tutti
Patricia Van Reusel Tutti
José-Miguel Almeida Freitas Tutti

Violoncello (6)
Karel Steylaerts Aanvoerder
Barbara Gerarts Tutti
Julius Clément Tutti
Sophie Jomard Tutti
Bénédicte Legrand Tutti
Maria Palazon Tutti

Double Bass (4)
Simon Luce Aanvoerder
Thomas Fiorini Tutti
Daniele Giampaolo Tutti
Luzia Correia Rendeiro Vieira Tutti

Flute (3)
Lieve Schuermans Aanvoerder
Sarah Miller Tutti
Jill Jeschek Solist

Oboe (3)
Maarten Wijnen Aanvoerder
Emily Ross Tutti
Lode Cartrysse Solist

Clarinet (3)
Danny Corstjens Solist
Hannelore Vermeir Tutti
Midori Mori Solist

Bassoon (3)
Simon Dallmeier Aanvoerder
Pieter Opsteyn Tutti
Jonas Coomans Solist

Horn (4)
Hans van der Zanden Aanvoerder
Luc van den Hove Tutti
Joost van der Elst Solist
Pierre Buizer Tutti

Trumpet (3)
Ward Hoornaert Aanvoerder
Carmen Estibaliz Collado Castillo Aanvoerder
Diego Hernandez Torres Tutti
Luc Sirjacques Tutti

Trombone (3)
Dani Quiles Aanvoerder
Adrián Castro Capuz Tutti
Tim Van Medegael Solist

Tuba (1)
Bernd Van Echelpoel Solist

Timpani (1)
Gert François Aanvoerder

Percussion (6)
Titus Franken Solist
Stijn Schoofs Solist
Bjorn Denys Tutti
Stef Hesters Tutti
Ruben Martinez Orio Tutti
Gerrit Nulens Tutti

Harp (2)
Eline Groslot Solist
Annelies Boodts Tutti

Piano (1)
Anastasia Goldberg Solist