With future engagements in opera houses including the Metropolitan Opera, Theater an der Wien and the Bayerische Staatsoper, Lotte de Beer is one of the most sought after stage directors of her generation. In 2015 she won the International Opera Award for ‘Best Newcomer’. Since graduating from the theatre school in 2009 she has made productions in opera houses all over Europe including Theater an der Wien, the Dutch National Opera, the Royal Opera Copenhagen, the Aalto Musiktheater Essen, the Münchener Biennale and Oper Leipzig which received great acclaim of audience and press. In the coming seasons she will stage productions including Il Trittico, Die Zauberflöte, La Traviata and Lulu.
As artistic leader of the Dutch company Operafront she wants to reach a new generation and help create the opera of the future. ‘Operafront sincerely believes that music theatre can play an important part in our modern society in which people long again for the big, all-encompassing stories and shared experiences. In a secular society, art could take over from religion and rituals, centralising the important life questions, placing individual feelings in a larger context, overstepping boundaries to re-define them from a more relevant perspective etc. Opera seems to be the perfect discipline for that.’
Lotte studied at the Regieopleiding of the Hogeschool voor de Kunsten, Amsterdam and started her career being a so called ‘Meisterschülerin’ of Peter Konwitschny. His understanding of a detailed ‘Personenregie’, which is always based upon the music as most important subtext, is one of the returning elements in her stagings. She tries to leave the tradition of ‘Regietheater’ behind and searches for different ways in every piece to tell the story to an audience of the 21st century without necessarily forcing it in a ‘modern’ shape. ‘Theatre is communication so if an audience does not understand what you are portraying, you have to find a different language to tell your story. The search for new audiences is one of the main missions of artists nowadays. If we don’t find a connection with the people for whom we are making our art, we will lose our right to exist. On the other hand, art has a unique position outside the laws of commerce where it can surprise, move, arouse and stimulate without being forced into the iron laws of supply and demand. Making our works accessible without losing its core, that is the challenge of the opera of tomorrow.’