European Heritage Awards Ceremony Programme

2011

EUROPEAN HERITAGE AWARDS CEREMONY

PROGRAMME 1 0 J u n e 2 0 11

W E L C O M E 2 0 1 1 C E R E M O N Y

European Heritage Awards

A W A R D S

C e r e m o n y 2 011

H E R I T A G E

Committee of Honour: ■ ■ ■

E U R O P E A N

■ ■ ■ ■ ■ 2

Hedy d’Ancona Jean-François Blarel Joop van Caldenborgh Janine van den Ende Eberhard van der Laan René van der Linden Maya Meijer-Bergmans Liesbeth van der Pol

■ ■ ■ ■ ■ ■ ■ ■

Alexander Rinnooy Kan Onno Ruding Willem Stevens Gyula Sümeghy Frans Timmermans Ernst Veen Professor Pieter van Vollenhoven Eva-Maria Westbroek

W E L C O M E

It is a real honour and pleasure to welcome you at Het Concertgebouw for this exceptional European cultural evening. We are proud that so many professionals, volunteers and lovers of heritage are assembled here tonight to join us for a European celebration of the ‘Best in Heritage’. Both the European Union and Europa Nostra attach enormous value to this event, which has become an undisputed highlight of Europe’s yearly cultural calendar.

Getty Images - Frazer Harrison

Welcome

C E R E M O N Y

2 0 1 1

We very much look forward to introducing you to the 27 winners of the 2011 ‘European Union Prize for Cultural Heritage / Europa Nostra Awards’ and revealing the names of our six ‘Grand Prix’ laureates. This year’s winners come from no less than 13 different countries from all corners of Europe. Due to their remarkable skills, originality and dedication, all the winners are ‘powers of example’ to the world of cultural heritage in Europe and beyond. It is fitting that the awards are presented in the magnificent setting of the iconic Concertgebouw building, a temple of architecture and music.

A W A R D S

Another thrill is that we are able to present a rare performance of “Don Sanche, ou le Château de l’Amour”, the only opera composed by Franz Liszt, whose 200th birthday anniversary we commemorate this year. In this way we also wish to mark the Hungarian Presidency of the EU. We are very grateful for the enthusiasm with which the European Opera Centre and the European Union Youth Orchestra, conducted by Laurent Pillot, responded to our invitation to perform in Amsterdam tonight.

H E R I T A G E

Naturally, a word of sincere thanks is due to the numerous public and private supporters and many dedicated volunteers who enabled us to create such a splendid programme.

Androulla Vassiliou European Commissioner for Education, Culture, Multilingualism and Youth

E U R O P E A N

We wish you a most inspiring and enjoyable evening in celebration of the best of Europe’s cultural heritage.

Plácido Domingo President of Europa Nostra

3

Programme

EUROPEAN HERITAGE AWARDS CEREMONY 2011 PART I (18.30 – 20.00)

P r e s e n t a t i o n o f t h e E u r o p e a n U n i o n P r i z e f o r C u lt u r a l H e r i t a g e / E u r o pa N o s t r a A w a r d s 2 011 Master of Ceremony: Mrs Sneska ˘ Quaedvlieg-Mihailovic, ´ Secretary General of Europa Nostra Arrival of H.R.H. Princess Margriet of The Netherlands

P R O G R A M M E

Welcoming words by Professor Alexander Rinnooy Kan, Chairman of the Board of Trustees of Het Concertgebouw Halbe Zijlstra, Dutch State Secretary of Education, Culture and Science Opening address by Androulla Vassiliou, European Commissioner for Education, Culture, Multilingualism and Youth

2 0 1 1

Presentation of the Awards for Category “Conservation” to be introduced by Professor Philip Geoghegan, Chairman of the Jury

C E R E M O N Y

Presentation of the Awards for Category “Research” to be introduced by Dr. Arch. Ioanna Steriotou, Vice-chair of the Jury

A W A R D S

Presentation of the Awards for Category “Dedicated Service” to be introduced by Alexander Fürst zu Sayn-Wittgenstein-Sayn, Chairman of the Jury Presentation of the Awards for Category “Education, Training and Awareness-raising” to be introduced by Professor Emil Hädler, Chairman of the Jury

H E R I T A G E

Announcement of Grand Prix winners by Androulla Vassiliou and Maestro Plácido Domingo

E U R O P E A N

Announcement of the winner of the Europa Nostra Members Choice Award

by Denis de Kergorlay, Executive President of Europa Nostra Closing address by Maestro Plácido Domingo, President of Europa Nostra Musical Intermezzos during the Ceremony: Simone Lamsma, violin Bach Sarabande from the second Partita Ysaye Sonata No. 3 Ballade 4

Programme

EUROPEAN HERITAGE AWARDS CEREMONY 2011 PART II (20.30 – 21.30)

D o n S a n c h e o u L e C h â t e a u d e l’A m o u r Music by Franz Liszt Libretto by Théaulon de Lambert and de Rancé, based on a story by Jean-Pierre Claris de Florian

P R O G R A M M E

Soloists of the European Opera Centre Don Sanche a knight Juraj Holly tenor Alidor a magician Shadi Torbey baritone Elzire a princess Anaïk Morel mezzo-soprano Zélis her maid Ingeborg Gillebo mezzo-soprano Page Ingeborg Gillebo

E U R O P E A N

H E R I T A G E

A W A R D S

C E R E M O N Y

© RMN Agence Bulloz

2 0 1 1

European Union Youth Orchestra Conductor: Laurent Pillot

The programme will end with the intonation of the European Anthem.

5

Conductor L AURENT PILLOT

H E R I T A G E

A W A R D S

C E R E M O N Y

2 0 1 1

C O N D U C T O R

Laurent Pillot has had an association with the European Opera Centre since 2005. As Head of Singer Development and Artistic Programme Advisor he hears each year young singers from all over Europe. To date European Opera Centre auditions have brought to the Centre young people from 35 European countries who aspire to enter the operatic profession.

Laurent Pillot was the founding Music Director of the Young Artists Programme of the Bavarian State Opera in Munich and previously Associate Music Director of the Los Angeles Opera. There he worked alongside Plácido Domingo and Kent Nagano, conducting productions including Puccini’s Madama Butterfly, La Bohème, and Tosca and Strauss’ Ariadne auf Naxos. He has been the Music Director of the Lyon-Villeurbanne Symphony Orchestra since 1986, and has worked with numerous orchestras including the New York City Opera Orchestra, l’Orchestre National de Lille, l’Orchestre Philharmonique de Montpellier, l’Orchestre de l’Opéra National de Lyon, l’Orchestre de Bretagne, Orchestra del Teatro Regio di Torino, I Pomeriggi Musicali de Milano and Spain’s Seville and Valencia Orchestras.

Two years ago, Laurent Pillot conducted the inaugural Europe Day Concert in London – the first partnership between the European Union Youth Orchestra and the European Opera Centre – an event repeated in 2011. Later this month, he will conduct l’Orchestre de l’Opéra National de Lyon in the première of the French version of The Cunning Little Vixen – the awardwinning BBC animated film instigated by the Centre: a big-screen showing is accompanied by live orchestra, an experience already undertaken by Laurent Pillot with the Hallé orchestra and to be repeated next season with the Royal Liverpool Philharmonic Orchestra. Versions of the film in Catalan, Czech, French, and Spanish – alongside the original in English – have all been overseen by Laurent Pillot with European Opera Centre singers; a formula also to be followed for planned adaptations in German and Polish. Laurent Pillot specialises in 19th century French opera and his performances at the Borden Auditorium, New York of Berlioz’s Beatrice et Benedict and of Massenet’s Cendrillon received warm acclaim from the American press.

CONDUCTOR'S NOTE

E U R O P E A N

Don Sanche is a remarkable first opera, the more so by someone so young. The young Liszt had an instinctive understanding of theatre and of the balance of musical numbers needed to produce a successful operatic work. It is our loss that – while he went on to conduct opera, to write about it and to transcribe many operatic numbers for piano – he never returned to the genre as composer.

Liszt was perhaps not well guided by his librettists. So for this occasion we present some of the best music in an order intended to draw out the real sense of drama in the work. We have kept all the material for orchestra alone and reordered some of the best vocal writing. I hope you will be sympathetic to our approach.

We take great pride in dedicating tonight’s performance to Maestro Plácido Domingo on the occasion of his 70th birthday.

6

Soloists

I NG E B O R G G ILLEBO comes from Norway and is singing in The Netherlands for the first time. After graduating from the Norwegian Academy of Music, she studied at the Opera Academy in Copenhagen.

Ingeborg recently made her début at the Royal Danish Opera as Margret in Wozzeck. At the end of last year, she was warmly praised as Cherubino in Le nozze di Figaro at the Norwegian National Opera, and will return there this Autumn to perform Rosina in Il barbiere di Siviglia.

2 0 1 1

S O L O I S T S

˘ ’ (Slovakia) in 1987. After initial study at J URAJ H OLLY was born in Sala the Conservatoire in Bratislava, he continues his studies at the Academy of Music there. His success in competitions includes a special award made at the Belvedere last year. He has already sung in concerts in Austria, the Czech Republic, Germany and Hungary, as well as in his native Slovakia; has toured to Japan and Singapore; and has appeared at festivals including della Valle d’Itria and Schleswig-Holstein. Juraj is making his Dutch début in the title role of Don Sanche.

A W A R D S

C E R E M O N Y

A NAÏK M OREL was born in Lyon and after studies there joined the Opera Studio of Bayerische Staatsoper. She sang the title role in the European Opera Centre’s performances of L’enfant et les sortilèges with Kent Nagano and Orchestre symphonique de Montréal. Other projects with the Centre include the new French version of the animated film of The Cunning Little Vixen, and Offenbach’s Un mari à la porte with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra – a CD of which will be issued this summer. Anaïk recently made her début at Teatro alla Scala in Milan at the invitation of Daniel Barenboim.

E U R O P E A N

H E R I T A G E

S H A D I T O R B E Y comes from Belgium and graduated in Roman Literature at the University of Brussels. He subsequently studied at the Royal Conservatory, completing his training at the Opera Studio of la Monnaie and with José van Dam at the Chapelle Musicale Reine Elisabeth. He has performed in both opera and oratorio, most recently in Liverpool for the European Opera Centre with the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko. The recording of Mendelssohn’s Die Hochzeit des Camacho is due to be issued next year.

(Photographs are taken from the performance of Don Sanche given for Europe Day on 9 May 2011 in London.)

7

European Opera Centre

C E N T R E

The European Opera Centre is one of a handful of organisations directly funded by the European Union and designated cultural ambassador – remaining the only one for opera. The Centre’s launch in 1997 by major opera companies in Denmark, France, Italy, Spain and the UK followed extensive consultation with the European Parliament and European Commission, which have provided continuing support.

O P E R A

The principal aim is to help young Europeans from education to employment in opera. Singers selected have come from 35 European countries to benefit from training in a series of what we intend to be a series of imaginative and distinctive performance and recording projects.

Many of these singers have gone on to undertake major roles in Europe’s opera houses.

C E R E M O N Y

2 0 1 1

E U R O P E A N

The Centre also aims to extend the reach of opera – both by reviving works unjustifiably neglected and by devising new formats for the art-form. It commissions new editions from original research: the performances of the original version of Donizetti’s Emilia di Liverpool – given by the Centre to open Liverpool’s’ year as European Capital of Culture – were almost certainly the first since the work’s première in 1824; Rameau’s Dardanus with new material can be heard in new version in Limerick in June; and the first performance and recording of Mendelssohn’s Die Hochzeit des Camacho in the new edition for the Leipziger Mendelssohn Ausgabe have just been undertaken by the Centre’s singers with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra.

H E R I T A G E

A W A R D S

A decade ago, the Centre instigated a project taken up by BBC Television to create an animated film of Janácek’s The Cunning Little Vixen. It was the ambition of the Centre’s President – Kent ˘ Nagano – to take opera to people who might otherwise never experience it. Kent Nagano conducted the Deutsches Symphonie-Orchester Berlin for this award-winning project which now has seven different language versions either completed or in production recorded by different casts of young European singers selected and trained by the Centre. Several million people around the world have now experienced a great European twentieth century opera through screenings of this film on television, through DVDs or in performances with live orchestra.

E U R O P E A N

It is entirely consistent with the Centre’s work that we bring you this evening music from Liszt’s Don Sanche; and it is an enormous pleasure to be performing for the first time at the Europa Nostra Congress with the European Union Youth Orchestra – the most senior of Europe’s cultural entities.

Kenneth Baird Managing Director 8

O R C H E S T R A

European Union Youth Orchestra

Y O U T H

The European Union Youth Orchestra unites Europe’s most talented young musicians under some of the world’s most famous conductors, in an orchestra which transcends cultural boundaries and performs all over the world to the highest international standards. The Orchestra has won an outstanding musical reputation and regular comparisons with the world’s finest orchestras.

E U R O P E A N

U N I O N

The Orchestra is composed of up to 140 players representing all 27 Member States of the European Union. The players are selected each year from around 4,000 candidates aged between 14 and 24, who take part in auditions throughout the EU. The unique experience the EUYO provides for its young musicians is not only socially stimulating and culturally enlightening, but is invaluable to their future careers. Over 90% of EUYO members go on to build successful professional careers in music.

E U R O P E A N

H E R I T A G E

A W A R D S

C E R E M O N Y

2 0 1 1

A Cultural Ambassador for the EU, the EUYO was founded in 1976 by the late Lionel Bryer and Joy Bryer, with a view to creating an ensemble that would represent the European ideal of a community working together to achieve peace and social understanding. Maestro Claudio Abbado, the Orchestra’s Founding Music Director and its first President, the late Sir Edward Heath, helped to establish the Orchestra as a worldclass institution.

Claudio Abbado was succeeded as Music Director in 1994 by Bernard Haitink, who in turn was succeeded in 2000 by the EUYO’s present Music Director, Vladimir Ashkenazy. H.M. Queen Beatrix of the Netherlands is one of the Orchestra’s Honorary Patrons, and European Commissioner Androulla Vassiliou is the head of the Orchestra’s Honorary Committee, which includes Ministers of Foreign Affairs and Culture from the 27 European Member States.

Throughout its history, the EUYO has provided a showcase for Europe’s musical talents across the globe, from New York to Nicosia, Seoul to São Paolo, Moscow to Mumbai. The EUYO has performed on numerous occasions in Amsterdam and will return to the Concertgebouw on 9th August 2011 with Jaap van Zweden, for a performance of Janácek’s ˘ Sinfonietta and Bruckner’s Symphony No 4 in E flat.

The EUYO is supported with funding from the European Union’s Culture Programme and from the 27 Member States of the European Union, with additional funds from the corporate sector, trusts and foundations and private individuals.

9

Synopsis DON SANCHE

The magician Alidor rules over a castle that he has created in celebration of love. Don Sanche is hopelessly in love with the Princess Elzire but she is engaged to marry the Prince of Navarre.

When Don Sanche attempts to enter the castle he is prevented by a Page, who explains that only couples in love are permitted within its walls. Alidor tells the story of how he built the castle. He tells a despairing Don Sanche that Elzire is on her way to Navarre but promises to divert her from her intended route.

S Y N O P S I S

Alidor conjures up a storm. Elzire and her maid Zelise attempt to take refuge in the castle but they too are refused entry by the Page. Elzire rejects his suggestion that she could enter the castle if she consents to do so with Don Sanche.

2 0 1 1

Zelise reproaches Elzire for her coldness but to no avail. Alidor decides to help Don Sanche.

He calms the storm and lulls everyone into an enchanted sleep.

C E R E M O N Y

Disguising himself as Romualde, a knight, Alidor threatens Elzire and challenges Don Sanche to a duel. They fight and Don Sanche is badly wounded. Thinking that he is dying he declares that his last wish is to bid farewell to life at the side of his beloved Elzire. She is overcome by remorse and finds that she returns his love.

E U R O P E A N

H E R I T A G E

A W A R D S

Alidor abandons his disguise and heals Don Sanche. United at last, Don Sanche and Elzire advance together into the castle, to general rejoicing.

10

Background GERHARD KRAMMER

In 1824, at the age of 13 years, Franz Liszt (1811-1886) was commissioned to write an opera by the Royal Academy of Music, Paris. The young virtuoso had arrived in the French capital in December 1823 but was rejected by the Conservatoire de Musique due to strict regulations only put in place weeks before. His father Adam Liszt (1776-1827) continued to promote “petit Litz”as a prodigy. And it was Adam, too, who insisted on the commission for the opera.

Liszt’s performances on the piano were compared with those by Mozart, and therefore it was a logical next stage to compose an opera: to be totally in the footsteps of young Mozart.

B A C K G R O U N D

Probably on the recommendation of Liszt’s teacher Ferdinando Paër (1771-1839) the duo Emmanuel Théaulon and de Rancé wrote the libretto to the opera. The plot of the “opéra féerie en un acte” is dull and weak but redeemed by action and dramaturgy that would be inspiring for a teenage boy.

C E R E M O N Y

2 0 1 1

The world première was on Monday 17 October 1825. It was five days before Liszt’s fourteenth birthday. Adolphe Nourrit sang the part of “Don Sanche”, Rodolphe Kreutzer was the conductor. The other singers were Mr. Prévost and Mrs. Grassari, Jawarek, Frémont and Sèvres. As it was the tradition of that time, the opera was combined with a ballet (La Dansomanie, scene

by Gardel, music by Méhul). Three more performances followed, then the opera disappeared from the programme of the Opera house.

A W A R D S

D o n S a n c h e i n t h e 2 0 t h a n d 21 s t c e n t u r i e s The work was recorded by Swiss Radio (Studio Bern) in winter 1957 with Swiss conductor Luc Balmer. In 1977 the first stage performance after the première took place: as part of a Liszt festival in London, Chris de Souza produced the opera, and it was conducted by Guy Woolfenden. In the Liszt centenary (1986) the first and only record (later CD) was produced

by Hungaroton (conductor: Tamás Pál).

E U R O P E A N

H E R I T A G E

In 2011 one has several opportunities to get to know Liszt’s only existing opera (Budapest Spring Festival; Miskolc Opera Festival; Liszt in Bayreuth). Tonight’s performance brings a concert-version of this rare opus. Conductor Laurent Pillot has chosen the selection of the numbers in order to give an overall impression of the whole work. This performance by the EUYO, EOC and Laurent Pillot is a very important contribution to rediscover an almost unknown facet of Franz Liszt.

Gerhard Krammer (1965) is an Austrian composer and musician. He has edited and published critical comments on ‘Don Sanche’ and composed new recitativos to ‘Don Sanche’ as a commission of the City of Bayreuth for a stage performance in 2011.

11

A W A R D S

C E R E M O N Y

2 0 1 1

O R C H E S T R A

Orchestra Concert master ■ Sarah Sew

British

Violin ■ Nihat Agdach ■ Eleanor Bartlett ■ Gemma Bass ■ Emily Blogg ■ Chloé Burlet ■ Emanuela Buta ■ Alice Costamagna ■ Patricia Estebaranz ■ Tessel Hersbach ■ Juliette van Kalmthout ■ Liz Lamberton ■ Georgina Leo ■ Rebecca Minio-Paluello ■ Wiesje Nuiver ■ Cristana Ocaña Rosado ■ Willemijn Steenbakkers ■ Mihai Tanasescu Kadar ■ Marijke Tjoelker ■ Bas Treub

Cypriot British British British Belgian Romanian Italian Spanish Dutch Dutch British British British Dutch Spanish Dutch Spanish Dutch Dutch

Viola ■ León van den Berg ■ Marc-Antoine Bier ■ Matthew Maguire ■ Lucia Ortiz ■ Sofie van der Schalie

Dutch French British Spanish Dutch

H E R I T A G E

Cello ■ Suzanne van Duuren ■ Emily Francis ■ Romain Lapeyre ■ Marjolein Nieuwenkamp ■ Isabel Vaz ■ Rebecca Wise

E U R O P E A N

Double bass ■ Siret Lust ■ Andrei Mihailescu ■ Vera Pereira ■ Christopher Sargeant 12

Flute Helen Wilson ■ Emiliano Zenodocchio

British Italian

■

Piccolo Hannah Watts

British

Oboe Roberto Henriques ■ Jennifer Melville

Portuguese British

Clarinet Benjamin Christ ■ Michèlle Geerlings

French Belgian

Bassoon Magnus Koch Jensen ■ Renée Knigge ■ Raquel Saraiva

Danish Dutch Portuguese

Horn Hannes Arnold ■ Alex Hambleton ■ Charles Hutchinson ■ Jonathan Wegloop

Austrian British British Dutch

Trumpet Liz Jones ■ Sam Kinrade

British British

Trombone Stephanie Conway ■ Matthew Lewis

British British

■

Bass trombone Samuel Freeman

British

■

Timpani Robert van den Bosch

Dutch

Harp Claire Iselin

British

■

■

■

■

■

■

■

Dutch British French Dutch Portuguese Dutch

Estonian Romanian Portuguese British

■

Thanks T o n i g h t ’s p e r f o r m a n c e o f L i s z t ’s o p e r a “Don Sanche” was also made possible thanks to the following o r g a n i s a t i o n s a n d i n d i v i d u a l s w h o k i n d l y “a d o p t e d ” one or more young European musicians

T H A N K S

Embassy of France Embassy of Norway Meijers Makelaars in Assurantiën Meyer Monitor B.V. P.J. Rogaar Stichting Stichting Pot Family Foundation

E U R O P E A N

H E R I T A G E

A W A R D S

C E R E M O N Y

2 0 1 1

Sir Christopher Audland (UK) HRH the Duke of Bavaria (D) Mrs Gunilla Carlbom (UK) Dott. Paolo Dardanelli (I) Dott. Federico Guasti (I) Mr Hans Michael Jebsen (DK) Mrs Saskia Kist-de Koster (NL) Mrs Joosje de Koster (NL) Mr Patrick de Koster (NL) Mrs Renate Küchler (D) Mrs Valkier-Schreurs (NL) Mr and Mrs Erik Schultz (NO) Mr Jac Veeger (NL)

13

E U R O P E A N

H E R I T A G E

A W A R D S

C E R E M O N Y

2 0 1 1

T H A N K S

SUPPORTERS

ASSOCIATES

Flower arrangements by

14

T H A N K S 2 0 1 1 C E R E M O N Y E U R O P E A N

H E R I T A G E

A W A R D S

For more information about all Laureates, please scan this QR Code.

Each Laureate will receive, in addition to the certificate, their “personal� QR code to disseminate more widely among the younger audience the knowledge about their award-winning achievement.

With special thanks to:

15

THE EUROPEAN UNION PRIZE FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARDS

has been organised by

Europa Nostra since 2002. This awards programme is supported by the European Commission in the framework of the EU Culture Programme. Through the awards and their “Power of Example”, we seek to promote excellence and stimulate the trans-frontier exchanges of best practices in the heritage field.

EUROPA NOSTRA is the Voice of Cultural Heritage in Europe.

It brings together and represents 250 non-governmental and non-profit orga-nisations with a combined membership of at least 5 million citizens from all over Europe. It also counts on the direct support of over 1500 individual members and more than 150 associate public authorities and corporations. Its vast network of professionals and volunteers is committed to safeguarding Europe’s cultural and natural heritage for present and future generations.

Pa r t n e r s

© Photo: Dhr. Leander Lammertink