Angel’s Bone

“Stage director Jorinde Keesmaat pulls out all the stops to show captivating music theater that gets under your skin" "And if word of the success of the premiere gets around, it could even happen that younger people are attracted by the total work of art opera."
‘Director Jorinde Keesmaat describes brutally to the limits of what is possible on stage how the slave-owning couple and their customers abuse the angels. Keesmat documents rape and despair in outrage and solidarity with the victims with arousing directness. The fact that such a fate not only affects the two grand piano creatures intended by the score, but is a mass phenomenon, becomes understandable when Keesma places the extras of the house as siblings at their side’
‘Das Publikum applaudiert lange und verlässt die Aufführung erkennbar betroffen. Ein ungewöhnlicher Opernabend, den man so schnell nicht vergisst.’
Naar recentie
Wuppertaler Rundschau

Muziekgebouw aan t IJ (artist in residence)

Rauw en kwetsbaar

Magic Flute in Spanje.

‘La flauta màgica’ inaugura la XXXV Temporada d’Òpera al Principal


Vijf vrouwen over Opera Zuids Zauberflöte

In the living room

Keesmaat regisseert in omroepkoor in woonkamer

Mending Wall

Keesmaat regisseert in Philadelphia
PRISM Quartet's Brilliant, Uncanny 'Mending Wall' Premieres at Roulette

World’s Wife:

O. 2022 Podcast | Afl. 3 - Jorinde Keesmaat (The World's Wife) | Zijn ze nou helemaal bevlogen?
"And the carefully thoughtful interpretation is completed to perfection by the Ragazze Quartet, which is fully integrated into the act - throughout the performance there is not a music stand in sight."
Theaterkrant (2022)
"Baritone and force of nature Lucia Lucas beautifully shapes female rage in The World's Wife." “Speakers in Carol Ann Duffy's witty, chilling, brilliant poems are women telling their version of history and mythology. They are accompanied by the Ragazze Quartet in a staging by Jorinde Keesmaat full of elegant symbolism.”
De Volkskrant (2022)
“Jorinde Keesmaat’s staging of Tom Green’s re-worked music-theatre piece is performed with fabulously assured authority by Lucia Lucas and the Ragazze Quartet.” “There’s something deliberately disorienting about a production in which the astonishing, fiercely virtuosic Ragazze Quartet refuse to sit docile behind music stands, but dance and crawl and laugh and strip off their clothes alongside Lucas at the heart of the action: a witchy conspiracy of women.”
I news **** (2023)
“Lucas’ performance – vocally and theatrically – is never less than mesmerising.” “The Dutch string quartet’s physicality and excellent playing are a potent combination.”
The Stage (2023)
“The quartet are full actors in the drama, and when they pick up their instruments to play (which they do without scores) it feels casual and instinctive, as though they are simply using their instruments to speak along with the text delivered by Lucas.” “Lucas herself gives a tour the force performance, and Green’s writing allows all of her baritone range to be explored[…]”
Music OMH ***+ (2023)
[…]it is an intense theatrical experience, a physical unleashing of emotion and music.” “She [Lucas] is a powerful singer, at her best in her rich lower range but moving too in the quietly controlled upper ranges.” “As well as playing brilliantly - as soloist and as one unit - the instrumentalists become silent actors, perched a top a roof in the opening Little Red-Cap, curled up on beds of earth in Demeter.”
The Times **** (2023
[…] that rare thing nowadays, a totally successful music-theatre piece.
The Guardian **** (2023)
Bravo voor regisseur Jorinde Keesmaat, die orkest Phion met een knipoog uit de routine haalde ★★★★☆
Phion zet vrouwelijke componisten in de spotlights onder leiding van queer dirigent Manoj Kamps
Muziektheater achter de schermen is spannend, maar blijkt akoestisch risicovol

Stories from within the orchestra

Bravo voor regisseur Jorinde Keesmaat, die orkest Phion met een knipoog uit de routine haalde ★★★★☆
Phion zet vrouwelijke componisten in de spotlights onder leiding van queer dirigent Manoj Kamps
Muziektheater achter de schermen is spannend, maar blijkt akoestisch risicovol

Living Room

Keesmaat regisseert Omroepkoor in woonkamer

Louis Andriessen - Anais Nin + Odysseus' Women in New York

'What matters in contemporary opera, finally, is the quality and power of the individual works. The Andriessen production may have stretched the definition of opera. But it was gripping music theater.'
'It unified the whole into an evocative meditation on femininity in its strongest sense. By the end of the evening the entire cast was fully nude. In the close intimate environment of National Sawdust, this very nudity itself took on a powerful directorial impact. This was a very fulfilling production of wonderful dramatic opera and a sensational beginning to the Center for Contemporary Opera’s season.
'The directing which was honest felt like the right way to deal with this explicit, even repellent subject'

Mozart – La Clemenza di Tito:

Un grand merci pour un spectacle d’une grande profondeur. A big thank you for a performance of great depth.
A. Klein
MTP-Info. Le Journal du Grand Montpellier, 9.04.2015
La présentation de Montpellier repose sur plusieurs points positifs, une représentation scénique subtile, une distribution sans point faibles et une très belle direction d’orchestre. (…) Ce chef-d’oeuvre tient toutes ses promesses grâce à la conjonction de factures sonores et visuels rarement donnés avec autant d’évidence. The Montpellier production rests on many positive aspects: a subtle theatrical performance, a cast without weaknesses, and a very beautiful orchestra direction. (…) This masterpiece keeps all its promises thanks to the conjunction of sounds and visuals, rarely presented so naturally.
Alain Breton
L’Hérault du jour, 6.04.2015
On ne peut que saluer pourtant le gros travail de Jorinde Keesmaat et la débauche d’idées et de moyens qui préside à la mise en scène. We can but congratulate Jorinde Keesmaat’s hard work and the abundance of ideas and means presiding over the staging.
Michèl Fizaine
Midi Libre, 6.04.2015


'Liza Ferschtman brengt een prettig onconventionele ode aan de dans in Tracks' - Cleeft 5 februari 2013
'Onvergetelijke avonden waarbij klassieke muziek, jazz en multimedia naadloos in elkaar overvloeiden' - Na de Lunch 13 november 2013
'Tracks, muzikaal, jong en lekker' - Opera Magazine oktober 2011
Klassieke muziek voor dertigers

Dobre Tanie:

Slaande Ovatie

Een zowel groots gespeeld als unverfroren gekickbokst pianoconcert

Princepiration met Ties Mellema

Zelfs klassiek bewerkt is de funk niet uit Prince te blazen
Spannend in welke context dan ook

Duizend Stemmen in Carre

Meezingen met 1000 stemmen
Gezongen ode aan Amsterdam door 1000 zangers

NNO in the club

NNO in the club stijgt boven eerste editie uit

Festival Kunstlicht

Festival zet vuurtoren in vuur en vlam
Scheveningse vuurtoren als baken van de kunsten
Festival Kunstlicht in de Scheveningse vuurtoren
Kunstzinnig festival betovert de vuurtoren


'Carrefour, een persoonlijke zoektocht'


Dan maar niet lief
Uit de Comfortzone!
Last week Jorinde was a daily guest at Radio 4 in 'De anekdote van...', which is a one-minute personal story about a piece, followed by the music. Last Friday they played a part of Anais Nin by Augusta Caso Gerard Bouwhuis, Heleen Hulst with the Nieuw Amsterdams Peil. Do you want listen to it again? - De anekdote van Jorinde Keesmaat - Radio 4
'Ik hou van van echtheid, van lelijkheid' - Elle, juni 2008