It happens to be a coincidence that the first production Jonathan Bloxham worked on as the theatre’s new musical director is an English opera by Henry Purcell. “Dido und Aeneas” is a Baroque piece written by the British composer in the 1680s, and explores the love story of Dido, the Queen of Carthage, and the Trojean Hero, Aeneas, and her despair when he abandons her. The set design was also decided before Jonathan Bloxham took on his role: DAS HAUS is a 150 year old former cider house which was set for demolition. Instead it has been lovingly taken apart and rebuilt in the middle of the theatre offering the spectators a 360° experience of the current productions “Dido und Aeneas” and “Orestie”.
Mr Bloxham was able to not only take this in his stride but saw the advantages this set offered, explaining that this is a unique way of presenting an opera. Instead of the singers singing out to the audience, the audience is invited to peek in to the house, offering a more intimate and personal experience. Mr Bloxham’s extensive experience with chamber music orchestras lends itself perfectly to this kind of setting. For once the musicians are seated in the centre of the stage with the singers and action taking place all around them. Taking the original score, he has embellished it by adding percussions as well as other instruments, making this a wonderfully rich sound experience. He is sure that the composers of the past would embrace these additions noting that music is a living art form, not one to be placed behind glass in a museum.
Jonathan Bloxham not only credits his own career as a cellist, but also his years playing in orchestras and in chamber music ensembles for his desire to become a musical director.
Throughout his career, he has worked with ensembles such as the London Philharmonic Orchestra, London Symphony Orchestra, Tokyo Symphony Orchestra, Belgian National Orchestra, Bonn Beethoven Orchester, Mozarteumorchester, Munich Symphony Orchestra and Luzern Symphony Orchestra as well as performing at the legendary Glyndebourne Festival.
The decision to move to the Luzerner Theater came from a desire to have an in-house role where he can have more say and a more hands-on approach to the works being produced and that he directs, as well as the opportunity to build relations with the musicians. Working with small orchestras offers the space to get to know each other musically, giving everyone the opportunity to get to know a work in more detail. Last year he directed Bartok’s “Bluebeard’s Castle” at the Luzerner Theater, and discovered a wonderful ensemble and a family vibe which he is happy to now be a part of.
This season he will be conducting Bellini’s “I Capuleti e i Montecchi” in December and later in the season Puccini’s “La Bohème”. Although he has only shortly been in Lucerne, he and his partner have already fallen for the natural beauty surrounding it and the friendly vibe this city has to offer.
Asked why he thought that operas remain relevant to a contemporary audience, he answered that opera is a form of storytelling, a kind of cinema before its time, and in the end it all comes down to telling the human story. Regardless of whether in ancient times or nowadays, the struggles remain the same: love, desire, jealousy, heartbreak, the pallet of human emotions is represented through music, song, theatre or dance.
The Luzerner Theater has an international ensemble of singers, actors, musicians and dancers. Their productions are intended to be for everyone and the current team is hoping to attract not only locals but also the international residents as well as tourists to see their current programme.
This is why they have offered our readers an amazing 30% discount on all tickets for the productions taking place in the DAS HAUS setting. You can find out more here.
