2011E 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

PROGRAMME1 0 J u n e 2 0 1 1

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■ 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

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 11

C o m m i t t e e o f H o n o u r :

■ Alexander Rinnooy Kan

■ Onno Ruding

■ Willem Stevens

■ Gyula Sümeghy

■ Frans Timmermans

■ Ernst Veen

■ Professor Pieter van Vollenhoven

■ Eva-Maria Westbroek

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WelcomeIt is a real honour and pleasure to welcome you at

Het Concertgebouw for this exceptional European

cultural evening. We are proud that so many pro-

fessionals, 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 undisput-

ed highlight of Europe’s yearly cultural calendar.

Plácido Domingo

President of Europa Nostra

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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.

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.

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.

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

cultural heritage.

Androulla Vassiliou

European Commissioner for Education,

Culture, Multilingualism and Youth

ProgrammeEUROPEAN HERITAGE AWARDS CEREMONY 2011PART 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

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

Presentation of the Awards for Category “Conservation”

to be introduced by Professor Philip Geoghegan, Chairman of the Jury

Presentation of the Awards for Category “Research”

to be introduced by Dr. Arch. Ioanna Steriotou, Vice-chair of the Jury

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

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

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

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ProgrammeEUROPEAN HERITAGE AWARDS CEREMONY 2011PART 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 rM u s i c b y F r a n z L i s z t

Libretto by Théaulon de Lambert and de Rancé,

based on a story by Jean-Pierre Claris de Florian

Soloists of the European Opera CentreDon 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

European Union Youth OrchestraConductor: Laurent Pillot P

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

Conductor

C O N D U C T O R ' S N O T E

L A U R E N T P I L L O T

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 award-

winning 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.

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Don Sanche is a remarkable first opera, the more so by someone so young. The young Liszt had an instinctive under-

standing 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.

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SoloistsINGEBORG GILLEBO 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.

JURAJ HOLLY was born in Sala (Slovakia) in 1987. After initial study at

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.

ANAÏK MOREL 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.

SHADI TORBEY 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 recent-

ly 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.)

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EuropeanOpera Centre

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.

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.

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 cer-

tainly 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.

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.

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

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EuropeanUnion YouthOrchestra

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.

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.

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 world-

class 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.

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SynopsisD O N S A N C H E

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.

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.

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.

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.

Alidor abandons his disguise and heals Don Sanche. United at last, Don Sanche and Elzire

advance together into the castle, to general rejoicing.

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BackgroundG E R H A R D K R A M M E R

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.

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.

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 con-

ductor. 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.

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 sThe 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).

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.

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OrchestraConcert master

■ Sarah Sew British

Violin

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

Viola

■ León van den Berg Dutch■ Marc-Antoine Bier French■ Matthew Maguire British■ Lucia Ortiz Spanish■ Sofie van der Schalie Dutch

Cello

■ Suzanne van Duuren Dutch■ Emily Francis British■ Romain Lapeyre French■ Marjolein Nieuwenkamp Dutch■ Isabel Vaz Portuguese■ Rebecca Wise Dutch

Double bass

■ Siret Lust Estonian■ Andrei Mihailescu Romanian■ Vera Pereira Portuguese■ Christopher Sargeant British

Flute

■ Helen Wilson British■ Emiliano Zenodocchio Italian

Piccolo

■ Hannah Watts British

Oboe

■ Roberto Henriques Portuguese■ Jennifer Melville British

Clarinet

■ Benjamin Christ French■ Michèlle Geerlings Belgian

Bassoon

■ Magnus Koch Jensen Danish■ Renée Knigge Dutch■ Raquel Saraiva Portuguese

Horn

■ Hannes Arnold Austrian■ Alex Hambleton British■ Charles Hutchinson British■ Jonathan Wegloop Dutch

Trumpet

■ Liz Jones British■ Sam Kinrade British

Trombone

■ Stephanie Conway British■ Matthew Lewis British

Bass trombone

■ Samuel Freeman British

Timpani

■ Robert van den Bosch Dutch

Harp

■ Claire Iselin British

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ThanksT 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

“ D o n S a n c h e ” w a s a l s o m a d e p o s s i b l e t h a n k s t o t h e f o l l o w i n go 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 ”

o n e o r m o r e y o u n g E u r o p e a n m u s i c i a n s

Embassy of France

Embassy of Norway

Meijers Makelaars in Assurantiën

Meyer Monitor B.V.

P.J. Rogaar Stichting

Stichting Pot Family Foundation

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)

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A S S O C I A T E S

S U P P O R T E R S

F l o w e r a r r a n g e m e n t s b y

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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.

W i t h s p e c i a l t h a n k s t o :

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 frame-

work of the EU Culture Programme. Through the awards

and their “Power of Example”, we seek to promote excel-

lence 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 member-

ship 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