Edward Ananian-Cooper about the Chorus

The Chorus of Dutch National Opera is at the heart of many opera productions and its exceptionally high quality is a key factor in Dutch National Opera’s international success. Edward Ananian-Cooper was appointed artistic director of the Chorus in 2022. In this interview, he talks about his vision, the Chorus’s strengths and the new productions he is particularly looking forward to.  

Text: Maxim Paulissen  

How do you see the position of the Chorus within Dutch National Opera?  

“With fifty-five permanent Chorus members and an additional fifty singers who regularly join the group, the Chorus is the beating heart of Dutch National Opera. What’s fascinating about our Chorus isn’t just the high musical standard but also the personalities of the singers and the dramatic quality they bring to the theatre. There aren’t many choruses that have this kind of drive to be on stage. That’s partly what we look for when we recruit people – it’s just as important as the singing. They should add something when they are on stage.”  

 Sometimes the Chorus performs in other venues. Why is that important?  

“By performing in different settings, we can generate exposure for Dutch National Opera. We sang on the TV show ARIA, for example, which reached over a million viewers. 

Furthermore, it is good for the level of the Chorus to engage with other repertoire in a purely musical setting. The concerts with our partner orchestra, the Netherlands Philharmonic, offer a great opportunity for this. And obviously, the Concertgebouw is a wonderful place to sing in. Last year, the Chorus also performed its own a cappella concert in De Duif, a church in Amsterdam. This was the first time I’d conducted the Chorus in a programme of that kind. I believe that the skills that this kind of repertoire requires from the singers are of enormous added value for our development. We are already planning another dedicated chorus concert in the new season.

The productions of Dutch National Opera can be quite demanding for the Chorus, not only musically but physically too. How does that influence their performance?  

“I think it adds a lot to the way they sing. One thing that’s wonderful about this Chorus is that they really love to act. When we start rehearsing the music and they’re just sitting in their seats singing, there’s always something missing. And as much as I encourage them, it’s never going to be the same as when they’re on stage, in costume. When they’re in action while also singing amazing music, the full power of this Chorus is unleashed.”  

Which productions in the new season are you particularly looking forward to?  

“What comes to mind immediately is Tchaikovsky’s The Maid of Orleans. That is going to be another big chorus opera. After Boris Godunov (in June 2025), I hope we can deepen our understanding of the Russian repertoire. Personally, I’m really looking forward to Semele. I love Handel and I’m very keen to work with Emmanuelle Haïm and her orchestra. Finally, a large-scale Verdi opera like Simon Boccanegra, with Maestro Fabio Luisi conducting, is a fantastic way to end the season.” 

Look here for more information about the Chorus of Dutch National Opera.