All Gigs

A standard theater usually has about two loading docks. At the Royal Lemkes plant distribution center in Bleiswijk, the Orange Rental truck casually backed into dock 34 and it wasn’t even the last one. Right there, surrounded by sea containers and scissor lifts in a massive industrial hall, we built a complete temporary theater for the finale of Casa Cadanza On Tour.

The performance Wiegeling is an ode to the lullaby. In a soft, sheltered environment, Sterre Konijn (soprano), Rudi van Hest (clarinet), and Jaber Fayad (oud) engage in musical encounters with the young audience (6-18 months) and with each other.

A radical reimagining of Nijinsky’s Prélude à l’après-midi d’un faune, told from the perspective of the nymph rather than the faun. Seven dancers and a recomposed Debussy score by Jonathan Bonny explore power, identity, and perception. At Theater Rotterdam I ran the show as FOH engineer on an Allen & Heath SQ5, and mixed the performance to a standing ovation.

There’s a moment during the Amsterdam 750 finale where Edsilia Rombley’s voice filled the cathedral-sized tent on Museumplein, but she wasn’t there. The video feed cut to her standing on top of the Johan Cruijff Arena, singing live, her voice soaring across the city through our systems. For once, I wasn’t listening critically, wasn’t mentally adjusting frequencies or worrying about latency. Just goosebumps. The voice, the presence, the audacity of the production - it all just worked. Sounded and looked terrific.

As the last rays of sunlight illuminated H’ART Museum’s courtyard, Kevin, Gijs and I stood ready for an extraordinary evening - the opening of Brancusi, The Birth of Modern Sculpture.

Fourteen speakers, one afternoon, and the delicate dance of fitting headset microphones in Cinema 1 of the Eye Filmmuseum. The European Foodservice Summit brought restaurant leaders from across Europe together for a day of insights into the future of hospitality.

On a chilly September day at Duinrell, I had the pleasure of recording the Vaksjaak Podcast in a tent. A recording filled with laughing children, roller coaster screams, and the challenge of creating a single-take recording in an uncontrollable environment.

Sometimes the most magical moments happen when you least expect them. Working as A2 for Dekmantel aan ’t IJ, I discovered that electronic music legends are refreshingly human.

The great thing about producing a live film score, is that they are passion projects almost by definition. Steven Kamperman’s rendition of The Adventures of Prince Achmed was no exception.

My fingers hovered over the Yamaha CL5 console in Muziekgebouw’s Grote Zaal, a packed house before me, and Radio 4’s broadcast engineer ready in their booth.