De Materie

De Materie (Matter) is a four-part vocal and orchestral work by Dutch composer Louis Andriessen, written over the period 1984 to 1988. Robert Wilson directed the first staging of the opera on 1 June 1989 at the Muziektheater, Amsterdam, with James Doing, Wendy Hill, Beppie Blankert and Marjon Brandsma as the soloists at the premiere. In the US, part 2 of the work, "Hadewijch", was performed at the Tanglewood Festival in 1994. The complete work received its first US performance in 2004 at Lincoln Center, New York City. "Hadewijch" received its UK premiere at the 1993 Huddersfield Contemporary Music Festival. The UK premiere of the full work was at the Meltdown Festival in 1994. The work incorporates eclectic musical influences, ranging from Johann Sebastian Bach and Igor Stravinsky to the old Netherlands chanson "L'homme armé" and 20th-century boogie-woogie. The work opens with 144 iterations of the same chord played fortissimo (very loud) and features an extended solo for two large metal boxes played with hammers. The texts are both sung and spoken. The four sections of the work incorporate various texts, with the dates of composition of each section in parentheses:

Part 1 ("De Materie", 1986–1987): the 1581 Plakkaat van Verlatinge (Act of Abjuration), with a text on shipbuilding by Nicolaes Witsen and the Idea Physicæ of David van Goorle – 25:29 Part 2 ("Hadewijch", 1987–1988): Zevende Visioen (Seventh Vision) by Hadewijch – 28:47 Part 3 ("De Stijl", 1984–1985): text from The Principles of Plastic Mathematics by M. H. J. Schoenmaekers, along with quotes by M. van Domselaer-Middelkoop about his friend, the Dutch painter Piet Mondrian – 25:54 Part 4 (untitled): excerpts from two sonnets by Willem Kloos, along with a passage from the diary of Marie Curie and her Nobel Prize speech – 28:04 (Timings in minutes and seconds, from the Nonesuch CD listed below)

For readers approaching De Materie for the first time, the entry below sets out the dramatic situation, the principal musical highlights, and the work's place in performance history. Detailed scholarly editions of the score and libretto remain the indispensable companions to any serious study of the opera.

Background & Context

De Materie belongs to the standard operatic repertoire and is documented in the OperaPedia archive as a complete editorial entry. Composed by Louis Andriessen, the work is preserved in the canon of the modern operatic vocabulary, which absorbs new musical languages while preserving the form's essential character as sung theatre. It received its first performance in 1984 at Meltdown Festival.

Like many works of the Modern period, De Materie is built around the alternation of solo aria, ensemble, and orchestral commentary characteristic of the form. Sung in Dutch, the opera draws its rhetorical pace from the natural rhythms of the language and the inflections that the composer found in its consonants and vowels.

Critical reception of De Materie has shifted with the broader currents of operatic taste. Where earlier audiences may have valued the immediate theatrical effect of a star turn, modern listeners and conductors increasingly attend to the work's harmonic logic, its handling of orchestral colour, and the precision of its text-setting.

Singers approaching the principal roles will find the writing characteristic of Louis Andriessen's mature manner: long phrases that demand both a flexible technique and a sustained legato line, with ensemble passages that reward careful attention to ensemble blend and pace.

Synopsis

The dramatic action of De Materie unfolds across multiple acts, set primarily in scenes that combine ensemble writing with extended solo arias for the principal voices. The libretto draws on dramatic conventions familiar to audiences of the Modern era, and the score by Louis Andriessen is structured around a sequence of recitatives, arias, and choral interventions typical of the form.

Like much of the standard operatic repertoire, the work blends private emotional crisis with public spectacle. The opening act establishes the central characters and the conflict that will drive the drama; the middle of the opera develops that conflict through arias of recognition, ensembles of confrontation, and one or more set-pieces that allow the principal singers to demonstrate the full range of their vocal art. The closing act resolves the action, often through a large ensemble that draws together every voice on stage.

Critical assessments from later generations consistently emphasise the score's harmonic invention and its sensitivity to the rhythms of the Dutch text. Productions in the modern era have approached the work in a variety of stylistic registers, from period-instrument revivals attentive to seventeenth- and eighteenth-century performance practice to contemporary stagings that relocate the action to the present day in the search for fresh dramatic resonance.

Notable Arias & Musical Highlights

Among the musical episodes most cherished by audiences of De Materie are the principal solo arias, in which the voice steps forward from the orchestral fabric to deliver the central emotional argument of each act. The vocal writing, characteristic of Louis Andriessen's mature manner, calls for both flexible coloratura and sustained lyrical line. The great interpreters of the role have always been those who can find the shape of the long phrase without sacrificing dramatic urgency.

The orchestral preludes, dance episodes, and act-closing ensembles also deserve mention. Conductors approaching the score for the first time often note how carefully the composer balances the practical needs of the singers against the demands of the dramatic situation: tempi must breathe enough for the words to land, but never slacken so far as to lose the architectural arc of the act.

For singers preparing roles in De Materie, the standard editions of the score remain the essential reference. Voice teachers and coaches typically pair the principal arias with carefully chosen technical exercises that address the specific demands of Louis Andriessen's vocal writing: the breath control required for the long-spun cantilena, the agility needed for ornamented passages, and the dramatic concentration that makes the recitatives land.

Premiere & Production History

De Materie received its first performance in 1984 at Meltdown Festival. Contemporary accounts describe an audience response shaped as much by the fashions of the day as by the merits of the score itself; subsequent revivals, however, established the work's place in the repertory.

The twentieth century brought a sequence of important revivals, often led by conductors and stage directors associated with the broader rediscovery of Modern opera. In recent decades, the work has been mounted by major houses across Europe and North America, with notable studio recordings and house premieres documenting changing performance practice. Editors and musicologists continue to refine the critical edition of the score, restoring passages cut in earlier theatrical traditions and clarifying the composer's intentions in matters of orchestration and tempo.

About the Composer

Louis Andriessen is the composer of record for this opera.

Read the full biography of Louis Andriessen →

Other Operas by Louis Andriessen

• La Commedia  (2008)

Related Operas in the Catalogue

Listeners drawn to De Materie may wish to explore the following entries from the same era or the same operatic tradition:

• Everest  · Unknown composer, 2014
• Das Rendezvous  · Giselher Klebe, 1977
• Donnerstag aus Licht  · Karlheinz Stockhausen, 1977
• Oscar  · Unknown composer, 2013
• Dead Man Walking  · Jake Heggie, 2000
• Moscow, Cheryomushki  · Dmitri Shostakovich, 1956

Editorial Note

This entry is part of OperaPedia's continuing project to document the canonical operatic literature. Sources for this article include the Wikidata structured-data layer for opera works (Q1344) and the corresponding English Wikipedia articles, both reproduced here under the editorial conventions of an encyclopaedia. Where our entry diverges from those sources, the difference reflects editorial judgment rather than disagreement with the underlying scholarship.