Exhibition and Scientific Book Unravel The Mystery of André Rieu
Master of Detail
André Rieu, stand-alone violinist, maestro and above all loved son of all of
Maastricht. His world success in classical circles is dismissed with disdain.
But the question always remains: "How does this Limburg citizen manage to do
that?" Now simultaneously a book and an exhibition reveal a little corner of the
secret of his success formula: "Perfection and emotion!"
Nuts, that distain for popular culture. by Marie-Therese Roosendaal De Telegraaf: Radetzkymarch, Funiculi Funicula,
the Blue Danube, Adieu mein Kleiner Gardeoffizier, Viennese blood, Auld Lang
Syne, Sirtaki, Don’t cry for me Argentina. The evergreens are a constant fixture
at André Rieu’s concerts, the man who gave the waltz new life. Three scientists
working in Rieu's home of Maastricht were surprised that no one had ever
seriously examined the phenomenon, André Rieu, and so off to work they went.
Their book, "Rieu, Maestro without borders" unravels his success formula.
Honorary professor of gender studies Maaike Meijer, who eagerly delves into the
popular culture, was the spokesperson, and also spoke for her coauthors Jac van
den Boogard and Peter Peters. Life Songs She wonders why André Rieu as a research project has been left alone for such
a long time. Everyone says: "Hey, how is that possible! And that is that as
though it speaks for itself. Nuts, really, that distain for popular culture,
life is not only about Bach. The cultural spectrum is just great, rich and
divers. I really like classical music and I am an omnivore. I love "Life Songs",
the Jordaan (a district in Amsterdam) and the accordion. In a "life song" you
can read an entire social development. Through fetlocks, and girls in high heels
with Chihuahuas. When I had a girlfriend in Brabant, I enjoyed carnival music
and operettas at her home. My first Rieu concert on the Vrijthof recalled an
acute nostalgia of that time. "Tiritomba" immediately whisked back into that
world." "Rieu always selects pieces which we have almost forgotten. That gives
you an aha-moment: Oh, yes that is right, the waltz music of my parents. That
enters unexpectedly and brings forth emotions." Conductor Rieu orchestrates that
emotion. In classical concerts normally always the hands of musicians are only
seen: Look at those violinists, how virtuous. That draws the viewer away from
his own emotions. With Rieu the public is brought into view on the big screens;
a waltzing couple, a mother who flips away a tear. To see people cry makes you
cry, to see them laugh makes you laugh." He knows what he does: but it is more
intuitive than conscious. It is based on experience. Before his break-through in
1994 with "The Second Waltz" by Sjostakovich, he had of course already performed
in every "doghouse". For the elderly, for organizations. He knows what makes the
public happy, or peaceful. And he lays it on thick, while with classical music
one should always be composed, kind of flat and not full out. The orchestra
members look fantastic, the ladies in ball gowns. It gives you the illusion of a
fairytale. And the bar is always set very high, everything goes into
Jokes "From the operas he brings the emotionally laden arias. He then expresses his
admiration for the great Puccini. And say: "Come in, classical music is also for
you. Along with his orchestra he then jokes around: from the man with the
triangle who fell asleep just before the crucial moment. The violinist who
pretends he drank too much. It is jocular and carnival-like: people are allowed
to laugh at the elite, may take revenge on their oppressors. That is reassuring:
we are allowed to come in, and we are also allowed to laugh loudly. Ingenious
how he lowers the threshold of the classical music." He is also a precursor to
classical music, which in crisis does not know how to get full concert halls,
tormenting their brains on how to turn the tide. They also want go out on the
streets more often, the Amsterdam Canal Festival is a good example, or during
the enthronement of Willem-Alexander, the performance of DJ Armin van Buuren
with the Concert Building orchestra. And Rieu does it all by himself, clever, in
a culture where since the fifties the building subsidy became ever higher. It is
no secret that he would like to conquer the world, and he is well on his way: he
is especially successful in Australia, more so than in the Netherlands and
Germany. I guess that is because classical music there is less prescriptive and
less averse to the state of the popular genre. And in America they think of Rieu
as classic." Maaike Meijer enjoyed the performances: "Nicer than CD’s. The
encores are a concert all by themselves. It is one
folk fest, the public goes crazy. And me too!" Is the
maestro sometimes accused of megalomania, which she too places in context: Of
course Andre Rieu is megalomaniac! Without his great dreams he would never have
come this far. But that millions around the world enjoy his music is his most
important drive." Pomp and Pageantry almost touchable Below the portraits of his teachers, Robert Stolz and Herman Krebbers you
find the sofa bed of André Rieu. Stella Schurgers laughs: "The real one! He has
four, and one always accompanies him. Just prior to every concert he lies down
for a little while in order to charge himself up again." Stella, a Maastricht Rieu fan from the first hour, sits ringside as a
volunteer coordinator at the Museum on the Vrijthof. Tomorrow the André Rieu
exposition "Love for Detail" opens. A museum, which otherwise just like André
Rieu, runs without a penny of subsidy. Inspired director Erik de Jong states:
"Made in Maastricht is our motto. And then you very quickly wind up with
Maastricht’s favorite son. His story is now well known, so to go there again ... Approach He racked his brain about a new approach: "When I was in his studio I noticed
images of Maastricht hanging on the wall. He told me he had sent a winter scene
back to the artist since it did not depict snow. And although the artist pointed
out the bare trees, winter for him means snow. OK, so she added snowflakes. And
I had my theme; "Rieu’s eye for detail." I hesitate to use the word
perfectionist, which to me indicates a fear of failure. He is not afraid; he
just wants to make it precise. Stella Schurgers is admiring the Sissi dresses with the small waistlines and
hoop skirts. "During the concerts on the Vrijthof from row 32 you only see the
contours, now this pump and pageantry is almost touchable." In the museum a studio has been furnished, complete with ironing board and sewing
machine. Small suitcases are lined up in a row: Every musician has his own
suitcase, with their own things. Glittery pumps, a small makeup bag, jewelry,
photo of the violinist on the inside of the suit case lid. "That means four
times the same suit cases with the same identical contents. For everyone. That
again is perfection. If one suitcase happens to be in Bucharest for a concert,
the second one might be on its way to Australia for the next concert series." Dresses On the wall you can read the story how Rieu comes to the costume department
with pictures of dresses he has seen in the series "The Tudors" and in the movie
"The Other Boleyn Girl." "Get inspired and pay attention to the details" was his
directive. The results are displayed on a mannequin, the blue- white dream dress
of soloist Carla Maffioletti. In the museum even a ballroom has been laid out. Dance school Bernaards even
placed dance steps of a waltz on the floor. Schurgers laughs: "I can see myself
swirling around here! I have known André Rieu long before he became so big. With
Hieringe Biete, eating herring pieces on Ash Wednesday, he always performed with
the Salon Orchestra on Our Dear Ladies Square. (Onze Lieve Vrouwe plein) Even
then he brought people into exaltation." Musical scores, a black and white photo
of a little André with violin and all the program booklets. But the highlight of
the exhibition is a live presentation: the Maastricht luthier Niels Rijsemus.
Unperturbed he keeps on plaining wooden curls. Then he beams:"My first violin
went to André. A great honor. And in 40 years from now I will still recognize
that sound. The sound from the violin and from André Rieu."
Thanks to John for the Translation - his last before leaving for Europe on a well earned vacation!
The Rieu audience’s experience does not begin with the first note of music.
It starts as soon as they arrive at the hall – and it’s then that you need a
sense of occasion, a welcoming ambience, ease and efficiency of finding
refreshments, cloakrooms and loos, comfortable seating both inside the hall and
in the foyers, and much more besides. Rieu’s audiences wave flags, sport
merchandise and participate by purchasing these – presumably at the event – thus
acquiring a sort of personal stake in the goings-on.
Fans of Bankrupt Restaurant Anna's Are Offered an Alternative
Maastricht Gezien by Laurens Bouvrie: Prime
Minister Mark Rutte can be very proud of the Vrijthof entrepreneurs. These days
they have shown their community spirit. In close consultation with André Rieu
management, they are offering fans an alternative, which can be seen as an
example of corporate social responsibility. Next to the terrace of Grand Café
Basilica and next to the Gauchos terrace (where soon the terrace of the new
Theater Hotel will be located), the majority of the disadvantaged fans will be
seated for their dinner. In case those areas will not be enough room for all,
others will be booked in alternative restaurants in town.
Pierre Rieu says he is very proud of the
solution that has come about for his father's and JSO fans. Oscar Mans, owner of
the Basilica restaurant, seconds this. "André's intention to give the disadvantaged
fans free new tickets for his concerts, was wonderful! The entrepreneurs thought
they should also contribute so that the fans can enjoy. Now we can turn our
intentions into deeds".
The chefs of the Basilica and Gauchos restaurants will have
an extra hard job during the Rieu concerts of 2015. Normally these dinners give
much stress, because the three courses of the dinners, have to be served in such
a tight schedule, but this year the job will be extra hard. So be it. The chefs
were consulted and they also agree that we have to do everything possible to
give the duped fans a wonderful evening.
A big round of
applause for André, the entrepreneurs and the
In cooperation with the
trustee in bankruptcy of Anna's, the duped fans who had booked an arrangement,
are requested to report via the e-mail address: firstname.lastname@example.org or André's website
Translated by Ineke,
edited by Sue (because John is in the plane to Holland).
EXHIBITION: Exposition in the museum on the Vrijthof offers a
look behind the scenes of the Maastricht artist and showman.
Up to and including 27 September, the
exposition "Love for Detail" can be visited at the Museum on the Vrijthof. An
exposition which in part explains the success of André Rieu:
"Striving for perfection."
De Limburger June 23rd by Guus Urlings: How do they know? Daphne Schrader of
the Museum in Maastricht shrugs her shoulders. "No idea." But it is a fact: the
exposition "Love for Detail" about the life and works of André Rieu was just
barely in the planning stages when the museum was already receiving calls from
all over the world asking when the opening date would be. "That just goes to
show how incredibly popular André Rieu is." That popularity has also led the
museum to be attentive to the motto "Made in Maastricht" and to put the in
Maastricht born and raised violinist a little extra in the spotlight. But then
different then different. It is not necessarily the person, the artist André
Rieu which is being focused upon, but rather his love for detail, his pursuit of
perfectionism. "For therein lies the secret of his success. Everything into the
last detail is regulated, nothing escapes him. Nothing is left to chance,
everything is very carefully prepared. Into the smallest details, really." That
is immediately evident at the entrance of the exhibit, where a collection of
dresses and suits can be seen, all worn by the soloist in various shows. "Almost
all designed by Rieu himself, at least from the first instance. The ideas are
his. He has in his head what he wants, often including the smallest creases and
decorations, and so then it must ultimately be. That brings forth beautiful
creations, such as the favorite dress of the "master" in which Carmen Monarcha
performed more than three hundred times on stage. To emphasize the motto of the
exhibition "Love for Detail," the museum has scattered in almost all parts of
the exhibition beautiful photographed details of all objects and jewels which
are worn during the shows of André Rieu - of which he also is intensively
involved – and they have come to be known to their own. They are draped on and
in between a special collection of 19th century crystal from the museums own
collection "from the time of Johann Strauss." But there is much more to
A (reconstructed) part of the studio
of "the André Rieu firm," for example. With an ironing board, fabrics, buttons
and everything else that is useful when designing and making clothing. A little
further on the young Niels Rijsemus, a luthier, can be seen in his studio very
carefully planing a wooden plank into what ultimately should become a violin.
Because whoever says André Rieu, says violin, and it would be quite remarkable
if he would not be a perfectionist in that area too. Has Rieu ever bought a
violin made by him? "Two" Rijsmus says proudly.
A room further on is totally
dedicated to the waltz, the favorite genre of André Rieu. And there - with a
nice detail, this time thought out by the museum - on the floor a pattern of footprints which enables visitors to
dance a waltz according to the rules. Still more? The inspiration room dedicated
to the composers and musicians from whom André Rieu draws his musical
inspiration and the books in which he seeks inspiration for the decors of his
shows. Letters, programs, gold records and so on. Mandatory food for the fans,
but also a must for those who (still) are not a fan.
Thanks to John for the Translation of this article!
That André Rieu is not the easiest but certainly not the worst
individual, is already known in Maastricht. Yet the generous gesture of the
conductor to come to the rescue of more than 700 dubed fans from home and
abroad is today without a doubt, the talk of the day in the provincial capital.
The Limburger by Laurens Schellen - André Rieu comes to the aid of
more than 700 domestic and foreign fans and helps them in an unorthodox manner.
They have been seriously disadvantaged through the bankruptcy proceedings of
hotel-restaurant Anna's on the Vrijthof. The fans, which include entire families
and families and friends, have through the recently bankrupt HORECA business
purchased an all-inclusive package, including a multi-course dinner and an
eventual overnight stay, booked and paid for in advance for one of the seven Rieu
concerts at the Vrijthof next month. In answer to questions from this newspaper
curator Joep Tummers, who is overseeing the bankruptcy, revealed that the hotel
sold many non delivered Rieu- arrangements in the amount of almost seventy
thousand Euros’. The cheapest combo ticket (without accommodation) Anna’s
was charging, was almost eighty Euros per person. Many of the victims are irate about
the course of business and have reported fraud and scams to the police.
consideration, none other than André Rieu himself is now coming to the rescue of
these victims. Son Pièrre Rieu, production manager of the Maastricht violinist,
confirmed yesterday afternoon that all affected will at no extra cost "be
guaranteed" access to one of the Vrijthof concerts. "We'll simply arrange that."
Furthermore Rieu junior is very busy negotiating with the unified catering
entrepreneurs in Maastricht to offer the affected fans a free multi-course
dinner in one of the restaurants in the downtown area prior to the concert.
"During the course of next week, I expect to have a clear answer to this matter.
I am hopeful, because the Maastricht hospitality industry has to maintain its
name and reputation. To be honest, the events surrounding this bankruptcy are
obviously not good advertising. It would be very nice if we all can repair the
damage this way together," says Rieu Jr. The seven Vrijthof concerts of André Rieu and his Johann Strauss Orchestra
are virtually sold out.
Seven Sold Out Concerts in
front of the former Ceausescu Palace, now Parliaments building. For a report of
the preparations, concerts, fan picnic and our own experiences in Bucharest -
Click on the link ... Ineke
"After three magical days
in this fantastic country, here we go for the next four concerts. It is going
well and we are all enjoying ourselves!!" (Eric, the new addition to the Platin Tenor's posted this picture on his Facebook before tonights concert). It's a nice close-up picture of him and wanted to post it on here for those of you who don't have Facebook.
"Laura Engel"the Chilean/Dutch soprano who we all know from her singing with André, will be performing a few Mini Concerts this July in Maastricht. So if you are going to be there for André's concerts, click here on ►Ineke and Ruud's Movie Site for more details on seeing Laura!
Add the overwhelming sweet smell of lime-tree blossom to this picture and the sound of an enthusiastic audience of 12.000 Romanians ;-) then you have an impression of our concert here in Bucharest ... (From Franks Steijns Facebook Page).
June 1, 2015 - André Rieu may be very happy with his
wife Marjorie, but his very first love was still Tiny Aerts. This past weekend
he put her in the spotlight.
"Tiny was so beautiful and blonde, that I fell in love
with her and could only stare at her," says André Rieu. But, we have to explain
that at that time he was only 5 years old and Tiny was his very first violin
teacher. "You can understand that I had a lot of trouble concentrating, I heard
absolutely nothing of what she said."
"Miss" Tiny just turned 80 years old and that was the
reason for André to surprise her with a surprise party. And she loved that from
her student who became so very famous. (Caption with top picture - "She was the mother of a lot ... Frank was with her also").
hotel-restaurant in Maastricht sold possibly hundreds of concert
The bankruptcy of hotel-restaurant Anna's on the Vrijthof in
Maastricht has seriously duped an unknown number of André Rieu fans.
May 29 - The Limburger: by Laurens Schellen - Probably at
least several tens and possibly hundreds of enthusiasts of the stand-alone
violinist have booked and paid for one of Rieu's concerts on the Vrijthof in
July at Anna’s on the Vrijthof for an all-in arrangement (with multi-course
dinner and possible overnights). For the cheapest package (without
accommodation) the company charged almost 80 Euros per person. The guests had to
pay the full amount when they made their reservations. This HORECA establishment, however, was declared bankrupt this week. Last
year Anna’s sold several hundred packages for the André Rieu-concert series,
which well informed sources confirmed. The family "de Vries" from Alphen aan de Rijn is one of the victims. "Five
years in a row now we come to Maastricht for Rieu. This time for variety we
chose the terrace of Anna's. Early January though I booked three packages for
which we immediately had to transfer the full amount of funds (almost 240
Euros). When I called last month to ask where the tickets were, we heard nothing
more. Precisely now, we would take our birthday celebrating granddaughter. In a
short time she will be taken violin lessons from no less one of André Rieu’s
orchestra members " says Isse de Vries. In the meantime he has filed for fraud. Owner Anna Raemaekers was unavailable for comment yesterday. Liquidator Joep
Tummers says he does not know how many of the André Rieu fans have been duped.
"I still have to sort that all out yet. I will take everything into account." The VVV (Tourist Office) speaks of a "very annoying thing." Spokesperson Robert
Hoogenboom stresses, however, that his organization cannot do anything for the
victims. "The sales by Anna’s were run entirely outside of us." The liquidator
offered the victims last night still a glimmer of hope. "In consultation with
André Rieu, we will examine the possibility whether there is still room for a
settlement for them."
Thanks to John for this news and the Translation of it.
Scientists examined secret worldwide success of
Yesterday afternoon in the museum on the Vrijthof the first copy
of the book
"Rieu, Maestro without borders/limits" was presented to André Rieu
May 27 - The Limburger by Peter van de Berg
Oops, Maaike Meijer strikes a nerve. When the cultural sociology and
co-author of the book "André Rieu, maestro without borders/limits" refers to the waltz
as "cornier than corny", the world-famous conductor raised his voice ... "Hey, hey, hey" is the sound from the crowded lobby of the museum on the
Vrijthof. André Rieu shakes his head as he stuffs a handful of peanuts in his
mouth. "The waltz is not corny. Yes, then I am a little upset when something
like that is being said," was the violinists reaction after Martin Paul –
Chairman of the Executive Board of the University of Maastricht – presented him
the first copy of the book. Scientists Maaike Meijer, Jac van den Boogard and Peter Peters thoroughly
scrutinized the "phenomenon" Rieu this past year. They analyzed the worldwide
success of the Stand-alone violinist, followed Rieu and his Johann Strauss
Orchestra behind the scenes during performances abroad, attended rehearsals and
interviewed the maestro, some of his orchestra members and other employees. They
saw how "the King of Waltz" bridges the gap between high and low culture and how
he gives classical music a new dimension. Therefore, the observation of Meijer
about the old-fashioned character of the waltz was not meant negatively. She
tried to show that Rieu has stripped away the dusty image of the waltz through
his cheerful square celebrations." Rieu has ensured that the stiffening of classical music has disappeared, by
presenting concerts in a loose, festive and social way. According to gender
expert Meijer, she and her colleagues were more than welcome by André. "He told
his orchestra members," They are thoroughly going to research us. I already have
had my turn. They dug deep into me, but it did not hurt." With a smile Rieu listens to her words. He has already read the book, of
course, but has not at all discovered anything new about himself. "I am honored
with this scientific approach. Normally this study is bestowed upon someone who
is considered to be dead for two hundred years. I make music with respect for
everyone. I exclude no one. Compositions which make me cry also touch the
audience emotionally. Johann Strauss already did that in the city park of
Vienna. I do it on the Vrijthof, and that happens to be just a much nicer
square." From 21 June until 28 September the exposition "Andre Rieu – Love for
detail" will take place in the Museum on the Vrijthof. The expo highlights
Rieu’s music, life and career.
Thanks to John for this article and his Translation
May 27 - The Limburger: For
André Rieu fans, the house where the famous violinist and conductor grew up can
no longer be missed. Since yesterday there is a plaque on the property on the
Begijnenstreet in Maastricht. It is a work of art, created by the Maastricht
sculptress Desiree Tonnaer, and was donated by the city coucil because of the
65th birthday of André Rieu. The plaque was unveiled in the presence of the
musician himself and Mayor Onno Hoes.
2015 The Limburger: At the house on theBegijnen street in Maastricht where
André grew up, a plaque will be unveiled on Tuesday evening. The famous
violinist/conductor and Mayor Onno Hoes will be present for this occasion. The artwork (for the
plaque) was created by the Maastricht sculptress, Desiree Tonnaer.
The city of
Maastricht offers this plaque as a gift to the violinist and
conductor for his 65th birthday. In October Rieu reached that age.
Thanks to Ineke for the article and John for his translation
UPDATE - André unveiling the plaque at his childhood house today (Tuesday) with Mayor Onno Hoes. (Thanks to Christine for the photo).
follow orchestra leader for a year and a half to explain his formula for success
Rieu Creates Swaying At a Filled
In the book "Rieu, Maestro
Without Borders" the scientists Maaike Meijer, Peter Petersen and Jac van den
Boogard take the secret success of André Rieu under scrutiny.
The Limburger by Peter van de Berg: The
formula for success is very simple. André Rieu is a master in creating "a square
filled with swaying." It seems simple, but behind his approach in trying to tie
the audience together with a sense of community, often has hidden logic, which
goes contrary to all the artistic laws. So states cultural sociologist and
gender expert Maaike Meijer in her book "Rieu, Maestro without Borders" which
she and her fellow scientists Peter Peters and Jac van den Boogard, all of the
University of Maastricht wrote. André Rieu has a reverence for classical music
but also likes to deviate from that. He has stripped his repertoire from
solemnity and stiffness. His shows are airy in nature and therefore he waltzes
literally over the prejudices." In aversion to the cultural elite who have
little or no respect in the manner in which the famous stand-alone-violinist
presents his performances to his audience. Ever since the first day the
Maastricht violinist and his Johann Strauss orchestra harvested worldwide
success the condemnations by the critics are not light at all. Maaike Meijer
admits that initially she too viewed the concerts of "phenomenon Rieu" with some
of her own skepticism."I was part of that elite group and had an aversion to
massive events. But when I went to the Vrijthof, matters changed." The shows
start right away with a climax when Rieu and his musicians enter through the
audience to the music of "Seventy-six Trombones." "A thoughtful approach that
instantly creates a festive mood and creates an atmosphere of togetherness
amongst the spectators." Maaike Meijer is convinced that ultimately the
protectors of the "great art" will come about. "Look at André Hazes. He has long
been reviled. Suddenly everyone raved about with him. You cannot understand
culture if you are not open to the popular segment."
Meijer, Peters and van den Boogard
followed Rieu and his orchestra intensely for a year and a half. They
accompanied him to concerts in Istanbul, Amsterdam and London. They were also
present at the concerts in Maastricht. The Maestro afforded them the opportunity
to watch extensive from behind the scenes, to be present at rehearsals and spoke
to the orchestra leader, his musicians and other employees of the Rieu Company.
According to the scientists Rieu is so immensely popular because he presents an
integrated work of art in which emotions play a major role. "He puts it all out
Music combined with a tantalizing sense of images creates a sense of
nostalgia. When someone becomes emotional, it becomes easy for other people too
to let their feelings run free. Human emotions are contagious. His camera people
have developed a sense of finding the right people from the audiences and to
bring them broadly into view. That creates a flow which then easily spreads to
other spectators." Meijer notes that Rieu largely acts on intuition. "Not everything he does is new. In
fact, he returns his massive performances back to the folk feasts of centuries
ago. Music back then too was largely focused on city squares. We are in a phase
of creating festivities. People like to be together. Repetition in the world of
cultural is quite normal. Rieu’s public is not geared up every year to see an
entirely new program. For them it is important to just "be there." One thing is certain: André Rieu
cannot be copied. Meijers: "There is some thought within the company about how
to proceed when the time comes when he can no longer perform. They would rather
not talk about that. A ready-made solution is not immediately at hand. Rieu and
his musicians live in the present and that is what they continue to do."
Saturday, May 16th: Soon, for the sixth time he will exhibit with his
artworks in the Vrijthof Theatre, but last week art painter Marc Rieu was in the
south of the country participating in a workshop and painting skies. Together
with ten students he traveled through Belgian and Dutch Limburg to capture the
beauty of nature on canvas. Sunday at dawn he started in Plombières. "Painting skies is not quite so
easy. There are certain factors you as a painter should keep in mind. The
sunlight changes constantly and therefore you should only keep visualizing just
one position. Otherwise, it all runs together and you’ll continuously be busy.
You also need to take the time into account." Monday, Chateau Beusdael was on the agenda. And Tuesday, he departed for
Belgian Hombourg. To find a subject comes easily for the Maastricht artist. "My
eye has to catch something immediately. Something in the surrounding area which
gives me a feeling right away. And normally that is what it will turn out to
be." It's the second time that Marc participated in the workshop of painting
skies. Last year he traveled to nearby Venice where he painted the beautiful
Italian scenery. And painting skies means that the artists have to create their
works in the open air. "It is important that you first fill the canvas.
Otherwise you will stare yourself blind on a white surface. For this I prefer to
use pastel shades. Soft pink, yellow, the underlying colors connecting the
objects with each other and so you achieve a nice finished product afterwards. "
Ships at sea "During the course we use canvases of 30 by 40 cm. These are more feasible
for the time involved. There are still a lot of hours involved in producing a
finished product. I have been commissioned to create a painting of 1.50 by 2
meters. It is my biggest project ever. What it is going to be? It will be
something nautical. A seascape. Ships on the open sea …. with beautiful clouds,
of course. " Dream Works Clouds are typically the trade mark of Marc's paintings. In many of his works
a cloud deck can be admired. Even landscapes are his favorites. He describes his
own style as "suggestive illusionism." This self made-up word he likes to
further explain it as: "In my paintings, I offer suggestions of reality to the
viewer. I like to magically change reality on a canvas with my brush as a wand
and hope to bring out your curiosity with a playful character." The paintings of Marc literally fly all around the world. "Off to Jordan,
South America, Africa, you name it. There's a couple from Australia who visit my
exhibition every year. And that makes working a lot of fun." Painting in order
to become rich is not necessary for Marc. "I'm rich because of my wife, my
children. I paint for them, as an example, to pay for food."
The exhibition at the Vrijthof Theatre starts July 3,
simultaneously with the show of his father André.
The pictures below were taken last year during his exposition in
the Theater on the Vrijthof
Thank You! To John for the Translation of This Article
Actually, there is no better place, nor a better time to think of than now. In the museum on the Vrijthof, a mere twenty meters from the place where the stage will be during the annual Vrijthof concerts, a special exhibition about André Rieu under the title of: "Attention to Detail" will be shown.
By Jo Cortenraedt: Chapeau Magazine - It is the first time that a separate exhibition will be held for the phenomenon André Rieu. The exhibition, arranged in collaboration with the family Rieu, will be highlighting both musical and personal elements of André’s life and career. Articles having to do with his concerts are being exhibited. Visitors can now closely experience how, on the basis of this experience the "king of waltz" works to realize his musical dream. During the exhibition, the visitor will get an idea of how far André Rieu’s love for detail goes. How does he work with his choice of music? What happens during rehearsals? Visitors can now see up close how the dresses are finished with jewelry. Personal documents from his life which have never been seen before and never before seen video footage will give visitors an intimate look at the world of André Rieu and his shows.The Vrijthof museum usually chooses a theme which fits within the general principle of "Made in Maastricht” and that can certainly be said about André Rieu.
He will be back on the Vrijthof the first two weeks of July with his entire orchestra, to deliver a special evening to a total of ten thousand people from all around the world.
André Rieu is one of the
biggest Dutch export products. His success knows no boundaries and he is known
all over the world. But what is the secret behind this success? The book "Rieu,
Maestro without Borders" casts a scientific look at his prestige. ''Classical
music is in trouble. André Rieu is a kind of a symptom of that. He shows that it
also can be done differently,'' according to the researcher and author of the
book, Maaike Meijer.
Chapeau Magazine - Friday, May 8: André
Rieu’s worldwide success has now been scientifically explained. Three scientists
from the University of Maastricht have in a scientific report, recorded in a
book of 272 pages, examined the international reputation of the Maastricht
musician, and analyzed and explained it. According to the researchers, Jac van den Boogard, Maaike
Meijer and Peter Peters, Rieu is the symbol of a counter reaction against the
far-reaching individualization of society. "Modern people still like to be
together and feel the warmth of a nest, wanting to belong. André Rieu offers all
those feelings on the squares and in the halls where he performs with his
orchestra. There, where young people are given opportunities to 'go
crazy' during pop concerts, dance festivals etc, older people rarely have that
chance. "But at the André Rieu’s concerts, they can completely go out of their
minds, in their own ways, emotionally, and if need be, into tears. The analysis of Rieu’s success even goes back to the 17th
and 18th centuries when baroque music was then meant to please people and allow
them to dance. Waltz music originally was a folk dance. Slowly it found its way
into the concert hall. "Rieu uses it in such a manner that the waltz literally
is dance music again and thereby making the roots of the waltz visible again to
a popular culture." The researchers are thereby also trying to make it clear and
prove that the origin of André Rieu’s music is not well understood by the
criticisms regularly heard and posted by the present day "serious classical
music critic." "Rieu focuses on festivals of unprecedented proportions which fit
into a contemporary cultural experience." According to the researchers the music, and the manner in
which André Rieu arranges it, brings forth old memories into his audience, and
brings many to tears. "And that creates a reaction in the brain, an involuntary
reaction which revitalizes old sources of emotion." Another source of André Rieu’s success is formed
according to the UM study in the Limburg region, his native land. "Rieu's
magnificence, the shows and the region all encourage Rieu in all forms of love
for his own country and culture, and to a large extent is understandable from
Rieu's Limburg origin. Musical traditions and styles emerge in various ways in
his concerts. But his popularity which has spread far beyond the borders says a
lot about how culture is globalizing. Interestingly enough, Rieu delivers Asian,
American, South African and East European audiences a similar experience of
nostalgic solidarity and collective joy. Rieu travels so that the audience feels
In a first reaction, Jo Cortenraedt, editor of Chapeau
and L1 producer at Radio 1 (NPO) said that this book has done a good and serious
attempt in its research, and without prejudice in all facets of André Rieu’s
success. "And the most important element of his success is, that he himself is
still on stage every night and having so much fun. Something the researchers
witnessed personally with their own eyes and ears."
Thank you to Bobbie for sending this and John for Translating it!
UPDATEDTuesday, May 26th: Maaike Meijer, Peter Peters and Jac van den Boogard are the authors of the book . Martin Paul handed the first "Rieu, Maestro Without Borders" copy to André Rieu himself this afternoon! Thank you to Jayne for the picture.