401Ned Opera Boek 1 
Theatre Français 
Amsterdamse Liedschool
Bonus CD Boek
401Concerts 1 
Dutch Heldentenor
401Concerts 3
DutchDivas in the 401DutchOperas book-I
The 401 Dutch Operas book Vol I charts the development of Dutch operas from Sweelinck to the end of the French Period. This development goes hand in hand with the history of Dutch singers, as most Dutch operas were naturally created by Dutch Divas & Divos.
Vol I begins with Sweelinck's secular song cycles from around 1594 and continues through the end of the French Period, during which composers such as Ruloffs, Meissner, Beethoven (the Zutphen birth legend is explored), and the Gouda/Frisian Jean des Communes predominate. Much has been lost over the past 225 years, but a number of singers’ names came down through time. These included Utricia Ogle (the muse of Constantijn Huygens), Rose Baptiste Anselme (the muse of Jacob Jan van Wassenaer and the audience of the French Theatre The Hague), Anna Davia (Diva in the travelling company of Domenico De Amicis), Princess Carolina (who probably performed Mozart's very first opera experiments from The Hague herself) and Ernestine Louisa Anderegg (muse and wife of Bartholomeus Ruloffs).
DutchDiva of the Moment
From Huygens & Utricia Ogle to Elly Ameling & Cyril Auvity
Homo universalis Constantijn Huygens composed the anonymously published song and psalm collection "Pathodia Sacra et Profana Occupati" in 1646. Huygens' primary goal was to impress his muse at the time, harpsichordist and singer Utricia Ogle, to whom the work is dedicated. The scabrous/amourous/masochistic songs (just listen to "Con la candida man") demonstrate his knowledge of the latest fashions in Italy and France at the time. Besides Boësset, Monteverdi and his idol Luigi Rossi also resonate. Since the collection's rediscovery by Aafke Komter-Kuipers in 1934, Jo Vincent and the contralto Annie Hermes have been gradually putting Huygens on the map. Several complete recordings are now available, including the 1979 EMI LP with soprano Elly Ameling and bass Max van Egmond, the 2000 NM-Classics CD with soprano Anne Grimm, bass Peter Kooij, mezzo Wilke te Brummelstroete, and tenor Nico van der Meel, and the 2020 Glossa recording with tenor Cyril Auvity. The 401 Dutch Operas Handbook I devotes over 14 pages to Huygens, the Pathodia Profana, muse Utricia Olgle, and the pathodia discography.
Miranda van Kralingen
.....Half-way Van Kralingen joins in. The old soprano stands at the left side of the grand piano, beside the pianist. The young soprano opposite them. Both lean on the black polished wood of the instrument. Both stretch their backs, the legs tight. Both on tiptoe, the singing mouths only a few inches apart. A great part of the audience is sitting a little bit more to the front.......after the final phrase Van Kralingen embraces the old mistress........
from a report in 'Vrij Nederland', oktober 1987 after a masterclass with 'Frau Professor' Schwarzkopf
This time for a change a young Dutch talent, the soprano Miranda van Kralingen. I've heard her several times during concerts- the first time in an oratorio of Haydn - and I am much impressed by her very enthusiastic way of singing. The coming season she performs the role of Leonore in Beethovens Fidelio and I'm curious how she sings comparing her great predecessor Gré Brouwenstijn.
The soprano Miranda van Kralingen, born in Oosterbeek - now living in The Hague - appeared already on her 15th as jazz singer. She started her vocal training with the The Hague' pedagogue Ank Reinders. She continued her study at the 'Sweelinck Conservatory' with the soprano Erna Spoorenberg. During her study she got on the track of the 'Groupe des Six', the club of French composers from the first half of the 20th century.Via them she started to perform classical Lieder. This study was finished cum laude in June 1987. After that she followed lessons with the alto Aafje Heynis.
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During a master class given by the famous German soprano Elisabeth Schwarzkopf in September 1987 in the 'Amsterdamse Concertgebouw' Miranda van Kralingen was graduated from the catogory 'Young Dutch Talent' to the 'catogory of international sopranos', coached on base of Strauss' Vier letzte Lieder. Elisabeth Schwarzkopf chooses also the young soprano for the final concert - with a.o. Strauss' 'Vier letzte Lieder' which was directly broadcasted by the Netherlands radio. The 'De Maes & Lunau Award' get Miranda van Kralingen a place in leading vocal circles in the Netherlands. Miranda van Kralingen worked together with conductors as Bernard Klee, Hans Vonk, Roelof van Driesten, Jan Stulen, Lev Markiz and Hartmut Haenchen. She appeared in oratorio of Haydn, Beethovens Ninth' Symphony, Mahlers Second Symphony (together with the much promising young alto Margriet van Reisen). At the 'Nederlandse opera' she sang among others a leading role in the world premiere of Louis Andriessens' 'Rosa, a horse drama'. At 'Opera Zuid' she was to hear as Mimi in Puccini's La Bohème. In 1988 she made a concert tour through Indonesia and Australia. Her concert in Australia was a gift from the Dutch Queen Beatrix and Prince Claus during the state visit they offered to the Australian government. Abroad she appeared many times at the 'Komische Oper Berlin', where she was praised for her interpretation of Leonore in Beethovens Fidelio in 1997 under stage-management of Harry Kupfer. Further she appeared in Schönbergs 'Von Heute auf Morgen' (1995), Katja in 'Katja Kabanova', Donna Anna in 'Don Giovanni' and Ellen Ford in 'Peter Grimes'. On this moment she rehearse for Tosca at the Welsh National Opera and the coming season she will sing again as Leonore in Beethovens 'Fidelio', now with the 'Nationale Reisopera'. Besides her many opera activities Miranda van Kralingen gives regularly Lieder recitals with pianist Tan Crone. Recently - July 2001 - Schumanns 'Frauenliebe und Leben' during the Orlando Festival.
soundSchumann, uit 'Frauenliebe....', 'Seit ich ihn gesehen', live recording
Miranda van Kralingen (Fewronija) and Günther Neumann (Grisjka) in 'The myth of the invisible city Kitesj and the girl Fewronija' of Rimski-Korsakov in a performance of the Komische Oper Berlin 1996.
Stage-management Harry Kupfer, musical direction Shao-Chia Lü. Co-production with Bregenzer Festspielen.
Miranda van Kralingen
