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Marion van den Akker

alt-mezzo and vocal teaching

About

16 February 2016 By admin

©Maurice Lammerts van BuerenMarion van den Akker studied at the Sweelinck Conservatorium in Amsterdam with Erna Spoorenberg. She continued her studies with Henk Smit and Aafje Heynis, Ellen van Haaren in the Netherlands and with Josephine Veasey in the U.K. A grant allowed her to participate in master classes given by Nicolai Gedda, Italo Tajo and Brigitte Fassbaender.

As a soloist, Marion van den Akker has worked with conductors like Kees Bakels, Aldo Ceccato, Mark Foster, Jean Fournet, Hartmut Haenchen, Eri Klas, Yakov Kreizberg, Alexander Liebreich, Henry Lewis, Reinbert de Leeuw, Kenneth Montgomery, George Pehlivanian, gennadi Rozdestvensky, Marc Soustrot, Hans Vonk and Edo de Waart.

Van den Akker has a particularly affinity with orchestral songs. Her performance of Mahler songs (Lied von der Erde, Lieder e/f Gesellen, Kindertotenlieder) performed mostly in Germany and the Netherlands were received with great enthusiasm. Her concert repertoire also includes the Verdi’s Requiem, the Stabat Mater by Dvořák and by Rossini, Beethoven’s Missa solemnis and Ninth Symphony, Alt Rhapsody Brahms and the passions of J.S. Bach.

On the opera stage, Marion van den Akker has interpreted the title role in Dido and Aeneas. Carmen and Il barbiere di Siviglia (Paisiello) she sang Emilia in Otello, Cherubino in Le Nozze di Figaro, Dorabella in Così fan tutte, L’Enfant in l’Enfant et les Sortilèges, Fyodor in Boris Godunov, Prince Orlovsky in Die Fledermaus, Laura in La Gioconda, Nefertite in Akhenaton, Laura in Iolanthe and Principessa in Suor Angelica. Roles in contemporary opera include Monnica Marthe (Willem Dragstra) and the mezzo part in Kopernikus (Claude Vivier). Van den Akker has appeared with De Nederlandse Opera, the Giessen Opera, Nationale Reisopera, Opera Festival Stia (Italy) and the Flemish Opera (Belgium).

Marion van den Akker is active as a chamber musician. She performed as a soloist with the Allegri String Quartet, the Raphaël String Quartet, Ebony Band, Valerius Ensemble, the Ravel Quartet, Parkanyi Kwartet and Ruysdael Quartet. Her chamber music repertoire includes works by Respighi, Brahms, Schubert, Chausson, Schönberg, Musorgsky,Bridge and Gubaidulina.

Additionally Marion van den Akker has given solo recitals with the following pianists: Rian de Waal (her late husband) , Martijn van den Hoek, Jeroen Sarphati and Hannes Minnaar in a.o. Paris, London, Bath, Bloomington, Amsterdam, Rotterdam Toronto, New Delhi, Manila, Curaçao, Lugano, Firenze, Casablanca, Athens and Corfu.

Van den Akker’s voice inspired many composers to write for her.
These include Sebastian Huydts (Emerson Songs), Willem Jeths
(I Go), Caroline Ansink (Jeanne d’Arc) and Robin de Raaff (Dickenson Songs).
Peter Jan Wagemans ‘Das Neunte Lied’ was premiered during the Gergiev Festival in a performance focusing on Robert Schumann.
Recently after a production of Peter Grimes where Marion van den Akker performed the role of Aunti (summer 2021) the director of this opera Paul Carr, who happend to be a repected composer aswell, was inspired by Marion’s voice and composed  a song for her (Music, when soft voices die).

In addition to her performing art Marion is also a very dedicated singing teacher and runs her own  classical singing studio at the Stichting van de Omroep, Heuvellaan 33 te Hilversum.

BIOGRAPHY
Education
Sweelinck Conservatory Amsterdam
Teacher of music and performing art

Masterclasses
Nicolai Gedda Nice
Italo Tajo Firenze
Brigitte Fassbaender England and Paris

Further education
Henk Smit
Aafje Heynis
Henny Yana Diemer
Josephine Veasey English national Opera
Giessen Opernhaus
Firenze Summer opera course

Educative experiences

  • Masterclass romantic songs and vocal technic Casa Blanca 1998
  • Masterclass conservatory Zwolle Schumann 2003
  • Masterclass conservatory Zwolle contemporary music a.o. Claude Vivier and Gubaidulina 2004
  • Masterclass romantic songs Koninklijk conservatorium Den Haag 2005
  • Masterclass songs by Liszt Prins Claus Conservatory
  • Peter de Grote festival as vocalteacher and performing artist from 2006 to 2015
  • Producer of chamberopera’s: The old maid and the Thief (Menotti), l’Heure Espagnole (Ravel), la Serva Padrone (Pergolesi)and The Tsar (contemporary opera) by Monique Krüss
  • Prins Claus Conservatory vocal teacher 2007 to 2015 Groningen

Jury activities

  • International Vocal Competition Den Bosch 2011,2012,2013,2014
  • Prins Bernhard Cultuur Fonds ( scholarships for young musicians ) until 2016

Organisation

  • Rhijnauwen Chamber Music Festival 1994 tot 2000
  • After summer Festival Zwolle 2000 tot 2007
  • Royaal Vocaal Den Haag own sereis from 2005 to 2011
  • Peter de Grote Festival founder vocal department
  • Foundation Klassiekintveen.nl programmer still active

Commissioned compositions

Pim Moorer Autumn’s Even
 Sebastian Huydts  Emerson Songs
 Willem Jeths  I Go
 Caroline Ansink  Jeanne d’Arc
 Robin de Raaff  Dickenson songs
 Jaques Reuland  Rossetti liederen
Peter Jan Wagemans  Das Neunte Lied

SOPRANO ANDREA CONANGLA IN AN INTERVIEW WITH MARION VAN DEN AKKER

Soprano Andrea Conangla from Portugal in an interview with her teacher the mezzo-soprano and vocal coach Marion van den Akker from the Netherlands

AC: The Fach vocal system is used mainly in Opera Houses to help organizing the opera seasons BUT is also used as a guide to students during the training. Is the Fach vocal system a good tool of categorization?

MA: Well, I think it can be very helpful. I agree with the Fach system in a certain way. It was invented in Germany, actually, and being used by them. It’s a very special system. It can help you to, perhaps, not overuse your instrument and finding a good way to coach your voice and not going into extremes in certain roles that you can damage yourself, especially when you are still very young. So I think it is not a bad system, it is useful.

AC: Is it a valid way of categorization? MA: Yes, I think it is. It’s very valid because you can build up a good repertoire without overusing your voice. Only if you stay more or less in the same category of course. AC: How is it used? Or how should it be used?

MA: I don’t know nowadays how it is used, because in my time, they used it in Germany in quite a proper way. They produced one or two seasons in advanced and they looked for voices to fill in the roles. But in “the old days” it was the other way around. The producers and intendants of the opera houses were more interested in the singer, they searched operas to fit the singer’s voice. If they really stick to the Fach system you could sing good roles, as I did as a lyrical mezzo, like Cherubino, Dorabella, Carmen, it was not too heavy, and it was good to build repertoire. But sometimes, some houses asked me for Cherubino as a light mezzopart but they also ask me to sing Venus a dramatic soprano, that was impossible for me at that time ! It’s totally different. Venus can be sang as a Zwischen-fach1 role. Venus can be sang by a dramatic soprano, but it can also be sang by a high full lyrical mezzo. It’s in the middle of two Fächer, like Fidelio a bit.

AC: What are the dangers or opportunities involved?

MA: I think there’s not a real danger when you stay within your Fach, on the other hand it can be a bit boring when you want to develop your voice. Some German singers stay for years in the same theater and singing the same parts over and over again (at least in my days) But You can also develop your voice in different ways. Let’s say you are a soubrette and you like to develop more in a lyrical coloratura soprano. Because that’s very near to each other, then you don’t get the chance to do that in some houses. There are other houses, perhaps bigger houses where you get the chance to do so, but you need to be really careful with yourself and 1 Voice that fits between two categories. take everything in consideration; can I do that? Is my voice strong enough, is my body strong enough, do I have the stamina on the long run? Can I sing all this different parts? So it depends a lot on yourself, and your knowledge of the music, on your own voice, on the right support of your teacher. Otherwise those houses will exploit you.

Click here: Interview Marion van den Akker to read the complete interview

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Welcome

Thank you for visiting my website. You'll find a lot of information about me and about my vocal, educational and organisational capabilities. If you'd like to know more about me, don't hesitate and send me a mail through the contact page on this website.
Come back often, since I will update regularly and keep you posted about my schedule and activities.

  • Dirigent Boudewijn JansenDirigent Boudewijn Jansen

    "Marion is één van die zeldzame artiesten die hun gehele artistieke, vakmatige en menselijke persoonlijkheid niet alleen delen met het publiek, maar ook met aankomende musici. Hier leer je: een goede zanger toont je zijn hart." boudewijnjansen.nl

     

     

  • Arash Roozbehi, baritoneArash Roozbehi, baritone

    " Working with Marion has been like opening a big window. Not only I gained new perspective by experimenting with my voice and body under her supervision. Also I found freedom since I’m finally able to breath. I’m feeling in control because I’ve learned to understand my body and it’s optimal way of functioning. Therefore I trust myself. Marion has proven to have broad knowledge about both singing and teaching singing. Her experiences as an opera singer, teacher and a person, together with her wonderful personality are what make her lessons extraordinary. Marion just catches your interest and total focus. She doesn’t let go. " 

    ArashRoozbehi.com

  • Emilie de Voght, sopranoEmilie de Voght, soprano

    "Marion ne possède non seulement une technique implacable, mais elle arrive également à la transmettre avec précision et dévouement, dévouement tant à l'élève qu'à l'art du chant. Et tout cela avec l'âme d'une musicienne qui supervise le tout." emiliedevoght.com

  • Laura Bohn, sopranoLaura Bohn, soprano

    I remember the first question she asked me was "Do you love your voice?" and this was really remarkable to me - no teacher had ever asked me such a question, and honestly, self love and gentle care of my voice was not what I had been taught by classical teachers in the past. Not only is Marion tuned into this self-respect for the voice and the individual in singing, she is also a fierce technician with a finely tuned ear and dedication to precision and excellence.  I feel more connected to my speaking voice than ever in my classical repertoire after working with her for this past year. laurabohn.com

  • Oxford TimesOxford Times

    ...Brahms' two songs op.91 sung by a mezzo of this quality, what a blissful experience they provided!
    "Die ihr schwebet " brought tears to the eyes...

  • De Telegraaf, NetherlandsDe Telegraaf, Netherlands

    ...verbluffend Russisch klonk de mezzo van Marion van den Akker. Ze boorde diepe Slavische tinten aan en bracht met haar idiomatische voordracht het hart in vervoering...

  • Gennady Rozhdestvensky, RotterdamGennady Rozhdestvensky, Rotterdam

    ... Marion van den Akker in her part as Feodor in "Boris Godunov" by Moussorgski has shown great musicality and an excellent command of the Russian language in the concerto's directed by me on February 5th and 6th, 2000 in the Hague and Amsterdam.

  • Trouw, NetherlandsTrouw, Netherlands

    ... the colorite of van den Akker's voice fits the music ( Brahms Alto Rhapsody) as a glove ... A great achievement, bringing into mind Aafje Heynis' famous interpretation...

  • The Bath Evening Chronicle, BathThe Bath Evening Chronicle, Bath

    ...The warmth of ms. van den Akker's tone, combined with a glorious freedom of melodic line, revealed fresh beauties...

  • The Sunday Times, United KingdomThe Sunday Times, United Kingdom

    ...a voice rich and tender....

  • Eindhovens Dagblad, NetherlandsEindhovens Dagblad, Netherlands

    ...Her fine mezzo voice, radiated and overwhelmed. Her identification with the songs ( Liszt) was heartwarming.....

  • Libération, Casablanca

    Le public qui était venu au Complexe Culturel Sidi Belyout aura apprécié la puissance de voix de l'artiste, son intelligence et sa grande présence sur scene...

  • Everett Porter, producer & engineer PolyhymniaEverett Porter, producer & engineer Polyhymnia

    A great acoustic for playing and recording chamber music in a picturesque dutch rural landscape, complete with high-end recording facilities. polyhymnia.com/names-faces/everett-porter

  • Michel Brandjes, Steinway & Sons techniciMichel Brandjes, Steinway & Sons technici

    The beautiful acoustics in the room immediately make me think of those of the Jesus Christus Kirche in Berlin where Karajan recorded all his Beethoven Symphonies for DGG. michelbrandjes.com

  • Harro Ruijsenaars, cellistHarro Ruijsenaars, cellist

    In Valthermond, Rian de Waal has created an atmosphere that would be worthy of an international festival. It is surprising to find a concert hall in the middle of nowhere that fits seamlessly as a Drenthe gentlemen’s farmhouse in the surrounding landscape and sounds at least as good as the Recital Hall in the Concertgebouw. It is worth every bit of this trip, to speak in Michelin Guide terms.

     

  • Rob Metkemeijer, director Peutz bvRob Metkemeijer, director Peutz bv

    ...a space that is acoustically right without any tricks being applied, with a natural, transparent but also spacious sound that makes it very suitable for chamber music concerts and recordings. The shape is unconventional for a studio or concert hall. That makes the sound distinctive and offers the creative user, musician and sound producer excellent possibilities.

  • Esther Kuiper (2)Esther Kuiper (2)

    These days, when focus and patience seem to be scarce, also in the field of vocal studies, Marion takes a difference by digging deep, helping me to find my path to freedom of vocal and artistic expression.
    She teaches me how to do the neccessary vocal and artistic work and be patient, trusting that real quality will always stand out! She knows exactly how to help build a voice and give you the information and tools how to train your instrument in such a defined and detailed way, that I never experienced with any other teacher before. She never looses the big picture and adapts her teaching to the particular person she is working with. I feel truly blessed to have met Marion and to be able to work with her. estherkuiper.nl

  • Esther Kuiper (1)Esther Kuiper (1)

    For me, working with Marion means getting closer everyday to freedom of expression and being able to perform and share musical art in a honest, personal and fearless way. Keeping this artistic goal in mind, we come across all different aspects that are part of building a voice, a stage personality and a singing career. For all these matters I trust Marion's advice, for she is a true artist with lots of experience as an allround classical singer on the highest level, with great artistic vision, extensive technical know-how, and a great sense of humour. estherkuiper.nl

  • Fennique KejaFennique Keja

    De kracht van Marion ligt in haar heel scherpe oordeelsvorming en juiste gevoel ten aanzien van de kwaliteit van zingen, muzikaliteit en persoonlijkheid. Ze laat een leerling groeien door telkens zowel technisch als muzikaal, het juiste aspect aan te pakken wat op dat moment nodig is. Daarbij kan ze haar diepgaande kennis halen uit een onuitputtelijke bron van haar rijke zangersleven. Ze stimuleert de ontwikkeling van een zanger niet alleen als zanger maar vanuit een ruime blik als mens in het geheel, om zo uit te groeien tot een persoonlijkheid. Haar enorme professionaliteit laat hierbij geen concessies toe.

  • Ruth WillemseRuth Willemse

    She is a real artist an gives tons of inspiration on the musical side and support on the difficult sides of being an artist, being a singer. She has used her network where she could and helped me further on the "market". I wouldn't be where I am now without her stable technique lessons, her ongoing support and the example of her powerful personality. ruthwillemse.com




mezzo-soprano@marionvandenakker.com
Marion van den Akker

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