INTERNATIONAL YOUNG PATRONS GALA 2025
words by NATALIE GAL
The Young Patrons Circle is delighted to announce the seventh edition of the International Young Patrons Gala, taking place on Saturday 21 June 2025 in the historic theatre of Dutch National Opera & Ballet. The annual benefit will once again place the rising stars of opera and ballet in the spotlight, offering guests a festive evening of world-class performances and an exclusive glimpse behind the scenes, this year with the media partnership of Numéro Netherlands.
For one magical night, the young talents of Dutch National Opera & Ballet will present a curated programme of opera and ballet performances, specially designed to showcase their artistry and passion. Following the performances, attendees are invited to join the company’s circle of friends and donors for a grand party connecting with fellow young patrons, and creative leaders.
The Young Patrons Circle consists of nearly 200 young professionals and creatives who share a passion for opera and ballet. Members receive exclusive behind-the-scenes access throughout the season and contribute financially to sustain these art forms for many generations to come. The International Young Patrons Gala traditionally marks the grand finale of their season.
credits: Leonel Piccardo
As one of the Netherlands’ most defining cultural institutions, Dutch National Opera & Ballet combines singing, dancing, music, acting, and design to bring human emotions and stories to life. Through its world-class live productions, Dutch National Opera & Ballet is a historical institution that has been performing since its establishment shortly after World War II.
I believe classical music is often taken at face value, seen only as beautiful arias or crescendos, when in truth it explores the full spectrum of human experience. Think of Mozart’s haunting Requiem, Beethoven’s triumphant Ninth, or Stravinsky’s Rite of Spring: each tells a story of joy, despair, rebellion, love and hope. It’s an art form that must be protected. Imagine a world where future generations never hear the magic of Mozart or the peaceful beauty of Chopin. Let’s ensure these voices continue to speak for centuries to come, a mission we believe in and ready to work towards.
For the occasion, I have had the chance to interview the two ambassadors of the talent development programmes – Léa Sauvignon, dancer of the Junior Company, and tenor Steven van der Linden – to hear about their journeys, inspirations and aspirations.
credits: Leonel Piccardo
Léa Sauvignon: Junior Company
Léa, ballet has been a part of your life since childhood, through many styles and schools. Was there a moment when you realized, “This is what I want to do professionally”?
I always wanted to dance and to be a ballerina! I started dancing different styles like ballet, modern and jazz, when I was 4 . I was always having the best time and so much fun in the studio. As I got older I realised my heart lay in ballet. I did my first ballet competition, and moved at age 11 to train full time in a pre-professional school which helped my dream become a reality!!
You’ve trained and competed in so many different countries and cultures, how have those international experiences influenced your growth as a dancer, both technically and artistically? Furthermore, as you’ve transitioned from competitions into a professional environment what did you consider the main differences and difficulties?
As I was training in my school in France, my dance teachers prepared me for several international competitions. This was a way for me to meet people and gain exposure.
During those competitions I got the opportunity to win some short term scholarships/internship , which enabled me to discover different styles and ways of working. This journey helped me grow my technical abilities and fueled my artistic drive .
credits: Jan Willem Kaldenbach
The main differences between school/competitions and professional environments are that once we are professional we’re more responsible for our personal growth. We have so many opportunities to dance different repertoire. We also get to work with a range of choreographers, go on tour, and dance on the beautiful Dutch National Opera & Ballet stage. I'm so grateful to dance in such an amazing company!
Steven van der Linden: Tenor
Steven, You’ve trained in both Berlin and London, and now you’re back in the Netherlands with the Dutch National Opera Studio — how have these different cultural and musical environments shaped your approach to performing? What did you find as the main difference between these nations and their relationship to opera?
I would recommend any Dutch performer to spend some time abroad. I’ve been very lucky to live and study in two of the biggest and culturally the most interesting cities in Europe. The difference between those cities and the things they have to offer are very large.
On the one hand, in Berlin, there is a very large underground culture, which even has its effects on art forms like opera. I saw a lot of very daring and adventurous performances in the great opera houses there. The houses in Berlin also spend a lot of time and money getting new audiences into the building. For example, tickets for students are €15. You really see the effect of this measure in the hall, as there are people from all age-groups enjoying the operas.
credits: Jan Willem Kaldenbach
However, it is also great to be back in the Netherlands now. Dutch National Opera has its own, very unique way of programming and putting up shows, which is very different from Berlin or London and very enjoyable in its own respect. In my first year here I’ve been part of so many exciting productions with amazing artists from all over the world, and I think that’s something that DNO does so well, getting people from all over the world and with all different talents into a room to create something that can really redefine the artform.
You’re taking on the role of Five in Philip Venables’ We Are The Lucky Ones at the Ruhrtriennale next season. What draws you to contemporary opera, and how do you prepare differently for modern roles compared to baroque ones like in L’incoronazione di Poppea?
There is one very obvious, but therefore not less important, difference which is that with contemporary opera, the composer is still around! As opera singers, we spend so much time perfecting certain “styles” of singing. Singing Mozart is very different from singing Verdi, which again is different from singing Monteverdi, etc. Together with our vocal coaches we spend hours upon hours trying to figure out what a composer might have meant with their notations, and many a book has been written about what the do’s and don’ts were for singers in different time periods.
In this case, Philip Venables was with us for almost the whole rehearsal period. This meant that if we weren’t sure what the composer wanted, we could just ask him! In some cases, Phil even changed some of the music to fit the singers better. This means that as the singer, you feel much more a part of the creative process, rather than just reproducing something that’s already been created hundreds of years ago. Especially with a world premiere this means that your name is forever connected to this new piece of music and I think that’s just really exciting and special.
