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retrospective 2023

retrospective 2023

retrospective 2023

The Holland Festival’s 76th edition was artistically wide-ranging, with a notably diverse and generous audience that, more than ever before, was an integral part of the festival.

The festival opened in the presence of her Royal Highness Princess Beatrix with the very well-received Drive Your Plow Over the Bones of the Dead from Simon McBurney and ended with the ground-breaking Requiem for Nature by Tan Dun, Pierre Audi and the Royal Concertgebouw Orchestra. The rest of the programme showcased a wide variety of disciplines, including musicals, dance, music and musical theatre, theatre, exhibitions, installations and various combinations. From avant-garde pieces like Ribingurumu no Metamorufuoshisu by Toshiki Okada and Dai Fujikura to more accessible programmes like Wuthering Heights from Emma Rice. From small, intimate productions like Epitaph by Ed Atkins to the world premiere of Indra’s Net from living legend Meredith Monk.

Associate artist
This year’s Holland Festival associate artist could not be missed: singer, composer and visual artist ANOHNI inspired a major part of the programme. She did this with her own work, through collaborations and conversation topics she put forward. A key question in all this was ‘What is really happening?’, reflecting her concerns regarding feminism, ecological catastrophe and the effects of colonialism, exploitation and capitalism. Her ability to connect proved invaluable. She initiated extraordinary meetings between international artists and exchanges with women who work in the public sphere, such as alderwoman Touria Meliani, responsible for Arts and Culture in the municipality of Amsterdam. She was also able to involve audiences with performances in new, empathic ways, like with the Elders project, which involved well-respected Dutch people doing small, informal interventions of their own choosing before the performances in order to raise audiences’ awareness of the moment.

The eagerly awaited film installation Euphoria from Julian Roseveldt, which had to be cancelled in 2022 due to circumstances, was realised this year and drew more than 10,000 visitors. The festival is happy and grateful that major donors kept believing in this important megaproject, which served as a basis for the rest of the programme for seventeen days. It became a location that visitors enjoyed coming back to multiple times in order to fully appreciate the work’s many layers. And it proved to be a place where different parts of the festival programme thematically came together.

Diverse and generous audiences
The varied programme made it possible to visit exhibitions, talks and installations by day, while attending live events during the evening. There were performances for all ages, for novice as well as seasoned festival attendees from a variety of backgrounds, suitable for different moods. This great diversity was also reflected in the visitors: sold-out venues filled with a different kind of audience each time. Audiences were also notably involved with the festival, as evidenced by the great atmosphere at the various locations, the attention, focus and many standing ovations. On more than one occasion, audiences left the venue singing and dancing, no longer feeling like spectators but actual participants, like after the collective ritual To Feel A Thing: ARitual for Emergence from adrienne maree brown, or the total theatre experience Respublika from Łukasz Twarkowski. And, as befits a festival, this resulted in lots of discussions about everyone’s experience afterwards.

In-depth conversations and accessibility
For those that could not get enough of the festival and the participating artists, a great number of in-depth conversations were hosted: there were introductory podcasts from De Groene Amsterdammer, Meet the Artist sessions at the festival centre De Balie and in-depth interviews with various makers on the website. A variety of programme parts could be visited free of charge as well, in addition to streams of various performances and conversations that were made available online.

The Holland Festival is very grateful to all partners who helped realise this 76th edition. The subsiders, many partners, patrons and foundations, as well as all the locations and content partners are essential for making the festival a success each year. Many thanks as well to all the visitors who often attended several performances during this edition at all 23 locations where the Holland Festival set up shop this year. And, of course, also to the many artists and companies from 29 different countries who helped make this festival an artistic success. Last but not least, I wish to thank the wonderful Holland Festival team, whose sustained efforts and energy, empathy and joy made this edition of the festival truly sensational. Many thanks!

At the end of September, the associate artist of 2024 will be announced. Via the website, the newsletter and socials, we are happy to inform you about Holland Festival activities and events this autumn and next spring. We will get back to work on the next festival, see you in June 2024!

Emily Ansenk, director

Great variety of art forms and formats

The 76th edition of the Holland Festival was marked by an exceptionally great variety of art forms and formats, with ample attention to forms of art that go beyond traditional performing arts experiences, like rituals and immersive multi-disciplinary performances. Associate artist ANOHNI put her own spin to her role in the festival. Besides presenting her own work, she played an important role by putting forward subjects to be further developed locally. Recurring themes throughout the programme included: feminism, ecology, the relationship between artist and audience and that between different generations. Three unique, large-scale projects were the multi-disciplinary site-specific performance Respublika from Łukasz Twarkowski, the  immersive film installation Euphoria from Julian Rosenfeldt and the contemplative on-site outdoor programme The Disintegration Loops (for Euterpestraat).

Active audiences and communities
This edition of the festival featured lots of performances and rituals in which local makers and speakers played an active role, with the aim of deepening and enhancing audiences’ experience. Respublika combined theatre, film and dance/rave and invited the audience to freely move and dance throughout the area and fully immerse themselves in this extraordinary experience. Such cutting-edge forms often also involved a new, more active role for the audience. The Queer Choir Amsterdam sang in adrienne maree brown’s To Feel A Thing - A Ritual for Emergence, with the audience singing and dancing along as well during the performance. A similar thing happened, on a smaller scale, during the Detox Mornings, with morning rituals led by singer Bahghi and dancer Simomo Bouj.

The varied and daring programme drew audiences that were more diverse and involved than ever before. This resulted in a mix of all ages from a wide variety of backgrounds. During To Feel A Thing, for instance, one astonished visitor called out: ‘It’s like everyone is here!’, alluding to all the different age groups and subcultures in attendance.

At times, it was hard to tell the performers from the audience. During Ed Atkins’ Epitaph, part of the audience turned out to consist of a local choir that took part in the performance and turned the solo spoken word performance into a collective, cathartic experience. For Romeo Castellucci’s Bros, local amateurs were cast to play a large, anonymous group of police officers.

Only at the Holland Festival
A number of performances were possible thanks to the festival’s joint production efforts. The musical film installation Euphoria, about the ‘euphoric’ and destructive side of our consumer society, combined breathtakingly beautiful visuals with layered themes and buzzing energy, and went on to be one of this festival’s big favourites. But smaller productions from lesser known makers were made possible as well, like Tenebris Suspiria Naturae from performer, choreographer and DJ Johanna Constantine, one of the makers from associate artist ANOHNI’s extended circle, who was able to present her own poetic way of choreographing on a larger scale for the first time. And it also allowed for exciting cross-overs, including The Bacchae from Elli Papakonstantinou: a queer interpretation of the Greek classic with pop songs, classical operatic outbursts, dance and live video. Both ANGELA (a strange loop) from Susanne Kennedy and Markus Selg and Ribingurumu no Metamorufuoshisu from Toshiki Okada and Dai Fujikura were cutting-edge projects that generated a great response. On commission from the Holland Festival for the Day of the Composer opening, composer Meriç Artaç wrote a new composition titled Babadu, which premiered on a sunny morning on the bank of the IJ river.

International and local connections
The associate artist’s role this year was all about her ability to realise projects and meetings. She felt it her task to initiate conversations relevant here about the urgent subjects that concern her, like how we treat the world and each other. ANOHNI also asked the question she always asks herself - ‘What is really happening?’ - with respect to the situation in the Netherlands.

The Disintegration Loops (for Euterpestraat) was a notable example of ANOHNI’s search for this hidden reality in the context of the Netherlands. She combined William Basinski’s contemplative music with performances of a school choir and speakers with compelling personal stories about the wartime history of this street in Amsterdam where she once lived herself, and in this way drew attention to underlying realities.

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programme 2023


The Holland Festival is also a learning environment, with a wide range of activities for university and high school students. After three years of the COVID pandemic, it was finally possible to put together an extensive education programme again this year. For this purpose, a new job of education officer was created at the festival. The activities for students ranged from visiting performances to workshops and meeting the different makers. 

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podcast introductions

podcast introductions

podcast introductions

De Groene Amsterdammer produces podcasts for the Holland Festival highlighting performances and interviewing makers. The podcasts provide background and reflection on the programming. They can be listened to as an introduction or review for visitors and anyone interested in the festival.

listen here (Dutch only)

audience reach

Audiences came to the theatres and concert halls in great numbers. Over the course of 31 days, 40 different companies did 200 performances. The venues were filled to 80% capacity, while the festival drew over 80,000 visitors. Together, the free events accounted for 9,800 of the aforementioned visitors. In addition, over 16,000 visitors watched and listened to HF Digital, which hosted De Groene Amsterdammer podcasts, the free stream De Oorlogskoffer, ANOHNI’s podcast, influencers’ videos and of course the 150 newly unlocked gems. 

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public reactions

  • Drive Your Plow Over the Bones of the Dead

    A beautiful production by Simon Mcburney and Complicité that brings olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead into life in a spectacular manner.

  • The worm

    #theworm Gripping, intrusive and alienating mother-son talk.

  • Ribingurumu no Metamorufuoshisu

    One of the best things I’ve seen for a long time. Psychedelic and metaphysic trip.

  • The Disintegration Loops (for Euterpestraat)

    Very impressive and surreal to realize what things this place has seen. Right soundscape to contemplate on.

  • Evolution of Fearlessness

    I'm so impressed by this work. Wow. Just wow 🔥👏

  • Euphoria

    Incredibly wonderful multimedia experience. Was for a moment completely out of this world while being confronted with its contemporary madness. ❤️

  • Sigur Rós & London Contemporary Orchestra

    We have seen Sigur Rós play many times, both here in Amsterdam, and also several times in Reykjavík, but last night it was the first time we saw them performing with a full orchestra. What a fantastic concert!

  • 13 Tenets of Future Feminism

    Such beautiful and important work and where stone becomes the sky.

  • Respublika

    #whatthefuck U have created something amazing! When I get the chance, I will definitely visit again.

  • Brideshead Revisited

    Hilarious and moving theatre. A queer interpretation that does right by Evelyn Waugh's famous book. Beautifully played by theatre group De Warme Winkel.

  • Indra's Net

    Thank you @hollandfestival for this enchantingly beautiful show by @meredithmonk. Special to see and hear this in real life. Goosebumps.

  • Bros

    I’ve seen many Romeo Castellucci productions. Each one comes with its own level of uncomfortableness. He’s an amazing artist who goes deep into his themes. I was not prepared for his production of “Bros”. His imagery is gorgeous. His ingenuity is boundless. But this production rattled me to the core. Theatrical trauma. Physical and psychological battering. I’ll never forget it. Congratulations @hollandfestival!


  • ANGELA (a strange loop)

    ANGELA (a strange loop) is visually stunning. As blank as the artificially speaking characters are, so stunning is Markus Selg’s visual spectacle. 
    - de Volkskrant

    I’ve rarely seen performances where lethargy is enacted so tangibly and convincingly. Ixchel Mendoza Hernández shines in the way she enacts Angela’s estranged, affected relationship with the world, holds that hollow ball up in the air for one and a half hours, never letting it slip from her hands. (…) An incredible vision all in all, which might seem a bit lifeless in the making, but then goes on to be entirely captivating.
    - Theaterkrant

  • Brideshead Revisited

    A thrilling dialogue about love. (...) An own, personal version of the story about friendship and unspoken love.
    - NRC ★★★★★ 

    Different styles of theatre are mixed: empathic acting combined with actors exploring themselves and talking about it. (...) Watching this kind of theatre is pleasantly unsettling due to how the story can suddenly hit home at times.
    - Trouw ★★★★

    A generous and very vulnerable portrait of two people constantly navigating between shame and hope.
    - de Volkskrant ★★★★

  • Bros

    In the mysterious and intriguing theatre piece Bros, non-professional actors follow orders they receive through earpieces. As a spectator, you almost feel complicit in the stylised violence unfolding on-stage.
    - NRC ★★★

  • Call for the Company

    Eight trumpets that only play a D note for half an hour. Engaging? Yes. The Holland Festival devoted a long portrait concert to Chacon in which he showed himself to be a radical, highly imaginative conceptualist and an heir to Cage and other American experimentalists from the 50s and 60s. Not always pleasant, but fascinating.
    - NRC ★★★★

  • Dragons

    Glorious acid trip for adepts (...) Everything about the dance piece Dragons is right: the choreography, music, set and costumes (...) You, too, know that you don’t want to be anywhere else this evening. Only here, only now.
    - Parool

    The piece references the entire history of dance, both Eastern and Western. Not as a monument, not perfunctorily or seriously, but in playful references with great energy (...) where joy is the guiding principle, with large parts of the audience coming out of the venue with a smile on their face.
    - Cultuurpers

  • Drive Your Plow over the Bones of the Dead

    An eco-thriller that never gets preachy. The facial expressions, the brilliant timing of the entire piece which, thanks to the steadfast execution of director Simon McBurney, fits together like clockwork.
    - Trouw ★★★★★

    Accessible piece about human cruelty. [Leading actress] Hadingue is witty and sure-footed. The microphone is her friend, and she manages to keep the performance from sounding perfunctory for even a second during its three-hour duration.
    - NRC ★★★★

  • Eroica I

    An hour at Bimhuis with three improvisation artists and one voice artist, with Basquiat’s painting Eroica I as inspiration. The combination of delicately performed, unusual sounds is intriguing. (...) Here, too, it’s the search for sound and rhythm that commands attention.
    - Het Parool

  • Euphoria

    These life-size scenes are splendidly filmed and brilliantly performed. (...) Don’t let this smashing experience pass you by.
    - De Groene Amsterdammer

    It’s one of those art events, or ‘total experiences’, where you feel blessed to have been there. (...) The central theme is the question why capitalism remains so appealing, despite the destructive effects we see all around us. Heavy stuff, but (...) it also has a lucid side that is often both witty and moving, thanks to its exceptional defamiliarising effects.
    - Opus Klassiek


    The ritualistic dance piece Exótica is an ode to the ‘exotic’ dancers of the Parisian avant-garde. (...) The tone is friendly and sincere, not confrontational, even if Piña stresses how great it feels to present Exótica in 'Amsterdam’s Stadsschouwburg, the stage for elite dance par excellence’.
    - de Volkskrant ★★★☆☆

    The evening’s apotheosis is a beautifully choreographed group snake dance, followed by a politically charged song full of recognisable, present-day beats.
    - Theaterkrant

  • Forsythe

    Humour, beauty and innovation: ballet innovator William Forsythe has it all. Three rock-solid choreographies from ballet innovator William Forsythe. (...) Call it a love letter to ballet, to ballet dancers, to the history, practice and technique of ballet.
    - NRC ★★★★★

    The Dutch National Ballet and Ballet Orchestra performed recent and early Work of William Forsythe, and it was first-rate. (...) Forsythe’s three-parter is a prime example of explosive power.
    - de Volkskrant ★★★★

  • HOW TO LIVE (After You Die)

    Wallworth aims for empathy, even in a story about the destructive effects of sectarian beliefs, which she once fell victim to herself. (...) This story builds bridges, but is disconcerting at the same time. Because while we may be all too familiar with cult leaders’ seduction and indoctrination techniques, Wallworth makes crystal clear how the sway they hold over large parts of the world’s population through social media is a great cause for concern.
    - Cultuurpers

  • Indra's Net

    Indra’s Net is a cheerful celebration of unity with voices seemingly capable of anything. Theatre maker Meredith Monk manages to skilfully weave her uplifting message into the performance.
    - de Volkskrant ★★★★ 

    A compact, well-thought out ritual of song, stylised movement, video projections and subtle, minimalist music. (...) Monk has an extensive repertoire of sounds: teeth chattering, tongue clicking, growling, overtone singing. She makes a kind of pseudo-folk music, both complex and primitive, with surprising, at times delightfully atonal harmonies.
    - NRC ★★★★ 

  • Jérôme Bel

    Besides Pankaj Tiwari, Bel asked for the Polish performer-voice artist Maria Magdalena Kozlowska, also active in the Netherlands, for the Holland Festival. Bel gave them a script, a set of rules and video excerpts, but they were free to interpret the rest themselves. (...) Tiwari’s focus on the hypocrisy behind Bel’s sustainable theatre makes this piece particularly urgent.
    - Trouw ★★★


    Choreographer Lukas Avendaño manages to portray the rebirth of the ‘third gender’ in spectacular fashion. I’ve rarely seen an opening of a large group piece that builds up in such a slow and beautiful way. An hour later, it turns into a spectacular rave with live drums, vocals and flute, and outrageous masked dancers.
    - de Volkskrant ★★★★

    Audiences lose their mind when the curtain falls. There’s a woman jumping and hollering beside me, as if her life depends on it.
    - Theaterkrant

  • Let X = X

    Deeply moving, with plenty of humour. Laurie Anderson (...) brought down the house in a sold-out Carré. (…) Every song feels like it’s precious to her, with fresh new arrangements. 
    - Cultuurpers

    The New York-based Anderson had eager audiences screaming and meditatively moving around. (...) You can hear the art scene of Laurie Anderson’s New York in the music. Glass’ minimal music remains the main point of reference, but it sometimes also channels David Byrne. Spiritually present as well is Lou Reed, Anderson’s husband who passed away in 2013.
    - Het Parool

  • ÔSS

    In ÔSS, a collaboration with the inclusive company Dançando com a Diferença from Madeira, Marlene Monteiro Freitas taps into her unique dancers’ strengths. Freitas’ equally theatrical and punk dance concert remains faithful to her distinctive vocabulary, where limitations only serve to inspire material. Six stellar performers draw us into an elusive world full of extremes.
    - Theaterkrant

  • Penthesilea

    Smashing theatre with Amazon queen as a rock star. Penthesilea is a new milestone in director Eline Arbo’s oeuvre: a musical tragedy in which lust and violence vie for dominance. She movingly shows a search for vulnerability and freedom in a universe where aggression is always looming in the background.
    - NRC ★★★★ 

    Eline Arbo turns a tragedy from 1808 into a gem that is both sexy and toxic. (...) [She] expresses (...) primal force and love, but also distrust and power. (...) The nine-piece cast shines from beginning to end under her dynamic direction.
    - Het Parool

  • Prophétique (on est déjà né.es)

    Wonderful madness and unwavering solidarity in a dance about an Ivorian transgender community. The performance may be a bit drawn-out, but shows their fighting spirit. (...) Beugré’s ‘folles’ are a wonderfully mad, unashamed bastion of sisterly solidarity (...) in a patriarchal society.
    - NRC ★★★

    With a brash barking scene, it’s as if queers from Ivory Coast are saying: we’re here, and we’re not going anywhere. More than a dance performance, Prophétique (on est déjà né.es) is a vibrant plea for accepting difference.
    - Het Parool

  • Requiem for Nature

    Tan Dun’s ‘Requiem for Nature’ is truly incredible, defying all genre distinctions in a one and a half-hour tour de force of imaginative vitality. (...) The work might sound a bit hodge podge on paper: choral music with ‘Western’ harmonies and striking ‘Chinese’ gliding tones, a dancing solo for pipa (Chinese lute), theatrical scenes from Buddhist mythology, Mongolian throat singing, some pseudo-Bejing opera, quasi-Gregorian singing, dripping water, glorious percussion, oh, and snatches of sultry orchestral music played with careless class by the Concertgebouw Orchestra. But it works.
    - NRC ★★★★★

  • Ribingurumu no Metamorufuoshisu

    Theatre maker Toshiki Okada manages to serve up Armageddon with a sense of humour. The living room in the musical theatre piece ‘Metamorphosis of a living room’ is a metaphor for the earth, which is headed for catastrophe.
    - de Volkskrant ★★★★

    It’s estranging, bizarre, inscrutable. And fascinating, too. (...) Fuijkura’s composition is beautiful. (...) But the music is constantly interrupted by the actors saying their lines, at length, with hypnotic repetitions. (...) Theatrically, it worked very well.
    - Theaterkrant

  • Rusalka

    The South African Johanni van Oostrum sang the [moon song] in the performance with a rapturous soprano voice, tenderly accompanied by the Royal Concertgebouw Orchestra. (...) The American mezzo Raehannan Bryce-Davis’ robust figure and colossal voice made her an impressive modern-day witch in this frightening magical aria. 
    - Opera Magazine

    The decor by Heike Vollmer and Philipp Stölz, and the costumes by Anne Winckler provided the perfect backdrop and made (...) Rusalka (...) a visual success. 
    - Basia con fuoco

  • Sigur Rós & London Contemporary Orchestra

    A wonderful evening. Sigur Rós makes for dreamy music that never gets boring, as it’s more layered than the earth itself. So, too, is the voice of Jón Þór “Jónsi” Birgisson, which, in its androgyny, is even more captivating than ANOHNI’s (...) And don’t even get me started on (...) The London Contemporary Orchestra: Young classical musicians all, as diverse as the city of London. I’ve never seen such a fresh, hip and colourful orchestra with such wonderful people, who also play with equally great precision and enthusiasm. (...) Sheer delight for the eyes and ears.
    - Cultuurpers

  • Tenebris Suspiria Naturae & Way We Are

    Tenebris Suspiria Naturae - There’s a slowness in their physicality which, with the soundscape, becomes almost trance-like. The combination of costumes, make-up and scenography is both raw and in your face, but precise and detailed at the same time.
    - Theaterkrant

    The Way We Are - The lead singer (...), with her 62 years of age, like the blonde bass player of at least the same age, is the perfect example of the kind of lady you’d like to see at boring family gatherings. The catchy punk rock (...) had Holland Festival audiences rocking in their seats.
    - Cultuurpers

  • The Disintegration Loops (for Euterpestraat)

    ANOHNI presented an impressive afternoon for reflecting on past and present, and for telling stories. (...) Journalist and presenter Marga van Praag spoke about how her mother was arrested during a raid and stood before a Nazi on Euterpestraat. (...) It was with this harrowing history in mind that William Basinski’s The Disintegration Loops was played (...) an intense sound loop that is both elusive and melancholy. (...) The setting, talks and grey skies gave the work a deep emotional intensity that will stick with me for some time.
    - Cultuurpers

  • The worm

    We come closer together digitally, while also becoming more alienated from each other. This is The Worm’s central theme. In the telephone conversation, Atkins’ mother talks extensively and fragmentarily about the difficult relationship with her own parents. (...) The Worm is fitting for a performing arts festival like the Holland Festival, as the film is like an insistent monologue - albeit a double monologue, that of a tormented mother and son.
    - NRC ★★★★

  • Vake Poes; of hoe God verdween

    With a large cast of actors, dancers and singers, four child actors and recordings of the Opera Ballet Vlaanderen symphony orchestra, the 30-year-old director portrays this pitch black family epic with a steady hand. The synergy between acting, dancing and singing is often impressive.
    - de Volkskrant ★★★

    This might make Houbrechts’ piece sound heavy-handed, but that’s not the case. The equally humorous relatability of human ineptitude (...) and Bach’s beautiful music give the dark piece a silver lining.
    - Theaterkrant

  • What's Your Heaven

    Accompanied by a string quartet, a saxophonist/clarinettist, pianist and beat boxer, CocoRosie managed to channel a world of sounds. From tranquilly meditative to wildly swinging. (...) The icing on the cake, which really added to the concert, were the short intermezzos in which the clarinettist did some wonderfully melancholy solos and the string quartet calmed things down with classical-sounding compositions.
    - Trouw ★★★★

    The dynamic between the performers was heart-warming without feeling gooey, mainly thanks to the obvious joy of everyone on stage and in the venue. 
    - Cultuurpers

  • Wuthering Heights

    With Wuthering Heights, the Holland Festival brought first-rate British theatre to Amsterdam’s DeLaMar Theatre for a full week. This English-spoken production from director Emma Rice is bursting with creativity, speed and theatrical ideas.
    - de Volkskrant ★★★★

    Director Rice tells this story in an epic manner, with a visual vocabulary that keeps surprising. (...) The performance includes puppetry, slapstick and music, too. (...) Rice keeps her audience on their toes with humour and visual spectacle. Vicki Mortimer’s set design is a sight to behold. (...) This delightful version of Wuthering Heights is raging with emotion. 
    - NRC ★★★★

Facts & figures

  • 40 productions

    40 productions with over 200 performances, plus
    2 streams
    6 films
    8 talks
    8 DIY activities
    2 afterparties

  • 81.446 visitors

    70.221 visitors live performances and streams
    1.380 visitors at programme at De Balie, RadioRadio, Future Feminism
    9.352 visitors free productions/activities (Meet the ArtistsThe  Disintegration Loops (for Euterpestraat)Day of the ComposerOpera in the park: RusalkaThe wormSHE WHO SAW BEAUTIFUL THINGS13 Tenets of Future FeminismEchobox x Holland FestivalLike a RiverFuture Festival Meet Up)
    493 participants educational projects

  • 38 online activities

    5 streams
    3 films (in association with Cinetree)
    19 podcasts
    2 videos with makers
    7 videos with met festival ambassadors
    2 radio broadcasts

  • 19 podcasts

    - Anohni: podcast and interview
    - 18 introductions by De Groene Amsterdammer

  • >800 artists

    Over 800 artists and crew

  • 8 world premieres

    8 world premieres:
    Indra's Net
    - Brideshead Revisited
    - Requiem for Nature
    - Call for the Company
    - Jérôme Bel
    - Penthesilea
    - Rusalka
    - Day of the Composer: Babadu

  • 11 co-productions


    Angela (a strange loop), Susanne Kennedy, Marcus Selg
    The Bacchae, Elli Papakonstantinnou, Ariah Lester, ODC Ensemble
    Brideshead Revisited, De Warme Winkel
    Bros, Romeo Castellucci, Societas
    Drive Your Plow over the Bones of the Dead, Simon McBurney, Complicité
    Euphoria, Julian Rosefeldt
    EXÓTICA, Amanda Piña, Nadaproductions
    Jérôme Bel, Maria Magdalena Kozłowska, Pankaj Tiwari, Théâtre Vidy-Lausanne, Frascati Producties
    Prophétique (on est déjà né.es), Nadia Beugré; Ribingurumu no Metamorufuoshisu, Toshiki Okada, Dai Fujikura, Klangforum Wien, chelfitsch
    SHE WHO SAW BEAUTIFUL THINGS, ANOHNI, Julia Yasuda, Erika Yasuda
    Vake Poes; of hoe God verdween, Lisaboa Houbrechts, laGeste (les ballets C de la B + kabinet k)


    Day of the Composer
    , Meriç Artaç
    Eroica I, Sofia Jernberg, Kit Downes, Petter Eldh, Kjetil Møster
    Wuthering Heights, Wise Children, Emma Rice.

  • 58 cooperation partners

    Amsterdam Museum, Barbican London, Belgrade Theatre Coventry, Biennale de la Danse de Lyon, Chelfitsch, Cinetree, Complicité, Comédie de Genève, Culturescapes, De Balie, Echobox Radio, Eun-Me Ahn Company, Festival La Strada Graz, Festival d'Automne à Paris, Odéon-Théâtre de l'Europe, Festival de Marseille, Festival of Athens and Epidaurus, Hartwig Art Foundation, Kampnagel, Kunstenfestivaldesarts, KunstFestSpiele Herrenhausen, La Bâtie-Festival de Genève, La Filature/Scène nationale de Mulhouse, Les Théâtres de la Ville de Luxembourg, Manège Maubeuge, Melkweg Expo, Montpellier Danse, MOVES México, Nationale Opera & Ballet, National Kaohsiung Center for the Arts – Weiwuying, National, NTGent, OMEK, Opéra de Lille, Opera Ballet Vlaanderen, PACT, Park Avenue Armory, Printemps des Comédiens Montpellier, Queer Choir Amsterdam, Read My World, Ruhrfestspiele Recklinghausen, R.B. Jérôme Bel (Parijs) STAGES, Dramaten Stockholm, Romaeuropa Festival, Ruhrfestspiele Recklinghausen, Sismo Stories & Performances, skinship, Societas, Tanz im August, Tanzquartier, Temporada Alta, Teatro Nacional D. Maria II, Theater Freiburg, Théàtre de la Ville - Paris, Théâtre de Liège, Théâtre de Strasbourg – Scène européenne, Théâtre Vidy-Lausanne, Volksbühne am Rosa-Luxemburg-Platz, Wiener Festwochen

  • 174.855 visitors website

    Users: 174.855
    Sessions: 304.341

  • 175.885 followers social media

    Facebook 41.841
    Instagram 11.635
    LinkedIn 2.505
    Twitter 6.966
    YouTube 2.070
    HF Young Facebook 4.196
    HF Young Instagram 1.277

  • 23 locations

    Amsterdam Centraal Station
    Artis Planetarium
    De Balie
    Centrale Markthal
    Het Concertgebouw
    Eye Filmmuseum
    Gerrit van der Veenstraat
    Hartwig Art Foundation
    Huis Willet-Holthuysen
    Koninklijk Theater Carré
    Melkweg Expo
    Nationale Opera & Ballet
    Park Frankendael
    De Sloot
    Theater Amsterdam

  • 2.965 hotel stays

    2.965 hotel stays by artists and crew

Holland Festival thanks friends and partners

Holland Festival 2023 was possible thanks to the support and involvement of many different foundations, sponsors and private donors, and the many enthusiastic visitors who were open to new experiences and perspectives.

We organise different activities throughout the year for our friends and partners, but the real thing happens in June, when we meet each other during the festival. We met at this year’s opening and the Friends performance and had great discussions about the programme and what everyone absolutely had to go see. We were awed by the guided tour of the Central Market Hall while Euphoria was being set up and the behind-the-scenes tours of Ribingurumu no Metamorufuoshisu - where we met Europe’s ‘slime specialist’ for the special effects - and Dragons, where we walked around backstage like actual artists. We danced with people of all ages during Respublika, had lengthy discussions after intense performances like ÔSS en Bros, screamed our lungs out with Laurie Anderson and were inspired by the programmes around ANOHNI. And most importantly: our friends and partners enjoyed everything there was to see and do, knowing that they helped make this possible. It was a joy to meet each other at all these different locations and experience the festival together.

Thanks to all the partners: Dutch Ministry of Education, Culture and Science, Municipality of Amsterdam, production partner Ammodo, main patron Fonds 21, presentation partner Hartwig Art Foundation, Hotel Casa Amsterdam, Performing Arts Fund NL, VandenEnde Foundation, VSBfonds, Ernst von Siemens Music Foundation, automotive company Van Vloten, ELJA Foundation, Stichting Zabawas, The Brook Foundation, Stichting Betrokkenen Stedelijke Vernieuwing, The Netherland-America Foundation, Institut-Français NL, Fonds ZOZ, M.A.O.C. Gravin van Bylandt Stichting, the Embassy of Poland, Instituto Italiano di Cultura Amsterdam, Beam Systems, De Nederlandsche Bank, G&S&, Loyens & Loeff, Reset, Westcord Art Hotel and others who support us anonymously.

Our friends

Special thanks go out to our Governors, Friends of the Heart, Guardians, (Young) Benefactors, Admirers, the HF Young Circle of the Holland Festival and all supporters who helped realise Euphoria.

Ronald Bax and Frank Lunenburg, Rob Defares, Jolanda Drukker Murray, Arent Fock, J. Kat and B. Johnson, Françoise van Rappard-Wanninkhof, M. Sanders, Tom de Swaan, Elise Wessels-van Houdt - in memory -
Governors who wish to remain anonymous.

Friends of the Heart
G.J. van den Bergh and C. van den Bergh-Raat, Mavis Carrilho, Kommer and Josien Damen, Bernard and Ineke Dijkhuizen, Nienke van den Hoek and Alexander Ribbink, Isaäc and Francien Kalisvaart, Kristine Kohlstrand, Roland Kupers, Emma Moloney, Robert Jan and Mélanie van Ogtrop-Quintus, H.J. ten Have and G.C. de Rooij, Anthony and Melanie Ruys, Coen Teulings and Salomé Bentinck, Patty Voorsmit, Sabine Vroom, Wolbert and Barbara Vroom-Cramer
Friends of the Heart who wish to remain anonymous.

B. Amesz & E. Boswijk, M. Appeldoorn, R.F. van den Bergh, Duco de Boer, S. Brada, Frans and Dorry Cladder-van Haersolte, J. Docter and E. van Luijk, L. Dommering-van Rongen, Sylvia Dornseiffer, Philip Drost, Marianne Eisma, E.L. Eshuis, E. Granpré Moliere, M. Grotenhuis, V. Halberstadt, S. Haringa, Meike Hartelust and Just In’t Velt, Luuk H. Karsten, Monique Laenen and Titus Darley, Paul and Saskia Laseur, Ton and Jannie Liefaard-van Dijk, A. van der Linden-Taverne, E. Merkx, H. Nagtegaal, Sijbolt Noorda and Mieke van der Weij, Ben Noteboom, G. van Oenen, Marsha Plotnitsky, Pim and Antoinette Polak, Lisette Schuitemaker and Jos van Merendonk, Ingeborg Snelleman and Arie Vreugdenhil, Eelco van der Stok and Sophie Koole, A.N. Stoop and S. Hazelhoff, P. Wakkie, Martine Willekens, O.L.O. and Tineke de Witt Wijnen-Jansen Schoonhoven
Guardians who wish to remain anonymous.

Nigel Bagley and Lorraine Dean, Lodewijk Baljon and Ineke Hellingman, Ilonka van den Bercken, Ellen Birnie, Co Bleeker*, Femke Blokhuis, Jasper Bode, Mariëtte Bode, K. Bodon, Onno Bosma, E. Bracht, Bart Breederveld, D. de Bruijn, G. van Capelleveen, Marie Hélène Cornips and Dick Havenaar, M. Daamen, Prof. Cees Dam, J. Dekker, M. Doorman, Chr. van Eeghen*, Ruud Emous, Monica Galer, Caroline van Gelderen, Susan Gloudemans, E. de Graaff- Van Meeteren, F. Grimmelikhuizen, D. Grobbe, Bureau Groen - Nicole Groen, Marc van Gulik, Ann van der Haven, Annelies Heidstra and Renze Hasper, Hagar Heijmans, B. Heijse en A.M. Heijse-Verbeek, Servaas Hensen, G. van Heteren, L. van Heteren, Julie Heyning - van Maanen, Fina Hilverts, S. Hodes, J. Hopman, J. Houtman, Roos Huls, E. Hummelen, Wendy van Ierschot, Jeroen van Ingen, P. Jochems, Jan de Kater, R. Katwijk, Ytha Kempkes, J. Keukens, E. Kocken, Aron Kovacs, Casper van der Kruk, Cees Lafeber, Hilde Laffeber-Nicolaï, M. Le Poole, M. Leenaers, Annet Lekkerkerker, M. Levenbach, A. Ligeon, T. Lodder, R. Mackenzie, D. van der Meer, E. van der Meer-Blok, Christa Meindersma, Jaap Mulders, Kay Bing Oen*, P. Price, F. Racké, J. Rammeloo, Jet de Ranitz, Wessel Reinink, Richard van Remmen, Inge Schmitt, A. Schneider, H. Schnitzler, G. Scholten, Joanne Schouten, Ronald Siemers - in memory -, P. Smit, G. Smits, A. Sonnen, W. Sorgdrager and F. Lekkerkerker*, K. Spanjer, Reinout Steenhuizen, C.P.-M.H.-L. Tegelaar, C. Teulings, H. Tjeenk Willink, A. Tjoa, M. Tjoe-Nij, Y. Tomberg, David van Traa, Tamara Trotman, Kurt Tschenett and Sasha Brunsmann, Frank Uffen, M. VerhoeffNeef, Truus Visser, A. van Vliet, M.M. de Vos van Steenwijk, A. Wertheim, E. E. Wolf and M. E. Otte, M. van Wulfften Palthe, M. Yazdanbakhsh, M.J. Zomer, P. van Zwieten and N. Aarnink
Benefactors who wish to remain anonymous.

* additional contribution

Young Benefactors
Hassina Bahar, Aram Balian, Pietro Bertazzi, Quirijn Bongaerts, Jasmin Farag, Brendon Humble, Naomi van der Linden, Eva Moerbeek, Pieter Nooitgedagt, Guus Schaepman, Eerke Steller, Bart Truijens, Esther van der Veldt, Norman Vladimir, Lonneke van der Waa
Young Benefactors who wish to remain anonymous.

All 623 Admirers

HF Young Circle 
Basak Layic, Che-Sheng Wu, Fenna Visser, Hannah Bakx, Huug Roosjen, Nigel Onwuachu, Sheila Verdegaal, Shervin Fekri, Wouter van Herwaarden, Yvonne Zoethout

Euphoria was made possible in part by donations from

Robert Alten, Frank Arents, Richard de Baan, M. Been, Marieke Bemelman, Len van den Berg, Benien van Berkel, H.J. Biemond, Cornelie Bierens de Haan, Hein Bijl, Ellen Birnie, Norbert Bode, A. Bol, I.D.M. Booij, Montina Braaksma, J.J.M. Brakenhoff, Joris Brandt, Andre Broekmans, Marijke Brinkman, Tineke Brinks, Anke Brus, Ina Buitendijk, Carien Dagnelie, Luitje Douma, Koos van der Ende, Evelien Eshuis, Johan Geerts, Fienie Gerekink, Rob Gras, Yvonne Greuter, Erica Groet, A. van den Hanenberg, Sietze Haringa, Meike Hartelust, M.M. Hartman, Servaas Hensen, Jane van Herwijnen, Yasmin Hilberdink, Michael Jas, Jeroen Ketting, Rob Kloet, Kris Kohlstrand, Jory de Koning, Leonie Kruizenga, Johanna Kuijpers, Sophie Lambo, Erik Leferink, Ton Liefaard, Anne van der Linden-Taverne, Johnna Malpass, Pierre Mehlkopf, Ellen Meijerse, Rene Mendel, Evelyne Merkx, Marijke Naber, Martin Niemeijer, Annette Oostvogel-vangent, Yolande van Reijen, Peter Rijnsburger, Nelleke Sloos, G.P. van der Sman, Marianne Smit, Ingeborg Snelleman, Merlijn Snitker, J. Sparreboom, Eva de Swaan, Catherine ten Bruggencate, Peter Timmerman, Joseph Upham, A. van Veen, Sjoerd Vellenga, Theo Veltman, Lisa van de Ven, Wieke Verbeek, Hans Verdaasdonk, Niek Verhoeff, Eric Verouden, Willem Verstraaten, Annemiek van Vliet, Raymond van Vliet, May van der Vossen, Arie Vreugdenhil, Sabine Vroom, Barbara Vroom-Cramer, Egbert Wolf, Hans Wolff, Annette Zahn, Marja Zeegers and supporters who wish to remain anonymous.

Friends and Partners experience more. Come join us!
We will now go on with preparing the 77th Holland Festival in June 2024 but will also organise lots of wonderful things for our friends and partners before then. Would you also like to experience the festival up-close, have extraordinary meetings throughout the year, get to know other festival admirers, be the first to know about our plans and be able to purchase tickets with personal recommendations from the festival team? Then become a friend or partner yourself and join the fun! Your support will help us make yet another great festival coming year. There are many ways that you can contribute. More information can be found here.

Support us to make unprecedented and unique performances possible.

Become a Friend
Holland  Festival team

Holland Festival team

Holland Festival team

Thanks to the entire Holland Festival team, we were able to put this festival together.

Holland Festival team 2023

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