COMPOSITIONS / MUSIC THEATRE / HAGAR (2025)
Hagar (2025)
an opera in 4 scenes
- 70 min
- Donemus Publishing
- August, 2025
A bold and creative partnership between composer Jan-Peter de Graaff and librettist Eleanor Barlow, HAGAR is a daring, modern and fiercely human reimagining of the ancient tale that explores resilience, scandal, and consequence.
Set within the searing pressure of a high-end restaurant, we are thrown into the flames from the very first word. With an exceptional score from de Graaff, that fuses contemporary opera with kitchen-born percussion, set to the captivating and driven words of Barlow, the audience is forced along a journey where loyalties might not be what you expect.
In a high-pressure kitchen where dreams, desire, and duty collide, three lives are pushed to their limits. Abram, a passionate and dedicated head chef, has long yearned for a child, a dream that he and his wife, Sarai, the sharp and composed manager of their struggling restaurant, have never been able to live.
Their professional world is precise and controlled until something deeply personal upends that fragile order. When a trusted colleague and close friend become entwined in a secret too heavy to bear, the emotional stakes rise. Hope, guilt, and betrayal simmer beneath the surface, threatening to boil over. Sarai’s dignified silence conceals a storm of pain as Hagar clings to a naive hope that friendship can survive even this.
As economic pressures mount and scathing reviews pour in, the kitchen becomes a battleground, not just of culinary craft but of repressed truths. A split-second of distraction, a lapse in judgment, and tragedy strikes. The near destruction of not just their restaurant becomes a fiery reckoning, forcing all three to confront the damage done and the deep fractures beneath the surface.
In the aftermath, they are left with one burning question… can what’s been broken ever truly be rebuilt?
Hagar is scored for 5 voices and a large orchestra and has been commissioned by De Nederlandse Reisopera for their 70th anniversary. The first performance will take place on 28th of September 2025 in a staging by Belle van Heerikhuizen and performed by Hagar Sharvit (Hagar), Alison Scherzer (Sarai), Liam James Karai (Abram), Fiona Kimm (Gertrude) and Glen Cunningham (Gabriel), accompanied by the North Netherlands Symphony Orchestra, conducted by Lochlan Brown.
Opera Hagar is a part of the production ‘Second Love’.
first performance
| Staging | Belle van Heerikhuizen |
|---|---|
| Conductor | Lochlan Brown |
| Ensemble | North Netherlands Symphony Orchestra |
dramatis personae
| Hagar | Mezzo-soprano | Hagar Sharvit |
|---|---|---|
| Sarai | Soprano | Alison Scherzer |
| Abram | Bass-baritone | Liam James Karai |
| Gertrude | Mezzo-soprano | Fiona Kimm |
| Gabriel | Tenor | Glen Cunningham |
General information
| Libretto | Eleanor Barlow |
|---|---|
| Instrumentation | 3 (2= picc, a.fl, 3 = picc) 2 (2=ca) 2 (2 = bcl) 2 (2= c.bsn) sax 4331 timp perc hp cel str (10.8.6.4.3) |
| Commissioned by | De Nederlandse Reisopera |
"Composer Jan-Peter de Graaff is an eclectic, and that results in truly beautiful music. In Hagar he regularly lets the large orchestra play symphonically with carefree breadth, drawing on a wide instrumental palette. By his own account, he wants to give free rein to the Richard Strauss within him. And then, suddenly, it grows quiet—almost silent—for instance when Hagar sings her long lines. Her mezzo is pampered by him with a tender, subtle, twinkling accompaniment. Thanks to this, the character is able to stand out all the more clearly as the title role."
"De Graaff fits the increasing stress and rocking emotions with complex rhythms and colourful orchestration. Yet it is always clear why here arpeggios sensually tumble or there the tyrannious percussion hunts the hurting brass. (...) We are looking forward to De Graaff's first full evening opera."
"Surprising elements like a typewriter and rattling pans were naturally woven into the larger orchestra."
"The thrilling and grand musical language of De Graaff enhances the drama. It reminds of effective thriller music with smoking strings and brass fanfares on top of a wildly raining harp. Sound effects supporting the staging also come out of the orchestra pit: unrest with rumbling pots and pans, or a ticking typewriter when yet another devastating review is presented."
CD now available!
The collectors
You can now get your own copy of The Bells of St. Clement’s in de CD “The Collectors”, where it’s performed by Konstantyn Napolov & Eke Simons.
More information
Performed by: Konstantyn Napolov & Eke Simons.
Recorded by: TRPTK (TTK 0027)
Interviews
“Hagar’s story was the first known account of an extramarital affair. That immediately provided us with a good starting point for the opera. Everyone is then free to offer their own interpretation.”
PAUL JANSSEN, LUISTER
Read the full article (NL)
“I started with the characters; I wanted to give each of them something distinctive. And I also wanted something that could provide a contrast with Gerald Barry’s piece. He composes very much in blocks, whereas I am mainly concerned with new sound combinations—bringing together instruments that normally don’t sound together, but in my music they do.”
BO VAN DER MEULEN, OPERA MAGAZINE
Read the full article (NL)
“Our two operas are drawn from life. In writing Hagar, the phenomenon of being human has become even more mysterious to me. I have never composed such a large and complex work, and at the same time undertaken such a psychological journey.”
FREDERIKE BERNTSEN, HET PAROOL
Read the full article (NL)
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