You know it: members of Vrienden van het Lied who attend a recital during the 2026/2027 season in the Concertgebouw's Vocaal op Dinsdag or Vocaal op Zondagmiddag series get a massive 30% discount. Supertitles have recently been made available for these concerts. We asked Eveline about what it entails to make that happen.
Surtitle director, that sounds intriguing. What does it actually mean?
‘What I do at the Dutch National Opera & Ballet is slightly more than just projecting translations. I edit the Dutch libretto and create cues based on the score. A successful combination ensures that the projection of the translations does not disturb the stage picture, but rather enhances it. I try to work as serviceably as possible in the interest of the audience, the work, and the performers. Timing is constantly important and very specific around a punchline or joke! I have to realise everything smoothly, which can be done in various ways. In the performance Animal Farm At one point there was so much pink to be seen on stage that it seemed appropriate for the text to be projected in pink. That was indeed done, because the director thought it was a very good idea. But the audience can easily be distracted from what is happening on the stage. I also ensure that the surtitles are nicely timed and, as it were, sing along with the singers.’
‘At the opera I have a team of two supertitle operators who are at the controls during the performance. In the Recital Hall I do that myself, although fortunately there is someone who can sometimes step in. I also make all the translations for those concerts.’
But all those languages… that must be difficult sometimes?
‘Well, I do look for help with this sometimes of course, but I’ve been able to build up my skills at my own pace. I ended up in this profession because a translator who worked in television pointed out a subtitling vacancy at RTL 4. “Isn’t that something for you?” she said, “I think you’d be good at that, you’re so good with language.” I was hired and learned a lot. I trained as a classical singer and it’s a huge advantage that I’m a musician. Which words you choose is not just a translation puzzle, but also a musical matter. At a recital, just as with opera, it remains the case that through the singing itself, no matter how lovely and good it may be, the language can at times become somewhat incomprehensible. That is another reason why supertitling is a wonderful addition.’
Are there any more differences between your work for the opera and for the Kleine Zaal?
‘Technically speaking, it is fairly similar, but for a recital I provide the translations. Poets like Apollinaire or Baudelaire really put me to work. The innovative effect for the lied recital is very significant. Corné Ran, programmer for the Kleine Zaal, is very enthusiastic. Supertitles have been possible in the Grote Zaal for a while now, but following a recent renovation, they have now also been implemented in the Kleine Zaal. A narrow screen showing the text is visible between the pillars in the middle of the stage. The audience can see the artist and what they are singing at a glance. I myself sit on the balcony at the controls. From that spot, I notice what it does to people: there is eye contact, concentration, and calm. No rustling of paper or bowed heads during the recital. That is truly wonderful to experience.’
‘Recently I was doing surtitling in another concert hall. To my horror, I was firmly summoned onto the stage by the singer afterwards to receive applause too. I didn't know what hit me! She explained to me: “I've never experienced so much contact with my audience as tonight. I felt like I could look people in the eyes and that they truly understood what I was singing.” That touched me; it felt like an enormous recognition of my work.’
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