Henk Neven is awarded the Dutch Music Prize 2010

For some years baritone Henk Neven has been building up a remarkable international career. Halfway through October he will receive the Dutch Music Prize. A very special prize as, in order for it to be awarded, musicians are followed - and supported - for years!

Neven is really thrilled with the Dutch Music Prize, and not only because of the famous decoration that comes with it. Neven: “The real prize is that in the preceding years you receive financial support. This enabled me to work on my own voice with Robert Holl and Simon Keenlyside. You can go abroad with a pianist to accompany you, which would normally be too expensive.”

Neven emphasises that he has learnt a lot from these lessons. “I can really sing better now I have been to Keenlyside and Holl. Because of the support of the Dutch Music Prize, I didn’t have to take part in regular master classes, but I could follow intensive private lessons. These singers have so much experience, they can prepare you technically for things that help you on in practice. I learnt the physical side of the profession, the physical work somebody like Keenlyside undertakes to stay in shape, which forms the basis of his breath control.”

While many young singers think they have made it when they get their first engagement, Neven sees himself standing at the foot of a beautiful mountain with every new role. Neven phrases his ambitions intelligently and carefully: “My aim is to grow. I have just sung the role of Papageno, I am now looking forward to the role of Mercutio in a stage production of Roméo et Juliette. Yes, many things are coming my way, but I choose with care: I am a lyric baritone with an easy voix mixte. This means I am best in the high baritone register that is mainly required for lyric, French repertory. I cherish this quality, like I cherish my timbre which in my opinion is quite interesting.”

As one of the artists on the BBC New Generation Artists scheme, Neven gives many recitals. In this way he expands his knowledge of the song repertory. Neven: “It is a lot of work, as every recital is recorded. Because you cannot broadcast or record the same piece twice, these recitals always need to contain new repertory. My programme with ballads by Carl Loewe was extremely satisfying for me. These songs tempt you to pull out all the stops as far as timbre is concerned, you can really tell a story in them.”

As far as his development is concerned, Neven is on his way to major and especially demanding roles such as Hamlet and Onegin. Neven: “In seven to ten years time, now they are still too demanding. But they are beautiful roles for which you need to be able to act. I like that combination. In this respect my Leporello last year was very educative, like Rameau’s Pollux with De Nederlandse Opera. This music is so unknown that you can turn it into your own creation!”

René Seghers