Amsterdam.

Canada's Gordon Gietz presented a winning, tender portrayal in English composer Jonathan Harvey's new piece, Wagner Dream, mounted by Netherlands Opera as part of this year's Holland Festival in June. Many fascinating dichotomies between Eastern and Western cultures, timeless Buddhism and 19th-century egotism were presented in a memorable production by Pierre Audi, with stunning lighting by Jean Kalman and costumes by Robby Duiveman. Gietz was the young Buddhist priest who loves Pakriti, a flashy vocal role beautifully assumed by Claire Booth. Gietz and Booth probably had the most eloquent music in Harvey's rather cerebral score. Because electronic elements were blended with the small orchestra, the singers (and actors in the Wagner household) were amplified, often creating an alienating effect. Potent theatre, but the piece seemed too short to adequately address the numerous issues involved.

The other Netherlands Opera piece in the festival was John Adams' Doctor Atomic, which of course has already been seen in San Francisco. Gerald Finley again took the leading role of Oppenheimer. His heroic singing made a riveting impression in the Donne sonnet ending the first half, but his body language lacked conviction, due perhaps to Peter Sellars' staging, not one of his best. Another Canadian, Thomas Glenn, was most sympathetic in the only other empathetic male role, that of Robert Wilson. The music is generally magnificent, but sadly, Sellars' libretto seemed awkward and pretentious.

Though not in a specifically operatic context, Toronto's Barbara Hannigan received ecstatic reviews for her performances in Boulez's Pli selon pli and on another occasion, songs by the French composer Gerard Grisey.

A beautiful and moving African opera, Bintou Vere, presented the tragic fates of people in the sub-Sahara lands trying to get into Europe. The strength of the un-amplified voices was most impressive, and the show was so successful that an additional performance was given. What a contrast to projects elsewhere, aberrations like Shakespeare's Roman plays, presented as high-tech soap operas, appalling shows that played to appallingly empty theatres.

Oddly enough, the glamor show, Janacek's From the House of the Dead, produced by Patrice Chereau and conducted by Pierre Boulez, as well as the two Netherlands Opera presentations, were well attended, but did not sell out. The final gala concert of Italian arias, brilliantly sung by Edith Gruberova, did, but was being publicized until hours just before the event. Is music activity in this city reaching saturation point?