The BelLISSAma format doesn't fit neatly into one box—it covers a wide range of music and bridges different styles, temperaments, and generations. The concerts focused on 'musicals' have been hugely successful. For this edition, all tickets sold out in the blink of an eye. A second show was added. The same story repeated itself a third time, then a fourth...
Three classically trained musicians immersed the audience for over two hours in the most beautiful musical numbers. Baritone Hans Peter Janssens, an internationally renowned musical theater star, curated a beautiful and varied selection from the extensive musical repertoire. It was a skillfully crafted whole with a convincing arc. Two or three songs from different musicals were selected, each with different emotional weight. Lissa Meyvis is a true all-rounder: opera, chanson, art songs, and in musicals she can unleash her versatile talent. She is an igniter of emotion—not in the pejorative sense. In every song, she makes the audience feel her message: euphoric, naive, playful, yearning, and melancholic. Many opera singers sing technically flawlessly, but when it comes to emotional depth and communication, they fall short. Lissa does both, and that's what makes her so unique and beloved. They are accompanied by pianist Alex Roosemeyers. Three distinct personalities demonstrating exceptional musical craftsmanship.
With the opening number 'Another Op'nin, Another Show' from Kiss Me Kate, they immediately pull the audience into the magical world of musical theater. This musical deals with conflict between a man and woman both on and off stage. That Hans Peter Janssens made it big and performed on the West End for months on multiple occasions—something few singers can claim on their résumé—he owes to his magnificent baritone with a warm glow.
Next, three songs were selected from Camelot (1960). A classic Broadway musical based on the Arthurian legend. A timeless story about the struggle between passion and duty. Everything revolves around a love triangle, the tragic love between King Arthur, Guinevere, and the French knight Lancelot. Hans Peter Janssens first sings to Guinevere about the virtues of life at Camelot Castle—a seduction as any other. In the duet 'What Do the Simple Folk Do?' he asks how ordinary people live and spend their day, and Lissa inhabits the moment fully. She improvises on the spot with wonderful naturalness and charm, giving her partner extra energy. The third number, 'If Ever I Would Leave You,' one of the standout songs from this musical and a real earworm, Hans Peter plays with emotion.
Lissa takes the stage with 'Don't Rain on My Parade' from the 1964 musical Funny Girl, which tells the true story of Jewish comedian, singer, and actress Fanny, iconically portrayed by Barbra Streisand. Lissa does it her own way—more restrained than exuberant—which makes it more appealing and gives it extra depth.
Then come two songs from Show Boat, a 1927 musical. In 'Ol' Man River,' Hans Peter shines. The number is sung by Joe, a dock worker on a showboat on the Mississippi. He sings this intimate song with deep emotion and a flexible voice ranging from deep to high notes, giving it a pure and narrative quality. Lissa follows with the beautiful 'Can't Help Lovin' Dat Man,' and in a refined way she sings of love. Love is especially the anchor to cling to in difficult times.
Three songs from The Sound of Music were selected. Lissa once auditioned for the role of Maria in The Sound of Music, but her dream went up in smoke due to a severe throat infection. In her own distinctive, cheeky, and playful way, she sings and yodels merrily through 'The Lonely Goatherd.' Then comes a duet, 'Something Good,' in which two people feel drawn to each other, and Hans Peter closes with the unique 'Edelweiss,' an ode to nature and Austria.
The musical 'My Fair Lady' was a success both on stage and film, starring the charming and beautiful Audrey Hepburn. Lissa outdoes her with the dreamy 'I Could Have Danced All Night.' Her whole body resonates with it. From 'Gay Divorce,' music by Cole Porter from 1932, Hans Peter brings 'Night and Day,' a number that became an international hit and evolved into an evergreen.
The musical Cabaret initially evokes entertainment and dancing. Behind the facade of exuberance and fun lie people who, like everyone else, face sorrow, dilemmas, and hope. Lissa performs 'Maybe This Time' in a sublime and transparent way. An interpretation that doesn't insist, but leaves room to listen and interpret. In the final number of part one, Lissa and Hans Peter shower each other with superlatives in 'You're the Top' from Anything Goes.
After the intermission, the duet 'Love Changes Everything' from Aspects of Love celebrates love in all its variations with two voices that blend beautifully. Then come two songs from the fairy tale musical Beauty & the Beast. Hans Peter leads off with 'Evermore,' which highlights magic and being different from the ordinary. Despite everything, there's an inner attitude of trust in people and life, and Lissa follows with 'Home.' Man and woman illuminate the situation. Looking past ugliness and disability—still an issue today. Across all these different songs, Lissa is a chameleon with the most beautiful and intense color dynamics.
From the gripping musical Les Misérables, based on Victor Hugo's work, three numbers. Jean Valjean was the defining role for Hans Peter Janssens and his international breakthrough. He first sings 'Master of the House.' Then Lissa with 'I Dreamed a Dream'—not the quote from Martin Luther King, but from the character Fantine. It's a heartbreaking lament in which she reflects on her tragic life, and Hans Peter concludes with 'Empty Chairs at Empty Tables.' Marius sings this emotional solo after the revolution is crushed. He is the sole survivor of his friend group. A number that resonates deeply given the current geopolitical unrest and the many innocent casualties.
‘'A Whole New World' from Aladdin is a duet in which Aladdin and Jasmine affirm their love for each other while flying on a magic carpet. In this setting, you have to imagine the carpet. The two voices spiral around each other like a mating dance. In the song 'Memory' from the musical Cats (1981), composed by Andrew Lloyd Webber, with lyrics by Trevor Nunn and based on poems by T.S. Eliot, Lissa completely inhabits the moment. It is sung by the character Grizabella. It's a melancholic reflection on her glamorous past and a plea for acceptance. In these chosen numbers, there's often a social message hidden beneath the surface.
The musical Jekyll & Hyde revolves around someone with two faces—partly kind but also very dark. Another role that Hans Peter Janssens played brilliantly. The challenge is to evoke a bit of sympathy even for such a character. In the duet, Jekyll pleads to 'Take Me As I Am.' Hans Peter chose the song 'Hell to Your Doorstep' from the musical The Count of Monte Cristo. Prison is penance, but it doesn't necessarily make an individual better.
From the musical Notre Dame de Paris, the duet 'The Birds in Cages' is performed. The tragedy of Quasimodo, the bellringer of Notre Dame, who falls in love with the beautiful gypsy Esmeralda. From the acclaimed musical City of Angels (1989), Lissa sings 'Lost and Found'. It's a seductive jazzy number that breathes the typical film noir atmosphere and perfectly captures the mood of the 1940s. As a grand finale, the musical Spamalot was chosen. The title is a blend of Spam and Camelot. A well-known, extremely comedic musical—a loving parody of the Arthurian legend and the 1975 Monty Python film The Holy Grail. Seriousness is completely thrown out the window. Hans Peter turned the English text into a witty, ironic Dutch translation. 'The song that sounds thus'. Delightfully straightforward.
This trio section provided contrast and surprise. It was again two hours of music brimming with intensity and lyrical rapture that left you needing to catch your breath. Songs that often drew a smile, even a laugh, that moved you deeply, and made you wipe away a tear or two.
