As the evening sun dips behind Maastricht’s medieval spires, this summer evening ignites. Once the signature Entry of the Gladiators begins, all eyes turn towards André Rieu and his troupe of Disney princesses at the top of Vrijthof Square.
This annual extravaganza, set against the towering Romanesque Basilica of St Sevatius and Gothic St John’s that dominate the square, draws thousands of devoted fans from across the globe. But who is this mulleted maestro regaled by admirers and reviled by critics?
Rieu was born and raised in Maastricht, his father also a renowned conductor. Rieu jnr was immersed in the world of classical music from his early years; opera houses became his playgrounds and by age five, he could already play the violin.
Yet even then, he was unimpressed by the ambience of such rarified cultural shrines.
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“I remember loving the music,” he recalls. But the atmosphere was so “snobbish and deathly boring”.
And so, alongside his Johann Strauss Orchestra, he has taken a different and at times controversial approach to orchestration, arrangements and staging of classical standards.
For those who cannot grasp the idea of symphonic music as fun, you’ve yet to witness a Maastricht Rieu special: the occasion – and it sure is that – unfolds in ever more elaborate episodes.
One moment, you’re seduced by 17-year-old Emma Kok’s compelling rendition of Voilà and the next, swept along with what seems like an army of octogenarians tearing into the Macarena – led by none other than Los del Rio themselves.
Among this lively Macarena mob is Majella from Trim, Co Meath. She is far from a Rieu rookie and knows exactly what to expect; this year, she decided to drag along her husband and two teenage children for the Maastricht pilgrimage.
While sceptical at first, by the night’s end, they were won over, admitting it was far from their expectation of that musical genre.
[ André Rieu lobbied Ursula von der Leyen for €15m to stage world tourOpens in new window ]
In part, their surprise could likely be chalked up to this year’s special addition: the striptease skit featuring a blacksmith, briefly stealing the limelight from Rieu.
The razzmatazz makes Rieu’s performances feel a world away from the classical canon, a showbiz approach that has no shortage of critics who remain unimpressed. He has been branded the king of smaltz and McDonald’s of Mozart for a presentation that has succeeded in broadening an audience by way of contentious packaging.
But his interpretation of that prolific genius has produced yet another following – one that critic Karen Brooks claims the tradition has long sought to exclude.
Accusations of crass commercialism do not faze Rieu or his wedded waltzers, who enjoy the adoration of millions worldwide. They will not claim to be custodians of the classical canon, but they know what they like. And what this nightly crowd in Maastricht want is the local boy made good, who lives locally in his 16th century Renaissance castle.
One such devoted admirer is Cindy from Tennessee, who is attending her 24th Rieu concert. Despite claiming to be the least “groupie” person on the planet, she admits to a soft spot for Rieu. . This year she’s making the long trip alone as her husband is “Rieued out”.
And determined to make her journey worthwhile, she is spending the entire month in Maastricht to attend all 12 nights of the July concerts.
Another couple, Judie and Jeff from Adelaide, are excited to see Rieu perform in his home town. They attended his 2008 Australian tour, which featured an ice rink and a horse-drawn golden carriage, but admit it falls short of the Maastricht magic.
For 20 years, Rieu’s July concerts have showcased a musical magnetism that never fails to thrill: whether you’re a rookie or sceptic, denying his appeal fails to take account of that talent, charm and savvy commercial acumen.
Purists will take a dim view, but while they cling to tradition, the magic is in celebration – fun, fiery and unmistakably alive.
Is it an occasion of cultural piety? Perhaps not, but it certainly makes for one hell of a night.
