Back

Introducing: Theatre in Song

Competitions
Insights

A New Stage: the International Vocal Competition (IVC) is reinventing itself for a new generation

For seventy years, the International Vocal Competition (IVC) in ‘s-Hertogenbosch has been a cornerstone of the classical singing world, a revered platform where many of the world’s most promising talents come together. Last year, it celebrated a monumental milestone: hosting the largest Opera and Oratorio Competition in its seven-decade history: with 567 participants from 47 countries vying for one of the 70 coveted spots, the IVC convincingly demonstrated that it has not lost any of its global appeal.

Behind this success lies a story of resilience, reinvention, and a bold new vision for the future. The IVC is not resting on its success; it keeps transforming and thus ensures that the powerful art of classical singing not only survives but thrives.
The recent record-breaking competition was achieved against significant financial headwinds. Various budgetary issues meant there were not even any funds for traditional advertising, but ultimately, this challenge turned into creative solutions and innovation. Forced to think outside the box, the IVC leveraged its vast international network—conservatoires, opera houses, young artist programmes, and fellow members of the World Federation of International Music Competitions—to attract top-tier talent directly. The result was not only a triumph in artistic quality but, for the first time, an operational profit, proving that well-made strategic decisions can almost replace a marketing budget.

While Mayor Jack Mikkers rightly describes the IVC as the “jewel in the crown” of ‘s-Hertogenbosch’s cultural life, the competition has sometimes lacked visibility within its own city. Its reputation is global, yet locally, it has been known primarily to a faithful, existing audience. The IVC recognised that to secure its future, it must actively engage its own community and attract new visitors, breaking free from the limitations of the traditional audiences of the classical music world. The mission is urgent. Globally, the foundations of cultural education are eroding as governments in Europe, America, and Australia are cutting music and the arts from school curriculums. “Classical vocal music hast to fight for its very existence,” the IVC notes. In response, the organisation asked itself a critical question: what could it do to become more than “just another competition”?

Baritone Giacomo Schmidt with Pianist Jong Sun Woo at the IVC 2023

The answer is a multi-faceted, long-term strategy built on partnership, community engagement, and breathtakingly creative programming. It includes new city-wide alliances; programs for new audiences; new, unconventional venues outside the concert hall; and a masterclass for amateur enthusiasts.

This month marks a thrilling new chapter with the debut of Theatre in Song (September 26th-28th). In a way, this competition is the manifestation of the IVC’s new philosophy. It opens with a ‘SongFest,’ a unique open-stage event for soloists, duos, and choirs, firmly establishing its community-first ethos.

Andrew Watts
IVC General and Artistic Director Andrew Watts

Artistic Director Andrew Watts sets the stage for this innovation: “As I begin my third year as General and Artistic Director of the IVC, this month is one of the most exciting for me with the launch of the IVC’s new competition, Theatre in Song. Something different for the artists and audiences of today... In a world where we all have many distractions, we must always strive to present the very best that we can and to offer highly skilled, well-crafted, and curated programmes to engage with the mindset of today. We need to allow the artist to feel free in their artistic decisions. We cannot rely upon tradition and history alone.”

Theatre in Song challenges the conventional ‘parking and barking’ model of art song presentation. It asks singers to consider theatricality, narrative, and visual storytelling, creating a new and compelling experience for an audience that otherwise has a world of streaming content at its fingertips.

“Theatre in Song is not forgetting tradition or ignoring the past,” Watts clarifies, “but it is simply joining together hand in hand and learning from the old and influencing the new by demonstrating a variation of what the next tradition could be.”

This bold step has already drawn criticism from some quarters, a predictable reaction to any break with tradition. Yet, the IVC understands that to be relevant, classical music must be surprising, exciting, and provocative. It must give audiences a reason to leave their comfortable couches for the irreplaceable energy of a live performance.
Innovation continues within the main competition itself, with a renewed focus on the visual as well as the aural aspect of performances. Furthermore, the IVC is consulting with leaders of opera houses, orchestras and other voice competitions within the WFIMC, exploring the formation of a steering group within the federation.

The journey continues. Partnerships with the Municipality and the Province of North Brabant are deepening, and new alliances with commerce and industry are being sought. The IVC’s ambition is clear: to be an organisation that every citizen of ‘s-Hertogenbosch knows, values, and is proud of.
The IVC’s story is no longer just about a competition; it’s a new vision of building a vibrant, inclusive, and sustainable cultural future.

More information: www.ivc.nu

©WFIMC 2025/FR