Photo by Aleksandar Mijailović

A Deep Black Sleep

A film-noir opera for tenor, chamber ensemble, and 10 masked characters that blurs the boundaries between cinematic and live performance.

Libretto by Alan Mauritz Swanson
Music by Vera van der Bie and Tyrone Landau
Film sequences by Slavisa Drobnjaković

A composer caught between artistic values and political expediency in a threatening authoritarian climate. An opera about the creation of an opera.

‘isms’ build walls, and music knows no walls….

Nationalism, wall-building, and the manipulation of fake news around us, makes this piece ever more relevant in our lives today.


Libretto – Alan Mauritz Swanson
Voice – Tyrone Landau
Music Director – Vera van der Bie
Direction – Constantine Koukias & Slavisa Drobnjaković
Film Sequence Director – Slavisa Drobnjaković
Director of Photography – Aleksandar Mijailović
Technical Director – Ivan Johnston
Film Sequence Editor – Mihajlo Jevtić
Wardrobe / Mask Fabrication Supervisors – Elizabeth Ralston, Lithal Yosef
Surveillance Camera Mask – Eva Wegman
Headless Coat Costumier – Srećko Dimitrijević, Irena Djukanović

We meet T, a composer, as he hears good news about a recent performance of one of his works. He also hears that a new commission, which he greatly desires, might be forthcoming.

Unknown masked figures visit him, leaving him uneasy and uncertain. T works fitfully on a song he is composing but finds the words meaningless. He picks up a libretto to an opera he has promised his dying comrade he would set to music, a libretto with deep meaning for him. A masked figure enters and gives T a large envelope, which turns out not to be the musical commission but some documents he does not understand. T puts them away and goes back to his song, still hoping for the new commission.

More masked figures enter demanding the documents, which he insists he does not have. Another gives him a ticket for travel. Once again T opens the large envelope and reads its contents carefully. The documents are about ‘the cause’, and a telephone call sends him off to meet someone to discuss this ’cause’.

T begins to question the reason and purpose of his music. He agrees to act for ‘the cause’, but demands his price: the commission for the opera he promised his dying comrade. A masked figure brings him a contract, tears it in two, and gives T one half.

For ‘the cause’, T undertakes a strenuous journey to a strange place. He is met by new masked figures, all of whom want the documents, which he denies having. Two figures beat him up. The final masked figure helps the injured composer up, reveals the other half of the contract, and leaves with the documents.

T has succeeded and now has the desired opera commission. He takes up his comrade’s libretto but finds he cannot compose. He faces the realisation that acting for ‘the cause’ has cost him his ability to keep the promise he made. He is left only with silence.

Tyrone Landau


Having started out as a pianist in a dance school in Covent Garden, Tyrone became Musical Director of Dance at Clwd Theatr Cymru, Wales, before moving to Australia. He worked there for a number of years before returning to London. Tyrone has enjoyed considerable success as a tenor in traditional repertoire (with a focus on Rossini, Mozart, and Donizetti) and also has extensive experience in contemporary music and opera. His recent operatic productions include Friends Like The Rain and Alt Om Min Familie for Bergen Nasjonale Opera, Norway; The Owl and the Pussycat for Royal Opera House, London; Il Combattimento di Tancredi e Clorinda for Melbourne Arts Centre, Australia; and Anti-Midas for the Beckett Theatre, Dublin.

Other recent performances include Messe un Jour Ordinaire for Cité de la Musique, Paris; l’Hôtel Chelsea for Kings Place, London; La Partenza for the National Gallery of Victoria, Australia; Tonos Humanos for the Recital Centre Melbourne, Australia; À l’Agité du Bocal with l’Ensemble Ars Nova, Poitiers; Passio Olavi for the Kirke Autunnale Festival, Bergen; and Praxitella, for the re-opening of Leeds Art Gallery.

Alan Mauritz Swanson


Alan Mauritz Swanson is an American composer and academic who lives in the Netherlands.

Born in Chicago, Illinois, in 1941, he took his BA (1963) and MA (1965) at Indiana University and his PhD at the University of Chicago (1973). In between he studied at Stockholm University. As an academic, he taught at Augustana College (Rock Island, Illinois), Brigham Young University (Provo, Utah), and the University of Groningen (the Netherlands), and came to specialize in the theatre and opera of the seventeenth and eighteenth centuries.

Alan trained as a singer and many of his early compositions are for voice, but recent work has tended to be varied in form: string quartets, a viola concerto, a partita for piano, and other works. In 2006, he was honoured for his academic and community work by being appointed Officer in the Order of Oranje-Nassau.

Vera van der Bie

Vera van der Bie

Music Director

After obtaining her Masters degree as a classical violinist, Vera van der Bie has been all over the musical landscape. She has played with classical orchestras such as Nederlands Kamerorkest and Radio Philharmonisch Orkest, and held a job for years with the Metropole Orkest. She played the contemporaries in ASKO/Schoenberg, Doelenensemble, Doelenkwartet and Ensemble Klang, while also playing and improvising in bands like Martin Fondse Orchestra, Elastic Jargon and Zapp4. She has toured with acts like Bill Laurance, Jonathan Jeremiah, Lenine and Di-rect and done projects with dance (Scapino, ISH), silent film (EYE) and music theater (Veenfabriek). She’s is very active as a studio musician and contractor (Omnivorous Music), recording music for cd’s, film and commercials.

Apart from playing violin, viola, musical saw and singing, Vera has also written and arranged music for Zeeuws Orkest, Metropole Strings, Friesian Proms and Ricciotti Ensemble, as well as for her own groups; West Side Trio (electric string trio with effects and vocals) and Quartet Quinetique (string quartet).

Current tours include Odelion Orchestra, Odelion Duo and Flip Noorman sings Leonard Cohen.

Slavisa Drobnjakovic

Slavisa Drobnjaković

Film Sequence Director

Slavisa Drobnjaković commenced his acting studies in classical theatre at the age of fourteen in Yugoslavia. Further study took him to the Art Academy and Cultural Anthropology in Belgrade. After moving to Amsterdam in 2001, he has been involved as a performance artist at Das Arts Amsterdam and Amsterdam Cyber Theatre and other artistic collaborations.

He has written several commercial scripts for ComradFilm in Slovenia and worked as a creative assistant on the films of Heidi Vogels and theatre director Boris Todorovic. In recent years, Slavisa dedicates himself entirely to film and works for the stage. He has been engaged as a writer/ director for Sluizer Film Productions for two long features:

       “The Tragic Death of Branka Djukic” follows the painful process within one highlander family, from the moment of the mysterious murder of their daughter to the act of revenge itself. In the development of the story there lie human instincts and irrationalities as catalysts to all further events.”

       “The Waste Land” is the frame tale of a man who tries to escape his homeland and his fate. Historiographic metafiction set in 1923, in the time of the first publishing of T.S. Eliot’s poem of the same name.”

For the stage, he is co-designing a new chamber opera for Nancy Black, for Black Hole Theatre based in Australia. For Foundation IHOS Amsterdam he has written and directed the film sequences for “A Deep Black Sleep”, a chamber opera for solo tenor and six masked musicians. Two short films “Eros and Thanatos” and “The Pain of Others” by Slavisa Drobnjakovic are planned for release in 2021.

       “Eros and Thanatos” is a love story based in an asylum centre, a particular kind of limbo realm where the temporal dimension of past and present intertwine and gradually disappear, reducing the individual to nothing but their life force. A grotesque exemplar, a trivialisation of the Freudian concept of Eros and Thanatos.”