Every two months we introduce you to someone connected with the orchestra, whether on stage or behind the scenes. Today we’re talking to Veerle Vervoort (production manager).
How long have you been part of BJO?
Since September 2021.
What do you do for the orchestra?
Mainly pre-production. That means that as soon as the projects are artistically worked out, I prepare them further logistically. I’m also the link between the technical team, the organisers and the orchestra. When Koen (the general manager) isn’t accompanying the orchestra on the road, I’m there to make sure the musicians feel welcome when they arrive in a hall or at a festival. All they should have to do, is sit down and play their hearts out. As production manager, I try to take away all practical concerns from them at such times.
Why did you choose this role?
In the summer of 2021, Koen called me, saying that he was looking for someone to join the BJO team. We've known each other for years, from all kinds of consultative committees for cultural organisations. It's nice to work together practically for once, instead of just drawing up abstract lines behind the scenes.
What do you do besides working for the orchestra?
I am production manager for the Nadar Ensemble, which profiles itself within contemporary classical music. I have also been freelancing under the name Ursa Maior since 2006 for very diverse projects, including BJO, but especially for music theatre projects and young artists who need production support during their creations.
What's your connection to jazz?
The Starmasters. That's the band my uncle played with, who I grew up with. Throughout my childhood, I often heard light jazz music on trumpet.
What was the last CD/Spotify track/radio hit you listened to?
A Basement Suite by Tim Mariën.
Who would you like to invite to play a production with BJO and why?
Elvis Costello would be a great idea. It must be amazing to see him go crazy with BJO's 17-piece band behind him. Live, he always prepares exciting arrangements of his own songs, so I’m curious to know what would happen if the orchestra's arranger geniuses were unleashed on those compositions.
