In conversation with Nationaal Opera & Ballet on the allure of opera and ballet in contemporary forms.
I spoke to the man behind this transformation, Mattijn Hallen, working for the venue for 18 years as a [role], to learn how a bastion of classic expression is redefining how we enjoy these art forms in contemporary ways. Mattijn’s path to NO&B started far from Amsterdam, winding through cities across Europe. It began with a call centre job at Cirque du Soleil, a temporary role that turned into years of adventure. From Munich to Madrid, he managed ticket sales from a mobile box office, moving from city to city with the travelling circus. “I can pack a suitcase in my sleep,” he laughs, reflecting on those nomadic years.
Eventually, tired of life on the road, he returned to Amsterdam. His expertise soon caught the attention of the NO&B, then still called the Muziektheater. The National Opera and Ballet in Amsterdam has been a premier cultural institution since its establishment in 1986, uniting the two distinguished art forms of opera and ballet under one roof. Located along the Amstel River, its iconic venue is renowned internationally for its exceptional productions, delivering unparalleled artistic experiences.
How do these two art forms relate, I wonder? Mattijn explains that while opera and ballet serve different artistic purposes, they complement each other beautifully. Opera, intellectual and immersive, delves into profound narratives and intricate musical compositions, engaging the mind and emotions in equal measure. Ballet, in contrast, offers an ethereal escape, using movement and music to transport viewers into a dreamlike world.
Opera and ballet have not always enjoyed equal popularity. When Mattijn joined the National Opera & Ballet, opera was thriving, with performances consistently sold out. Ballet, however, faced challenges in filling seats, with staff even resorting to offering discounts to fill the venue. “The key was to change the perception of ballet from something niche to something aspirational,” Mattijn recalls. Through bold marketing campaigns and a focus on highlighting its artistic value, the ballet programme gained new momentum. “Art deserves to be paid for,” he asserts.
I agree with him, but it's not just the art—the entire NO&B is an experience in itself. I can still picture the times my parents took me to the Stopera – a well-known nickname among Amsterdammers for the building housing the NO&B and the city hall (Stadhuis) reflecting the building's shared purpose. The enormous marble white facade, the plush red carpet, the spacious foyer, and the sophisticated bar overlooking the Amstel River—it all felt grand and otherworldly.
“That sense of elegance, combined with high-end artistry, has always been part of this place,” Mattijn tells me, echoing my memories. For many Amsterdammers, a night at the opera or ballet was a carefully orchestrated affair. It was a scene, a place to see and be seen, rooted in customs like exclusive season-long subscriptions that guaranteed a seat for the season’s finest works.
Curious to dig deeper, I ask Mattijn what makes this world so unique. To him, it is the pinnacle of artistic collaboration. “The scale of opera and ballet performances is huge,” he explains. “Seasons span months, allowing for meticulous rehearsals, the creation of intricate set designs and meticulously crafted haute couture costumes. But the magic isn’t limited to what happens on stage—it’s the backstage crews, the orchestras, the choreographers, the technical teams, and the genius of composers whose work throughout history lays the foundation for these masterpieces.”
Ticketing in the world of opera has its own distinct rhythm, operating with a system as intricate and refined as the art form itself, as Mattijn explains to me. Unlike normal public venues that focus on individual ticket sales, opera has traditionally leaned on season-long subscriptions. These allow patrons to select a minimum number of performances during a booking period, securing their place in the audience.
I’m starting to understand how, for many visitors in the past decades, attending opera or ballet is more than a pastime—it’s a commitment to honouring a specific art form, a long-term relationship they nurture season after season. That’s true, Mattijn tells me. “There’s a sense of community among our patrons, something you don’t often find elsewhere. Historically, the process was formal and hierarchical. Long-time subscribers held seating priority, and in some cases, this status could even be passed to a family member upon their death.
This is why Martijns work has never been about selling tickets only, he explains. Subscriptions aren’t just about convenience—they’re a tradition, a way to ensure your presence in this world and everything that comes with it.
Tradition forms the foundation of opera and ballet, but with it comes the challenge of evolution. I can envision this model working throughout history, but I question how it can be adapted to today’s world. Times have changed. And this, Mattijn explains, is the greatest challenge for NO&B.
“A few years ago, we realised it was time to rethink how we attract audiences,” he tells me. The opera house, once a top choice for a night out, is now just one of many entertainment options for today's audience.
“Our loyal audience is ageing and gradually shrinking, while younger generations are choosing to spend their time and money on dinners, vacations, or other cultural experiences. There’s simply more to do now: we can no longer rely on tradition alone to draw people in.”
Even the subscription model no longer holds the same appeal it once did. Buying your ticket is transactional. What was once a ritual—carefully choosing performances for the season and securing a place in the audience—has become a more streamlined, online process focused on functionality.
Beyond that, the marketing team had another consideration. The traditional subscription model only recorded the primary subscriber, leaving additional guests invisible to the organisation. After all, who was actually sitting in the audience? “We realised that an anonymous audience is a missed opportunity—not only to connect with them directly but also to foster a sense of belonging for everyone who attends.”
How can innovation honour tradition while paving the way for something new? This challenge led to one of Mattijn’s proudest achievements: the development of Ticket Sharing. This new Peppered feature, developed in collaboration with Matthijn and his team, enhances audience insights while making the experience smoother for everyone attending a performance.
Here’s how it works. Ticket holders click the share button next to their e-tickets to invite companions with a few clicks, and the invitee receives an email to accept the ticket. They can log in or create an account effortlessly. Once accepted, the ticket appears on their phone.
Ticket Sharing is a practical solution for everyone attending the performance. “Picture yourself at the entrance while your friend is delayed in traffic,” Mattijn explains. “With Ticket Sharing, you can transfer the ticket in seconds—quickly and effortlessly.” As we discuss this feature further, I imagine how delightful it would be to be surprised by such a gesture. Imagine being at work and receiving an email saying you’re attending the Le lacrime di Eros Monteverdi tonight, accompanied by a family member, partner, or friend. What a thoughtful way to brighten someone’s day.
I also realise that, while Ticket Sharing feels like a modern convenience, it also draws from opera’s long-standing traditions of loyalty and prestige. “In the past, only the primary subscriber was recorded, leaving other attendees invisible,” Mattijn notes. This new feature transforms that exclusivity into something more inclusive and accessible, making everyone a recognised part of the experience.
The new feature isn’t just a win for audiences—it’s a win for the back-office teams behind the scenes too. “We’ve worked with several tech partners over the years, but I often felt like we were lagging behind,” Mattijn shares. Like many arts and culture marketers, NO&B struggled with "data darkness," which limited their ability to truly understand and engage with their audience. For years, they also lacked the right tech partner to help them address the issue effectively.
“You invest in a website whichseems cutting-edge, but without consistent budgets for development, they quickly become outdated. After nearly 20 years navigating the digital revolution, I’ve seen it firsthand—what feels revolutionary one moment can become obsolete the next.”
In 2019, when their previous ticketing partner exited the market, the organisation faced a complex tender process before partnering with Peppered.. This is what makes collaborating with CultureSuite so exciting. NO&B became one of the clients actively involved in developing an entirely new tool, sharing insights and shaping the design process together. “What’s remarkable is how this kind of partnership comes together,” Mattijn says. “We exchanged ideas, combined our expertise, and created something genuinely new. It’s fascinating to see how collaboration sparks innovation. For instance, with the detailed data we can now gather from the new feature, the possibilities are endless,” he adds.
What does the future hold for an institution deeply rooted in history yet constantly innovating? For Mattijn, it’s about striking a balance between honouring the traditions of opera and ballet while adapting them to the modern world. “The character of opera and ballet must remain, but in a contemporary form,” he insists. For CultureSuite, the National Opera and Ballet stands as an example of how collaboration with clients can foster innovation. Which is why, as our conversation comes to an end, I ask Mattijn for one final piece of advice for other venues looking to drive change.
“If you have a good idea, act on it,” Mattijn advises. “It’s easy to stick with what’s familiar, especially if tickets are selling, but pushing yourself to try new approaches is far more rewarding. Don’t shy away from investing—in time, budget, and collaboration. Change doesn’t happen overnight, but when it does, it’s worth it if you want to stay relevant for the future.”
This article was written in commission by CultureSuite and in collaboration with their client Nationaal Opera & Ballet.
In conversation with Nationaal Opera & Ballet on the allure of opera and ballet in contemporary forms.
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