André Rieu expects to greet his half-millionth fan this summer!

It was like swearing in church and it became a goldmine

André Rieu expects to greet his half-millionth fan this summer during the decade of concerts on the Vrijthof, the living room from his hometown of Maastricht. A staggering number, which no one took into consideration when it all started in 2005.

In a three part series, the Limburger Newspaper outlines the growth and impact of the event for the city and the region. Today Part 1: How it all began in the Roda Stadium in Kerkrade - by Stefan Gybels en John Hoofs.

In 2004 Maastricht ex-mayor Gerd Leers was invited by his colleague Kerkrade Mayor Mr. Jos Som to the Parkstad Limburg Stadium to attend an André Rieu concert. The violinist and conductor had already been working for several years to conquer the world. Leers had been following that with interest. He did not know Rieu personally yet and was introduced to him and his entourage by Som after the performance. I told André on that occasion: "What you're doing here is like swearing in church. How is it possible that you - with all due respect – perform here in the Roda Stadium, and not in Maastricht?" I was then told that he had been busy for years to accomplish that, but was not successful. I then asked him if I could dare to attempt that. The rest is history as they say. Rieu wanted the entire Vrijthof at his disposal, but ran into resistance with the Vrijthof Entrepreneurs who could not envision that. Leers convinced them of the common interest and on July 9, 2005 Rieu conducted his first Vrijthof concert in the living room of his hometown. Jean Jacobs, formerly city councilman for Economic Affairs and Events in Maastricht, confirms that Rieu was running around with plans for the Vrijthof concerts. The city council was immediately enthusiastic, he added.

We have greatest artist in the world, on the best square in the world.
Mayor Onno Hoes

Jacobs' former colleague John Aarts confirms this. Why it did not work and whether Leers eventually pried things loose is unclear. Entrepreneur Benoit Wesly, friend of Rieu, claims not to know the reason: "They did not want him in Maastricht, that is why he performed in Kerkrade. There was little atmosphere and it appeared cold in that stadium. Afterwards contact was indeed established between Rieu and Leers. But Leers says that if he was the determining factor, he very much underestimated the person Rieu. André states: "The first plan was made for a concert on the St. Pieter, but it ultimately became the Vrijthof. There were difficult conversations with Hotel-Cafe owners around the square, but I do not think that they are sorry now."

That the Vrijthof concerts would become so gigantic, we never would have imagined.

Pierre Rieu, son of André who was involved from the start of the Vrijthof concerts, confirms that statement. "It took a lot of effort with all entrepreneurs to convince them that the concerts would be good for everyone. In addition, the closing of the Vrijthof - one of our conditions – was basically not allowed. Gerd Leers finally forced his demand and ensured that concerts could be held. They are forever grateful to him. "There are more people in the city benefitting, since the Rieu concerts proved in more ways than one to be a huge gold mine, which revealed even greater discoveries. You do not need to be dealing with a mathematician to figure out with a wet finger that Rieu, hotel owners, innkeepers, shopkeepers, ticket sellers, tour operators, security firms and other companies realized profits in the tens of millions of Euros due to the the concerts. No one who was present there in 2005 when the first and only concert of that summer took place, could have imagined that.

"What Rieu means to Maastricht, is unprecedented", finds former city councilman Jacobs. He does not only view the financial side of the concerts, but also the quality of what is offered and especially the audiences which Rieu attracts. "A public that belongs to Maastricht, at the level that the city pursues. People in their best dress go to the concerts; fans come from far away, often staying for several days." Antoine Scheerens, the foreman of the Cooperating Hotels Maastricht, had no idea what he could expect in 2005 at one of Rieu’s concerts on the Vrijthof. "We thought about a kind of Preuvenemint. Nice, but especially nice for the people of Maastricht themselves. 

That it would turn out so huge, we could never have imagined that. "Yet in the earlier years there was a time when we were playing with fire. On some of the hotel terraces around the Vrijthof there arose, due to overly exuberant alcohol use, a jolly and noisy atmosphere, which disturbed the concerts. To top it off, even a brawl occurred. Gerd Leers: "We came together with entrepreneurs and agreed on a type of behavioral protocol. There were rules to which everyone had to adhere. That is why I had to knock some heads together with the entrepreneurs. "This has to stop," I told them. Otherwise we kill the goose that lays the golden eggs."

There was still a sore point that gradually through the years began to come into play: the yearly tax of the Vrijthof as an event site. Maastricht has been struggling for years with the normal standard for maximum use, which has been adjusted a few times in order to allow more parties and celebrations. Jean Jacobs: "When we decided to roll out the red carpet for André Rieu, we in the city council also agreed to make choices. Other events had to be cancelled from the Vrijthof. We had to choose quality. That had never happened before. Nonetheless: Rieu on the Vrijthof has been the right choice. The man is of world quality. You do not hide him on Square 1992.

 "This summer Rieu will give ten concerts on the Vrijthof, a record." Mayor Onno Hoes had to ask the City Council to make an additional concert day available, since the standard of events was again being stretched. A very remarkable state of affairs, found Hoes. "We have the greatest artist in the world on the most beautiful square in the world. No other city has that." Benoit Wesly shares in the annoyance with Hoes: "The mayor almost had to beg the city council for that additional concert, and almost had to get down on his knees to beg André if he would please provide for an additional performance. We are talking here about the Ambassador of the city and here we are whining about an extra concert day. Maastricht does not know what it is holding in its hands. Other cities would spend millions in order to bring in Rieu. When I see all those who receive a city medal, I wonder what the city council will ever give Rieu. Where's that street name? Why is there not a building named Rieu? It is time for the city to do something in return.

©Translation by John

Rieu Gathering Dust

 Rieu Gathering Dust 

The Limburger by Stefan Gybels/John Hoofs: In 2009 the Russian artist Alexander Taratynov on his own initiative created a life size bronze statue of André Rieu that is now collecting dust in Nazareth.

Between the tails of his coat and the upper leg of the bronze poured statue of violinist and orchestra leader André Rieu (that is located in the studio hallway of the Russian artist Alexander Taratynov) cobwebs are visible. Which is logical in a dusty environment.

The nameplate of the artist and the year of creation (2009) can be found inside. Taratynov has been trying ever since, without results, to find a place for it in Maastricht, but now it seems he may have found a buyer. He does not want to reveal who the interested party for the bronze Rieu is, which he fashioned by hand from concert recordings and photographs. 

There is no doubt about the likeness. Whoever views the statue knows exactly who it portrays. According to Taratynov, Rieu said the same when he saw a picture of the statue. It was once displayed in a public area, but has never had a permanent place. And all the while, the city of Maastricht is very thankful to the orchestra leader since his Vrijthof concerts bring an enormous economic to the city.

In July Rieu for the tenth year in a row will again perform on the Vrijthof. His fiftieth performance with his orchestra on the Maastricht square will be held there. He expects to welcome the 500,000th visitor since his concert series started on 9 July 2005.

©Translation by John

Enlarged from André's Page

André Rieu and the musicians exuded passion and fervour on stage.

André Rieu in Concert | 4.5/5

André Rieu and his Johannes Strauss Orchestra 

offered a memorable night for all

SINGAPORE April 16, 2014 by Paul Lim:  Imagine beautiful women clad in elaborate pretty dresses swaying and singing, opera singers belting notes out of this world. A backdrop filled with majestic chandeliers and melodious sounds flowing from violins and flutes. And as if that was not enough, hundreds of colourful balloons falling from the sky.

That was how it was at the concert by violinist/conductor Andre Rieu and his Johann Strauss Orchestra. Held at the Singapore Indoor Stadium on Wednesday, the concert was attended by people from different walks of life, all anticipating a memorable night. Honestly, I was dreading a long night. The show was two hours and 45 minutes long, but it turned out to be the exact opposite — I didn’t want it to end.

Rieu’s tour last year made it into Billboard’s Top 25 highest-earning tours list (beating out the likes of Lady Gaga and Bruno Mars, by the way) and no wonder. He charmed the crowd with his charismatic and mischievous personality. When the crowd demanded an encore, Rieu quipped: “You are tired, you need to sleep!”
Accompanied by his orchestra, Rieu played classic songs like The Blue Danube by Johann Strauss II and Memory from Andrew Lloyd Webber’s Cats on his Stradivarius violin, exuding passion and fervour.

“Apparently, there is a healing power in music; nothing goes as deep into your souls as music. I hope that I can go on making music together with my orchestra the rest of my life,” said Rieu. Too true.

I was thoroughly engaged throughout the performance. My personal favourite was the act by Brazilian soloist Carla Maffioletti, who gave an impressive and hilarious performance, while dressed as a doll. Other opera singers included Mirusia Lowerse and The Platin Tenors. Their voices were all marvellous and gave me goosebumps.

It was no surprise that the performance received a standing ovation. The only problem I had with the concert was the location. The Singapore Indoor Stadium doesn’t quite offer the right ambience — it could have been a lot better if it was held at a different theatre perhaps — and the acoustics and sound quality could have been more solid.

Apart from that, André Rieu and his orchestra were a brilliant sight to behold.

André Rieu Does Not Need To Be Successful in Russia Yet

André Rieu Does Not Need To Be Successful in Russia Yet

Wednesday April 16, 2014: André Rieu does not need to be on the fast road to success in Russia yet. The violinist, who is still a rather unknown there, is trying to very quietly waltz into this country. "Since I am going to live to 120, there is still plenty of time for that" says the 64 year old Rieu.

The musician has already been performing in countries such as Australia, New Zealand and South America. "A year only has 365 days, and this year I will turn 65. Currently we perform about 120 concert in a year," Rieu explains. "Many more concerts is just not possible. If we do not make it this year, than there is always next year."

Last week Rieu tried to bring China to their feet. Tuesday and Saturday the violinist was on stage in that country and hopes that these shows will be the beginning of a successful career in Asia. "I would enjoy being able to perform here more frequently. When I am here, we try to promote us as much as possible." The king of the waltz also hopes that his concerts will be televised in Asia. "That is the most important that needs to happen."

Very Exciting

The first performances in China were very exciting for Rieu. "You never know how the people are going to react, and whether they like what we do or not," he further explains. According to the violinist, the Chinese fans seemed to enjoy themselves. "I did not know what to expect from the public, especially not in China. But the worries were in vain."

Rieu finds the public's energy very important when he is on stage. "I stand in contrast to a regular director, not with my back to the public, but face them. I see the public the entire evening and they see me," he explains."The interaction with them is crucial in the success of the evening. And every evening it is again exciting when we are able to achieve that."

Although the violinist was excited to perform in China, the preparations for the concerts were nothing more than normal. "Just to ensure that I was one hundred percent in charge."

And the nerves are always present with Rieu. "I always ask myself before I go on stage why I never learned a trade. Still even before the home concerts on the Vrijthof." 

©Translation by John, and thanks to Ineke for sending us this article.

April 2014 ~ André in Shanghai