Jeroen de Vaal studied at the Conservatory of Utrecht with director Monique Wagemakers and conductor Jan Slothouwer.  Jeroen de Vaal was invited to join Nouveau Studio of the Opéra de Lyon and worked with conductors like Philip Pickett, Christophe Coin, Rinaldo Alessandrini, tenor Marco Beasley and directors Antonio Latella and Peter Stein.

He performed at De Vlaamse Opera in Strauss’ Salome, as Tamino in Mozart’s  Die Zauberflöete, in Léhar’s Die Lustige Witwe, and in Prova d’Orchestra by Batistelli. With the Opéra de Lyon Jeroen de Vaal sang in Kurt Weill’s Les Sept Pêchés Capitaux, and covered the part of Lindbergh in Weill’s Lindbergh’s Flight. This highly acclaimed production was revived during the 2006 Festival of Edinburgh. At Opera Zuid he sang Camille in Die Lustige Witwe with Opera Zuid. Other roles are Bastien in Mozart’s Bastien und Bastienne,  Gherardo in Puccini’s Gianni Schicchi, as The Defendant in Trial by Jury by Sullivan, and as Pluto in Offenbach’s Orphée aux enfers, Wilhelm in Thomas’ Mignon, and as Don Ottavio in Mozart’s Don Giovanni.

Under the baton of William Christie he sang Don Curzio in Mozart’s Le Nozze di Figaro at the Opéra de Lyon. Jeroen made his debut in Benoît Mernier’s Frühlingserwachen in La Monnaie in Brussels. This production was revived in Strassbourg and Mulhouse, leading to great acclaim for this contribution.

Jeroen de Vaal made his debut at De Nederlandse Opera in Strauss’ Capriccio, conducted by Hartmut Haenchen, followed by Eurimaco in Il Ritorno d’Ulisse and 3^nd Pastore in L’Orfeo in the revival of Pierre Audi’s highly acclaimed Monteverdi cycle.  This season Jeroen will return at the Vlaamse Opera as Fenton in Verdi’s Fallstaff as well as join Rob Zuidam’s Adam in Ballingschap, a co-production of De Nederlandse Opera with Holland Festival, scheduled to be staged in 2009. In addition to that Jeroen will also perform as Daifilo in Granida, the tragedy Dutch poet P.C. Hooft composed in the year 1605, and which will be staged in cooperation with the Amsterdam Stadsschouwburg.

Jeroen de Vaal can frequently be heard in concert and in oratoria, e.g. as the Evangelist in Telemann’s Luke Passion, in Bach’s St. Matthew and St. John Passion.

With tenor Marcel Reijans and three Dutch baritones Jeroen de Vaal presented a highly successful remake of the Comedian Harmonists as the opening concert of the Amsterdam Grachtenfestival. H.M. Queen Beatrix of the Netherlands invited them to repeat the concert at the Koninginneconcert to celebrate her birthday.

On retiendra aussi le couple des amis homosexuels (le seul qui semble connaître la félicité dans cette histoire sombre) magnifiquement chanté par les remarquables Jeroen de Vaal et Lars Piselé. Tant l’intervention du premier au début du deuxième acte (scène magistrale) que leur duo (vraiment sublime) au troisième constituent des moments inoubliables (dommage que le CD et le DVD ne les y voient pas, nous les trouvons meilleurs encore que leurs collègues !)

The other scene that one is sure to remember is the one with the two homosexual friends (the only ones that seem to know happiness in this gloomy story), wonderfully sung by front-rank Jeroen de Vaal and Lars Piselé. Not only the first one's (=Jeroen's) intervention at the start of the second act (a masterly scene), but also the contribution with the two of them (truely  excellent) in the third scene, which comprises moments never to be forgotten (what a pity the the cd and dvd (note: made after the Brussels performances, which had a double cast) does not include them, because we thought they were far better performing then their colleagues !)

Forumopera, Pierre-Emmanuel Lephay, Septembre 19, 2008

Juist toen Trompert serieus met 'Granida' begon te leuren, werkte hij voor De Nederlandse Opera aan de instudering van Monteverdi's L'Orfeo, waarin Tania Kross en Jeroen de Vaal zongen. Zij waren meteen enthousiast voor het project en zegden hun medewerking toe.

Granida komt in april en mei 2009 in de Nederlandse schouwburgen. Voor meer info incl het volledige artikel:  www.granida.info

Trouw, Peter van der Lint, 28 augustus 2008

Uiteraard zijn de solistische bijdragen een wezenlijk aandeel binnen het geheel. Evangelist Jeroen de Vaal is een geboren verteller en de bas David Wilson-Johnson is geknipt voor de Christus rol.

Obviously the solo contributions form an essential part of the performance as a whole. Evangelist Jeroen de Vaal is a born story teller and bass David Wilson-Johnson is perfectly fit for the part of Christ.

Haarlems Dagblad, Rinus Groot, March 17, 2008

Opvallende bijdragen zijn er van de tortelduifjes Eurimaco door Jeroen de Vaal en Melanto door Tania Kross

       

foto's: DNO - Ruth Walz, Hans Hijmering

Eye contributions were those of lovebirds Eurimaco, sung by Jeroen de Vaal, and Melanto, sung by Tania Kross.

Spits, Mark Duijnstee, September 2, 2007

L'Orfeo is quintessential Audi where all three natural elements of earth, fire and water combine in sets of tangible solidity and exceptional beauty. They were matched by singing of a similar calibre with not a single disappointing voice on display.

Opera Today, Sue Loder, september 2007

As Melchior, the young British tenor Andrew Tortise was tentative initially, but registered strongly later. The stunning performance came from the tenor Jeroen de Vaal as Hänschen, ......

The Independent, Roderic Dunnett, April 12, 2007

Speciale vermelding verdienen ook Machteld Vennevertloo (Valencienne), Jeroen de Vaal (Camille de Rosillon), en verder Het Zuidelijk Theaterkoor.

Machteld Vennevertloo (Valencienne) and Jeroen de Vaal (Camillie de Rosillon) deserve special mention, and so does Het Zuidelijk Theaterkoor.

De Telegraaf, Thiemo Wind, 20 november 2006

De cast bestaat voornamelijk uit jonge Nederlandse zangers, die het er heel behoorlijk vanaf brengen.

The cast mainly consists of young Dutch singers, who do a great job.

Trouw, Sandra Kooke, 21 november 2006

De stemmen van Machteld Vennevertloo als de wat puberachtige, pruilerige vrouw van een ambassadeur in Parijs en Jeroen de Vaal als haar geheime geliefde De Rosillon waren fraai, maar net niet in staat om goed boven het LSO uit te komen. Toch wist met name De Vaal met zijn stem ontroering op te wekken.

The voices of Machteld Vennevertloo as the somewhat juvenile, sulky wife of an embassador in Paris, and Jeroen de Vaal as her secret lover De Rossillon were beautiful, but scarsely capable of appearing above the orchestra (LSO). Nevertheless De Vaal in particular managed to stir up emotion with his voice.

De Limburger, Wim Hekking, 20 november 2006

De heren (....) - (o.a. Jeroen de Vaal) zijn als de dienaren de dartelende parels van deze productie.

The gentlemen (.....) (among others Jeroen de Vaal) as the servants are the frolic and flirtatious pearls of this production.

Noordhollands Dagblad, Hans Visser, 5 september 2006

Visually stunning and musically superb, these two short pieces by Kurt Weill and Bertolt Brecht are a triumph for all concerned, but particularly the director, Francois Girard.

 Evening News,Thom Dibbin. August 18, 2006

Kurt Weill's cantata The Lindbergh Flight / The Flight over the Ocean (originally conceived for radio) and his sung ballet The Seven Deadly Sins both epitomising different aspects of the American dream and both to dryly effective texts by Bertold Brecht - make a stunning double bill.

The Scotsman, Kenneth Walton, August 17, 2006

Already known to the Edinburgh Festival, which will this summer host Lyolns and this production, Girard astutely manages the normally static chorus in Lond   And his (Girard's) presentation of Anna's grasping family - grouped round a table on a rising platform that symbolises the buillding of the Louisiana house  - is a stroke of comic genious. (...)  There is not a weak link in this entertaining onslaught on materialism, jus as relevant today as in the 1930s. Plus ca change.

Financial Times, Francis Carlin, June 26, 2006

Dans le second, une immense carte des Etats-unis, drrerie laquelle sá rite la famille des deux putains, trace le parcours chaotique de ces deux victimes consentantes dans l jungle des villes ou elles sont obligees de vendre leur corps pour nourrir la cupidite de leur parents.

Le Progres, Antonio Mafra, June 27, 2006

Toch was de tenor Jeroen de Vaal, in de rol van de eerste percussionist en als syndicalist, overtuigend als grote gangmaker van de opstand tegen de dirigent. Meer dan de dirigent zelf, gezongen door Stephen Owen, wist hij de aandacht te trekken en hij vormde in feite de rode draad van de voorstelling.

Tenor Jeroen de Vaal, in the part of First Percussionist and as Labor Union Member, was convincingly the life and soul of the rebellion against the conductor. More than the conductor himself, sung by Stephen Owen he knew how to draw the attention, and in the end he was the Leitmotiv of the production.

De Standaard, Willem Bruls, 17 maart 2006

Amsterdam, Concertgebouw, Kleine Zaal, 25 april 2005

Bijzonder was de uitvoering van de cantate La mort du nombre uit 1930, waarin Messiaen op eigen tekst een aardse en hemelse ziel opvoert. De tenor Jeroen de Vaal uitte helder zijn wanhoop. De sopraan Barbara Hannigan klonk paradijselijk en huiveringwekkend kwetsbaar in het extatische einde uit Isoldes Liebestod van Wagner.

It was a special event, the performance of the cantate La mort du nombre, composed in 1930, in which Messiaen is staging an earthly and heavenly soul, all in his own lyrics. Tenor Jeroen de Vaal expressed his despair convincingly. Soprano Barbara Hannigan sounded as if from paradise, and shiveringly vulnerable in the extatic end leading into Isoldes Liebestod by Wagner.

De Volkskrant, Huib Ramaer, 27 april 2005

Antwerpen, De Singel, 29 april 2005

Toen Reinbert de Leeuw de pianopartij voor zich nam in de minicantate La mort du nombre, ging er van de piano prompt een heel andere wereld van dynamiek en kleur uit. De sopraan Barbara Hannigan daarentegen deed in niets denken aan haar glansprestatie onlangs op Ars Musica (in de Here-cyclus van Michel Van der Aa):(....), kortom het contrast met de oerdegelijk presterende tenor Jeroen de Vaal was immens.

When Reinbert de Leeuw started to play the piano in the mini cantate La mort du nombre, suddenly the piano appeared to be in a totally different world of colour and dynamic. Contrary to that soprano Barbara Hannigan was merely a shadow of the singer that recently could be heard at Ars Musica ( in the opera production Here of Michel van der Aa): (......), summarizing that the contrast with the extremely solid singer Jeroen de Vaal was immense.

De Standaard, Maarten Beirens, 2 mei 2005

De duetten voor de tenoren, met verschillende stemmen, Jeroen de Vaal en Andreas Gisler, was erg boeiend.

The duets for tenors, with various interpretations, sung by Jeroen de Vaal and Andreas Gisler, was quite fascinating.

Amersfoortse Courant, Peter Bruinsma, June 28, 2004