'Onégin’s overture lasts about two minutes: that’s all it takes to fall in love with opera.'
Andreas Schrager / Tenor

Working with you is challenging and inspiring. You have a very youthful and fresh approach to the piece, but with great respect for play and music. Above all I like your good humor: you work relentlessly and at the same time you are able to create a wonderful atmosphere. That is really wonderful! You are a director with whom I'd very much like to work again!

Bert Simhoffer (Actor and Singer)

Marc Krone is a man who knows exactly what is possible on stage. Not only for his actors but also for the whole set (decor) and the lighting. He also gives the public a realistic plot and inspires his actors to play real and complete people. That, combined with his perfect sense of humor, and more than the one big story line (he gives each character their one little story to tell to the public) makes him an all round theatre maker.
During the process he stays friendly, firm, always on top off things, keeping the whole picture in his head and gives a lot of energy to his actors, chorus, ballet and everyone who is working on and behind the stage. He works on time with no time pressure, is easygoing but direct and always with the end result in his mind.
His enthusiasm makes the performers give more of themselves from the very first moment they are working with Marc. He is also a good 'trooper'. He is a binding element in a group of performers, which is very important for the whole rehearsal process.
It is really nice to work with him and what is even more important, the public and the press highly appreciate his work.

Karel Spanhak (Set designer)

My collaboration with Marc Krone on the The Gypsy Baron

My first encounter with Marc Krone took place in the first class waiting room of the Central Station in Amsterdam. For this occasion the restaurant was briefly turned into our work-office. The situation which evolved would certainly have been a good example of a wonderful comedy evening in the theatre.
Then and there Marc played out all the parts of the opera he wanted me to do the set desingn for including the female parts, to great astonishment of the other guests in the restaurant.
It was a grotesque situation, but as soon would appear, very effective. I immediately sensed that Marc Krone wanted to brave new paths and unknown territory with this production.
Moreover this experience was a very pleasant way to start the designing of the set.
Right from the start of rehearsals Marc proved himself to be an able and innovative theatre director, and had planned and thought out things thoroughly.
In the shortest of time, he created a fantastic work environment which led to a great working atmosphere among members of the ensemble.
It was wonderful to see all the ideas that were developed in Amsterdam bloom in such an fruitful environment.
With his sophisticated direction Krone brought life and content to the set and its design.
The entire space was utilized on different levels, and over all filled with action. All we had discussed in Amsterdam was implemented.
He created wonderful comic scenes and colorful pictures.
Thus a musical comedy was born that will have its place in our musical-saturated theatre landscape.
A small masterpiece, a new way, bringing fun to both old and young. ____________________________________________________________________

Rita Lucia Schneider (Mezzo soprano

In his capacity of director, Mr. Krone has done an excellent job. I would moreover like to highlight the following points: through his skill and his meticulous preparation and knowledge of the piece he delivered very focused and solution oriented work. On stage as well as backstage. He was also very friendly and diplomatic in dealing with people. Not only with the soloists, but also with the choir and all those involved behind the scenes. This contributed much to a very good working atmosphere.
It is due to Mr. Krone's energy, expertise and experience that the production of The Gypsy Baronwas a huge success, and that he got good reviews for himself and the production as a whole. All involved have particular good memories of working with him.

Christina Khosrowi (Soprano)

Dear Marc, you have probably heard this very often but nevertheless I’d like to tell you again: you are a wonderful director. Working with you was an inspiring and deep experience, your energy is unrelenting, and not one single day I worked with you I have seen you ill-humoured. I particulary like the way you not only respect the music, but love it in such a way that your work inspires us singers to become part of it, and therefore sing even better…
And I like your aesthetics: modern but romantic, without ever becoming kitsch. I hope very soon to be able to work with you again!

Lauri Brons (Christine in Phantom der Oper Hamburg)

When I first started to work with Marc, I was very uncertain and uncomfortable as an actress. He created a very safe environment: I immediately felt at ease and wasn’t afraid to try and experiment! Thus he helped me to lay a strong foundation for my acting and interpreting skills. Skills from which I will benefit the rest of my career. His lessons are personal and practical, he presents tools that you can apply at any time, on stage and at auditions. I also worked with him on the preparations for my audition for Phantom der Oper in Hamburg. Thanks to him, I felt comfortable and strong during the auditions which resulted in a wonderful first job as alternate of Christine Daaé.

Guido Gottenbosch (Musical performer in Germany and England)

Marc is the perfect person to help you prepare for auditions. Thanks to his extensive experience in front of and behind the audition table, he knows exactly what will be expected of you. He helps you to frame your ideas and impulses, and in no time he clears the path. Moreover, he does so with loads of enthusiasm and humor.
Auditioning has always been a nerve-racking experience for me, but after my sessions with Marc I began to see them as the perfect occasion to grow as a singer/actor. I now see auditions as opportunities to develop new sides of myself. Nowadays I'm going into an audition room knowing what I want to do, and eager to show what I can.

Peter Stassen (Agent - Hamburg)

Marc knows what tools will help you to prepare for auditions, because he has been in the business for a long time and has played a lot of big parts.
His swiftness and creativity helped me immensely!
He guides you with ease through your material and knows what to offer to make you 'audition sure'. In short a must for every musical artist!


Erik Vlasblom

(Musical director of shows by Toon Hermans and Robert Long)

Marc Krone is a director that speaks the same language as I do, effortless. He has strong idea's, but gives you space to fill these in according to your own taste and ways. ____________________________________________________________________

Violetta Lazin (Soprano)

Working with Marc Krone was an experience any artist wishes, but dares not to hope for.
It's like living in Neverland. He takes you for a ride through a role: the only thing you need to do is believe! You feel a strong urge to search harder, work more, give everything you have, and even everything you didn't know you had! Marc is always the first person on the set and the last person off. His unstoppable will and energy kept the whole cast going on for hours, and much longer then any of us thought possible.
As a beginner, sometimes I was overwhelmed with the importance of the task I had embarked upon. Marc never stopped cheering me on.
But don't be fooled, he gave me plenty of slaps on the wrist and ‘up yours!’ exactly when I needed or deserved them.
Marc recognized the many possibilities of something that appears to be ‘old fashioned’ and ‘static’ as opera. He opened magical doors but never took it out of it's original context.
Even though I knew he had his doubts about directing this opera, I know the opera world has found his new ‘Maestro’.
I can't wait working with him again! It will be a pleasure and a privilege.