Lotte de Beer started her musical career in Maastricht, where she took preparatory piano and singing lessons at the conservatory. She switched to the Acting School in Maastricht, and continued her education in Amsterdam studying theatre teaching and stage directing, which she concluded in 2009.
Already then, she won the Ton Lutz award for best beginning director, for her staging of Häuptling Abendwind, in the Compagnietheater in Amsterdam at the International Theatre School Festiv
During her studies, she directed various productions such as Medea (a new opera of Tania Sikhelianou) at the Theatre School Amsterdam, Romeo and Julia (youth production) at the Noord Nederlands Toneel, parts/scenes of Le Nozze di Figaro (Dutch National Opera Academy, Opera aan Zee Festival and Dr. Anton Philipszaal, The Hague).
After her graduation, de Beer’s career took a flight when she started to direct Penthesilea (Benedict Weisser, based on the play by Heinrich von Kleist) at the Kameroperahuis Zwolle, TangoTürk (Sinem Altan-composition and Kerem Can-text) at the Neuköllner Oper Berlin, and Clara S (a new opera of Nicoleta Chatzopoulou) at the Oper Leipzig, as a double bill with Konwitschny’s Ich habe Genug.
In the years since she graduated and won the Ton Lutz award, her productions in opera houses all over Europe received great acclaim of audience and press. The New York Times called her production of Waiting for Miss Monroe (Holland Festival) ‘outstanding’. The magazine Opernwelt described her staging of Eugene Onegin in Bielefeld as ‘overwhelming’ ‘entrancingly humorous’ and called it “Welttheater”. De Beer won the International Opera Awards 2015 in the category “Newcomer”.
Previous engagements include Hänsel & Gretel and The New Prince at the Dutch National Opera, Boulevard Solitude in Copenhagen, Rusalka in Essen, La Bohème, Les pêcheurs de perles and La Traviata at Theater an der Wien, Così fan tutte at Theater Braunschweig, as well as Moonstruck Intoxication with the NJO (including works of Henze, Schönberg and Maxwell Davies), the revival of Konwitschny’s Salomé at Tokyo Nikikai Theatre, Die Arabische Prinzessin (Arriaga) at Oper Leipzig, a new opera of Dutch composer Robin de Raaff and Massenet’s Manon at Opera Zuid.
With her own company Nieuw Nederland’s Operafront de Beer wants to reach a new generation and help create the opera of the future.
Upcoming engagements include Mose in Egitto in Bregenz and Cologne, Il Trittico at the Bayerische Staatsoper, Lulu in Leipzig, Carmen at Aalto Theater Essen, Didone Abbandonata in Basel, Il barbiere di Siviglia at the Dutch National Opera and Don Carlos at Oper Stuttgart.