Punto arte develops opera productions in Tuscany and Amsterdam that travel the world. The basis of the productions is the sophisticated simplicity of travelling stages and commedia de'll arte - in other words, the dissemination of operas before the age of technical reproducibility. For example, the stage set of Haydn's wanderlust pharmacy opera Lo Speziale transports itself in a Fiat 500. All the equipment for the play about wanderlust, stereotypes of the foreigner and placebo medicine fits in a Fiat 500.

How is this top-level mobile musical theatre possible? Together! Always in the service of music and communication, the management team works. Eva Buchmann directs from the spirit of the music. Technically simple, dramaturgically well thought-out, with a loving eye for the essentials is the direction, carried by Jan Willem de Vriend's conducting. The Dutchman is rooted in historically informed performance practice. The fresh wind and spirit of optimism of this music-making style characterises the work of the founder of the Combattimento Consort Amsterdam. In the meantime, he has carried it over from the Classical to the Romantic periods. Knowing that - as at sea - team spirit inspires, his way of working is very agile. Unpretentious, respectful and listening, he leads ensembles - and that is probably why he is so popular that orchestras all over the world keep inviting him to work with them - from the West - Japan and Australia to the East, e.g. Vienna or Warsaw, from the South in Barcelona and the Zurich Tonhalle Orchestra to the North in Trondheim, Stavanger and Bergen.

The director comes from the cello, followed her music studies in her Swiss homeland with a degree in psychology in Amsterdam, where she worked as a music therapist. In her work she sees the whole human being - she staged the opera parody Ludmilla, created in the KT Westerbork, in Westerbork and Amsterdam as well as Haydn's Lo Speziale. The opera about a pharmacist with wanderlust is set in a Fiat Punto. Here the idea of a travelling theatre is paired with the emblem of early mass tourism, which in turn mirrors Hayden's projection in today's society. Her work Ludmilla, a revival of an opera parody performed in the Dutch camp before the performers were deported to Auschwitz, is simply staged on three chairs. From these, the actors replace their concentration camp uniforms  by everyday clothing and begin to play.