Municipal Music Conservatory of his hometown Bruges (1978-1986).
He then continued his studies at the Royal Academy of Music Gent, obtaining
a First Prize for Singing (1990,Zegher Vandersteene).
Afterwards he completed a Postgraduate for Vocal Studies at the Guildhall
School of Music and Drama London (UK, 1990-1991)) with Noelle Barker.
He then went on to the Music Academy of the West Santa Barbara ( USA )
studying with Martin Katz, Graham Johnson, Gwendolyn Koldofsky and Nina
Hinson.
In 1988 he wan the Prix d’espoir at the Concours International de Chant
Clermont-Ferrand ( France ).
As a singer-actor, he took part in the worldtour of Jan Fabre’s The Power of
Theatrical Madness (1984-1985).
He played the part of Knight of the Holy Grail in the Flemmish Opera’s
production of Wagner’s Parsifal (1990), and then toured the UK for two years
with the English Touring Opera company, playing among others,the title role
in Don Giovanni (Mozart), Guglielmo in Cosi fan tutti (Mozart) and Sid in
Albert Herring (Britten). Furthermore he performed the role of Demetrius in A
Midsummer Night’s Dream (Britten) during the Aldeburgh Festival (1991).
Hans Peter made his entry into the world of musicals in 1993 playing the role of
Padre in the Royal Ballet of Flanders’ production of The Man of La Mancha.
Subsequently he appeared in Jesus Christ Superstar and Chess, in which he
played the Russian grandmaster Anatoly Sergeievsky.
In 1995-1996 Hans Peter Janssens performed in the Dutch Joop van den Ende
production of Lloyd Webber’s The Phantom of the Opera, both in the role of the
Phantom and of Raoul.
He then sang the role of Bartolomeo Vanzetti in the world premiere of the
Flemmish musical Sacco &Vanzetti after which he glued the audiences to their
seats with his rendition of the hair-raising double leading role in the thriller-
musical Jekyll&Hyde.
From May 1998 to April 1999 Hans Peter excelled as Jean Valjean in Music Hall’
s Flemmish version of Les Misérables in Antwerp . Soon after this he again
played the leading role in the Flemmish version of The Phantom Of the Opera.
Hans Peter Janssens’ last production for the Royal Ballet of Flanders was in
2000, when he played the part of Ben in Follies (Sondheim).
From October 2000 to July 2003 he went on to play the leading role of Jean
Valjean in Cameron Mackintosh’s production of Les Misérables at the Palace
theatre in London’s West End. In that period of time more than a million fans
from all over the world have been able to see him at work in one of the world’s
leading centres of the musical genre as such. He was the first Belgian ever to
star on the West End in a first cast leading role.
Subsequently, on March 23, 2003 he was invited to perform at the London
Concert for Peace at the Drury Lane Theatre in London . Other performers on
that occasion included Dame Judi Dench, Sir Ian McKellen, Sir Alan
Ayckbourn and John Barrowman.
Back in Belgium starting November 2005, he starred in Antwerp as Dracula in
Dracula de Musical, a Flemmish version by Musichall of Svoboda’s musical.
For this rendition he was later awarded the Flemmish musicalaward for best
male lead.
In May 2006 Hans Peter returned to London to undertake the part of inspector
Javert in Les Misérables. In doing so he is the first actor ever in the legendary
history of Les Mis in London to have been asked for both leading roles of
Valjean ‘and’ Javert, and this in the year that Les Mis became the Longest
running musical ever in the history of the WestEnd.
Due to this occasion , the WestEndCast with Hans Peter as Javert, and BBC
Radio2 recorded a special concertversion of Les Misérables at the Mermaid
Theatre in London to celebrate the 21st anniversary of the show.
Dear friend, thank you for this great interview, it was wonderful can meet you
in person in London after Les Miserables show!
Sandra - What has meant for your artistic career being the Phantom of the
Opera in Webber's musical?
Hans - It was my first big lead in a major musical and I have to say that I
learned a lot from it just working with some talented people around me. Of
course it did open a few doors as well in my future career, but the experience
itself was the most important thing to me.
Sandra - What scene/song of the Phantom musical is your favourite and why.
Hans - The final scene has always been my favourite because of the energy
involved. It shows the Phantom’s vulnerable and breakable side and is the
most dramatic to me. It’s as if all the other scenes of ‘showing off’ are a build
up to the last fifteen minutes.
Sandra - What are some of the aspects you have brought into your
interpretation of the Phantom?
Hans - It’s not that I intentionally put some personal things into the
character…these things just happen gradually as one explores the character.
But my interpretation focussed on the Jekyll&Hyde-side of the Phantom. He is
after all a man who kills without a second thought.
Sandra - What is it, in your opinion, that makes the show so appealing?
Hans - The show is appealing because of its operatic music and it’s ‘grand’
setting. Of course it is such a romantic story and in the end that’s what we all
like. Unatainable love, a tragic ending for the anti-heroe, a perfect ending for
the young couple….and why does she run of with Raoul anyway?
Sandra - What did you find most difficult to prepare for your role?
Hans - I don’t know why but the role came very natural to me so I can’t say
anything was ‘difficult’ to prepare. Of course one has to get used to wearing all
that make-up and singing with that mask but in the end that becomes a second
skin. And as the make-up is being applied you see yourself change into the
character in the mirror which is quite helpful as well.
Sandra - What is your opinion about your main character, the Phantom?
Hans - As I said I can relate to the feeling of unatainable love, as I’m sure
everybody can. For the rest, he’s a messed up guy wearing a mask.
Sandra - We know you are now playing Javert's role in Les Miserables London
musical (and you have played Jean Valjean's role too!), what is in your opinion
the scene which presents a maxim vocal difficulty ?
Hans - Singing Javert is for a baritone like me more straightforward. Singing
Valjean however…well, being a baritone, pretty much everything is vocally
difficult. However the most difficult would be ‘Bring him home’ as it has to be
sung balancing on a thin line between technical and emotional. But it is of
course the most beautifull and most rewarding song to sing.
Sandra - Can you tell us your personal vision of Jean Valjean/Javert character?
Hans - Good guy-bad guy. Both characters act on what they believe in but
coming to a crucial point in their lives (when they actually even sing the same
song) they make totally different decisions as to how to continue their lives.
Sandra - You have been in geat musicals like the Phantom of the Opera, Jekyll
and Hyde, Man of la Mancha, Chess, Les Miserables..., what is the role you
would like to play some day?
Hans - Nothing crosses my mind for the moment , but if anybody would write
some great lyrical, dramatic music…give me a call?
Sandra - What would you say to your fans?
Hans - See you soon?
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Copyright by Ladyghost.
