BEHIND THE SCENES – THE MUSICAL JOURNEY OF MARIPEPA CONTRERAS (OBOE) AND FARID SHEEK (DAF DRUM)

By: Joost Tanasale

The story of the charming deceiver Ripperda takes the audience across different countries — and the music travels right alongside. The evocative sounds come in part from the oboe of Maripepa Contreras and the daf drum of Farid Sheek:

“Through my instrument, I find answers to why I do what I do.”

IN THE SMALL SPACE BETWEEN THE NOTES, THE ORNAMENTS OF MUSIC COME TO LIFE

“Every time Ripperda enters a new country, he gets to know himself better,” says Farid. “The same goes for me — in language, in insights, and in music.”

His own journey led him from Iran, where he was born, to the Netherlands, where his grandfather had already fled for political reasons.

As a child, Farid played piano and daf, later turning to composition as well. In Ripperda, he primarily performs on the daf drum: a large frame drum whose jingling rings and stretched skin create compelling rhythms when played with his hands and fingers.

Farid explains: “Traditionally, the daf is not played the way I play it. I mix in techniques from other percussion instruments, like cajón and tambourine. That comes from my travels and encounters with other musical traditions. Every country has its own percussion instrument — the cajón in Spain, the djembe in Africa, the daf in Iran.”

A UNIQUE COMBINATION

Oboist Maripepa Contreras is also a soloist in Ripperda. She trained classically in Spain before moving to the Netherlands to bring the oboe into the world of jazz. A unique combination: “Oboe in jazz doesn’t really exist. But I love that space for improvisation. In Ripperda I can move between styles — some pieces lean more classical, others invite me to improvise.”

The oboe is known as one of the hardest instruments to master because of its double reed, which Maripepa carves herself. “The sound changes with the weather; every day it’s different. It’s not like pressing a key and always getting the same tone. It depends on how you use your breath and mouth. After twenty years of playing, it’s still challenging — but it’s also beautiful.”

PART OF A BIGGER WHOLE

Both musicians find it enriching to be part of an orchestra within a music-theatre production, where the audience’s attention also shifts to the actors.

Farid: “It’s different from playing a solo concert. The orchestra is part of a larger whole. But luckily we also get solo moments. And each evening is unique — the audience, the atmosphere, the energy. That makes every show new.”

Maripepa adds: “It requires another kind of focus than a regular concert. Sometimes we have to wait for long stretches, but we must stay concentrated and be ready when we hear ‘attention’ in our headphones.”

A UNIVERSAL LANGUAGE

For both musicians, their instruments are more than tools — they are forms of communication.

Farid grew up with the daf: “In the spotlight of music, my life, my beliefs, everything I do comes to light. You don’t always need words to express yourself. Sometimes we speak just to avoid the deeper questions. With my instrument, I find answers.”

The daf, for him, became a bridge: “Now I speak Dutch, but in the beginning, the daf was my interpreter, translating emotions. Rhythm is a universal language.”

For Maripepa, the oboe also speaks: “Improvisation is like a conversation without words. It creates an atmosphere. When Ripperda travels to Spain, I try to make the oboe sound like a flamenco singer. Later I play the duduk, marking his journey to Morocco. Each style brings its own colors, its own ornaments between the notes.”

DIFFERENT EVERY DAY

And what do they think of each other’s music?

Maripepa: “It fascinates me how Farid’s daf blends with the orchestra. He brings out so many sounds with just one instrument — it’s not only rhythm, it’s expressive, almost like speech.”

Farid: “And it’s truly special that Maripepa plays jazz on oboe. Every day she creates something new, a fresh melody. The foundation of the music in Ripperda is the same, but it never feels the same. That keeps it exciting for us.”

MANIPULATE OR INSPIRE?

And what about the story itself? Maripepa enjoys the drama of the female characters around Ripperda: “They help shape who he is. But is it good or bad? That’s hard to decide. The play gives you the chance to fall in love with him anyway.”

For Farid, the performance raises deeper questions: “It makes you think about why people do what they do. Is it for money? For a name? What legacy do we want to leave? Death comes for all of us, but we leave behind a footprint. In two hundred years, will people say I was someone who manipulated others, or someone who tried to bring peace through music — someone who inspired?”