Il Trovatore premiered in Brussels: Tcherniakov hits a big show again, Scott Hendricks too

Il Trovatore, La Monnaie/De Munt in Brussels, June 10 2012

Director ..... Dmitri Tcherniakov

Music direction ..... Marc Minkowski

Il Conte di Luna ..... Scott Hendricks

Manrico ..... Misha Didyk

Azucena ..... Sylvie Brunet-Grupposo

Leonora ..... Marina Poplavskaya

Ferrando ..... Giovanni Furlanetto

La Monnaie Symphony Orchestra & Chorus

Orlando from La Monnaie on Mezzo TV

Hope you all enjoyed this Orlando on Mezzo TV as much as I did. Brussels is really a miracle on the operatic map of Europe. Despite financial difficulties, they keep making the best shows in the world. Scenically this is not their best show but its musical content is absolutely splendid.
Yes, this is my favorite Handel opera!

Contrary to his Orlando Furioso last year in Paris, for his Orlando in Brussels --that was premiered only a week ago-- Pierre Audi did have a guiding idea, practically defined at the beginning of the show,  and it actually works well* [So even Audi's tired style gets better when staged at La Monnaie/De Munt.] The only problem is the snail pace of the dramatic action but thankfully the soloists are very engaging in incarnating their respective roles that eventually made the evening a passionate experience. The sets and costumes by Christof Hetzer definitely help supporting the overall atmosphere too (Hetzer usually works with David Hermann).

Œdipus gouges out his eyes at the Best Opera House in 2011 - Free video for your eyes only

Starting from tonight [November 12, 2011] at 20:00 (cet) you can watch the video of the barely finished run of the new production of Oedipe -- a wonderful opera by George Enescu presented at the Best Opera House in 2011, La Monnaie/De Munt in Brussels.

From Oedipe at La Monnaie [photo ©Berndt Uhlig]

The reviews were full of praise for the opera itself, for Peter de-super-Caluwe who lead the project to resuscitating this rarely performed opera, for Leo Hussain and his enthusiastic, passionate albeit accurate conducting, and for the singers/actors who gave this opera new life.
As expected, many negative reviews for Alex Ollé and Valentina Carrasco from La Fura dels Baus, who produced the show, who make the grand scene too grandioso-s  for the opera crowd, but I am sure it was "special" [I absolutely LOVED their Le Grand Macabre at La Monnaie a couple of years ago; the same show will be presented next week at Liceu in Barcelona!]

Ah yes, the link is HERE and note that the video will be available for free viewing three weeks only!

Castellucci's Parsifal in Brussels

Parsifal, La Monnaie/De Munt in Brussels, January 30 2011

Opening scene -- seen during the overture of Castellucci's Parsifal in Brussels

Music direction ..... Hartmut Haenchen
Director ..... Romeo Castellucci
Choreography ..... Cindy Van Acker
Bondage artist ..... Dasniya Sommer

Amfortas ..... Thomas Johannes Mayer
Titurel ..... Victor von Halem
Gurnemanz ..... Jan-Hendrik Rootering
Parsifal ..... Andrew Richards
Klingsor ..... Tómas Tómasson
Kundry ..... Anna Larsson
Vier Knappen ..... Ilse Eerens
Angélique Noldus
Gijs Van der Linden
Guillaume Antoine
Klingsors Zaubermädchen ..... Hendrickje Van Kerckhove
Anneke Luyten
Angélique Noldus
Ilse Eerens
Tineke Van Ingelgem
Margriet van Reisen
Stimme aus der Höhe ..... Anna Larsson


La Monnaie Symphony Orchestra, Chorus and Youth Chorus

"Tout art doit être dérangeant."

Romeo Castellucci

La Monnaie Parsifal approaching fast

Very likely the most important Wagnerian event this year -- Parsifal, directed by Romeo Castellucci and conducted by Hartmut Haenchen-- should open in two days, Thursday January 27, at La Monnaie/De Munt in Brussels.

Romeo is one of the artistically most fascinating theater directors today but he is a newbie when it comes to opera producing. Maestro Haenchen, on the other hand, is one of the very best Wagnerian conductors of our time, who in this configuration is also in charge of protecting the musical awesomeness of this opera. The antagonism is then easily generated which in fact --when properly tuned-- can be a booster to all creative spirits involved in this production.

We learned from three different sources that the creative process of mounting this production was indeed difficult. So difficult that the house's intendant --and infinitely cool-- Peter de Caluwe had to step in to remedy a few delicate situations, and to re-establish a good balance between theatrical and musical sides of the production.

Ah, passionate people exercising their passion... This Parsifal looks more and more promising to me [watch the birth of this production through a series of videos on La Monnaie website .]

I'll see the second show (next Sunday), and yes  I can't wait!


Below are some rehearsal photos [© ???], in addition to a text by Romeo Castellucci, written before the rehearsal process had begun. 

Achtung Achtung: Parsifal in Brussels

One of the most important Wagner-events in 2011 will be a new production of Parsifal at La Monnaie/De Munt in Brussels [one of the coolest opera houses today, in good part thanks to its intendant - Peter de Caluwe]. Romeo Castellucci --famous in the world of theater but not in its opera-section (yet!)-- will be directing the show, while arguably one of the best Wagner conductors today, Hartmut Haenchen will conduct. The premiere is scheduled for Thursday, January 27 2011.

Another reason for this show to be big is Andrew Richards --currently on a roll and I suppose at his lifetime best-- who will sing the title role [after his brilliant role debut in Bieito's production in Stuttgart, this will be his second Parsifal]. Don't forget to check out his blog Opera Rocks where he will be regularly posting about the creation process of this production.
 Also thrilling should be to listen to Thomas Johannes Mayer (major intl discovery this year!) singing Amfortas.

Since this is one of the productions not to be missed in 2011, I thought you might wish to know that the on-line ticket-sales (or via phone) start today, Saturday - December 4.

Macbeth in Brussels: The best Warlikowski so far?

Macbeth, La Monnaie/De Munt, June 13 2010

Krzysztof Warlikowski

music direction  Paul Daniel 
direction  Krzysztof Warlikowski 
set design and costumes  Małgorzata Szcześniak 

Macbeth         Scott Hendricks 
Lady Macbeth    Iano Tamar
 Banco        Carlo Colombara
 Macduff     Andrew Richards 
Malcolm        Benjamin Bernheim 
Dama di Lady Macbeth     Janny Zomer 
Servo / Medico / Araldo     Justin Hopkins 
Sicario      Gerard Lavalle 
Apparizione     Jacques Does

La Monnaie Symphony Orchestra & Chorus

Krzysztof Warlikowski at La Monnaie/De Munt: the world's most talked about director in one of the coolest opera houses

His opera productions between 2004 and 2009 --when Gerard Mortier was at the head of the Paris Opera [and when Paris Opera mattered in the world of regular theaters too]-- spurred many strong reactions among public. Those who liked his shows loved them, and those who didn't they hated them.

At the very core of his theater is a generic notion of human suffering -- even if the shape or form changes, deep down it's always about suffering. He was already an important theatrical name before producing operas, but the way he shook the opera world was quite extraordinary.

My first encounter with his work was his production of Iphigénie en Tauride in Paris, which for many inexplicable and often irrational reasons, remains one of the most fascinating shows I've ever seen. It was emotionally and mentally disturbing even though there was nothing shocking in or about the show. Add to that a weird scene of Krzysztof coming up on stage after each show to rake all the angry boos -- it all made the event memorable and surreal. His goal is clearly not to please everyone, but rather to invite us to explore something new. That magic often works, but sometimes it doesn't -- in any case his audacity and the way he resets theatrical language to reconnect it (in his own way!) to the antique theater is most certainly fascinating.

His theater is modern on many levels, with many contemporary references  (especially cinema related), but with most disturbing rhythms you could find in theater: most of the "action" is faster/slower than you'd want it to be.

When he produces a show for some theater in Paris (that is not an opera) it's not only strange that his so peculiar shows are sold out long in advance, but for an opera-goer like me it's like a shock to see a massive presence of young and very-young people in the crowd.

Why all this story about Krzysztof Warlikowski? His new opera production is to be premiered next Friday at La Monnaie/De Munt in Brussels [the exemplary well managed opera house!]. It will be Macbeth, with Scott Hendricks, Carlo Colombara, Andrew Richards, and Iano Tamar.

GRATIS: Watch the new production of Don Quichotte from La Monnaie/De Munt

Last  Saturday, May 8, at 20:30 (cet), there was a live broadcast from Brussels of the new Laurent Pelly's production of Don Quichotte, on Arte-Live Web. For the next 60 days when you find some time you can watch it for free:

Marc Minkowski conducted the show which is most probably the last time we could see José van Dam singing in an opera. 

A good note about this opera can be found  on Wiki.

European Opera Days on Arte: Don Quichotte from la Monnaie

Arte  will broadcast the new production of Don Quichotte --an opera by Jules Massenet and directed by Laurent Pelly-- live from La Monnaie/De Munt, one of the best opera houses in Europe [and very dear to my heart], on Saturday, May 8, at 20:30 (cet)
Maestro Marc Minkowski will be conducting the house's orchestra and the singers including José van Dam <--- his last role in Belgium before retirement.

Notice in particular that the weekend of May 8-9 will be celebrated all over Europe as European Opera days. Check out this map to get more details about the free events/visits... near you.

2010-2011, 2011-2012 2012-2013 in Belgium

Can you find a better intendant of an opera house in Europe [or anywhere else] than Peter de Caluwe? Of course not! With a much smaller budget, compared to the top European opera houses, year after year, he and his team manage to compose a well balanced and highly interesting program. .

Sunday in Brussels...

Sunday in Brussels was not ONLY about Elektra. In pictures...

 

Everybody visits La Grand-Place, but seriously - when you're there you  need to check out the Godiva chocolate shop: they make all those sweet devils in front of you. [ Let me see you resist that temptation! ]

OK, you buy a few boxes of their divine chocolate, then you must go to  Café Terrace (w/o leaving La Grand-Place!), to order and taste Strawberry-Banana Gaufre (they add chocolate and ice-cream anyway), plus a cappuccino and you'll cry about your diet on Monday :)

Wo bleibt Elektra? In Brüssel

I finally got to see the much-talked-about production of Elektra at La Monnaie/De Munt, last Sunday (January 31). Elektra is my favorite Strauss' opera and one of my favorite operas in general. Every year I try to see it at least once. Last year I saw both productions in Berlin, of which the magnificent conducting by Kazushi Ono will stay with me for good many years... But this entry is about Elektra bruxelloise. Here is the pic of the Royal theater of La Monnaie:

music direction  Lothar Koenigs
direction Guy Joosten

Klytämnestra Natascha Petrinsky
Elektra Nadine Secunde
Chrysothemis Annalena Persson
Orest Gerd Grochowski
Aegisth Donald Kaasch

What's on in Europa-Europa?

Apart from the sensational and jaw-dropping production of The Fairy Queen, as well as that excellent Norma, both premiered in Paris this month, the major European operatic event in January 2010 is undoubtedly the new production of Rienzi which was premiered last night at the Deutsche Oper in Berlin. The German newspapers are already loaded with comments and critiques, reactions and simple articles about this apparently opulent and highly polarizing show. It's cut in half to last only 150 mins, in which Philipp Stolzl squeezed the elaborated parallel between Rienzi and Hitler --with all what this may entail-- pushing the boundaries far enough to spur some strong emotions, both positive and negative ones. Apparently during the show, as the new scenes unveiled, a good fraction of the audience openly booed, only to end the show with an unanimous outburst of applauses. That's what you get in Opera houses in Germany. :)

Pic lifted from the DOB web-site

Thalys to Aulide or to Tauride postponed due to heavy snow

The fast train "Thalys" -which normally takes you from Paris to Brussels in 1 hour and 22 minutes- had its timetable  screwed up today because of the thick layer of fluffy snow on the tracks. Never have I seen so much snow in Paris and it HAD to happen today! :(
Since my train wouldn't arrive to Brussels before 15:00, I had to throw out my tickets for two operas today in "La Monnaie/De Munt"

"La Monnaie/De Munt" is one of the very best opera houses in Europe which benefits 4-5 times less subsidies from the government than does Paris Opera (ONP), and yet manages to compile a far better and much more coherent program than the uninspiring rich-man amusement "made in elsewhere and imported to France" in ONP. La Monnaie is lead by an amazing and dynamical young intendant, Peter de Caluwe, who had a clever idea to program "Iphigénie en Aulide" and "Iphigénie en Tauride" back-to-back.
The critics [NYT, FT, Le Figaro, Welt, Nigel's blog] apparently didn't like the Pierre Audi's directing, but they all seem to have loved Christophe Rousset, his phenomenal orchestra "Les Talens Lyriques", and three excellent singers Véronique Gens, Stéphane Degout, and Topi Lehtipuu.

Better luck next month for "Elektra"!