La Monnaie

The Royal Opera House La Monnaie is a house of new creation, empowerment and impact; a symbol of federal Belgium and the opera house of Brussels, the capital of Europe. La Monnaie pursues an ambition to be the Opera House of the Capital of Europe, through productions that vary greatly in style and represent the diversity of theatre and musical on our continent today.  This policy has elicited many accolades in the international press who keep La Monnaie within the top league of opera houses, both for artistic and organisational reasons as well as for its successful approach to the arts as a vector for social engagement.

Place de la Monnaie, 1000 Brussels, Belgium

Presentation

La Monnaie: Trailer
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La Monnaie: Orfeo ed Euridice

La Monnaie | ORFEO ED EURIDICE - Extract

French mezzo Stéphanie d'Oustrac sings the role of Orfeo in the brilliant production of ORFEO ED EURIDCE from 2014 at La Monnaie/De Munt, directed by Romeo Castellucci.
La Monnaie: Tamerlano

La Monnaie | TAMERLANO - Extract

Jeremy Ovenden plays the role of Bajazet in Handel’s opera TAMERLANO and here he performs the famous aria “Figlia mia non pianger, no”. The production, directed by Pierre Audi, was staged in 2015 at La Monnaie.
La Monnaie: Alcina

La Monnaie | ALCINA - Extract

A first rate cast - including Sandrine Piau, Maïté Beaumont, Giovanni Furlanetto, Angélique Noldus - shines in in La Monnaie’s landmark production of Handel’s ALCINA, staged in 2015 and directed by Pierre Audi.
La Monnaie: Madama Butterfly

‘Cio-Cio-San is a song, a melody'

MADAMA BUTTERFLY remains one of the most beloved Puccini operas – and one of his most difficult works for contemporary directors as it touches topics such as colonialism and male dominance. Kirsten Dehlholm, founder of the Danish artistic collective Hotel Pro Forma, talks about her vision for a modern approach to the opera and its heroine.

La Monnaie: Le Coq d'or

"The Tale is a Mask"

After CENDRILLON and DON QUICHOTTE, Laurent Pelly returns to la Monnaie in Brussels for the third time with a magical plot: THE GOLDEN COCKEREL. In our interview, the French stage director talks about the radiant attraction of Russian tales and the magic of fairy-tales.

La Monnaie: La Clemenza di Tito

Mozart and LA CLEMENZA DI TITO

Mozart wrote his last opera seria for the coronation of the King of Bohemia only three months before his death in December 1791. Reinder Pols explains the background of an opera that was popular in its time and was only rediscovered in the late 20th century.

La Monnaie: La Clemenza di Tito

LA CLEMENZA DI TITO, a Racinian drama

In 1982, Karl-Ernst and Ursel Herrmann staged a new production at La Monnaie of LA CLEMENZA DI TITO, demonstrating that this opera seria, which until then had remained in the shadow of Mozart's other great masterpieces, deserved a place in the firmament of the lyric repertoire. Some 30 years after this legendary production, La Monnaie entrusted the work to Ivo van Hove.

La Monnaie: La Clemenza di Tito

‘Mozart was first and foremost a theatre man’

After COSÌ FAN TUTTE, then chief conductor Ludovic Morlot wielded the baton in another Mozart opera in La Monnaie’s 2013/14 season. A conversation about the place of LA CLEMENZA DI TITO in Mozart’s oeuvre, about the moral implications of the subject and about the need for ever-new versions of repertoire pieces.

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