Cio-Cio-San becomes an old ghost, a storyteller who is fated to tell her tale over and over again, in La Monnaie’s new MADAMA BUTTERFLY. The Danish collective Hotel Pro Forma, known for their stunning theatrical productions, present their new take on the beloved Puccini classic.
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.
THE GOLDEN COCKEREL is a political satire in a setting in Russia. Rimsky-Korsakov’s music mixes elements of folklore and oriental influence. Laurent Pelly’s production at La Monnaie is sure to draw out the spectacular in this timeless story.
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.
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.
"This tragedy is one of mankind's greatest creations!" Shakespeare's MACBETH stimulated Verdi's musical development towards music theatre with solid dramaturgical foundations: as a result of a new synthesis of drama and music and a complex and meticulous portrayal of the main characters, dramatic verity won out over the traditional requirements of bel canto.
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.
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.
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.
In 2011, Alain Altinoglu conducted La Monnaie’s production of Massenet’s CENDRILLON. In January 2016, he will return to Brussels as the opera’s new music director. In this interview, he talks about his approach to Massenet and the importance of passing on the French opera tradition.
Adding new flavour to one of the most-adapted stories in literature is a difficult task. Director Laurent Pelly explains how Gustave Doré’s illustrations and childhood memories helped him to create his approach to Jules Massenet’s CENDRILLON.