One of the leading lights in the European theatre, Krzysztof Warlikowski is celebrated for his psychological precision, the non-conformism of his dramaturgical readings and his contemporary visual language. In December, the Polish stage director presents a new staging of Offenbach’s Les Contes d’Hoffmann in the house that has played a key role in his opera career. In this video portrait, he walks us through his previous La Monnaie productions.
He’s known the work for almost two decades, and being a French conductor with an immaculate feeling for coloration and rhythmical precision, it’s as if Offenbach wrote the score with him in mind. And yet… Alain Altinoglu has waited until now to tackle Les Contes d’Hoffmann. Why? We’ll let our maestro himself explain that, all while he's performing the highlights of the opera at the piano.
‘Love makes us great, but tears greater still…’ This season, we celebrate the 200th anniversary of Jacques Offenbach with a new production of his musical will and testament, Les Contes d’Hoffmann. The fantastic tale, the musical archaeology of the score, and the staging choices: they all take you on fascinating but winding roads. Follow the guide!
Performing Die tote Stadt in a coronaproof way, is that even possible? For our newest production, Korngold’s most luscious score was re-orchestrated and ever so slightly cut by composer Leonard Eröd. In this video interview, conductor Lothar Koenigs explains why that doesn’t diminish the overwhelming Korngold sound at all.
The idea for Harold Nobens chamber opera À l'extrême bord du monde sprouted during his residency at the Queen Elisabeth Music Chapel. Curious to see how things fanned out, we followed the Belgian composer and his mentor Benoît Mernier during their sessions with the singers- and musicians-in-residence at the Chapel.