“The most interesting are the things that are hidden underneath.” Director Mariusz Treliński reads a psychological neo-noirdrama in Erich Wolfgang Korngold’s Die tote Stadt, a story about a man getting lost in his own past. We let director, stage designer, conductor and leading soprano Marlis Petersen guide us through this cerebral labyrinth.
In The Time of Our Singing, the US writer Richard Powers describes how, against the backdrop of post-war segregation in his country, a racially mixed family is both united and pulled apart by music. The novel inspired Kris Defoort for his magnum opus. Just a few months before the world premiere, we discuss this La Monnaie commission with the composer and his librettist Peter van Kraaij.
A fantasy-thriller about the psychological toll of the Israeli–Palestinian conflict. A hypnotic mix of electronic and Middle-Eastern sonorities. The enchanting lyricism of sung Hebrew. The Sleeping Thousand is Israeli composer Adam Maor’s remarkable debut on the international opera scene.
“Each time I finish working on a Wagner opera, my first question is: ‘when can I start again?’” Our Music Director Alain Altinoglu has been entranced by the Meister von Bayreuth for several years. This time, he is getting ready to work on the composer’s final and most enigmatic opera. The musical mystery play Parsifal was the opera debut for Romeo Castellucci. Ten years later he is confronting his own electrifying production.
“After having relentlessly massacred so many heroes and heroines, I have at last the right to laugh a little," Verdi commented on his comical swan song. Chief-conductor Alain Altinoglu explains how the gags in Falstaff are not limited to what is seen on stage. Director Laurent Pelly, meanwhile, mixes bitter and sweet into a well-balanced Verdian cocktail. As if he himself were a bartender in the Osteria della Giarrettiera.