An impressive spectrum of emotional registers, coloraturas at breakneck speed and a stratospherically high F. Mozart really did go all out for the Queen of the Night’s entrance in Die Zauberflöte. Her grand aria ‘O zittre nicht, mein lieber Sohn” is a technical challenge unlike any other. In our 2018 production, Soprano Sabine Devieilhe gave everyone goosebumps with this soul-wrenching mother’s lament.
Despite the second wave of coronavirus infections and the corresponding tightening of sanitary measures, our teams have kept up the hard work behind the scenes in recent weeks to ensure a return to the Theatre in optimal conditions. General director - Intendant Peter de Caluwe guides you through our renewed programming for the second half of the season.
Even during a pseudo-lockdown and in the wake of a whole series of cancellations, the upholsterers, carpenters, sculptors, painters, and other artists in our Workshops remain undaunted. And that tenacity is really needed – for, paradoxical as it might seem, there have never been so many productions on the stocks at the same time. Right now, work is going ahead – COVID-securely – on scenery for no fewer than seven operas.
Romantic vocal lines, atonal sprechgesang or even just spoken word – give Georg Nigl a text and he imprints expression and meaning on each and every syllable. In honour of his literary recital, we delved deep into our archives and found this – equally literary – fragment: his heartfelt interpretation of the poet Jakob Lenz in the eponymous opera by Wolfgang Rihm, which earned him the title of ‘Singer of the Year’ in 2015.
Mariusz Treliński’s staging for Die tote Stadt was ready. That is, until a pandemic and strict security protocols forced him to radically rethink his entire production. The result, which will be the first staged opera at La Monnaie in months, is a sublimated but ever so powerful production about loss, schizophrenic images of womanhood and… isolation. “We feel the same pressure and the same claustrophobia as Paul.”