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.
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.”
While rehearsing for our double concert dedicated to the best moments of Rossini’s Elisabetta, regina d’Inghilterra and Donizetti’s La favorita, Italian primo tenore Enea Scala took a moment to give us his vision of bel canto.
In between rehearsals for our belcanto double bill The Queen and her Favourite and The King and his Favourite, conductor Francesco Lanzillotta took the time to discuss at length, with passion and a touch of humor the music of Rossini and Donizetti, two composers close to his heart. A conversation about the importance of the connection between text and music, about high notes, about dying on stage…
On the occasion of his upcoming recital, we asked tenor Julian Prégardien to answer the following questionnaire honestly and succinctly.