Romeo Castellucci fait un sort à La Flûte enchantée

La Flûte enchantée à La Monnaie, septembre 2018

By Patrice Lieberman, 24 September 2018

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“pour la tendresse et la poésie on repassera”

Reviewed at La Monnaie | De Munt: Grand Hall, Brussels on 20 September 2018

Mozart, Die Zauberflöte (The Magic Flute)

La Monnaie | De Munt

Antonello Manacorda, Conductor

Romeo Castellucci, Director, Set Designer, Costume Designer

Tijl Faveyts, Sarastro

Reinoud Van Mechelen, Tamino

Jodie Devos, Queen of the Night

Ilse Eerens, Pamina

Georg Nigl, Papageno

Dietrich Henschel, The Speaker (Der Sprecher)

Elena Galitskaya, Papagena

Tineke Van Ingelgem, First Lady

Angélique Noldus, Second Lady

Esther Kuiper, Third Lady

Elmar Gilbertsson, Monostatos

Guillaume Antoine, First Priest, Second Armoured Man

Yves Saelens, Second Priest, First Armoured Man

La Monnaie Symphony Orchestra

La Monnaie Chorus

Benvenuto Cellini: Strassberger loses the plot at La Monnaie

No’a L. bat Miri, 28th January

Thaddeus Strassberger’s Brussels debut presents Berlioz's opera semiseria with plenty of good music but far more visual noise.

***11

Verdi caught in La Monnaie's revolving door

Eleanor Knight, 22nd March

A marathon double bill using music from Verdi's early operas largely falls flat in Brussels.

**111

Mixed messages lost in the medium: Foccroulle's Cassandra

Eleanor Knight, 10th September

Foccroulle’s limited score imitates environmental catastrophe while Jocelyn’s libretto tries – unevenly – to understand why we might ignore it.

**111

Black Swan: Barbara Hannigan returns in Warlikowski's Lulu

Kevin W Ng, 18th November

Barbara Hannigan is better than ever in Krzysztof Warlikowski's iconic Lulu at La Monnaie – an historic event.

*****

Portals into the surreal in La Monnaie's The Turn of the Screw

Katherine Syer, 30th April

A highly satisfying level of polish in La Monnaie's stream in which one recognizes a precisely executed live performance at its core – one that would be thrilling to experience in person.

****1

Listen with Mother: Tsar Saltan as autism parable at La Monnaie

Mark Pullinger, 16th June

Dmitri Tcherniakov's staging turns Rimsky-Korsakov's opera into storytelling for an autistic boy, but does he deliver a fairy tale ending?

*****

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Patrice Lieberman

Pratiquant le piano (puis l’alto) dès l’enfance, Patrice Lieberman - après un passage par le Conservatoire d’Anvers - combine sa passion pour la musique, les langues et la littérature en étudiant la musicologie et la philologie slave à l’Université Libre de Bruxelles, avant de se perfectionner aux universités de Pennsylvanie et Yale. Après avoir été pendant près de vingt ans critique au défunt hebdomadaire anglophone bruxellois The Bulletin, il collabore depuis 2014 à Crescendo Magazine (crescendo-magazine.be). Il a également régulièrement signé des notes de programme et des traductions pour différentes organisations culturelles, dont le Festival de Flandre et l’Orchestre national de Belgique.