House of Creations

And suddenly, paper notes become sounds: impressions of the second orchestra reading session for Beyond.

In one week time, Beyond, Harold Noben's concerto for the La Monnaie orchestra, will have its world premiere. How does the composer look at his finished score? And how has it evolved since his working sessions with our orchestra's soloists?

"Overall, the final form of the piece has not changed much from the original draft, but it has changed within the different parts and the way those are elaborated. A lot has to do with the fact that a composition is always a journey, during which there comes a moment when the work itself guides the composer and tells him - if he wants to hear it - which ideas will work and which won't, and that he has to let himself be taken by the hand to explore other possibilities than those initially planned. Working directly with the soloists from the orchestra also allowed me to better assess what would or would not be relevant to the piece, and for those who would perform it. So I tried to reconcile my wishes with the soloists, the piece and my ideas."

On Saturday 3 September, 300 people from various backgrounds responded enthusiastically to La Monnaie's call to form an amateur choir, which will perform alongside the creation of Bernard Foccroulle's first opera, Cassandra, in September 2023.

The launch of this extraordinary project took place in the best of moods over a friendly drink, followed by a guided tour and a first singing workshop led by Laurence Renson.

On 3 October, a hundred amateur choristers will meet for the first rehearsal and form the final choir, united by the same passion for singing and the desire to raise public awareness of the environmental cause. For if the Cassandra of the myth and the Sandra of the opera are struggling to be heard, the Cassandra Choir will soon resound in all its strength.

In this video, follow Harold Noben during a workshop with three of our musicians, as he explores the full expressive potential of their instruments. Curious to hear the final result? The world premiere of Beyond, conducted by Music Director Alain Altinoglu, is only a few weeks away from now.

 Back to school!

And thanks to our educational programme MM Schools, opera is also on the agenda for many pupils this school year! Primary, secondary or higher education: at every level, our creations Cassandra and Solar are treated extensively during workshops, school performances and teacher training days.

Not a month, sometimes not even a week, goes by without a change in the way the puzzle of a new creation has to be put together. On purge bébé is no exception to this. Due to personal reasons, MM Ambassador Stéphane Degout sees himself forced to cancel his participation in this opera production. A few months from the premiere, we have fortunately quickly found a worthy replacement: the new Monsieur Follavoine is called Jean-Sébastien Bou, who had already appeared at La Monnaie as Don Giovanni. From performing one good family man to another...

Howard Moody – The composer’s journal
 

#2 Composer’s response to the synopsis

It was seeing Breughel’s picture in the Musée des Beaux Arts - Landscape with the Fall of Icarus - and reading W.H. Auden’s poem about it that first inspired me to write an “environmental” opera using this myth. As observed by Auden, there can be no turning away from disaster. I had my own ideas and concepts starting to form, however, I was looking forward to seeing how Anna would respond to the brief of the commission and create a full dramatic story.

When I received Anna’s full synopsis, I was blown away by its originality and sense of contemporary urgency. She has managed to reflect the environmental crisis of our times by re-balancing our perception of the Icarus myth.

Talus, (Icarus’ cousin) is put in the centre of the action, starting the opera with him being held over a cliff edge by his uncle Daedalus. Opening any stage show with fast dramatic music is a composer’s dream! Talus’ transformation into a bird is true to the original myth but in Solar, the character is elevated to become an urgent voice for change, a message that will be sung by a dramatic soprano. The audience will have no escape.

Anna decided to have the Children’s Chorus play the Sun. They take on a central role in each scene – interacting with and reacting to the human world. Brilliant trained young voices are sure to transmit the raging power of the Sun itself, importantly giving the next generation the loudest voice. The role means that the youngest performers can be fully involved in every scene of the action and invites energetic, rhythmic music that will really play to their vocal strengths.

Meanwhile the human action covers a such a huge range of emotions and complex relationships. The main characters reveal so many sides of themselves, which enables each aria to have a distinct mood and intention. I have my work cut out! Daedalus, who becomes trapped by his own invention as well as by his envy, has a complexity that is ideally suited to a baritone voice. In contrast, there is the more piercing timbre of a tenor voice poised to play the manipulative control of King Minos.

Anna introduces Icarus at a moment of utter sadness. Anna decided to weave in a close connection between Icarus and Talus which is another of her own additions to the original story. This makes the death of Talus all the more acute as Icarus must confront the fact that his own father has killed someone who was like a brother to him. The scene in which Icarus and ‘The Apprentices’ (played by the Youth Chorus), mourn the death of Talus will enable some virtuoso singing from the distinct countertenor voice of the soloist playing Icarus. The opportunity to layer this with the voices of the Apprentices and also the soprano playing Talus, immediately sparked musical ideas.

Solar has all the key elements that make a story deserving of operatic treatment, and the musical challenge to express the urgent message at the end of the opera will be a demanding one. Here goes...

On purge bébé will be opera number 8.5 for Philippe Boesmans at La Monnaie. It crowns an artistic collaboration of just under forty years. A brief overview.

#1 La Passion de Gilles

Former La Monnaie director Gerard Mortier laid the foundation of Boesmans’ opera career. He commissioned Philippe Boesmans for La Passion de Gilles (1983) in the early 1980s. Based on the story of the “French Bluebeard” Gilles de Rais, the opera was performed nine times to sold-out audiences. Then, unexpectedly, the decision was made to add one more performance. The interest in this dernière was so massive that the audience even occupied the side stairs – unprecedented for a new creation.

#1.5 L'incoronazione di Poppea

La Monnaie presented a new production of L'incoronazione di Poppea in 1989. All that has survived of this unfinished opera by Monteverdi are the sung passages and rough notes that give an idea of the harmony. La Monnaie asked Philippe Boesmans to create a new adaptation and orchestration. It is striking for its modern accents in baroque style. The harpsichord is even doubled with synthesizer tones. Working on Poppea had a profound influence on Philippe Boesmans’ writing. “I learned a lot from Monteverdi, especially the fact that each character has its own vocal profile, with its own intervals.” It also marked the start of a series of collaborations with Boesman’s own Da Ponte: director-librettist Luc Bondy.

#2,5 Reigen

The collaboration with Luc Bondy first continues with Reigen (1993), an adaptation of Arthur Schnitzler’s play of the same name. The story is one big love chain: the prostitute loves the soldier who is yearning for the chambermaid, but she loves the young man who is yearning for the young woman who loves her husband, while the husband is captivated by the little harlot who is in love with the poet, even though he is the lover of the actress who is having an affair with the Count who wakes up next to the prostitute one morning. The permanently erotic atmosphere of this opera was, according to Boesmans, responsible for a baby boom among the staff at La Monnaie. More verifiably, the piece has been one of his greatest successes. It is still being performed to this day, for example, in the reduction for chamber orchestra by Fabrizio Cassol.