For more than three centuries, new operas have been born in the heart of Brussels, a tradition we are proud to continue in the 21st century. Because we firmly believe that The Great Repertoire is not a closed book, but a story to which each era can add its own chapter, full of exciting music, relevant themes and innovative writing. Our era too. That is why we will present one or two brand new commissioned works every season until 2025. You can follow the preparations for these unique productions on this blog.
Prima la musica e poi le parole? Not when it comes to composer Philippe Boesmans and librettist Richard Brunel. They are working concurrently on music and text. Scraping and polishing sentences and scenes in close collaboration so that both will form a beautiful symbiosis.
Today, the Paris Opera saw the final performance of the revival of Play. This new choreography by Alexander Ekman from 2017 owes its success in part to the intensity of its music, composed by Mikael Karlsson, who is currently working on the score for Fanny och Alexander.
Meet the makers! Het Geluid Maastricht (a collective founded by brother and sister Gable and Romy Roelofsen) is an experimental platform for the creation of new, engaged forms of music theatre and opera, that often works with new technologies or social developments.
"We see the making of music theatre as a bridge between the new and the old, and as a crossroads of opposites and perspectives. Through music theatre, we investigate the world around us and let that world speak for itself in our work. The questions 'What does the music theatre of the future look like?', 'How can music theatre contribute to an inclusive and healthy society?' and 'In which places in society can music theatre be a valuable addition in our ever-changing world?' are guiding us in our thinking and acting. With Het Geluid Maastricht, we are always looking for the primal force of (new) communities."
In its complete version, originally intended as a mini-series for television, Fanny och Alexander lasts about 5 hours. If that makes you wonder whether this work actually lends itself to a theatrical adaptation, you should know that Ingmar Bergman himself wrote a version for the stage. For those interested: the piece is currently being performed at the Comédie Française in Paris....
Here's the Woman! Time for Albane Carrère to step into the spotlight. During the first video recordings, our costumiers and make-up artists transformed her for the first time into the protagonist of Is this the End? #2, a mysterious woman lost between life and death, between illusion and reality.
Between 50,000 and 70,000 people marched in the capital on Sunday, each of them aware of the scale of the problem and the need to change our lifestyles. An atmosphere of solidarity, indignation and commitment. Signs and slogans everywhere, some humorous, others with a more direct message of concern. A striking number of young people, including the activists of Youth for Climate, but all generations are represented...
Another demonstration to draw the attention of politicians and citizens to the urgency of the climate issue. Will they be heard this time?
Bergman has always stuck with me, because his films are at the same time harsh and tender. They can be bitter, they look life straight into the eye, but in this they always remain humane.Ivo van Hove
With Fanny och Alexander, Ivo van Hove is not entering unknown territory. The celebrated Belgian director has already made several theatrical adaptations of films by Ingmar Bergman: Scenes from a Marriage (2005), Cries and Whispers (2009), After the Rehearsal / Persona (2013).
On September 22nd, La Monnaie hosted the first meeting between composer Bernard Foccroulle – whose opera Cassandra deals with the urgent issue of climate change – and young activists from Youth for Climate. It provoked a fascinating exchange about the difficulty climate campaigners have making their voices heard.
Present at the meeting were a number of key figures from the ‘Green Opera’ project at La Monnaie and composer Kris Defoort. Later that evening, Anuna Dewever and her fellow activists attended the latter’s latest creation The Time of Our Singing, which gave them some idea of the scale of an opera and the ecological challenges staging it presents.
I knew that the score of my opera that I'm writing, or rather the two-thirds that I’ve finished, was in good hands. It wasn’t at my place. I remember when I was rescued, when I was taken down from the balcony with a lift, that this was the first thing that popped in my head: "Ah, I still have my notes." That was more important than all my furniture together.Philippe Boesmans in La Conversation avec Camille De Rijck on Musiq3 - 16-9-21
Each opera is the result of a complex symbiosis of hundreds of sounds, talents, metiers and emotions. And yet everything always starts with the basics: a piano, a human voice and a score waiting to be discovered. This is how it all begins for Is this the End?#2 too, during the first musical rehearsal with conductor Ouri Bronchti and soloists Albane Carrère, Sarah Defrise and Amaury Massion (lylac) on Wednesday 18 August.
Cisgender, fluidity, transgender, non-binary... Issues of gender identity not only form one of the cornerstones of Les Nids d'oiseaux, they have become increasingly central to many people's expressions of self. A new vocabulary is emerging to account for the differences between body, sex (the anatomy prescribed at birth) and gender. Language helps us to identify who we are and to understand others. In this National Geographic article you will find a glossary to help you find your way in the rainbow of possible identities .