#la monnaie de munt

[infinitelytheheartexpands]

alright nerds

rivoluzione/nostalgia time!!!

(aka la monnaie de munt’s current verdi pastiche, available for free on operavision)

[mijnmobielemoleskine]

The world is vicious, too huge to care about even its own survival. ― Richard Powers, The Time of Our Singing

[toosvanholstein]

Opera als Middel voor Revoluties

Echt een unieke operabeleving met Verdi in De Munt in Brussel. Met 'Rivoluzione e Nostalgia' als totaaltheater. Lees, kijk en hoor maar mee met Toos van Holstein in TOOS&ART van deze week. Ook op YouTube. #kunst#art#opera

Opera, heerlijk! Ja, ik ben even van het beeldende-kunst-padje af. En de oorzaak ligt bij een unieke opera ervaring. Italiaanse opera natuurlijk. Vorige week kwamen hun namen al voorbij: Puccini, Donizetti, Rossini maar vooral Verdi, ‘t liefst heel veel Verdi. Laat dat laatste nou tot mijn grote plezier een paar weken geleden in Brussel gebeuren. In het operatheater De Munt/La Monnaie aan het…

[derring-do]

Opera Streams: Early-Mid December 2024

4th: Janáček’s The Excursions of Mr. Brouček from National Theatre Brno. Featuring Nicky Spence, Doubravka Novotná, and Daniel Matoušek. Free!

6th: Mozart’s The Magic Flute from Teatro Comunale Ferrara. Featuring Younggi Do, Yulia Merkudinova, and Gianluca Failla. Free!

7th: Verdi’s La Forza del Destino (alt link) from La Scala. Featuring Anna Netrebko, Ludovic Tézier, and Brian Jagde. Subscription.

8th: Mozart’s Così Fan Tutte from Malmö Opera. Featuring Matilda Sterby, Annie Fredriksson, David Risberg, and Caspar Singh. Rental.

13th: Sungjae's 264, That One Star from Daegu Opera House. Featuring Rho Seonghoon, Je Sangchul, and Lee Chungman. World premiere production! Free!

13th: Karlsson’s Fanny and Alexander (alt link) from La Monnaie/De Munt. Featuring Anne Sofie von Otter, Thomas Hampson, and Sasha Cooke. World premiere production! Subscription.

14th: Reid's The Shell Trial from Dutch National Opera. Featuring Lauren Michelle, Claire Barnett-Jones, and Anthony León. Free!

[charlotte-of-wales]

Queen Mathilde of Belgium and Princess Elenore attend the Opera 'Cassandra', at De Munt - La Monnaie Opera House in Brussels | September 21, 2023

[processandenquirymayawalton]

Final Time Based Performance piece.

"I am the disco"

After a group crit with Siobhan and Jodie about ways of capturing perception, i realised that one of the best ways to communicate my passion is through the act of dance itself. I wanted to create a piece that contains the energy and seritonin i feel when i am in a club, dancing with the music and people i love.

For this piece I wanted to become the discoball i have been studying and emulate light and shadows. I wrapped myself in a holographic silver foil, to appear as a sculptured dress. I then used a UV light to capture the shining quality the foil contains and danced in my bathtub. I overlay videos i had taken from club nights and warped the audio to sound to a more synthy and unpredictable. The work of Contemporary dance choreographer Annne Teresa De Keersmaeker influenced this piece. Her view on the act of dancing to express abstract ideas and feelings made me think differently about movement and music. Allowing me to relax into world of detached relaxation. The contrast of her work consisting of blues and classical music with my electronic club dance shows the eevolution of music and genres.

Since these breakthrough pieces, her choreography has been grounded in a rigorous and prolific exploration of the relationship between dance and music. She has created with Rosas a wide-ranging body of work engaging the musical structures and scores of several periods, from early music to contemporary and popular idioms. Her choreographic practice also draws its formal principles from geometry, numerical patterns, the natural world, and social structures to offer a unique perspective on the body’s articulation in space and time.

From 1992 until 2007, Rosas was in residence in the Brussels opera house La Monnaie / De Munt. During this period, De Keersmaeker directed a number of operas and large ensemble pieces that have since been performed by repertoire companies worldwide. In Drumming (1998) and Rain (2001), both with Ictus contemporary music ensemble, complex geometric structures in point and counterpoint, together with the minimal motivic music of Steve Reich, created compelling group choreographies that remain iconic and definitive of Rosas as a dance company. Also during her time at La Monnaie, De Keersmaeker created Toccata (1993) to fugues and sonatas by Johann Sebastian Bach, whose music has continued to be a recurring thread in her work. Verklärte Nacht (both the 1995 version for fourteen dancers and the 2014 version for three) unfolded De Keersmaeker’s expressionist side, bringing the stormy narrative of Arnold Schönberg’s late romantic string sextet to life. She ventured into theater, text, and interdisciplinary performance with I said I (1999), In real time (2000), Kassandra—speaking in twelve voices (2004), and D’un soir un jour (2006). She highlighted the use of improvisation within choreography in tandem with jazz and Indian music in such pieces as Bitches Brew / Tacoma Narrows (2003, to the music of Miles Davis) and Raga for the Rainy Season / A Love Supreme (2005).

https://www.sadlerswells.com/whats-on/anne-teresa-de-keersmaeker-rosas-exit-above/

[annapoels]

profiel en vaardigheden

Onderzoeksthema’s: lichaam en tekst, taal en vertaling, esthetica. Onderzoeksdomeinen: feministische theorie, fenomenologie, curatorial studies

Talen: Nederlands (moedertaal), Engels (C2), Frans (C1/C2), Duits (C1)

Redigeren artikels, voorbereiden van onderzoek, archiefonderzoek

Vertaling (focus literaire en theoretische bronteksten)

Gidsen en artistieke mediatie

opleiding

Katholieke Universiteit Leuven, MA Culturele Studies — 2022-24 Summa cum laude. Masterthesis: Un corp(u)s lesbien: Lichaam en taal bij Monique Wittig.

Freie Universität Berlin, Erasmus — 2021-22 Strikt Duitstalig programma.

Katholieke Universiteit Leuven, BA Wijsbegeerte — 2017-22 Cum laude. Bachelorpaper: Ontheemd in-de-wereldzijn. Zelf bij Heidegger en Ortega.

De Munt, Choeurs des Jeunes de la Monnaie — 2012-18 Voertaal: Frans.

Sint-Jan-Berchmanscollege Brussels, Middelbaar — 2011-17 Richting: Latijn-Grieks. Winnaar van de Verschueren Essayprijs 2017.

projecten en professionele ervaring

Kunstenfestivaldesarts, vrije stage — maart-juni 2024 Input pers- en communicatiestrategie, redigeren persdossiers, verscheidene editoriale taken en vertalingswerk, voorbereiden onderzoek & inhoudelijke planning van podcastserie. 

Festival Bâtard, Beursschouwburg — april 2023 & november 2023 Productie-assistent.

rile* books, stage — mei-augustus 2023 Assistentie bij productie en curatie, copywriting en foto’s voor social media content, algemene administratie & shop assistance, onthaal sprekers.

Artefact Festival (STUK), gids — mei 2023 Opleiding gidsen voor volwassenen en kinderen.

Pianofabriek / Kunstenwerkplaats — academiejaar 2022-23 Reflectieproject deel van het vak Cultural policy over het zichtbaar maken van artistiek onderzoek bij het publiek. 

Veto magazine, schrijver — 2019-20 Redactielid Cultuur, reviews voor klassieke concerten.

AG Insurance, studentenjob — 2018-heden Administratief werk en databasetaken (deeltijds).

[sdeet]

観たいものメモ

NHK　プレミアムシアター ３月１８日（月）午前０時０５分～ ◇イングリッシュ･ナショナル･バレエ「クリーチャー」【５．１サラウンド】 ◇英国ロイヤル･バレエ「フランケンシュタイン」【５．１サラウンド】【再放送】

クリーチャーもフランケンシュタインも見損ねてて……絶対見るやつなんだけど、オンデマンド来るかな？

２月26日（月）午前０時05分～午前３時30分 ◇ベルリン国立バレエ「ボヴァリー」【５．１サラウンド】 ◇モナコ公国モンテカルロ･バレエ 「COPPEL-I.A. コッペリア」【５．１サラウンド】【再放送】

Enjoy Dance Festival 2023ーダンスを楽しむ2日間2024年2月17日（土）・18日（日）各日13：30／17：30

武本拓也 構成・演出 『庭の話し』 2024年3月22日 (金) - 2024年3月24日 (日)

ねじまき鳥クロニクル THEATRE for ALLで配信

マームとジプシー　cocoon THEATRE for ALLで配信

『消しゴム山』配信版・『消しゴム山は見ている』 チェルフィッチュ×金氏徹平 THEATRE for ALLで配信

　そういえば、私以前KEXのボランティアに参加していたことがあり、『消しゴム山』の上演の時会場で当日ボランティアスタッフしてました。なので客席では見てないんだけど、上演中の劇場の内部を確認する用のモニターで映像で見たんだよな。

La Monnaie De MuntのオペラBastarda エリザベス一世もの。５月２８日まで無料配信。

Company Derashinera “Hourglass”

カンパニーデラシネラの国際交流基金のチャンネルの無料配信

Company Derashinera “TOGE”

[ifreakingloveroyals]

Through the Years → Queen Mathilde of Belgium (1,422/∞) 21 September 2023 | Princess Eleonore and Queen Mathilde of Belgium attend a royal visit to the Opera 'Cassandra', at De Munt - La Monnaie Opera House in Brussels. (Photo by Eric Lalmand/Belga/AFP via Getty Images)

[infinitelytheheartexpands]

promo pics for la monnaie de munt’s new production of henry viii are out and a) they look good and b) they look like every single other production olivier py has ever directed

[ana-ell-e-lps-blog]

Second day of a month in an other life

[opera-simplified]

Opera Simplified #7: Les Huguenots—Notes for Act V and an Appendix!

Notes:

** For some bizarre reason (possibly a combination of length and the fact that this act does not portray the Catholic Church in a good light at all), it was surprisingly common performance practice for a very long time (although not anymore) that this act would be cut entirely and the opera would end with Raoul getting shot outside Valentine’s house at the end of Act IV. If you’re scratching your head too...yeah.

*** Partly because this scene is often seen as not really necessary for the main plot and partly because it primarily consists of an extremely difficult tenor aria, this scene is frequently cut.

**** The version of the aria given in the main text is the version commonly performed; due to a combination of cuts and censorship of anti-monarchical content, the aria here is much shorter than originally written. Below is an English translation of what was to have been an additional verse of the aria and would have been inserted after this line:

RAOUL

When he [Coligny] was alive, they did not dare look upon

this noble face honored by victory without paling—

and in death, they insulted him!

Friends, here is his blood!

Do you still doubt?

And these are Frenchmen!

And these are Christians

who claim their support from Heaven and the royal throne for this!

Roving and full of fury, cursing their torture,

I ran to the Louvre, running through the danger,

to plead with King Charles! What a crime! May he be cursed!…

I saw the King himself shoot down his [Huguenot] subjects,

whom he is supposed to protect, from the top of his balcony!

Everywhere, murder and fire!

Everywhere, furious priests

proclaiming the wrath of Heaven!

And alas, no one, not even

the young girl in prayer

or the baby at its mother’s breast,

escapes their blows!

Will we helplessly watch this blood flow

when it cries out for vengeance?

It is waiting to be avenged! And they will have that vengeance from us!

***** The Louvre Palace was the royal palace of France prior to the building of the Palace of Versailles. It did give its name to the art museum now partially housed within it, but to be clear, Valentine is not telling them to take refuge at an art museum.

****** Props to Olivier Py (director of La Monnaie De Munt’s 2011 production) for apparently being the only director with enough common sense to let Nevers die onstage.

******* The ending of the previous scene is often modified so that this and the previous scene take place in the same setting.

Appendix:

so as you may have guessed, there was a shitton of research and online articles and things used in the making of this very long, very detailed project!

the following are some of the resources used in the making of this Opera Simplified:

-Wikipedia

-Google Translate

-Collins French-English online dictionary

-Wiktionary

-five (5) different libretti:

Google Books previews of Giacomo Meyerbeer: The Complete Libretti

Nico Castel’s word-for-word English translation

this webpage of Eugène Scribe’s original libretto before Deschamps (and others) made changes to it

this French/Spanish libretto

and this French/Italian libretto

-a piano/vocal score and a full orchestral score both available on IMSLP

-this delightful post from my dear @monotonous-minutia

-this post i wrote over two years ago

[carovisetto]

Mitridate - La Monnaie/De Munt 2016. Photo by B. Uhlig

[gnossienne]

Gluck's Orphée et Eurydice (La Monnaie / De Munt, 2014)

[lightheart-catsoul]

La Monnaie, Brussels, Belgium

[demoura]

« THE SLEEPING THOUSAND « DE ADAM MAOR UMA ÓPERA HEBRAICA EM TORNO DO CONFLITO ISRAEL-PALESTINA :

ontem muito público no Grande Auditório da a Gulbenkian para assistir à récita única de « The Sleeping Thousand", a ópera de câmara do israelita Adam Maor com libretto de Yonatan Levy, estreada no festival de ópera de Aix-en-Provence em 2019 . Em boa hora assistimos a este espectáculo elegante de alta qualidade musical e estética que de Lisboa segue para La Monnaie de Munt em Bruxelas .

Dela disse o Le Monde aquando da estreia «  Maor e Levy criaram um universo singular - sedutor e provocador, que mistura fábula política, e parábola fictícia -em torno do conflito israélo -palestino ”. Para um melhor conhecimento da obra transcrevo aqui o excelente texto de Louis Geisler na folha de sala

«  The Sleeping Thousand é uma ópera de câmara para quatro solistas, oito instrumentistas e música eletrónica. É a primeira obra lírica do compositor israelita Adam Maor e do libretista e encenador Yonatan Levy. Ambos beneficiaram do apoio da rede enoa (European Network of Opera Academies) que acompanha o seu trabalho desde 2016. The Sleeping Thousand é assim o fruto de uma frutuosa cooperação europeia: em parte concebida em Helsínquia, Aldeburgh e no Luxemburgo, esta ópera foi estreada em Aix-en-Provence antes de partir em digressão a Portugal, à Bélgica e à Finlândia. Tema As diferentes etapas de criação permitiram a Adam Maor desenvolver e experimentar uma linguagem musical rica em colorações, influenciada tanto pelas tradições musicais orientais como pelas músicas contemporâneas ocidentais e árabes. Por seu lado, o libreto da ópera, adaptado de um romance de Yonatan Levy, resulta do encontro entre a fábula política, o conto filosófico e a ficção científica. A sua escrita caracteriza-se por uma grande riqueza de tons. Ela oscila entre gravidade e leveza, entre sátira e poesia, jogando continuamente com as sonoridades do hebraico — jogo que Adam Maor retoma, por seu lado, na sua escrita vocal esvoaçante. Estendendo-se ao longo de mais de sete anos, a ação tem como ponto de partida uma greve de fome iniciada por mil presos administrativos em protesto contra o seu encarceramento arbitrário. Com a intenção de desviar a atenção internacional, o Primeiro-Ministro decide sujeitar esses prisioneiros palestinianos ao silêncio, mergulhando-os num sono artificial. A vida parece retomar o seu curso normal mas, progressivamente, as noites dos israelitas enchem-se de pesadelos. Ao fim de algum tempo, toda a sociedade se torna vítima de uma insónia generalizada. Aconselhado pelo Diretor da Agência de Segurança, o Primeiro-Ministro decide então enviar uma espia ao mundo dos sonhos. Através do desvio da ficção científica, esta história evoca o impasse em que se encontra o Próximo Oriente. A mensagem dos seus autores tem no entanto um alcance mais universal: a sua obra fala de um país dilacerado, de uma sociedade múltipla que os seus dirigentes já não veem como um todo orgânico, mas como um mosaico irreconciliável. Espetáculo Yonatan Levy começou a definir a encenação da ópera logo a partir da escrita do libreto. Assim, toda a narrativa se desenrola no gabinete do Primeiro-Ministro, servindo também de célula de crise improvisada e de torre de marfim de alta segurança. Antes de mais, concreto e atual, o mundo da escrita em The Sleeping Thousand move-se progressivamente da ficção científica para o sonho. A cenografia, criada por Julien Brun, acompanha esta transição e incorpora elementos realistas numa ambiência livremente inspirada pela estética retrofuturista dos anos 1960. A presença dos Mil Adormecidos, ainda que mudos e invisíveis, não é menos tangível e perturbadora. Porque eles são os personagens principais desta história. A sua letargia simboliza uma situação aparentemente sem saída e permite também expressar uma utopia: a de indivíduos que recriam um sentimento de pertença coletiva no mundo do espírito e dos sonhos. «