#la monnaie de munt

[infinitelytheheartexpands]

alright nerds

rivoluzione/nostalgia time!!!

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

[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…

[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

[girlscarpia]

"tastefully incestuous" i say* then there's la monnaie/de munt having siegmund and sieglinde hornily baptizing each other with blood, drinking milk from the same bottle and then heading off to fuck under a suspiciosly placenta-looking cover

*you don't need to know when I said that

[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��･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)

[a-study-in-dante]

Bought another book for a class and went to the opera this weekend.

[ana-ell-e-lps-blog]

Second day of a month in an other life

[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

[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

[ifreakingloveroyals]

Through the Years → Queen Mathilde of Belgium (519/∞)

11 June 2013 | Princess Mathilde of Belgium and General Director of De Munt - La Monnai Peter de Caluwe talk during a royal visit to the opera 'Cosi Fan Tutte', directed by Michael Haneke at the Munt Schouwburg - Theatre de la Monaie theatre in Brussels. (Photo credit Kristof Van Accom/AFP via Getty Images)

[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. « 

[antisemitism-eu]

Portugal: Political Israel-bashing opera performed at the Gulbenkian Foundation (Lisbon)

A political Israel-bashing opera, The Sleeping Thousand, will be performed on 16 January at the Gulbenkian Foundation in Lisbon. The Gulbenkian Foundation indicates that the opera was commissioned/supported/sponsored by the European commission and several European institutions: "Festival d’Aix-en-Provence and Les Théâtres de la Ville de Luxembourg. A Festival d’Aix-en-Provence production in association with Les Théâtres de la Ville de Luxembourg, Calouste Gulbenkian Foundation [Portugal], Helsinqui Festival, La Monnaie/De Munt [Belgium], Queen Elisabeth Music Chapel [Belgium] and IRCAM-Centre Pompidou [France]. With the support of enoa and Creative Europe Programme of the European Union."

More via AFP/France 24 (2019):

It features an Israeli prime minister, Palestinian prisoners on hunger strike, a hit squad and a Shin Beth spy chief. But this is not another story on the intractable Israeli-Palestinian conflict but an opera unusually with a libretto in Hebrew, the official language of Israel. "The Sleeping Thousand", an opera by Israeli composer Adam Maor with the libretto by Yonatan Levy, was premiered at the prestigious Aix-en-Provence opera festival in southern France this month. "This opera speaks of oppression and above all, its impact on the oppressor," Maor told AFP. [...] Maor is hugely critical of Israel's policies towards the Palestinians and spent two years behind bars for refusing to do his compulsory military service in protest at the "immorality of the occupation" of the Palestinian territories. In the opera, which inhabits a world between science fiction and fantasy, a thousand Palestinian prisoners begin a hunger strike generating widespread media interest. The Israeli government decides to sedate them "so that the world can move on to something else". "It works very well until the day when the Israelis start having nightmares and wake up in the night speaking Arabic," explained Maor, 36. One day, the government concludes that the Palestinians were seeking to sabotage Israeli dreams. "They are tunnelling into the world of Jewish dreams and carrying out terror attacks!" declares an aide to the prime minister in the opera. The prime minister then decides to send in the aide as a spy in Palestinian garb to kill them. The different characters, all of them Israelis, are taken on by four singers. And at the back of the stage are the "sleeping" Palestinians, all played by volunteers lying on beds. Referring to his own stint in jail, Maor said: "I chose to go to prison, whereas they (the Palestinians) didn't." Thousands of Palestinians are held by Israel, some without charge under so-called administrative detention orders. They often go on hunger strike to highlight their plight. Israel insists such detentions are necessary to punish criminals who carried out or planned violent acts, and ensure the Jewish state's security. [...] Maor's family originally came from Damascus, where many Syrian Jews lived before leaving in the years before Israel's creation in 1948. But he is not sure he will ever be able to see his opera performed in Israel itself, complaining about the "the government's growing pressure on dissenting artists" under Prime Minister Benjamin Netanyahu.

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