Daphne at The Munt/La Monnaie

c1 (2)I tend to avoid the filth of downtown Brussels but during an opera evening one can’t. And being on the square of the Munt is like being in a dump: homeless people roaming through the garbage, broken glass, plastic trash (used bags, wraps, bottles), newspapers, people spitting on the floor, a whiff of urine. The square itself was refurbished less than a year ago in a perfect example of a city’s sterilization. Worst of all is the 70’s office building across the square on what was once a beautiful example of old-Brussels. It must have given, however, the idea of the huge staircase that dominated the scene in Guy Joosten’s interpetation of Daphne. Within this enormous staircase (one set of stairs up to half the height of the stage, the other splitting in two up to the very top) was an equally huge tree, one could only see the immense stem and its branches. it seemed like the over-winning of nature over modern civilization, or, worse, the other way round. Go figure. The setting is Wall-Street-like, with Daphne fighting against a herd of ipod-carrying businessmen. The overall sight was quite impressive but the idea was not reasoned out.  And this is what bothers me with mediocre stage directors: an idea thrown in with very little or no dramatic continuity. And very quickly boredom comes up, interrupted only by several silly ideas (the satyr-looking guests on stilts with a strap-on dildos and Daphne’s mother as a drunk air hostess-lookalike, just to mention two). The singers however deliver a very good performance. Sally Matthews doesn’t charm with the timbre but is a very convincing Daphne. Eric Cutler is a heroic-sounding Apollo, Peter Lodahl and Iain Paterson fittingly interpret Leukippos and Peneios. I also likeed Birgit Remmert’s low notes. Tineke van Ingelgem and Maria Fiselier convincingly deliver their parts of the two maids. Lothar Koenigs’ directorial intentions are admirable but not followed by the orchestra which plays with a limited dynamic range.

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The 2014/2015 season of De Munt/La Monnaie

The-Homer-Scream-by-meowzaAh, for crying out loud!! The new season of De Munt/La monnaie 2014/2015 is out….. Are they serious???? How does he manage, Peter de Caluwe, to mess up a whole season? I mean… there are always one or two, maybe three things one doesn’t really like in a whole opera season.
1) But although there are a few interesting things, novelties, like Fierrabras and Paisiello’s Barbiere, they are in concert-version. GREAT!!
2) Two World premieres: (Shell Shock and Penthesilea). TWO??Really?? REALLY??? (Shell shock is also listed in the Dance section….so….is it both…Two for the price of one??)
3) Daphne is interesting also, a rarely played opera (which, coincidentally I just saw in Frankfurt), but it is directed by Guy Joosten, who fucked up Lucrezia Borgia with so much trash I wished THAT one was in concert version. Equally bad were Lucia in Brussels a Barbiere in Ghent and a Freischütz in Liege. IMHO
4) Two more 20th century opera’s (Frank Martin and Rachmaninov) out of 9 (not counting the concert versions) result in almost 50%. You GOTTA be kidding me!
5) What is left are two Haendel. Not one Haendel and one Vivaldi slash Monteverdi slash Lully slash Rameau slash Treatta No, no…TWO Haendel and
6) A Don Giovanni, which, if directed by Morlot with equal passion as Cosi and Clemenza, I will leave before the first interval. Door slamming!!
7) Remains a Verdi (Ballo in maschera) directed by Rizzi and Fura dels Baus, which might be quite interesting. But take a good soprano, the mezzo, a fine tenor and the base and they could have mounted Roberto Devereux with the same director. I mean, how many times in a row will we be hearing Verdi in an opera season?
Sorry Mr De Caluwe, with a program like this I will not be renewing my subscription. I will come and see them, sure. But with the least costly places…in case (….) I wanna leave at the interval.