Compared to previous years the opera programmes in Belgium for the 19/20 season are a bit disappointing in my view. If the Flemish Opera or the Liege Opera somehow balanced the Monnaie/Munt’s predilection for modern works, this isn’t always the case in the new programmes.
For Brussels one world creation would seem adequate, two already a bit too much. But this year we get 3 (three) world creations: one by Dusapin, one by Attahir, and one by Kwiecinski. Funnily enough, in this 200th anniversary of one of Poland’s most beloved composers, Stanislav Moniuszko, we don’t get to hear an opera BY Moniuszko, but an opera ABOUT Moniuszko (sic). The three modern creations are counterbalanced by the umpteenth staging of the Da Ponte trilogy. I hope in a more pleasant staging than the last ones i saw. The presentation of the trilogy in the programme booklet flings words such as sexual morality, de Sade and #MeToo. I can’t wait… The program is rounded off by two more 20th century operas (R. Strauss and Honegger) and furthermore by the only two operas I really look forward to: Tchaikovsky’s Pikovaya Dama and Offenbach’s Les contes d’Hoffmann. The Monnaie/Munt doesn’t seem to want to offer its paying public a diversity in ballet either, maintaining a modern ballet-only policy.
The Flemish Opera, winner of the 2019 Opera Award for best Opera Company, presents the season of the new artistic director Jan Vandenhouwe. More diverse than the Munt, though I don’t see the need for two Verdi operas in one season (Don Carlos and Macbeth), and Cosi fan tutte again!! Two further titles are disguised as opera but are really a potpourri of music by Verdi and Wagner (Platel’s Choeurs) and the scenes from Goethe’s Faust by Mendelssohn. What stands out is an Schrecker opera (Der Schmied von Gent), a schoolopera by Brecht/Weill (Der Jasager), the Sheharazade/heure espagnole dyptic by Ravel and a welcome Rusalka by Dvorak. Interesting enough 3 productions (Rusalka, Choeurs and the Ravel dyptic) are mentioned under “opera” as well as under “ballet”. This year also the Flemish Opera offers a modern-only programme for ballet (!!).
Overall the most diverse programme with the more interesting names come from Liège. Although yet another Don Carlos is given in parallel to Gent (I would help if thew talked to each other…) together with a second Verdi (Nabucco), the singers are the experienced Gregory Kunde, Ildebrando D’Arcangelo, Yolanda Auyanet and Kate Aldrich. Rossini’s Cenerentola has the interesting newcomer Tenor Sekgapane in its cast, Bellini’s Sonnambula the wonderful Nino Machaidze, Barbera and Mimica. A rare Alzira (a third but at least a rare Verdi) and an even rarer Lakme (with Jodie Devos in the title role) are also on the programme, which includes also a Pecheurs de perles with Annick Massis, a Candide in concert version and Gluck’s Orphée et Eurydice. 10 operas are played in Liège, a quantity which I sometimes found detrimental to quality. I could have done with a Verdi less, But at least the programme is diverse.