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.
Another beautiful show was Janacek’s Jenufa at De Munt in Brussels. The director Alvis Hermanis presented Act 1 of the action with the singers at the front of the stage, while at their back the stage was horizontally divided in half with traditional-style dancing at the bottom. On the top, beautiful colorful pictures link the story. Sometimes the screen would lift to show us the chorus, also in beautiful costumes. This is in opposite contrast to Act 2, where Hermanis transports us into a cold, communist-like setting of the 60’s. Although much criticised, this setting worked well for me, it kind of led me towards the drama which was about to unfold. This is not really my musical territory but I liked all the singers, among which i want to single out the Jenufa of Sally Matthews, the Laca of Charles Workman, Nick Spence as Steva and Carole Wilson as Kostelnicka. All together a wonderful experience. Mr Morlot, in an interview he claimed Jenufa is among his top 10 prefereed opera’s, was also more inspired than usual.
La Boheme, The Metropolitan Opera NY, Conductor-Stefano Ranzani, Production-Franco Zeffirelli, Costumes-Peter J. Hall, Lighting-Gil Wechsler, Mimi-Maija Kovalevska, Musetta-Irina Lungu, Rodolfo-Joseph Calleja, Marcello-Alexy Markov, Schaunard-Joshua Hopkins, Colline-Christian van Horn, Benoit/Alcindoro-Donald Maxwell, Officer-Joseph Turi, Sergeant-Jason Hendrix, Parpignol-Daniel Clark Smith, 18/01/2014
Guillaume Tell, De Munt, Music direction-Evelino Pidò, Chorus direction-Martino Faggiani, Guillaume Tell-Nicola Alaimo, Hedwige-Nora Gubisch, Jemmy-Ilse Eerens, Mathilde-Ermonela Jaho, Arnold-Michael Spyres, Melchtal-Jean Teitgen, Gesler-Vincent Le Texier, Walter Furst-Marco Spotti, Ruodi-Julien Dran, Leuthold-Jean-Luc Balestra, Rodolphe-Roberto Covatta, 05/03/2014