Mozart - Le nozze di Figaro
La Monnaie, Brussels, Sunday March 1 2020
Conductor: Antonello Manacorda. Production and Costumes: Jean-Philippe Clarac, Olivier Deloeuil (> Le Lab). Sets: Rick Martin. Lighting: Christophe Pitoiset. Video: Jean-Baptiste Beïs, Timothée Buisson. Il Conte di Almaviva: Björn Bürger. La Contessa di Almaviva: Simona Šaturová. Susanna: Sophia Burgos. Figaro: Alessio Arduini. Cherubino: Ginger Costa-Jackson. Marcellina: Rinat Shaham. Bartolo: Alexander Roslavets. Don Basilio, Don Curzio: Yves Saelens. Barbarina: Caterina di Tonno. Antonio: Riccardo Novaro. La Monnaie Symphony Orchestra and Chorus.
'The “great Italian three” by Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte reimagined as a single coherent trilogy: that is the challenge La Monnaie has taken on this season with the Clarac-Delœuil > le lab creative arts team and conductors Antonello Manacorda and Ben Glassberg. In their version, Le nozze di Figaro, Così fan tutte, and Don Giovanni all unfold in the same apartment building and on the same day into a gripping family saga in three episodes, with numerous interlinked characters and events.'
So runs the introduction to La Monnaie's 2020 Mozart-Da Ponte series, with all three works directed by the same team and played in the same elaborate, revolving set. On Sunday, it was announced, after a brief delay, that the stage machinery was out of action and that, as a result, the opera would be acted out in front of the static set. I stayed for the first act, in which the cast, a typical La Monnaie Mozart team centred on youngish singers, all well rehearsed, seemed promising - Figaro and the Count in particular.
But, knowing I would have the same cast in the same sets for both Così fan tutte and Don G. over the next couple of weeks, I decided to take this unexpected opportunity to revisit the magnificently-designed (by the artist himself) exhibition of work by Wolfgang Tillmans at WIELS, and so slipped out after 'Non piu andrai, farfallone amoroso'.
More next week, perhaps, if the machinery is back in action.
Conductor: Antonello Manacorda. Production and Costumes: Jean-Philippe Clarac, Olivier Deloeuil (> Le Lab). Sets: Rick Martin. Lighting: Christophe Pitoiset. Video: Jean-Baptiste Beïs, Timothée Buisson. Il Conte di Almaviva: Björn Bürger. La Contessa di Almaviva: Simona Šaturová. Susanna: Sophia Burgos. Figaro: Alessio Arduini. Cherubino: Ginger Costa-Jackson. Marcellina: Rinat Shaham. Bartolo: Alexander Roslavets. Don Basilio, Don Curzio: Yves Saelens. Barbarina: Caterina di Tonno. Antonio: Riccardo Novaro. La Monnaie Symphony Orchestra and Chorus.
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| Wolfgang Tillmans, Wet Room, Gloves, 2010 |
So runs the introduction to La Monnaie's 2020 Mozart-Da Ponte series, with all three works directed by the same team and played in the same elaborate, revolving set. On Sunday, it was announced, after a brief delay, that the stage machinery was out of action and that, as a result, the opera would be acted out in front of the static set. I stayed for the first act, in which the cast, a typical La Monnaie Mozart team centred on youngish singers, all well rehearsed, seemed promising - Figaro and the Count in particular.
But, knowing I would have the same cast in the same sets for both Così fan tutte and Don G. over the next couple of weeks, I decided to take this unexpected opportunity to revisit the magnificently-designed (by the artist himself) exhibition of work by Wolfgang Tillmans at WIELS, and so slipped out after 'Non piu andrai, farfallone amoroso'.
More next week, perhaps, if the machinery is back in action.
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