A Pasolini-inspired Tosca at La Monnaie does not quite find the pleasure in the pain.
Iain Bell and Lydia Steier‘s Medusa stuns in Brussels.
Calixto Bieito‘s production of Idomeneo at La Monnaie is anchored by a committed cast, but gets swept up in pseudo-psychoanalytic imagery — and foot fetishism.
La Monnaie’s flamboyantly busy new production of Benvenuto Cellini reads more burlesque than Berlioz.
Fine music-making meets a clunker of a production in La Monnaie‘s revival of Norma
Dmitry Matvienko led a performance of Mussorgsky and Shostakovich at La Monnaie with meticulous rectitude.
Carmen in Brussels is dramatically vibrant, if vocally stretched
Corinne Winters is back at the Met and back in the pages of parterre box, which inclines us to share a bit of Winters in Jenufa
This performance of Mahler’s Symphony N°8 at the Bozar in Brussels will probably be my last ever Mahler concert.
As I mentioned in my last article (on the subject of Calixto Bieito’s production of Das Rheingold at the Paris Opera), in what the French might call une histoire belge, La Monnaie’s Ring cycle started with Romeo Castellucci as its director, and is now ending with Pierre Audi.
The conclusion of Romeo Castellucci‘s Pierre Audi‘s Ring cycle live from Brussels
I first became aware of the work of Austrian film director Michael Haneke a few years back when I followed a tip from a friend and rented the well-reviewed The White Ribbon.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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