I remember with great pleasure exactly when I went to Le Monnaie Opera House in Brussels, 4 years ago for one week, to evaluate a possible job offer (which I declined, because I decided to abandon definitively the world of the theater to try new experiences in the movie production).
It was a great period, I was greeted with kindness and I had the opportunity to see their tremendous professionalism and seriousness. I was astounded, I felt like a fairy tale. Their departments of set design, scenography, painting and costumes were something of such a high level that I was literally amazed.
The “Golden Age” of Le Monnaye Opera House began with the belgian managing director Gerard Mortier (1982-1992). During this period the theatre impressed with its enthusiasm for innovation.
He encouraged a way of thinking and faith in his artists have left some permanent impact on the approach of the future managing directions in charge of building the repertoire of the Brussels Opera.
In 2011 an international jury of 50 critics have a say in who gets Opernwelt’s coveted annual award. Several members of this year’s panel have told me that the choice of La Monnaie was unanimous. They praised the team spirit, the choice of conductors, stage directors and singers, and the perfect planning and execution. « No doubt about it, » reads their tribute, « under Peter de Caluwe’s leadership, the Théâtre de la Monnaie has reached a peak in our time and in its rich history ». What makes the award all the more significant is that this is the first time the prize hasd been awarded to an opera house outsidethe German-speaking world.
Since Peter De Caluwe, 50 y, is general manager of La Monnaie and not for nothing He called the most impressive and innovative directors as Italian Romeo Castellucci (Parsifal) and polish Krzysztof Warlikowski.
Romeo Castellucci and his Societas Rafaello Sanzio collaborators have produced some of the most seductive and enigmatic performance masterworks of recent times. n 2003 he became director of the theatre section of the 37th edition of the Venice Biennale, and in 2008 he was one of two “associate artists” at the Festival d’Avignon, and created three pieces inspired by Dante’s Divine Comedy. The trilogy was considered by the French newspaper Le Monde to be “the best play and one of the ten most influential cultural events in the world for the decade 2000-2010”.
Krzysztof Warlikowski is creator and artistic director of Nowy Teatr(New Theatre) in Warsaw. He’s one of the most innovative director in Europe. He has also worked with Isabelle Huppert some years ago for a great performance on the play “Un Tramway was slammed” by Tennessee Williams at the Théâtre de l’Odéon in Paris.
In Italy not surprisingly, Castellucci and the Polish director are almost unknown and for the opera house has never worked, while in France they are acclaimed.WHY?