In search of our multifaceted identity
According to the Socratic paradox, an individual’s true identity does not reside in what distinguishes him from others, but in what unites humanity: its universal nature. Nevertheless, in a context of growing complexity and globalisation, the need to belong to something and to have control over our immediate surroundings becomes ever more pronounced. In reaction to this universal and unifying cosmopolitanism, today we are witnessing a counter-reaction: the quest for specifics and for what makes us stand out – our identity.
Identity is partly reflexive – we take it from others; perhaps this is why so many literary works, plays, films and operas explore the question of ‘how we become what we are’. The confrontation with others is indeed necessary in order to tell a story and to exist. Identity thus evolves;"it begins with the basic notions of family and genealogy which we cannot disregard – information which we grow up with and use as a reference. But we are not only our parents’ children and we all have the chance to develop our individual personality and opinions. We each give shape to our lives on our own. Our identity is constantly changing.
The notion of identity as the main theme of the season is perhaps best illustrated by Oedipe, the masterpiece by the most important Romanian composer of the 20th century, George Enescu. This opera – which he worked on for twenty-one years – is the only opera which deals with the entire life of Oedipus, the mythological king, from his birth to his death in Colonus. The story tells of a virtually endless quest for identity, and the confrontation with reality is literally blinding. After the success of Ligeti’s Le Grand Macabre, Leo Hussain and La Fura dels Baus present a second creation for La Monnaie.
Król Roger – Karol Szymanowski’s major work – finds inspiration in the mix of ancient cultures from around the ‘Mare Nostrum’, our ethnic cradle. Roger’s philosophical and religious quest and the existential questions he has regarding his complex personality are the main theme of this colourful score, whose concert version will be conducted by Hartmut Haenchen at La Monnaie; this Belgian premiere will mark the start of the Polish Presidency of the Council of the European Union.
In Cherubini’s Médée, there is also a mixture of blood ties and faith – a woman leaves her country of birth to marry the hero of her dreams and the enemy of her people. She adopts his nationality and religion and is then betrayed and abandoned by him. Her vengeance is all the more atrocious, as seen in the phenomenal production by Christophe Rousset and Krzysztof Warlikowski at La Monnaie. Nadja Michael and Kurt Streit are once again in the emotionally and vocally demanding title roles.
Salome is without a doubt one of the paragons of the femme fatale – an ambivalent figure: on the one hand a young woman who yearns for sincere intimacy, and on the other a ‘borderline’ shrew with an incestuous background; a woman with a schizophrenic personality who shows what she is capable of by demanding the death of Jochanaan who offended her femininity and her origins. This production of Richard Strauss’ Salome – staged by Guy Joosten and conducted by Carlo Rizzi – includes some exciting role debuts.
Rusalka, the ‘nymph fatale’, unintentionally exerts a huge power of attraction on the prince who pushes her to leave her enchanted underwater world. By taking on a human form, she loses both her ability to speak and her illusions. When she discovers that it is impossible to return to her origins, she is left with her inconsolable sorrow. The bewitching production by Stefan Herheim in 2008 returns with a new cast, conducted by Ádám Fischer.
In another fairytale – Perrault’s Cinderella – it is also the encounter of the main character – a practically anonymous maid – with Prince Charming, which greatly transforms her destiny as well as her identity, from obscure creature to royalty. Laurent Pelly stages Massenet’s Cendrillon, our end-of-year production conducted by Alain Altinoglu in his debut at La Monnaie. Earlier in the season, we will also present our coproduction of Cendrillon with the Théâtre National, the new play by successful French author and stage director Joël Pommerat.
In the Belgian premiere of Thanks to my Eyes, Pommerat tells the story of a son who tries to match his father’s talent but is not able to, as talent is not hereditary. It is often difficult for both parents and children to have to come to terms with this. Pommerat reworked his masterpiece to create the libretto for an opera score by the young composer Oscar Bianchi. The work will premiere in summer 2011 at the Aix-en-Provence Festival, coproduced with La Monnaie.
Another hero grappling with his identity"– Shakespeare’s Othello – must fight a double combat: as a Moor working as a public official in Venetian white society, he is by definition excluded; in his private life, his mistrust of his loyal wife Desdemona deepens his isolation even further. His overwhelmingly unfounded jealousy plunges everyone around him into a destructive whirlwind. We will present the concert version of Rossini’s adaptation of this drama by Shakespeare, with Anna Caterina Antonacci and Gregory Kunde in the title roles, conducted by bel canto specialist Evelino Pidò.
Another example of love which drives one mad is Ariosto’s Orlando, a character who has inspired many composers. For Ariosto, the main subject is not preestablished identity, but the true search for oneself. This season we will present three different versions of this story. The central work is Handel’s ‘opera seria’ in a new creation by René Jacobs and Pierre Audi, which is their first collaboration. In addition to this version, René Jacobs will conduct the concert version of Haydn’s Orlando paladino as part of the KlaraFestival. For the third Orlando of our season, Muziektheater Transparant and composer Jan Van Outryve have based themselves on the scores which Antonio Vivaldi devoted to this emblematic figure; they have created a work for adolescents, who will almost certainly recognise themselves in the identity crisis experienced by this young man consumed by a passionate love, yet subject to misgivings.
In Verdi’s Il Trovatore, the four protagonists are in search of a past which they are forced to explore together – they seek the truth in a real game of identities. The outcome of this oppressive hatred from which these family members cannot escape makes one’s blood run cold. Dmitri Tcherniakov and Marc Minkowski form an original pair for this new and promising production.
Although opera is at the heart of our mission, we also wish to delight you with our contemporary dance projects and our innovative concert and recital programme. This year, Anne Teresa De Keersmaeker will be back with the second part of her Avignon adventure and will also present a revival of her fascinating interpretation of Steve Reich’s Drumming. Sasha Waltz will be at La Monnaie for the fifth consecutive season, this time with Continu, a creation for twenty-four dancers based on compositions by Edgar Varèse, Iannis Xenakis and Claude Vivier. Sidi Larbi Cherkaoui, who is always sure to please audiences at La Monnaie as well, will present an evening of duos including Faun, a tribute to Claude Debussy. And let us also mention the second edition of danceXmusic, a stimulating collaboration between soloists from La Monnaie Symphony Orchestra, new talents, dancers and choreographers from P.A.R.T.S., as well as the young singers from the Opera Studio at the Queen Elisabeth Music Chapel who will perform a repertoire of chamber music and ‘lieder’ from the 19th century.
This year, we will begin a new cycle of concerts devoted to Claude Debussy, on the occasion of the 150th anniversary of his birth. His compositions will be performed during four concerts conducted by Patrick Davin, Susanna Mälkki and Pierre Boulez. His name also appears in our dance and recital programme. Beethoven will also be included in the programme in different interpretations by Christophe Rousset and Ludovic Morlot. Carlo Rizzi will continue his Tchaikovsky cycle and Hartmut Haenchen will conduct Mozart’s last three symphonies. An original Requiem programme will round off this series of concerts: Leo Hussain will conduct works by Kancheli, Shostakovich and Penderecki, all composed in memory of the three catastrophes caused by man during the 20th century.
Our recitals will present great cycles such as Die schöne Magelone with Christian Gerhaher and Schumann’s Liebeslieder performed by a fabulous vocal quartet, truly original evenings with Sophie Karthäuser in a Verlaine programme, and Anna Caterina Antonacci who will take us on a journey from baroque to verism. Elzbieta Szmytka will delight us with an entirely Polish recital, and Sandrine Piau will perform arias by Rameau. We will present for the second time two major specialists of the ‘lied’: Gerald Finley and Angelika Kirchschlager. Pianists will be in the forefront with the chance to play solo works in different programmes.
Once again, we are counting on your enthusiasm and have come up with some new advantages for our season ticket holders. Whether you decide to build a lasting relationship with us or come to see a performance from time to time, we extend our sincere and warm welcome to all those who visit our theatre, whose identity and excellence are recognised throughout the world.
Peter de Caluwe
