Rarely has an opera carried its title so well.
The day after the premiere at the Monnaie de
La Ville morte
, in Korngold, the region of Brussels announced the closure of all cultural venues.
We will therefore have had the sad privilege of seeing one of the only two performances of the production that this great European theater has put on while taking all possible measures: shortened duration to be played without an intermission and without a choir, an orchestra reduced from 90 to 57 musicians and placed behind the singers, staging reduced to a semi-scenic device.
This last point will be our main drawback.
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In this plot of Hitchockian morbidity, Mariusz Trelinski did not take advantage of the absence of spectacular images to refine a direction of actors a little too stereotypical.
Justice has nonetheless been rendered to this fascinating fruit of Belgian symbolism (for the libretto) and of Mahlerian post-Romanticism (for the music).
Hence a feeling of waste, for the theater, for
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