Lucrezia 80x120_m





Gaetano Donizetti (1797-1848)

Julian Reynolds & Guy Joosten

Melodramma in un prologo e due atti

Libretto di Felice Romani

Creation Teatro alla Scala, Milano, 26/12/1833

New production





It has been more than a century and a half that Lucrezia Borgia has not been presented at La Monnaie; according to reputable sources, the first representation was given in 1842 (“to the benefit of Mlle Prévost”). It seems that there have been some revivals in the following years, notably by the “Italian Company” (an Italian touring troupe), the latest of which were during the season 1869-1870.

It is therefore not without legitimate pride that La Monnaie has programmed the return of Gaetano Donizetti’s masterpiece. We entrusted it to the same conductor and director – Julian Reynolds and Guy Joosten – that gave us the beautiful production Lucia di Lammermoor at the Cirque Royal in April 2009, and to a remarkable cast that joins to a virtuoso vocal technique a great sense of tragedy. Lucrezia Borgia  will be also presented in the Cirque Royal.

Undoubtedly, these qualities are indispensable for this opera that sunk quickly into oblivion, like many others of Donizetti’s first period. Maybe is it because of the enormous production of a composer who wrote no less than 70 operas! If all his works were not always of an equal level, some of his titles contain some of the most beautiful pages of Italian opera, as our audience found out with Lucia di Lammermoor. Donizetti composed with an awful easiness and in an insane pace, as then required by the Italian lyrical life, and it is only from 1830 onwards that, piqued by the success of Vincenzo Bellini, he realised that his way of working was no guarantee of lasting recognition and started to work out his own style and language. His correct appreciation of tragic situations inherent to romantic conflicts born out from impossible love, made him seek out more elaborate libretti, as well as an expressive musical language and a dynamic vocal treatment that placed him in between the aristocratic inspiration of Bellini, his great rival, and that, more popular, of Verdi.

For Lucrezia Borgia, Donizetti appealed to Felice Romani, no greatwriter, but one who knew precisely what sort of texts a composer could use. Romani went by Victor Hugo’s play Lucrèce Borgia, put on stage in February 1833. The opera’s premiere took place only ten months later, in December.

Few women excited as much the morbid imagination and inspiration of artists. Whatever the historical accuracy, the natural daughter of Rodrigo Borgia, the future pope Alexander 6, entered history as a schemer, poisoner, insatiable lover, incestuous sister and daughter, devotee of Sappho, murderer, and the prototype of the lust for power, cruelty and frivolity. But the beautiful, blonde and blue-eyed Italian was also a perspicacious and shrewd character, who made Ferrara into one of the main artistic centres of Europe, where writers, painters, philosophers and musicians were welcomed to stay and work.

Donizetti’s opera tells the story of young Gennaro, who is passionately in love with an older woman who is widely considered as a murderous monster – and who turns out to be his mother. Contrary to the widely spread image, Donizetti depicts Lucrezia as a sensitive woman, and one senses that the composer feels a genuine sympathy for her. She knows that Gennaro is her son – from a previous marriage or a secret relationship? – and she is going to do whatever she can in order to save him without revealing the truth. She will die in desperation.

A drama of love, desire and ambivalence, this story fits perfectly into this season’s themes: she is for him seductive womanhood incarnate, he is for her a beloved and estranged child. A young man, naïve and uncompromising, a cynical but loving, not to say in love, woman – what could possibly arise from such a situation if not misunderstanding and suffering?

The conductor Julian Reynolds leadsthe Orchestre symphonique and Chœurs de la Monnaie. The English conductor has a taste for Italian repertoire and the necessary dexterity for guiding the soloists in dealing with the difficulties of the score. The last few seasons, he conducted at La Monnaie Elisabetta, regina d’Inghilterra (Rossini) in 2007, Lucia di Lammermoor (Donizetti) in 2009, Norma (Bellini) in 2010 and Nabucco in 2011. The chorus is prepared by Martino Faggiani.

Julian Reynolds studied piano in London and at the Hochschule für Musik in Vienna. At 18 years old he became the pianist of the European Community Youth Orchestra, and an assistant to Claudio Abbado and Leonard Bernstein. After his studies in history, musicology and analysis at Kings College of London University, he studied conducting at the Guildhall School of Music, and then continued in Vienna. In 1986, he was appointed musical assistant at the Nederlandse Opera in Amsterdam. During that period, he worked with the Opera Zuid and the Concertgebouworkest. Julian Reynolds is regularly invited to the great opera houses in Europe, America, Canada, and in Russia, notably at the Kirov Opera in Saint Petersburg, where he conducted amongst others the very first production of Nozze di Figaro (Mozart). He has also performed a vast symphonic repertoire as guest conductor at the Rotterdams Filharmonisch Orkest, the City of Birmingham Symphony Orchestra, the Royal Philharmonic Orchestra, the Australian Chamber Orchestra, the Teatro di San Carlo in Naples, the Orchestra of the Deutsche Oper am Rhein, amongst others. His discography consists of the works of Weinberger, Ravel and Saint-Saëns as well as a number of rare pieces by Rossini. He has recorded the complete works for piano and violin by Beethoven, Schubert and Schumann, as well as two albums with the Spanish mezzo-soprano Silvia Tro Santafe.

Guy Joosten is well-acquainted with La Monnaie’s universe, and has already directed several productions in addition to Lucia di Lammermoor : Un Ballo in maschera (Verdi), Carmen (Bizet), Œdipus Rex (Stravinsky), Werther (Massenet), Lucia di Lammermoor (Donizetti), Elektra and Salomé (Strauss). He also designed the scenir concept of Die Fliedermaus in December 2012.

The Belgian director started his career in theatre. He was one of the founders of the Blauwe Maandag Company in Antwerp (1984), where he was the Artistic director. At the same time he worked at the NTGent, at the KVS and the BKT in Brussels, and for different theatres in Holland. In 1991, he made his début at the Vienna Burgtheater with Nacht, Mutter des Tages (Norén). After from 1992 until 1994, he was the principal producer of the Thalia Theater in Hamburg. Guy Joosten turned to opera in 1991 with La Cenerentola (Rossini) at the Vlaamse Opera. He has worked for numerous European opera houses and made his début at the Metropolitan Opera with Roméo et Juliette (Gounod). He produced notably Luisa Miller (Verdi) in Leipzig; La Fanciulla del West (Puccini) in Essen; Aida (Verdi) in Hamburg; Die lustige Witwe (Lehár) in Berne and Copenhagen; Carmen at the Volksoper; La Dame de pique (Tchaikovsky) in Ghent and at the Opera of Monte Carlo; Le Nozze di Figaro (Mozart) in Antwerp and Ghent; Die Frau ohne Schatten (Strauss) and Les Dialogues des Carmélites (Poulenc) in Düsseldorf; Wozzeck (Berg) at the Vlaamse Opera and the Opera of Marseille; Così fan tutte (Mozart) in Helsinki, Geneva and Lisbon; I Masnadieri (Verdi) at the Zurich Opera. Guy Joosten was invited to teach drama production at the Hamburg University and at the theatre schools of Amsterdam, Eindhoven, Maastricht and Sarrebrucken, as well as at the Institut del Teatre in Barcelona. He is teaching at the present at the Koninklijk Vlaams Muziek Conservatorium in Antwerp. He was awarded the “”Theaterfestival Prijs” in Rotterdam, in 1989, for his production of Nachtwake (Norén), and one year later the “Thaliaprijs” for his work accomplishments at the Blauwe Maandag Company. In 1999, his work as producer of opera was awarded the title of “Cultureel Ambassadeur van Vlaanderen” and in 2010, Guy Joosten got the “Prix de la Critique/ Prix de l’Europe francophone” in Paris for his production of Elektra at La Monnaie.

Amongst his recent and future projects are Così fan tutte (Mozart) in Lisbon, Rumor (Jost) in Antwerp, I Masnadieri in Zurich and Aida in Hamburg. He is also the creator of the exhibition “Salagassos, City of Dreams” at the Gallo-Roman museum of Tongeren.

Guy Joosten will find here again his team from Lucia di Lammermoor, with whom his has produced numerous works: Johannes Leiacker for stage setting and Jorge Jara for costumes.

After his studies in design in Wiesbaden, the German designer Johannes Leiacker made his début in theatre and has since conceived numerous stage settings for big opera houses. He was awarded the title of “”Bühnenbildner des Jahres” by Opernwelt in 1996. His recent and future projects include Ariadne auf Naxos (Strauss) at the Volksoper in Vienna and La dame de pique (Tchaikovsky) at the Monte Carlo Opera with Guy Joosten.

The Chilean costume designer Jorge Jara studied architecture in Santiago de Chile before installing himself in Berlin where he worked for cinema, theatre and later for opera. Amongst his projects: La Traviata in Santiago and La dame de pique (Tchaikovsky) at the Opera Monte Carlo with Guy Joosten.

The German Manfred Voss, who was the lighting engineer at the Bayreuther Festspiele and worked for Salome at La Monnaie in January 2012, will design the lighting.

The Romanian Soprano Elena Moşuc, who played the title role of Lucia di Lammermoor for her début at La Monnaie, takes on the demanding score of Lucrezia. The agile and virtuoso voice of this exceptional interpreter excels in the repertoire of bel canto.

The singer followed musical studies at the George Enescu Conservatory. Even before completing her training, she took her first steps into opera in great roles such as Königin der Nacht (Die Zauberflöte, Mozart), Violetta (La Traviata, Verdi), the title role of Lucia di Lammermoor, amongst others. Since the beginning of her career she has maintained a close relationship with the Zurich Opera, where she sung numerous roles of Mozart, Bellini, Offenbach and Strauss. These last seasons she has sung Violetta at the Israeli Opera in Tel-Aviv; Lucia at the Théâtre du Capitole in Toulouse; Elvira (I Puritani, Bellini), Gilda (Rigoletto, Verdi) and Violetta at the Staatsoper in Vienna; Micaëla (Carmen, Bizet), Gilda et Violetta at the Verona Arena; Gilda at the Teatro Regio in Palma and at the Bayerische Staatsoper. She has also performed with success Violetta for her début at La Scala of Milan and at the Vienna Staatsoper, the four roles of women in the Contes d’Hoffmann (Offenbach) in Hamburg, Donna Anna (Don Giovanni, Mozart) in Tokyo, Zerbinetta (Ariadne auf Naxos, Strauss) at the Teatro Carlo Felice in Genoa and Lucia at the Berlin Deutsche Oper. She received several prizes and was made “Officer of the Arts” in her native country in 2005, “Woman of the Year” in 2009 and “Honorary citizen” of her native city. Her discography includes solo albums, Mahler’s Eighth Symphony with the London Symphony Orchestra and Valery Gergiev, and the DVD’s of Die Zauberflöte, Rigoletto, La Bohème and Ariadne auf Naxos.

Amongst her recent and future projects are La Traviata at the Teatro Regio in Turin, Il Corsaro (Verdi) and Les Contes d’Hoffmann at the Zurich Opera, Lucia di Lammermoor at the Opera Festival of Avenches in Switzerland and Roberto Devereux (Donizetti) in Genoa.

The role of Don Alfonso d’Este, the Duke of Ferrara and Lucrezia’s third husband, will be performed by the French baritone Paul Gay, who made his début at La Monnaie in the character of the king Ignace in Yvonne, princesse de Bourgogne (Boesmans), which he had performed in the Paris world premiere, and then revived in Vienna. He will also be present in the revival of Pelléas et Mélisande in the role of Golaud, in April 2013.

Paul Gay studied singing at the Conservatoire National Supérieur de Musique of Paris, and then in Cologne with Kurt Moll. A winner of numerous international competitions, he was part of the troupe of the Osnabruck Opera. He has performed on most of the great European stages, notably in the roles of Leone (Tamerlano, Handel), Alidoro (La Cenerentola) and Basilio, (Il Barbiere di Siviglia, Rossini), Der Sprecher (Die Zauberflöte) and Leporello (Don Giovanni, Mozart), Ferrando (Il Trovatore, Verdi), Collatinus (The Rape of Lucrezia, Britten), Rangoni (Boris Godunov, Mussorgsky), Golaud (Pelléas et Mélisande, Debussy) and Ein Tierbändiger / Ein Athlet (Lulu, Berg). Recently, he made his début at the Paris National Opera in Juliette (Martinů), and then Kolenaty (L’affaire Makropoulos, Janáček), le Roi (Yvonne) – also at the Wiener Festwochen –, Flint (Billy Budd, Britten) at the Harašta (La Petite Renarde rusée, Janáček). He also sung Der Musiklehrer (Ariadne auf Naxos, Strauss) at the Lyon Opera; Klingsor (Parsifal, Wagner) and Enrico VIII (Anna Bolena, Donizetti) in Frankfurt; the title role of Roi d’Ys (Lalo) and Masetto (Don Giovanni) at the Toulouse Capitole; Frère Laurent (Roméo et Juliette, Gounod) in Toulon; Mephisto (Faust, Gounod) in Bordeaux; Theseus (A Midsummer Night’s Dream, Britten) in Nice; Harašta and Don Fernando (Fidelio, Beethoven); Ein Tierbändiger / Ein Athlet in Lyon and Madrid; Escamillo (Carmen, Bizet) in Toronto. He performs regularly in concert.

Amongst his recent and future projects are the title role of Saint François d’Assise (Messiaen) in Munich, Poquelin (Die Schule der Frauen, Liebermann) in Bordeaux, Le Marquis (Dialogues des Carmélites, Poulenc) in Avignon, Mephisto in Paris, Inigo (L’Heure espagnole, Ravel) in Glyndebourne and Lorenzo (I Capuletti e I Montecchi, Bellini) in Munich.

We will meet again with great pleasure the Spanish mezzo-soprano Silvia Tro Santafé, who is incarnating the character of Maffio Orsini (a role originally written for a contralto), the friend saved by Gennaro during the Rimini coup and the one who informs him about Lucrezia’s personality.

Silvia Tro Santafé studied at the Valencia Conservatoire, in her hometown, and then at the New York Juilliard School. She started her lyrical career in 1992 at the Pesaro Rossini Festival in the role of Lucilla (La Scala di seta). Rossini is at the heart of her repertoire with roles such as Rosina (Il Barbiere di Siviglia), Isabella (L’ltaliana in Algeri), and the title role of La Cenerentola. She is also dedicated to baroque opera and in particular to Handel: Medoro (Orlando) at the Valencia Palau de les Arts Reina Sofia; Tolomeo (Giulio Cesare in Egitto) at the Nederlandse Opera and at the Teatro Comunale in Bologna; Polinesso (Ariodante) at the Paris National Opera, at the Semperoper Dresden and at the Salzburger Festspiele; Ruggiero (Alcina) at the Paris Théâtre du Châtelet; and the title roles of Rinaldo at the Deutsche Oper in Berlin, Serse at the Théâtre des Champs-Élysées in Paris and Ariodante at the Liceu in Barcelona. She also sung the title role of L’Enfant et les sortilèges (Ravel) at the Liceu; Nicklausse (Les Contes d’Hoffmann, Offenbach) at the Rome Teatro dell’Opera; Rosina at the Washington National Opera, at the Oviedo Opera, at the Munich Bayerische Staatsoper and at the Geneva Grand Théâtre; Adalgisa (Norma, Bellini) at the Royal Albert Hall in London; Rosina and Isabella at the Vienna Staatsoper; Cenerentola at the Semperoper and Isabella at the Madrid Teatro Real. She performed in L’Enfant et les sortilèges (Ravel) and incarnated the title role of Eliogabalo (Cavalli) and that of La Cenerentola at La Monnaie, where she also sung Adalgisa and made her début in the role of Dulcinée (Don Quichotte, Massenet).

Her discography consists of works by Bretón, Mozart, Rossini, Handel, Scarlatti and two solo recordings with Signum Classics: Spanish Heroines and Rossini Mezzo Scenes and Arias.

Amongst her recent and future engagements, are Rosina at the Geneva Grand Théâtre, the San Diego Opera and at the Berlin Deutsche Oper, Maffio Orsini (Lucrezia Borgia, Donizetti) at the Bayerische Staatsoper, in Budapest and at the Bratislava International Music festival, Eboli (Don Carlo, Verdi) at Oviedo.

The American tenor Charles Castronovo will perform Lucrezia’s son Gennaro. He made his début at La Monnaie in the role of Fenton (Falstaff, Verdi), which was followed by his début in the role of Edgardo di Ravenswood (Lucia di Lammermoor, Donizetti).

Born in New York, he studied music at the University of California before becoming artist in residence at the Los Angeles Opera. In 1999, he joined the Metropolitan Opera’s Lindermann Young Artists Development Program, where he made his début as Beppe (I Pagliacci, Leoncavallo). His repertoire consists of the principal roles of baritone: Mozart, Donizetti, Verdi, Puccini, Massenet, Gounod, Bizet and Stravinsky. He has sung notably Mylio (Le Roi d’Ys, Lalo) at the Toulouse Théâtre du Capitole; Alfredo Germont (La Traviata, Verdi) and Tom Rakewell (The Rake’s progress, Stravinsky) at Covent Garden; Nemorino (L’elisir d’amore, Donizetti) at the Berlin Staatsoper Unter den Linden and at the Hamburg Staatsoper; Elvino (La Sonnambula, Bellini) at the Michigan Opera Theater and Nadir (Les pêcheurs de perles, Bizet) for his début at the San Diego Opera. He has also made his début at the Helsinki Opera in the role of Duca di Mantova (Rigoletto, Verdi). He has participated in numerous recordings, amongst others La Clemenza di Tito, Rossini’s Stabat Mater and I Pagliacci (CD), as well as Die Entführung aus dem Serail (DVD).

His recent and future projects include La Traviata at the San Francisco Opera and for his début in Budapest; Mireille (Gounod) at the Paris National Opera; Così fan tutte at Covent Garden; Die Entführung aus dem Serail at the Munich Staatsoper; Faust (Gounod) at the Berlin Staatsoper Unter den Linden; and Rigoletto in Helsinki.

In the roles of Jeppo Liverotto, Don Apostolo Gazella, Aciano Petrucci, Oloferno Vitellozzo, Gubetta, Rustighello and Astolfo, we can listen to an ensemble of soloists for whom, with the exception of one, the La Monnaie stage is familiar territory.

The Italian tenor Roberto Covatta, who sings Jeppo Liverotto, studied with the soprano Rosetta Noli. He was a member of the Turin Teatro Regio Choir and La Scala of Milan, and made his début in Dr. Cajus (Falstaff, Verdi) and Don Ramiro (La Cenerentola, Rossini). He came out the first from the Livorno Opera-studio project in 2005. He will make his début at La Monnaie.

Don Apostola Gazella is given to the Belgian bass Tijl Faveyts. At La Monnaie, we heard him in Verdi’s La Forza del destino (Medico) in June 2008, and very recently in Salomé (Strauss) in January 2012. His studied with Diana Grossberger at the Brussels Conservatoire, and then at the Vienna Universität für Musik. He made his début in 2004 at the Toronto Opera as Sarastro (Die Zauberflöte, Mozart). He is very attached to the Sankt Gallen opera house in Austria. Shortly he will be performing in Amsterdam and Vienna.

After his début at La Monnaie in Yvonne, princesse de Bourgogne (Boesmans) and his participation in our new production of La Traviata, the French baritone Jean-Luc Ballestra will take on the role of Asciano Petrucci.

Jean-Luc Ballestra studied at the Marseilles Centre National d’Artistes Lyriques and was elected « Lyrical revelation » of Adami in 2000 then « Revelation of the Year » at Victoires de la Musique Classique in 2007. He made his début at the Nice Opera, and sings regularly in the Paris National Opera (Dialogues des Carmélites by Poulenc, revived in Madrid; L’Amour des trois oranges, by Prokofiev; Tristan und Isolde by Wagner and Un Ballo in maschera by Verdi). Recently he sang Haly (L’Italiana in Algeri, Rossini) at the Lille Opera and then took it on tour in France; Escamillo (Carmen) with the Glyndebourne Touring Opera, the Lille Opera and the Caen Grand Théâtre, also Grégorio (Roméo et Juliette, Berlioz) and in Darius Milhaud’s Les Choéphores at the Salzburger Festspiele.

Amongst his recent and future engagements, are the title roles of Il Prigioniero (Dallapiccola) in Limoges, at the Barcelona Liceu Silvio in Il Pagliacci (Leoncavallo) and the role of Docteur in Pelléas et Mélisande (Debussy) at the Madrid Teatro Real.

Oloferno Vitellozzo has been entrusted to the Belgian tenor Stefan Cifolelli, already a regular guest at La Monnaie in numerous productions: Don Pasquale (Donizetti), Eliogabalo (Cavalli), and in April 2012 Rossini’s Otello, ossia il moro di Venezia. In 2004, he was invited by Alberto Zedda to take part in the Academia Rossiniana of Pesaro, and has since performed in Il viaggio in Reims, as well as in Bianca e Falliero, Adelaide Di Borgogna and La Gazza ladra.

For the character of Gubetta, we will meet again the French bass Jean Teitgen, who took at La Monnaie the roles of Médecin in Pelléas et Mélisande (Debussy), the Keeper of the Madhouse in The Rake’s progress (Stravinsky) and the Grand-prêtre in the recent Œdipe by Enescu. After his master in economics, he studied at the Paris Conservatoire. He follows a French and international career in the title roles for bass in lyrical repertoire. The roles of Selva (La Muette de Portici, Auber) at the Paris Opéra Comique, Banco (Macbeth, Verdi) in Tours and Abimélech (Samson et Dalila, Saint Saëns) at the Geneva Grand Théâtre, are some of his recent and future projects.

The interpreter of Rustighello is the Ukrainian tenor Alexander Kravets, who is known at La Monnaie for his performances as Mastro Trabuco (La Forza del destino, Verdi), Piet the Pot (Le Grand Macabre, Ligeti), one of the Jews in Salome (Strauss) and Il maestro di ballo & Un lampionaio in our new Manon Lescaut (Puccini).  He received his diploma at the Tchaikovsky Conservatoire in Moscow and has lived in Germany since 1992. His repertoire includes numerous roles of Janáček (De la maison des morts, Les Voyages de Monsieur Brouček, La Petite Renarde rusée and Kát’a Kabanová); of Shostakovich (Lady Macbeth of Mzensk and Le Nez); of Tchaikovsky, (Eugène Onéguine) and Tchekalinsky (La Dame de pique); of Mozart, (Le Nozze di Figaro and Die Zauberflöte). He took part as well in Moses und Aron (Schoenberg), Die lustige Witwe (Lehar), Mozart and Salieri (Rimski-Korsakov) and Die tote Stadt (Korngold). He has sung notably in Monte-Carlo, Madrid, Naples, Amsterdam, for la Scala in Milan and at the Opéra national de Paris, in New York, Lausanne, Geneva, Venice, Palerme and at the Théâtre des Champs-Élysées in Paris.

Amongst his recent and future engagements, are a production of Le Nez in New York, Aix-en-Provence and Lyon; the pemieres of Dog’s Heart (Raskatov) and Die Soldaten in Amsterdam; Francesca da Rimini (Tchaikovsky) in Paris and Lady Macbeth of Mzensk in Madrid.

The bass Justin Hopkins, who will perform Astolfo and the Voce di dentro, was born in Pennsylvania (USA). After his studies in New Orleans, he trained at the Scuola Musicale of Milan. He made his début at La Monnaie in the triple role of Araldo, Medico and Servo in Macbeth (Verdi), in 2010.

The Belgian tenor Alain-Pierre Wingelinckx and the Belgian bass Gerard Lavalle will incarnate Usciere and Un coppiere. They are both part of the Chœurs de la Monnaie since a long time and regularly sing soloist roles.


Text by Isabelle Pouget and Gert Haelterman


II. Donizetti,  Avant-garde by Julian Reynolds

Donizetti’s innovative and experimental score for Lucrezia pushed the boundaries further in two distinctive ways, and in this he was reacting directly to the economical libretto of Felice Romani, who pared down the Hugo original to the basic essentials of the drama. Firstly, and most noticeably, conversational ‘recitative’ passages are minimalised. The drama moves inexorably forward with almost no discussion or moments of static contemplation. We have the impression of a ‘through composed’ opera, the first Venetian act, for example, forming one uninterrupted dramatic form.

Secondly, and perhaps most innovatively, Donizetti plays with the idea of distinctly ‘narrative music’, music in which the character or orchestra express the drama or emotions of a moment, and ‘scene music’. By ‘scene music’ I mean music, which is actually happening in the time and place of the dramatic action. For example, after the orchestral introduction where we already hear in the musical themes of the names Gennaro and Lucrezia, the music of the Carnival is played. This is cinematic in its effect, we are meant to feel we really are in Venice, with a real local band playing and the young men chatting to each other while they party. Donizetti uses this ‘real time’ as opposed to ‘opera time’ effect throughout the opera. Maffio Orsini sings two ‘Ballads’ for his friends, Gennaro’s first aria is a Canzone drawing on a memory of music he heard in his childhood, to which Lucrezia comments in real time. Perhaps the most innovative scene is in the last act. On one musical level we hear the party-music in the Negroni palace, on another Orsini is asked to sing a real drinking song he has composed and on yet another there is a dramatic interruption by a penitents chorus which creates an extraordinary theatrical moment. In effect then, three levels of music, which is actually and really happening in the drama.

1833 was indeed a romantic turning point for Donizetti, he could never have tried out this experimental freedom in conservative Naples, he had to wait for his Milan invitation. A new obsession with dramatic continuity took over his work, which naturally opened the doors to the imagination of Verdi and later composers. It was a new Romantic Realism and in that Donizetti was in the Avant-garde.


Text Donizetti, avant-garde by Julian Reynolds


III. A NIGHT AT THE OPERA with The Annarbor

One evening at la Monnaie : an introduction of the production, the performance and a meeting with the Belgian pop-rock group TheAnnarbor.

On Thursday 28 february 2013, from 18:00 in La Monnaie

Tickets: 22 €

070 23 39 39 |

IV. 1 FILM / 1 ARTIST with Guy Joosten

Within the framework of 1 FILM/1ARTIST, Guy Joosten offers to watch E la nave va by Federico Fellini directed in 1983. The film will be followed by a meeting between Guy Joosten and Camille De Rijck.

On Monday 25 february 2013, from 20:00 in GALERIE cinéma

Tickets & infos in GALERIES Cinéma: 6 €

Galerie de la Reine 28 – 1000 Bruxelles

+32 2 514 74 98 –

+32 70 23 39 39 |



Conductor Julian Reynolds

Director Guy Joosten

Stage Setting Johannes Leiacker

Costumes Jorge Jara

Lighting Manfred Voss

Choir Master Martino Faggiani

Don Alfonso d’Este Paul Gay

Donna Lucrezia Borgia Elena Mosuc

Gennaro Charles Castronovo

Maffio Orsini Silvia Tro Santafé

Jeppo Liverotto Roberto Covatta

Don Apostolo Gazella Tijl Faveyts

Asciano Petrucci Jean-Luc Ballestra

Gubetta Jean Teitgen

Rustighello Alexander Kravets

Astolfo & Voce di dentro Justin Hopkins

Oloferno Vitellozzo Stefan Cifolelli

Usciere Alain-Pierre Wingelinckx

Un coppiere Gérard Lavalle

Orchestre symphonique de la Monnaie

Choeurs de la Monnaie



19, 21, 23, 26 & 28 February 2013 – 20:00

3 March 2013 – 15:00

6 & 8 March 2013 – 20:00

Cirque Royal

Production De Munt ¦ La Monnaie

With the support of Nationale Loterij ¦ Loterie Nationale


INFO & TICKETS | +32 (0) 70 233 939 – – Box office open since 15 December 2012
PRICES | From 12 € to 120 €

INTRODUCTION | half an hour before the performance

WEB SITE |TwitterFacebookStreamingNewsletterMyMM Online sale

RADIO-BROADCAST | VRT, on Saturday 2 February 2013

 STREAMING on | On 12 March 2013, our new production of Lucrezia Borgia will be accessible on MMChannel on our website, during three weeks (in full version and free of charge). MMChannel, the audiovisual project of La Monnaie is supported by our Patrons.

A NIGHT AT THE OPERA with The Annarbor | On Thursday 28 February 2013, since 18:00 in la Monnaie | Tickets: € 22 (see point IV)

1 FILM / 1 ARTIST with Guy Joosten | On Monday25 February 2013, since 20:00 in GALERIE cinéma | Tickets & infos in GALERIE cinéma: € 6 (see point V)

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One Response to LUCREZIA BORGIA at La Monnaie

  1. Walther van der Laak says:

    Dear sir / madam

    I would like to order a DVD (blue ray?…) from your very beautiful opera Lucrezia Borgia 2013.
    Hope to hear from you soon.
    Musical greetings,

    Walther van der Laak.

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