{"id":1034,"date":"2025-05-08T17:30:14","date_gmt":"2025-05-08T16:30:14","guid":{"rendered":"http:\/\/jayweiner.me\/blog\/?p=1034"},"modified":"2025-06-22T05:30:06","modified_gmt":"2025-06-22T04:30:06","slug":"bovary-la-monnaie","status":"publish","type":"post","link":"https:\/\/jayweiner.me\/blog\/music-diary\/bovary-la-monnaie\/","title":{"rendered":"Bovary &#8211; La Monnaie"},"content":{"rendered":"\n<p>On the 13<sup>th<\/sup> of April, I went to see an opera rendition of Gustave Flaubert&#8217;s novel \u201cMadame Bovary\u201d at the Th\u00e9atre National Wallonie-Bruxelles, as part of the La Monnaie opera program. It took elements from the plot and story of the book and changed their order and setting to create a structure for the opera like a sort of journey through time of a woman and her delusions. The singers were good, though I found the lead, Ana Naqe maybe a bit weak at first, but she made up for it throughout the piece with her phenomenal acting skills and ability to embody her character. <\/p>\n\n\n\n<p>I honestly didn\u2019t particularly love the composition of the piece, I felt it was a bit disjointed and maybe trying too hard to stand out as a contemporary piece, but the stage direction was very good \u2013 the primary element being a large conveyor belt that characters would periodically get on or off of creating very interesting movements between them and really added to the narrative. There were also a lot of meta aspects added to the opera, including a drawn out scene in which a character speaks directly to Flaubert, calling him out for the novel he wrote, which i found to be a nice breath of fresh air.\u00a0 The opera was directed by Debora Waldman, written by Michael De Cock and Harold Noben, the stage direction was done by Carme Portaceli and here is the cast list and the video streaming:<br><\/p>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"830\" height=\"712\" src=\"https:\/\/jayweiner.me\/blog\/wp-content\/uploads\/2025\/06\/image-1.png\" alt=\"\" class=\"wp-image-1086\" style=\"width:606px;height:auto\" srcset=\"https:\/\/jayweiner.me\/blog\/wp-content\/uploads\/2025\/06\/image-1.png 830w, https:\/\/jayweiner.me\/blog\/wp-content\/uploads\/2025\/06\/image-1-300x257.png 300w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bovary (Harold Noben) | Free streaming | Debora Waldman, Michael de Cock &amp; Carme Portaceli\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/PuOzvnuu3DA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\"><\/div>\n<\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>On the 13th of April, I went to see an opera rendition of Gustave Flaubert&#8217;s novel \u201cMadame Bovary\u201d at the Th\u00e9atre National Wallonie-Bruxelles, as part of the La Monnaie opera program. It took elements from the plot and story of the book and changed their order and setting to create a structure for the opera [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1088,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[33],"tags":[9,24,48],"class_list":["post-1034","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-diary","tag-la-monnaie","tag-opera","tag-theatre-national"],"jetpack_featured_media_url":"https:\/\/jayweiner.me\/blog\/wp-content\/uploads\/2025\/06\/Bovary-c-Pieter-Claes-113--scaled.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/posts\/1034","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/comments?post=1034"}],"version-history":[{"count":7,"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/posts\/1034\/revisions"}],"predecessor-version":[{"id":1174,"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/posts\/1034\/revisions\/1174"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/media\/1088"}],"wp:attachment":[{"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/media?parent=1034"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/categories?post=1034"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jayweiner.me\/blog\/wp-json\/wp\/v2\/tags?post=1034"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}