Travel - Special Destinations: La Monnaie in Brussels
In November 2021, I visited "La Monnaie" a famous opera house in central
Brussels. This place even had an important place in the history of Belgium.
So, let's take a look at the amazing history of this wonderful opera house.
La Monnaie outside own picture taken in November 2021
History
The first permanent public theatre for opera performances of the court and
City of Brussels was built between 1695 and 1700 by the Venetian architects
Paolo and Pietro Bezzi, as part of a rebuilding plan following the bombardment
of Brussels of 1695 by the French army of King Louis XIV.
City of Brussels was built between 1695 and 1700 by the Venetian architects
Paolo and Pietro Bezzi, as part of a rebuilding plan following the bombardment
of Brussels of 1695 by the French army of King Louis XIV.
It was erected on the site of a building which had served to mint coins. The name
of this site—La Monnaie (originally spelled La Monnoye) in French or De Munt
in Dutch (both meaning "The Mint")—remained attached to the theatre for the
centuries to come. The construction of the theatre had been ordered by
Maximilian II Emanuel, Elector of Bavaria, at that time Governor
of the Habsburg Netherlands. The Elector had charged his treasurer and
architect, the Italian Gio Paolo Bombarda, with the task of financing and
supervising the enterprise.
of this site—La Monnaie (originally spelled La Monnoye) in French or De Munt
in Dutch (both meaning "The Mint")—remained attached to the theatre for the
centuries to come. The construction of the theatre had been ordered by
Maximilian II Emanuel, Elector of Bavaria, at that time Governor
of the Habsburg Netherlands. The Elector had charged his treasurer and
architect, the Italian Gio Paolo Bombarda, with the task of financing and
supervising the enterprise.
La Monnaie the amazing ceiling
own picture taken in November 2021
By the 18th century, La Monnaie was considered the second French-speaking stage
after the most prominent theatres in Paris. Under the rule of
Prince Charles Alexander of Lorraine, who acted as a very generous patron of
the arts, the theatre greatly flourished. At that time, it housed an opera company,
a ballet and an orchestra. The splendour of the performances diminished during the
last years of the Austrian rule, due to the severe politics of the
Austrian Emperor Joseph II.
after the most prominent theatres in Paris. Under the rule of
Prince Charles Alexander of Lorraine, who acted as a very generous patron of
the arts, the theatre greatly flourished. At that time, it housed an opera company,
a ballet and an orchestra. The splendour of the performances diminished during the
last years of the Austrian rule, due to the severe politics of the
Austrian Emperor Joseph II.
After 1795, when the French revolutionary forces occupied the Belgian
provinces, the theatre became a French departmental institution. Amongst other
cuts in its expenses, the theatre had to abolish its Corps de Ballet. During this period,
many famous French actors and singers gave regular performances in the theatre
whilst touring the provinces of the Empire.
provinces, the theatre became a French departmental institution. Amongst other
cuts in its expenses, the theatre had to abolish its Corps de Ballet. During this period,
many famous French actors and singers gave regular performances in the theatre
whilst touring the provinces of the Empire.
Still a consul, Napoleon, on his visit to Brussels, judged the old theatre too
dilapidated for one of the most prestigious cities of his Empire. He ordered plans
to replace the old building with a new and more monumental edifice, but nothing
was done during the Napoleonic rule.
dilapidated for one of the most prestigious cities of his Empire. He ordered plans
to replace the old building with a new and more monumental edifice, but nothing
was done during the Napoleonic rule.
Finally, the plans were carried out under the auspices of the new
United Kingdom of the Netherlands and Bombarda's building was
demolished in 1818.
United Kingdom of the Netherlands and Bombarda's building was
demolished in 1818.
The old theatre was replaced by a new neoclassical building designed by the
French architect Louis Damesme. Unlike Bombarda's building, which was
situated along the street and completely surrounded by other buildings, the new
theatre was placed in the middle of a newly constructed square. This gave it a
more monumental appearance, but it was primarily the result of safety concerns
since it was more accessible to firemen, reducing the chance that fire would
spread to surrounding buildings. The new auditorium was inaugurated on
25 May 1819 with the opera La Caravane du Caire by the Belgian composer
André Ernest Modeste Grétry.
French architect Louis Damesme. Unlike Bombarda's building, which was
situated along the street and completely surrounded by other buildings, the new
theatre was placed in the middle of a newly constructed square. This gave it a
more monumental appearance, but it was primarily the result of safety concerns
since it was more accessible to firemen, reducing the chance that fire would
spread to surrounding buildings. The new auditorium was inaugurated on
25 May 1819 with the opera La Caravane du Caire by the Belgian composer
André Ernest Modeste Grétry.
As the most important French theatre of the newly established
United Kingdom of the Netherlands, La Monnaie had national and international
significance. The theatre came under the supervision of the City of Brussels, which
had the right to appoint a director charged with its management. In this period,
famous actors like François-Joseph Talma and singers like Maria Malibran
performed at La Monnaie. The Corps de Ballet was reintroduced and came
under the supervision of the dancer and choreographer Jean-Antoine Petipa,
father of the famous Marius Petipa.
United Kingdom of the Netherlands, La Monnaie had national and international
significance. The theatre came under the supervision of the City of Brussels, which
had the right to appoint a director charged with its management. In this period,
famous actors like François-Joseph Talma and singers like Maria Malibran
performed at La Monnaie. The Corps de Ballet was reintroduced and came
under the supervision of the dancer and choreographer Jean-Antoine Petipa,
father of the famous Marius Petipa.
The royal lodge
Belgium revolution
La Monnaie would play a prominent role in the formation of the
Kingdom of Belgium. Daniel Auber's opera La Muette de Portici was
scheduled in August 1830 after it had been banned from the stage by
King William I of the Netherlands, fearing its inciting content.
Kingdom of Belgium. Daniel Auber's opera La Muette de Portici was
scheduled in August 1830 after it had been banned from the stage by
King William I of the Netherlands, fearing its inciting content.
At a performance of this opera on the evening of 25 August 1830, a
riot broke out which became the signal for the Belgian Revolution
and which led to Belgian independence.
riot broke out which became the signal for the Belgian Revolution
and which led to Belgian independence.
After the revolution
Damesme's building continued to serve for more than two decades as Belgium's
principal theatre and opera house until it burnt to the ground on 21 January 1855,
leaving only the outside walls and portico.
principal theatre and opera house until it burnt to the ground on 21 January 1855,
leaving only the outside walls and portico.
After the fire of January 1855, the theatre was reconstructed after the designs of
Joseph Poelaert within a period of fourteen months.
Joseph Poelaert within a period of fourteen months.
The auditorium (with 1,200 seats) and the foyer were decorated in a
then-popular Eclectic style; a mixture of neo-Baroque, neo-Rococo
and neo-Renaissance styles.
then-popular Eclectic style; a mixture of neo-Baroque, neo-Rococo
and neo-Renaissance styles.
The original dome painting, representing "Belgium Protecting the Arts", was painted
in the Parisian workshop of François-Joseph Nolau (Paris, 1804–1883) and
Auguste Alfred Rubé (Paris, 1815–1899), two famous decorators of the
Paris Opera House. In 1887, this dome painting was completely repainted by
Rubé himself and his new associate Philippe-Marie Chaperon (Paris, 1826–1907),
because it was mostly tainted by the CO2 emissions from the chandelier.
in the Parisian workshop of François-Joseph Nolau (Paris, 1804–1883) and
Auguste Alfred Rubé (Paris, 1815–1899), two famous decorators of the
Paris Opera House. In 1887, this dome painting was completely repainted by
Rubé himself and his new associate Philippe-Marie Chaperon (Paris, 1826–1907),
because it was mostly tainted by the CO2 emissions from the chandelier.
This dome painting stayed untouched until 1985, when it was taken down during
extensive rebuilding activities and replaced by a bad copy, painted by the Belgian
painter Xavier Crolls. From 1988 until 1998, the dome painting of Rubé and
Chaperon was in restoration, until its final reinstatement in 1999.
extensive rebuilding activities and replaced by a bad copy, painted by the Belgian
painter Xavier Crolls. From 1988 until 1998, the dome painting of Rubé and
Chaperon was in restoration, until its final reinstatement in 1999.
The sober whitewashed exterior we see today was done many decades later.
Poelaert never intended to whitewash these outer walls. In 1856, the exterior did
not have any whitewashing at all, as proved by many photographs of that time.
Poelaert never intended to whitewash these outer walls. In 1856, the exterior did
not have any whitewashing at all, as proved by many photographs of that time.
La Monnaie entrance hall in November 2021
The new Théâtre Royal de la Monnaie opened on 25 March 1856 with
Fromental Halévy’s Jaguarita l'Indienne.
Fromental Halévy’s Jaguarita l'Indienne.
Renovations on Poelaert's building were required shortly after opening due to
faulty foundation work. The early 20th century saw an additional story added,
and in the 1950s, a new stage building was added.
faulty foundation work. The early 20th century saw an additional story added,
and in the 1950s, a new stage building was added.
By 1985, it was determined that complete renovation was needed.
Features such as raising the roofline by 4 metres (13 feet) and scooping out
the stage building area—in addition to creating a steel frame to strengthen
the load-bearing walls and increasing backstage space—characterised this
two-year project.
Features such as raising the roofline by 4 metres (13 feet) and scooping out
the stage building area—in addition to creating a steel frame to strengthen
the load-bearing walls and increasing backstage space—characterised this
two-year project.
The entrance hall and the grand staircase underwent a radical makeover, although
original features such as the monument by Belgian sculptor Paul Du Bois
honouring manager and Music Director Dupont (1910), and a number of
monumental paintings (1907–1933) by Emile Fabry were preserved.
original features such as the monument by Belgian sculptor Paul Du Bois
honouring manager and Music Director Dupont (1910), and a number of
monumental paintings (1907–1933) by Emile Fabry were preserved.
La Monnaie entrance hall
The Liège architect Charles Vandenhove created a new architectural concept
for the entrance in 1985–1986. He asked two American artists to make a
contribution: Sol LeWitt designed a fan-shaped floor in black and white
marble, while Sam Francis painted a triptych mounted to the ceiling.
Vandenhove also designed a new interior decoration for the Salon Royal,
a reception room connected to the Royal Box. For this project he
collaborated with the French artist Daniel Buren. Now seating 1,125,
the renovated opera house was inaugurated on 12 November 1986
with a performance of Beethoven’s Symphony No. 9.
for the entrance in 1985–1986. He asked two American artists to make a
contribution: Sol LeWitt designed a fan-shaped floor in black and white
marble, while Sam Francis painted a triptych mounted to the ceiling.
Vandenhove also designed a new interior decoration for the Salon Royal,
a reception room connected to the Royal Box. For this project he
collaborated with the French artist Daniel Buren. Now seating 1,125,
the renovated opera house was inaugurated on 12 November 1986
with a performance of Beethoven’s Symphony No. 9.
In 1998, the major part of the vacant Vanderborght Department Store
building (c. 20,000 m2 (220,000 sq ft)) and a neoclassical mansion, both
situated directly behind the opera house, were acquired by La Monnaie.
The edifices were renovated and adapted to house La Monnaie's technical
and administrative facilities, previously spread all over the city. The building
also contains large rehearsal halls for opera, the Malibran, and orchestra, the
Fiocco. They can also be adapted for presenting public performances.
building (c. 20,000 m2 (220,000 sq ft)) and a neoclassical mansion, both
situated directly behind the opera house, were acquired by La Monnaie.
The edifices were renovated and adapted to house La Monnaie's technical
and administrative facilities, previously spread all over the city. The building
also contains large rehearsal halls for opera, the Malibran, and orchestra, the
Fiocco. They can also be adapted for presenting public performances.
La Monnaie behind the scenes
In the last three decades, La Monnaie has reclaimed its place amongst the
foremost opera houses in Europe thanks to the efforts of the successive directors
Gerard Mortier and Bernard Foccroulle and Music Directors
Sylvain Cambreling and Antonio Pappano.
foremost opera houses in Europe thanks to the efforts of the successive directors
Gerard Mortier and Bernard Foccroulle and Music Directors
Sylvain Cambreling and Antonio Pappano.
The opera house was renovated again from May 2015 to September 2017;
the stage was levelled, a new fly system was put in place and two scene
lifts were installed. This allowed the opera house to stage more
technically-demanding productions. Although most of the renovations took
place backstage, the opera house used this opportunity to replace all of its
worn out seats with new velour seats.
the stage was levelled, a new fly system was put in place and two scene
lifts were installed. This allowed the opera house to stage more
technically-demanding productions. Although most of the renovations took
place backstage, the opera house used this opportunity to replace all of its
worn out seats with new velour seats.
Conclusion
It was a wonderful visit and well worth the money for the guide. I saw lots
of amazing things and I liked the ceilings and the places behind the scene as well.
I also feeled the history and the royal connection of La Monnaie, the
opera house in Brussels.
of amazing things and I liked the ceilings and the places behind the scene as well.
I also feeled the history and the royal connection of La Monnaie, the
opera house in Brussels.
Source pictures: pictures from the Monnaie I took in November 2021
Source pictures royals: Wikipedia
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