Calendar
ALL SHOWS ARE PERFORMED AT THE MONTE CARLO OPERA except those in November
November 2023
Thursday
02 November
20 H

Choral concert
Subscription Galas
Subscription Soirées
Messa da requiem
Verdi
Sunday
19 November
19 H (by invitation from the Palais)

Staged Concert
Caruso à Monaco
Wednesday
22 November
20 H

Opera
Subscription Galas
Don Carlo
Verdi
Friday
24 November
20 H

Opera
Subscription Soirées
Don Carlo
Verdi
Sunday
26 November
15 H

Opera
Subscription Matinées
Don Carlo
Verdi
December 2023
Saturday
16 December
20 H (Gala)

Musical
Subscription Galas
The Phantom of the Opera
Lloyd Webber
Sunday
17 December
15 H

Musical
Subscription Matinées
The Phantom of the Opera
Lloyd Webber
Tuesday
19 December
20 H

Musical
The Phantom of the Opera
Lloyd Webber
Wednesday
20 December
20 H

Musical
Subscription Soirées
The Phantom of the Opera
Lloyd Webber
Thursday
21 December
20 H

Musical
The Phantom of the Opera
Lloyd Webber
Friday
22 December
15 H

Musical
The Phantom of the Opera
Lloyd Webber
Friday
22 December
20 H

Musical
The Phantom of the Opera
Lloyd Webber
Saturday
23 December
15 H

Musical
The Phantom of the Opera
Lloyd Webber
Saturday
23 December
20 H

Musical
The Phantom of the Opera
Lloyd Webber
Monday
25 December
20 H

Musical
The Phantom of the Opera
Lloyd Webber
Tuesday
26 December
15 H

Musical
The Phantom of the Opera
Lloyd Webber
Tuesday
26 December
20 H

Musical
The Phantom of the Opera
Lloyd Webber
Wednesday
27 December
15 H

Musical
The Phantom of the Opera
Lloyd Webber
Wednesday
27 December
20 H

Musical
The Phantom of the Opera
Lloyd Webber
Friday
29 December
15 H

Musical
The Phantom of the Opera
Lloyd Webber
Friday
29 December
20 H

Musical
The Phantom of the Opera
Lloyd Webber
Saturday
30 December
15 H

Musical
The Phantom of the Opera
Lloyd Webber
Saturday
30 December
20 H

Musical
The Phantom of the Opera
Lloyd Webber
Sunday
31 December
15 H

Musical
The Phantom of the Opera
Lloyd Webber
Sunday
31 December
20 H (masquerade night)

Musical
The Phantom of the Opera
Lloyd Webber
January 2024
Wednesday
24 January
19 H (Gala)

Opera
Subscription Galas
Giulio Cesare in Egitto
Haendel
Friday
26 January
19 H

Opera
Giulio Cesare in Egitto
Haendel
Sunday
28 January
15 H

Opera
Subscription Matinées
Giulio Cesare in Egitto
Haendel
Monday
29 January
20 H

Choral concert
Subscription Galas
Ein deutsches Requiem
Brahms
Tuesday
30 January
19 H

Opera
Subscription Soirées
Giulio Cesare in Egitto
Haendel
February 2024
Friday
23 February
20 H (Gala)

Opera
Subscription Galas
Cavalleria rusticana & Gianni Schicchi
Mascagni & Puccini
Saturday
24 February
20 H

Aria Recital
Subscription Soirées
Rolando Villazón
Sunday
25 February
15 H

Opera
Subscription Matinées
Cavalleria rusticana & Gianni Schicchi
Mascagni & Puccini
Tuesday
27 February
20 H

Opera
Subscription Soirées
Cavalleria rusticana & Gianni Schicchi
Mascagni & Puccini
Thursday
29 February
20 H

Opera
Cavalleria rusticana & Gianni Schicchi
Mascagni & Puccini
March 2024
Saturday
23 March
17 H

Recital
Cecilia Bartoli & Lang Lang
Sunday
24 March
15 H

Opera
Subscription Matinées
La Fille du régiment
Donizetti
Tuesday
26 March
20 H (Gala)

Opera
Subscription Galas
La Fille du régiment
Donizetti
Thursday
28 March
20 H

Opera
Subscription Soirées
La Fille du régiment
Donizetti
Saturday
30 March
20 H

Opera
La Fille du régiment
Donizetti
April 2024
Sunday
07 April
19 H

Staged Concert
Subscription Galas
Their Master’s Voice
Malkovich - Bartoli
26 Dec 2023

Interview : Simon Keenlyside for Ein deutsches Requiem

Interview : Simon Keenlyside for Ein deutsches Requiem

Simon Keenlyside

What are the challenges of singing in a foreign language?

These depend upon the degree to which one can speak the language, really. You should at least have opened a “window” into that culture and history because words too have weight and tradition, particularly in poetry. It is true that a good student can learn to sing a song or an opera in a language that he or she cannot speak. The problem is that the performance is very likely to be always the same: it can be really good but it will remain preserved and unchanging. Once a singer learns to speak and have a deeper familiarity in a language, he will be natural and free to make changes in inflection and nuance – the true chiaroscuro of all languages. That will take time and a passion for the artform, I think. It is beautiful work, but hard work.


Do you see any stylistic or other differences between the writing of the Requiem and the profusion of songs that Brahms wrote? 

Apart from a tendency for very long phrases, requiring a great deal of breath control? That is definitely a feature of many of Brahms songs. This aside, I see no differences. The genius of his marriage of text and melodic line is common to both.

 

Do you think Brahms would have made a great opera composer? 

Despite his towering genius and showing a certain interest in writing one during some decades of his long life, he never actually realised such a project. Perhaps there is your answer. 
 

Do you approach your concert repertoire differently from your operatic roles?

For me they are just the same. The dynamics may be different, the weight of body language more in one than in the other, but I try to bring them off the page as best I can and to serve my Masters’ intentions.


How do you divide your working life between opera, concert and recitals?

I attempt to sing what I really want to sing. And to fight for enough personal time away from music: interests, hobbies and family… one would need 150 years of life… In the words of the song, “something’s gotta give”. Mostly I do two thirds opera, one third recitals. I do not do many concerts though, and I do not spend enough time with my hobbies either!