Théâtre royal de la Monnaie
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| Address | Place de la Monnaie / Muntplein 23, Brussels B-1000  Belgium
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| Capacity | 1,700 |
| Current use | Opera and Ballet |
| Construction | |
| Architect | Louis Damesme and Joseph Poelaert |
| Website | |
| www.lamonnaie.be | |
The Théâtre Royal de la Monnaie (or la Monnaie) in French, or the Koninklijke Muntschouwburg (or de Munt) in Dutch is a theatre in Brussels, Belgium. Both of its names translate as Royal Theatre of the Coin.
Today the National Opera of Belgium, a federal institution, takes the name of the theatre in which it is housed. Therefore, la Monnaie or de Munt refers both to the structure as well as the opera company.
As Belgium's leading opera house it is one of the few cultural institutions which receives financial support from the federal government of Belgium. Other opera houses in Belgium, such as the Vlaamse Opera and the Opéra Royal de Wallonie, are funded by regional governments.
In the last three decades la Monnaie has regained 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.
The current edifice is the third theatre on the site. The façade dates from 1818 with major alterations made in 1856 and 1986. The foyer and auditorium date from 1856, but almost every other element of the present building was extensively renovated in the 1980s.
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. It was built on the site of a building that had served to mint coins. The name of this site la Monnaie ("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 "trésorier", the Italian Gio-Paolo Bombarda, with the task of financing and supervising the enterprise. The date of the first performance in 1700 remains unknown.
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