Riccardo Frizza_Belcanto Concert © Monte-Carlo Opera_Feb 2021

After directing Rigoletto at the Maggio Musicale Fiorentino last February in a production directed by Davide Livermore that was recorded behind closed doors due to the current closure of theaters in Italy and which will soon be broadcast on streaming, Riccardo Frizza returns to Barcelona in May to take command of the lycée symphony on 6 Y 8 May to conduct soprano Sondra Radvanovsky at the concert The Three Queens, with the final scenes of Donizetti's Tudor trilogy (Anna Bolena, Maria Stuarda Y Roberto Devereux). The show, premiered at the Chicago Opera in 2019, will have the stage direction of Rafael R. Villalobos, who has designed a specific setting and wardrobe for each queen. Faced with this reunion with Sondra Radvanovsky, Frizza assures that “it does not occur to him" think about "a better voice that can face a challenge of these characteristicsThan that of the American singer, “since he knows how to immerse himself in the style achieving an interpretation, both from the point of view as dramatic vowel, I would say sublime”.

This staged concert should have premiered last December, but the sanitary conditions derived from the pandemic forced the Barcelona coliseum to postpone it until this spring. “I am very happy to return to the Liceu for the second time this season, after Les contes d’Hoffman last January, a theater in which I feel at home and to which I will return in future and interesting projects”, concludes the Italian director.

After his engagement in Barcelona, the musical manager of the Donizetti Festival in Bergamo will return to Paris, this time to conduct at the Théâtre des Champs-Elysées La sonnambula, Bellini, the days 15, 17, 20, 22, 24 Y 26 of June before the Orchester de Chambre de Paris and the Chœur de Radio France in a staging whose stage direction is signed by the tenor Rolando Villazón and with a luxurious cast, among which the soprano Pretty Yende stands out as Amina and Francesco Demuro in the role of The wine.

Facing summer, Riccardo Frizza will offer master classes organized by the Venice Biennale between the 2 and the 11 July before returning to the Teatro San Carlo in Naples to direct five performances of L'elisir d'amore the days 23, 25, 27, 29 Y 31 the same month.

Riccardo Frizza_Belcanto Concert © Monte-Carlo Opera

Riccardo Frizza

Gran Teatre del Liceu

Champs-Elysées Theater

After last season's success, the Liceu once again given the opportunity to discover their most hidden spaces and emblematic as the stage, the orchestra pit and backstage, among others.

The director and playwright David Pintó is responsible for dramatize this visit "to discover the operatic characters who have gone through the Liceu during these twenty years". It has created a tour that will allow visitors to discover all "colorful and fantastic characters that still resonate in the Liceu after these 20 años y de centenares de producciones operísticas (Rigoletto, Aida, Carmen, Don Giovanni, Salomé…).

¡Las invitaciones se podrán conseguir aquí for free today a partir de las 16h!
Tienes una cita en el Liceu el próximo Sunday 1 from December, from 10 a 19h con motivo de la jornada de puertas abiertas. ¡No te lo puedes perder!

High school


Having opened the season 2015/16 a double debut, singing the role of Suzuki (from Madama Butterfly) in the National Opera of Paris, The Italian mezzo-soprano Annalisa Stroppa vuelve este curso ante el público del Gran Teatre del Liceu de Barcelona para interpretar el rol de Ascanio en la poco representada ópera de Berlioz Benvenuto Cellini. The singer debuted in the Catalan coliseum in 2014 como protagonista de la ópera inaugural del curso barcelonés, conquistando los corazones de público y crítica con su entrañable Rosina de The Barber of Seville, from Rossini. En la misma temporada regresó para ofrecer su intensa Adalgisa en la popular Rule from Bellini, luciendo una vez más su talento, el aterciopelado color de su voz y la calidez de su homogéneo registro.

Benvenuto Cellini it will be, sin dudas, uno de los éxitos de la temporada, ya que la ópera de Berlioz contará con la dirección de escena de Terry Gilliam, del célebre grupo de humor inglés Monty Python. Ante el podio de la Simfònica del Liceu estará el director musical del Gran Teatre, Josep Pons. Compartirán escenario con la cantante italiana John Osborn, Kathryn Lewek, Maurizio Muraro, Ashley Holland, Francisco Vas Y Esteve Manel.

Después de su compromiso en Barcelona, Annalisa Stroppa viajará una vez más a La Scala de Milán para participar en Rigoletto (Maddalena), a Tel Aviv como la protagonista de Cinderella, para regresar a España, a Bilbao, con su Rosina de The Barber of Seville y al Teatro Real de Madrid para participar en I Puritani (Enriqueta de Francia).




Don Pasquale, opera Donizetti libretto by Giovanni Ruffini, come back to Gran Teatre del Liceu from the hand of one of the most prominent stage directors of the moment, Laurent Pelly. The assembly opens next 16 June is a new production at the Liceu in co-production with Opera San Francisco and Santa Fe Festival of New Mexico, where it premiered last summer. It will be on the bill until 27 June under the musical direction of Diego Matheuz and with a double cast that head Lorenzo Regazzi Y Roberto de Candia como Don Pasquale, las sopranos Valentina Nafornita Y Pretty Yende like Norina, Y Juan Francisco Gatell Y Antonino Siragusa in the character of Ernesto.

As funny drama, Don Pasquale, It is one of the most important operas in the Italian comic repertoire, that has a hundred percent theatrical music and a tradition rooted in the Art commedy. Its premiere was on 3 of January of 1843 at Italian theater from Paris. At the Liceu it was seen for the first time in 1848 and until his last performance, he 13 May 1986, has been represented 89 times at the La Rambla coliseum.

After the successes of Daughter of the Regiment (2010), The tales of Hoffmann (2013) and Cendrillon (2013), Pelly presents a story halfway between love and the age difference. The obsession of a rich old man to marry and deny his nephew Ernesto love with Norina is the central axis of the opera that Pelly presents with an impressive set that ends upside down. Tangles, life lessons and many obstacles to find a happy ending where Dr. Malatesta manages to unite the young couple after chastising Don Pasquale with a false marriage.


The Così fan tutte al High school, which they say is not a Mozartian theater. Since we know very well what is to be or not mozartiano, in the case of a theater, we are left with the doubt. Who does not seem very Mozartian is the stage director of this production, Damiano Michieletto. This young Venetian begins to be known for performing discrete extravagances. Some more successful than others. And it's not this Così fan tutte, that comes from La Fenice, one of his most celebrated productions.

The scenography designed by Michieletto trivializes the plot of Da Ponte. Based on nothing less than works by Bocaccio, Shakespeare Y Cervantes. This is not an opera buffa, but of a dramma giocoso. Or as well defined René Leibowitz, a "tragedy in the form of a game". But the stage manager has created too basic a game this time. He has not been able to see the intelligent proposal of the composer, so given to the game and fun. He has set the plot in a decaying hotel in 5 stars of which you have traced, this time with great success, that dim and daunting light that always invites you to leave the room.

Nor is it right when placing small parallel plots on stage that all they do is distract from the main plot and the action of the singers..

From the pit, the start of the work is promising. It is Mozart! the overture, always vigorous, fills everything. But after the first bars, the lack of spirit begins to show. That spirit that the composer, master of the game of infidelity, so aptly reflected. There is no orchestral line, a musical narration of history.
Pons doesn't pay enough attention to the singers or the chorus. The result is the helplessness of the interpreters and the disconnection between the pit and the stage. Especially in group arias, so important in this work. Untimely tickets and little coordination between singers. The masterful game of entanglements and exchanges proposed by Mozart in his score is absent. In the second act, you go from lack of spirit to boredom. The bad resolution of the end, that is halfway between joy and love disaster, does not fast to leave a good taste in the mouth among the public.

A Juliane Banse he had to play one of the most complete and complex roles written by Mozart, Fiordiligi. A soprano is required driven by agility, with a robust voice to approach arias such as For pity. Juliane Banse has a good central record, but suffered in the lower notes. It also had its difficulties in the complicated Like Scoglio. Aria with great technical demands for which she did not have enough encouragement or support. It was less to more, reaching the second act with a less strident and tighter sound.
Dorabella, Fiordiligi's vocal counterpoint, was interpreted by Maite Beaumont. A much more balanced and homogeneous voice. Nice timbre and good singing line. She was covered several times by her artistic sister, but it gave the character the right character, more shy and demure.

Despina was played by Sabina Puértolas. A soprano with higher tones than the previous ones. He animated the scene with his impudence, exaggerated sometimes, but it gave freshness to the whole work. Broad and expressive voice. She walked the stage while her companions remained static.

The pleasant surprise of the night was the young tenor Joel Prieto, playing Ferrando. His full lyric tessitura, they try hard, is the most suitable for this Mozartian role. He sang with remarkable taste, especially its main aria, Loving aura, who approached with finesse. Cavatina solved very well Betrayed, mocked, theatrically more demanding and for which good bass is required. Very good in the duet with Fiordiligi in the second act. Given his youth and the quality of his instrument, a brilliant evolution is guessed.

Joan Martin-Royo composed a solid Guglielmo. Its baritonal tessitura is reinforced with good bass, that correspond to the character that Mozart described. His acting work was meritorious and shone in the arias. Like the rest of the interpreters, the costumes and the scenery did not favor them too much.

A Pietro Spagnoli They commissioned him a Don Alfonso somewhat rough and with little spark, when what the character requires is an almost buffa. Vocally it was very well resolved by Spagnoli. A magnificent phrasing and a very good declamation in the recitatives. Your tables are noticeable.

The Liceu choir sounded great, Hand Conxita García, despite the shortage of items.

A Così fan tutte something poor and uneven the one that the Liceu has presented on this occasion. Can be improved in any case, but always extraordinary when it comes to Mozart. Let's not think that the Liceu is not Mozartian. Let's give it another chance.


Così fan tutte, third and final collaboration between Wolfgang Amadeus Mozart y of librettist Lorenzo Da Ponte, arrive at Gran Teatre del Liceu under the direction of Damiano Michieletto, debuting at the Liceu with a daring proposal that is set in a luxury hotel. El dramma giocoso, which you can see the 20 al 30 of May, It is inspired by texts Boccaccio, Shakespeare Y Cervantes, and it has the musical direction of maestro Josep Pons.
Così fan tutte is a work with an acute social view of the time that addresses in a direct fight between the sexes, and specifically female infidelity. Mozart opera reflected in an immoral game about feelings and emotions of the protagonists: Fiordiligi and Dorabella the sisters, and Guglielmo and Ferrando promised respective. Not forgetting the Machiavellian Don Alfonso that entangles the whole plot with an irreverent bet, and its ally Despina, two sisters maid.

Michieletto presents, after working two other titles Mozart-Da Ponte, The Marriage of Figaro Y Don Giovanni, a So fan tutte reviewed, with a staging current and majestic, a daring costumes and scenery that stands by the rotational movement that takes the viewer to various rooms of a hotel where all possible entanglements occur. The Venetian director makes Don Alfonso fall on the entire weight of the element metateatral (the theater within the theater) and it makes you be present throughout the play sitting on the side of the proscenium, although the script does not require it.

Così fan tutte It premiered in January 1790 at the Burgtheater in Vienna and it was not until one hundred and forty years after he came to Liceu, although it could be seen at the Teatre de la Santa Creu in 1798. The last function So was the 30 of January of 2004 with addresses Bertrand de Billy (musical) Y Josep Maria Flotats (scenic). The Marriage of Figaro Y Don Giovanni are the two operas that also have the talent of Mozart and Da Ponte, a trilogy that began in the Viennese genius 1786 and he ended with So.

Este Cosi fan tutte presents dos REPARTOS. as Fiordiligi Juliane Banse Y Maite Alberola; Dorabella, Maite Beaumont Y Gemma Coma-Alabert; Ferrando, Joel Prieto Y David Alegret; William, Joan Martin-Royo Y Maybe Borja; Despina, Sabina Puértolas Y Anna Tobella; and as Don Alfonso, Pietro Spagnoli Y William Berger.

complementerias activities:

The Gran Teatre del Liceu offers two unique experiences during the performances of So fan tutte. With the collaboration of Hendrick's gin he will be installed in the Saló dels bar Miralls reproduction scenery of the opera so that attendees can feel protagonists during intermission, and once the function. Hendrick's offers the public to enroll in advance, tasting cocktails and gin and tonics surprising at the end of the representation. By 20 euros you can enjoy a unique evening in a “luxury bar”. Tickets will be on sale at the theater box office and on the website of the Liceu.

The Argentine illustrator Eduardo Relert, a whole and 3D guru streetart, after having exhibited their works in the streets of New York, Tokio, Roma, Mexico, among many other cities, proposes a facility in the historic Liceu lobby for people to interact while staying at the Gran Teatre. The play, original Relero, It is inspired by the operatic world and is built using vinyl arranged in a particular way under the concept of anamorfosis, a technique used to hide or direct attention specifically on something. The composition, that will be seen on a surface 6×6 meters on the lobby floor and the counter, it can display through the lenses of mobile phones and a camera located 1,75 meters that allow users to see the relief of installation on a plasma screen.

Joel Prieto

the tenor Joel Prieto, born in Madrid and winner of the first prize in the Operalia de Placido Domingo, will return to the season of Gran Teatre del Liceu Barcelona after his Fenton de Falstaff now playing one of his favorite roles, el de Ferrando de Cosi fan tutee (Mozart), role that debuted in 2009 in the Palau de les Arts in Valencia. Later he has also performed it at the Washington National Opera, in The Theaters of the City of Luxembourg, at the Palm Beach Opera and at the Bayerische Staatsoper in Munich. “Ferrando is probably my favorite Mozart paper, and also the most I've ever sung during my career”, affirms the young tenor. “The character undergoes a great evolution during the opera: at first he is an innocent boy and he is blind with love for his beloved Dorabella; He is a hopeless romantic and firmly believes that Dorabella will always be faithful to him. It is a role that frames a very diverse picture of emotions, from a comic and game facet, even pain, confusion and passion. Vocally it is a very complete role (It's like an Italian Mozart), with a very exposed vocal line. It is not a role for everyone due to the difficulty involved in the passage of the voice; your balance between records and the nuances that the role requires”.

Possessor of a wide repertoire, Belcantist and Mozartian roles stand out in Joel Prieto's career, having debuted, precisely, as Prince Tamino of Die Zauberflöte at the Deutsche Oper in Berlin in 2006, city ​​to which he returned with that same character to the Staatsoper Unter den Linden in 2011. In this area, he has also played Don Ottavio in Claus Guth and Yannick Nezet-Seguin's Don Giovanni at the Salzburg Festival (2010 Y 2011). Con Fenton (Falstaff, Verdi) performed at the Royal Opera House in London's Covent Garden in a production of Robert Carsen Y Daniele Gatti broadcast on television (2012), role with which he debuted both at the Théâtre du Capitole in Toulouse (2011) as in the Gran Teatre del Liceu in Barcelona (2010).

The production of Così fan tutte that can be seen at the Liceu bears the signature of the acclaimed Italian regista Damiano Michieletto, one of the innovators of today's opera. “Mozart's music always touched me very deeply”, continues Joel Prieto. “It was one of the reasons that made me dedicate myself to this. It is no coincidence that my career started with this wonderful music. Mozartian characters have helped me to know my own instrument and to develop it not only in technique, but also in its interpretive potential. Furthermore, these roles have given me the opportunity to work with many of the best stage directors in the world of opera.: the acting work, Besides, is one of the reasons that makes sense of Mozart's music. Today my repertoire continues to expand into the Italian and French repertoire, But Mozart will always be on my performance calendar. It's like coming home”.

Joel Prieto will premiere this show at the Liceu in Barcelona on 20 of May, also interpreting the functions of the days 22, 24, 26, 28 Y 30 of that month.