Title Badge Illustration, Plataea It is a baroque jewel and also the most cheerful page of the composer Jean-Philippe Rameau, that speaks of the obsession of the nymph Platée for the love of Jupiter.

The opera, concert version, It will be released in Spain under the direction of William Christie y Les Arts Florissants, and will resonate for the first time on the stage of the Liceu with the voices of Marcel Beekman, Emmanuelle de Negri, Jeanine de Bique, Emilie Renard y Edwin Crossley-Mercer.

The schedule of the function is advanced to 7:00 p.m. to allow all the public to return to their homes before the curfew established by the restrictions of the pandemic.

The public of Gran Teatre del Liceu you can enjoy the Spanish premiere of the opera Plataea, concert version, from Jean-Philippe Rameau the next 3 February. Despite being one of the most important operatic composers of the Enlightenment, it has rarely been heard in our country. With the work schedule, he High school let this French baroque opera be heard for the first time within its walls, from the hand of one of the best musical directors specialized in this period: William Christie, with the vocal and instrumental ensemble Les Arts Florissants.

An artistic cast that adds to an excellent vocal cast, led by the dutch tenor Marcel Beekman (Plataea), a veteran specialized in baroque repertoire. The cast is completed by a balanced set of young voices and others with a well-established career where the sopranos stand out. Emmanuelle de Negri (Love / Clarine), Jeanine de Bique (La Folie), mezzosoprano Emilie Renard (Juno), the bass Edwin Crossley-Mercer (Jupiter), the tenor Cyril Auvity (Mercure) and baritone Marc Mauillon (Citheron).

Jean-Philippe Rameau composed Plataea to represent her at Versailles in 1745, on the occasion of the wedding of Louis XV with the Infanta María Teresa of Spain. It was a special event and Rameau decided to do it from humor and dance, with traits of lyrical comedy. From an original libreto by Jacques Autreau, adapted by Adrien-Joseph le Valois de Orville, the work exposes how false vanity carries the price of humiliation and mockery. In this way, the plot draws Platée's obsession (an aquatic nymph) for the love of Jupiter and how he prepares a great joke. In the end, in full wedding, the deception becomes visible, and Platée, humiliated, jumps back to his swamp.

Platée is one more work from the late Baroque period that delves into classical sources and mythological stories. His language is closer to Eighteenth century -the sung parts maintain the balance between the narration and the virtuous display in the ornaments-, completed by a vibrant orchestration, colorful and surprising for its wonderful richness of shades. In this sense, the score is full of great musical moments like the one played by Platée in the second act with To the aspect of this cloud, the longest individual part of the entire opera. The character of La Folie also faces in the second act a piece that requires great technical skill and ability to concentrate.: To the languor of Apollo. Jeanine De Bique will be in charge of singing a tune with dizzying ups and downs of scale, with a high interpretive demand.

High school, a safe space

The Gran Teatre del Liceu has worked since the beginning of the pandemic to enable a series of measures adapted to guarantee health security within the Teatre. A protocol that has the purpose of complying with the regulations of the Department of Health and the specific conditions of the Procicat in terms of cultural spaces.

With the intention of ensuring to the maximum that the Lyceum is a safe space, we remember that the use of a mask and hydroalcoholic gel is mandatory inside the Theater. Other measures include temperature control at entrances, constant disinfection of spaces, the permanent renewal of the air through two new fans that were installed in August 2020, cloakroom disabling, and the use of digital format for handheld programs.

So that the public can return home before curfew, the time of the function will be at 7:00 p.m.

Photograph: Oscar-Ortega

Tenor Viñas Competition

The Theater of the Liceu Barcelona He is forced to modify projects of the season to be able to carry out the programming with all the guarantees of safety on stage and off it and continue, A) Yes, with the requirement of a safe culture.

Projects with a large orchestra are affected by the impossibility of guaranteeing the minimum distances between musicians: the solution for opera Lessons in Love and Violence is to extend the pit to the first rows of stalls, and for the symphonic concert The consecration of Stravinsky: the three russian ballets will modify your program.

Both the great orchestra, like the voluminous choir, as well as the staging force the Liceu to cancel the opera Tannhäuser. After several studies, the implantation of stable bodies has been unfeasible, making their representation impossible. The Teatre works to reschedule Wagner's opera in the future.

European transport constraints make it impossible for production to arrive Otello -Royal Opera House- from London. Will be, well, the assembly of the Bayerische Staatsoper which can be seen at the Liceu del 27 March to 14 April with the stage direction of Amélie Niermeyer.

The current restrictions on mobility and the limitation in the interactions between different groups postpone the participatory project The monster in the maze February to April, moment in which it is expected to carry out the creative process between the multiple schools and students that participate in the project.

One of the most anticipated concerts of the season, The Very Queens with soprano Sondra Radvanovsky has reprogrammed the function of the past 23 from December to 6 of May, and open a new function on 8.

further, The Liceu enables a new Opera LiceUnder35 function Lucia of Lammermoor with a new cast to be able to reach more young people this season.

The Liceu advances the schedules of all the shows of the season and passes the scheduled functions at 8:00 p.m., at 7pm. In the case of the double function of Solstice, he 6 February, It will be at 16:30h and the 20:30h.

The Gran Teatre del Liceu has veiled, since the beginning of the pandemic, for a safe culture on and off stage, articulating measures for the public and artists that guarantee the correct execution of the restrictions decreed by the authorities, as well as the protocol developed by the Teatre itself validated by the Procicat. It is therefore, that the Liceu is forced to modify some of its shows to comply with current regulations and continue to enjoy a safe Liceu with all the guarantees.

The most complex affectations have been the orchestral implantations, that have been carefully analyzed to approve their feasibility, since both the reduced space of the pit and that of the stage make it difficult for large formations to be distributed with the minimum safety distance between artists. In this way, three affectations are announced: the opera Lessons in Love and Violence by George Benjamin who relocates the musicians of the Orchestra by removing part of the rows from the audience (of the 1 to 4) to be able to locate all the musicians with the necessary distance to avoid contagion (1,5 m and 2m for the winds). In this opera there is no choir on stage, fact that makes it a safe and scenic opera. Secondly, the symphonic concert The consecration of Stravinsky: the three russian ballets modifies the entire program in order to reduce the hundred musicians who participate in this piece. This change, will take the titular teacher of the Liceu, Josep Pons, to face a repertoire of Dances of the Slavic world with Brahms pieces, Dvorak, Kodály, Liszt, Bartók y Borodin, where the rhythm and sounds of Eastern Europe will be the protagonists. Check the program here.

In the case of Tannhäuser There have been three key factors that have made the Theater and the artistic team see the unfeasibility of its representation, It is for this reason that this opera has been canceled with the intention of rescheduling it in the future.. The factors have been: the impossibility of housing the Orchestra in the pit with the minimum safety distance, the large number of singers of the Choir that also makes its implantation on stage unfeasible, by last, a staging that would be extremely affected if the stage rectifications were made to maintain the bubble groups required in the protocols. These multiple factors make the representation of this work impossible during sanitary restrictions and, for this reason, the Liceu has decided to reschedule the opera for future seasons as it has done with the rest of the productions that it has been forced to cancel. The amount of the tickets will be returned to all subscribers the next 1 February.

The production Otello it is also affected by pandemic restrictions. Current limitations on European transport make it impossible for the Royal Opera House production to arrive from London. In this way, the Liceu has scheduled the production of the Bayerische Staatsoper, with stage direction by Amélie Niermeyer, that can guarantee the arrival at the Theater for its representation of the 27 March to 14 of April. this assembly, which premiered in 2018 in Munich, shows the internal and external struggle that inhabits Shakespeare's text and also places the figure of Desdemona in the center, underlining feminicide and misogyny through the gaze of current realism. In addition to this modification, The participation of Cor Vivaldi - Petits Cantors de Catalunya in this opera has also had to be suspended, due to the multiple bubble groups of the same Choir and the interaction with the rest of the artists. The female voices of the Coro del Liceu will be in charge of interpreting the parts of the children's choir.

One of the new projects of the season 2019/20, The Monster in the maze de Jonathan Dove, a participatory opera with students from different educational centers throughout Catalonia, has also been affected by current restrictions. this show, who started his creative process last year, its development was truncated in March, for the full irruption of the pandemic. This course, The different centers have already started the preparation process and have started with the complementary training actions that make this show a transversal learning project. At the same time, Paco Azorín, who is the one who sign the show on stage, is making all the necessary stage adaptations to adapt the show to the reality of the pandemic. Now, after this initial period of preparation, the creative process of the project must be moderated due to the current restrictions that affect movement and interactions between groups. In this way, The Liceu postpones the show in order to make it viable with all the guarantees since current conditions are not optimal to be able to premiere the show in February of 2021, as planned. It is because of that The monster in the maze postpones its functions to days 19, 21 Y 24 of April.

Part of these changes and modifications in the programming have also allowed to relocate one of the most anticipated concerts of the season: The three queens with soprano Sondra Radvanovsky that you can see next 6 of May, function that will replace the one canceled last 23 from December. Additionally, a new function is enabled: 8 May that will go on sale next 3 February. This new semi-staged proposal features the stage director Rafael Villalobos.

further, the Liceu has scheduled a new function of the LiceUnder35 with opera Lucia of Lammermoor by Donizetti the 27 July with the intention of increasing the number of young people who will be able to access these exclusive activities for minors 35 years, since the first function Under 35 went to 50% of the capacity, and the second with a maximum of 500 people. It is therefore, that the Teatre proposes a new cast made up entirely of young singers who make their debut in the role: the Catalan Serena Saéz as Lucia di Lammermoor, the Colombian César Cortés as Edgardo and the Catalan Carles Pachón as Enrico. This new Under35 will be available from 28 June at 4pm only for children under 35 years at a single price of € 15.

Cast changes

Until now, for opera Lessons in Love and Violence George Benjamin announces a cast change due to the pandemic's mobility restrictions. The role of Mortimer will be played by Peter Hoare, replacing William Burden. Hoare performed the role at the premiere of the opera at the Royal Opera House in May 2018. further, the Witness 2 / Singer papers 2 y Woman 2 will be interpreted by Gemma Coma-Alabert replaces Marta Fontanals-Simmons.

Changes in schedules

And now to finish, the Gran Teatre del Liceu also announces the time change of all the functions of the season to facilitate the mobility of spectators until July. All functions scheduled at 8pm, will automatically be represented at 7:00 p.m.. The weekend functions scheduled at 5:00 p.m. or 6:00 p.m. will continue with the same schedule. But nevertheless, for now there will only be the exception of the double function of Solstice of the 6 February which will be at 16:30 Y 20:30.

This change in schedules also affects the ticket office which is adapted from the 1 February to serve the public from Monday to Friday from 10am to 7pm and on weekends: Saturday 10 a 18h (Days with representation open until the start of the show) and closed Sundays and holidays, except on performance days when the ticket offices will remain open 2 hours before the start of the show, Y 1 hour before in the case of El Petit Liceu.

Liceu Barcelona

The Liceu de Barcelona had to announce last week the definitive cancellation of the season 19/20. A season full of illusion, that of the 20th anniversary of the reopening of the Theater, that we will inevitably remember as that of COVID-19: a complex period that has changed the way we approach life and that, among many other pleasures, has deprived us of enjoymentr of music and culture live.

But despite everything, we want to continue where we left off. Looking forward with hope, and building the Liceu of the future with artistic ambition and social decision. For this reason, again we request your collaboration.

Getting the Liceu we want requires your generosity and complicity. Today, Your support and commitment to the Liceu are essential so that we can continue enjoying the opera, music and culture as fundamental elements in our lives. Make it possible!

The Liceu has implemented, through its website, a donation service from € 50. Enter their website and make it possible!

He Teatro Real expands and diversifies the national and international offer of audiovisual production with the creation of a new digital platform that, under the name of My Opera Player, will allow opera lovers, dance and classical music accessible to a greater number of titles both own production and other partner institutions.

This project has the participation of major opera houses, as the Gran Teatre del Liceu, he China National Grand Theater, he Colón of Buenos Aires or the Bicentennial Theater (San Juan, Argentina), video library that will provide their most important productions, and that more institutions will join in the coming months.

The initiative will also feature collaboration Spanish radio and television, providing access, through My Opera Player, its extensive historical archive musical in which will be included, In addition to the operas of the Royal Theater that were recorded and retransmitted since its reopening in 1997, only unforgettable moments in music history.

For this new commitment of cultural dissemination, the Teatro Real has been sponsored and technological development Teléfonica, Endesa Y Samsung, that they have transformed the existing Palco Digital into a new meeting with the most important artists and creators of the moment operas, dance, concerts and shows for children and youth.

My Opera Player Started his way with a comprehensive video library will expand its offering in the future with monthly releases of new titles, documentaries and content complementary works available. The platform, which will be accessed on demand-for a single title or the various forms of subscription- will allow the user to enjoy content in the highest quality, with certain titles in 4k, select the subtitle language or create your own favorite lists.

Collaboration Telefónica, as the main patron of the Royal Theater, It has focused on creating a new digital ecosystem, in which optimized the experience for opera fans in all digital channels Theater.

In this years, Telefónica has expanded the number of features and web services, reinforcing the interactive and communication with users. This allowed has thus create a much wider range of products- covering different types of music- and accessible, with services more adjusted to the preferences of the followers of this institution.

A further step in this global project to provide a novel Real digital ecosystem, is My Ópera Player, that will bring a new audiovisual experience for all fans.

Support for culture and development represent for Samsung a key pillar in its strategy Purpose Technology. Samsung and Royal Theater begin to collaborate in 2015, betting on the joint development of digital projects such as the production and distribution of content on demand via Smart TV, and the dissemination of opera to new audiences.

Within its cooperation during these years, It highlights the launch of digital tools such as the Teatro Real Virtual Application, with content 360, Teatro Real Junior to bring opera to new generations or scanning of different areas of the building of the Royal Theater. Now, thanks to 'My Opera Player' available exclusively on Samsung Smart TV, people around the world can easily access some of the most exclusive artistic content of prestigious international theaters. These contents opera Street Scene 4K is included in the Samsung Smart TV users can enjoy free.

Endesa It is one of the main patrons of the Royal Theater and, for more than a decade, collaborates with the institution providing special support to its platform and audiovisual broadcasting major operas, contributing to the promotion and dissemination of culture.

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!

The groundbreaking production directed by Franc Aleu season opens 20 anniversary with the same title that was represented before the fire and reopened the Teatre in 1999.

An excellent cast will play Puccini's unfinished opera: Irene Theorin, Lise Lindstrom, Jorge de León, Gregory customer, Ermonela Jaho and Anita Hartig among many others.

The teacher Josep Pons directed the opera "delicate, rich and beautiful " which will have an Orchestra 95 musicians and a choir also 95 voices.

The new production is full of visual metaphors and makes use of the latest technologies: moving scenery Carles Berga, cobots collaborative -robots- Universal Robots and costumes LED lights Chu Uroz.

The Liceu also debuts new front under the 20 anniversary, It is including intervention on the clock, Wagnerian lighting and windows.

He 7 October 1999 the Gran Teatre del Liceu reopened its doors after the fateful fire with Turandot directed by Núria Espert. Exactly twenty years later, the Teatre again open season with Puccini's unfinished opera, production and high tech, futuristic and poetic Franc Aleu and the musical direction Josep Pons. A world premiere that will bring together of the 7 al 25 October some of the best voices of the moment, led by Irene Theorin, Lise Lindstrom, Jorge de León, Gregory customer, Ermonela Jaho and Anita Hartig among many others.

The genius of Franc Aleu born this spectacular proposal 'high-tech' full of visual metaphors and uses the latest technologies to flood the scene of colors, textures and videocreaciones: cobots (Collaborative robots Universal Robots), 3D technology, cutting-edge audiovisual…

A great pyramid chairs the stage space emulating the throne of the emperor and home Turandot. An impressive structure rotating six blocks scales and crowned by two robotic arms used to create an allegory of power and of contemporary society in its most morbid obsessions: intrusion into the private lives of others, the spectacle of lynching and fascination with the mechanisms of social control… "A world created to trap us like flies and creating us an irresistible addiction", ensures Aleu.

The three acts share the same scenery, but it is changing in every scene, "As one change in a video game screen", ensures Aleu. A virtual world that has been possible thanks to a luxury team made up of Susana Gómez, co-director of scene, the scenic space of Carles Berga, the changing room full of technological details such as led lights controlled by wifi from Chu Uroz and the complex lighting system of Marco Filibeck.

The last opera composed by Puccini and, in fact, He left unfinished, It will be one of the challenges of the season Symphony Orchestra and Chorus of the Liceu, which for this occasion will feature 95 members in each training. In front, Josep Pons will face this opera (with the end that created Franco Alfano) calling them "delicate, rich and beautiful "and is full of great musical moments like Turandot starring in the second act with its most demanding and powerful aria" In questa Reggia ", a real roller coaster difficult to sustain acute or end Liù cries before taking his own life in the third act with "Tu che di gel sei tape". But surely the climax is probably the most famous aria in the world, the "Nessun dorma" from Calaf in the act tecer.

Photograph: Catherine Barjau

It may be the sweetest or most furious Mimí Elettra, in a magical duality security product in an impeccable technique and a consolidated instrument. Claimed by directors like Riccardo Muti, Eleonora Buratto has become one of the strongest performers of his rope.
Muses always visit when working, ensuring the greatest stimuli listen. After his successful Elettra in Mozart's Idomeneo Teatro Real, we can again enjoy Liceu in Barcelona with Luisa Miller. Do not miss it.
During the last few seasons we have been fortunate to hear different roles in Spain, at the Royal Theater and El Liceu. What is more attractive to the interpretation, Elettra wickedness or naivete of Mimí?
The truth is that I think Elettra is not so bad and that is not so naive Mimí. I explain better: A love and excited to be able to live with the man she loves and to return to his homeland woman has no right to feel and externalize their rage? Elettra is a woman with a very strong character, but like the other characters in the play is the destination slave, the true deus ex machina of the whole plot. Elettra not concocts no cheating on his rival to win the love!. As for Mimí, He is a weak woman health, but I would say it has very clear ideas about what he wants: it is she who waits for friends to go and Rodolfo left alone, before knocking on the door; it is she who blows out the candle to have an excuse to talk to Rodolfo and, in the end, it is she who takes the reins of the situation at the time of crisis Rodolfo, in the third act. Good, the truth is that both are two characters I love and, I am not able to choose! mimi, I love her for that sweetness of phrases and singing Elettra, by force not to accept head down your destination, by his rebellious character and that is the role that has tested me on stage…because it coincided with the death of my mother. Elettra has saved me in the most painful moment of my life, and will always have a special place in my own corazón.El Currentzis, a great lover and student of Mozart, He chose to sing Elettra last May at the Diaghilev Festival in Perm, Had they worked together ever? Were you surprised that the call? How he was working with the famous and controversial director Teodor Currentzis?I had never worked with Master Currentzis, although he had auditioned in Madrid for a Traviata 2013, and really nice is that when we met again perfectly remember me. I was thrilled to know that I had chosen for Elettra ... long overdue opportunity to work with him and, It has been an experience that has exceeded all my expectations! I was in schock at the first rehearsal with the orchestra (without any musical rehearsal before), listening to my first aria di tempo ... then, that same afternoon, Currentzis teacher invited all cast the opening concert of the festival and there I was in love with her address and the wonderful orchestra formed. The next day, I just got carried away ... I trusted fully in their tempi and make music together, and it has been one of the most beautiful experiences of my professional life. Thank you, Maestro!What attracts you most of the Verdi heroines, his vocalism, his character ... and what role verdiano would like to play in the future?
When more roles on board and study verdianos, I realize that it is my own voice which demand, so I certainly like his vocalism. But to say that is only so, It would be too simple ... Probably, I like the mere fact that Verdi is the composer. His enormous capacity to make credible the characters derived from his sincere writing, a script that comes from the heart. I feel myself when I play that character and temperament with the Verdi heroines. always respecting my vocal career and expanding the repertoire, I hope to have chance to debut Otello and Don Carlo, and later, in the future, maybe, They could also get Trovatore and Aida.
Now comes the Teatro del Liceu with Luisa Miller, a role here is closely linked to Montserrat Caballé. When a character so closely linked addressed a singer reference, Do you feel other liability?Of course, the responsibility is great, but I do not think anyone expect to hear another Caballé, and much less think I can be. The biggest responsibility I have with myself, and the best way to interpret a wonderful character…You are fond of other great music, specifically the rock. Do the feelings you have now to take the stage of a theater are very different from those he had when he sang with his rock band?
Yes, sang in a cover band ... He sang rock songs Anouk, Alanis Morrissette, Skunk Anansie, Tina Turner and Toto! The initial excitement is the same, but after interaction with the public it is very different. When you are singing rock, the audience is an active part of the concert ... you can sing and the same singer can involve the public in the choruses and choirs; Besides, between one piece and another, You can interact, presenting the piece, telling a little story or asking questions. Instead, during the execution of an opera, The audience listens attentively in silence, that is to say, no such interaction with the public but is something different, ... deeper interaction with the public is through the emotions, baring our soul to play a character. And the excitement of the public is a reflection of those emotions that have been achieved transmitir.Los stage managers are increasingly leading role in a production. Have you ever seen in a compromising position by demanding stage manager?Say I'm not always totally agree with stage directors, but also, I have to say, I've been fortunate to be able to find a compromise with them on the interpretation. When there uncomfortable stage movements, I ask a solution most often found together. Perhaps he did not accept things that might disturb my song, but sometimes I have other distant accepted interpretations of my visión.¿Cómo she met her teacher, Paola Elisabetta, and what it means for his career?I heard about Paola at a time of crisis with the song in 2009 ... I wanted to leave ... thought he was not capable and lyrical singing was an unattainable dream. In January 2010, I made my first lesson with Paola, and immediately I realized that I had found, at last, the correct master. The first years were mainly technical impostación, but then I started preparing her roles. It is a relationship that has evolved and grown over time; I do not want to say, now no longer consider technical, must never stop studying, but, obviously, with the years, I have consolidated the technique and I could also devote myself to the study of the technique in the repertoire. Paola has been and is an important reference figure ... every singer should have a picture of this guy and I feel very afortunada.Tras his debut as Elettra in the Royal Theater before returning to sing at the Teatro Massimo of Palermo, was a great success as Amelia (Simon Boccanegra) with Placido Domingo and Francesco Meli at the Wiener Staatsoper, Is it in a golden moment of his career? What other roles have on the agenda and what roles you would like to debut in the near future?Yes, the truth is that I am living a beautiful moment of my career, fruit of much study, patience and good choices. And I hope it lasts a long time, because I put everything in my power to make it last. The next major debuts will Così fan tutte in Tokyo, and Rusalka in Amsterdam, in March and June 2020, respectively. But the season is coming, There will also be some very nice projects: Turandot at the Met in October, el de Verdi Requiem with the Orchestra dell'Accademia Nazionale di Santa Cecilia, directed by Mikko Franck, Bohème in Berlin in December / January, and then in London in February. Also I engrave some arias by Beethoven in Klagenfurt and finally, in summer 2020, I will debut at the Rossini Opera Festival singing a recital and Stabat Mater. Y, Besides, There are other exciting debuts, With el, la Scala…Now that mentions his debut in the Rof, just received rave reviews with his latest recording dedicated precisely to Rossini: Petite Messe Solennelle. You who has also sung the Stabat Mater, What would you say are the characteristics of rossiniano language for soprano in these two sacred works? Do you like the Rossini sacrum?Rossini singing the sacrum is, In my opinion, a real challenge. effectively, I've sung both Stabat mater Messe Solennelle as Petite, and although they have not been many times, itself have been enough to fall in love with that intensity of the writing of Rossini , their ability to use language that requires us to singers a true virtuosity, and involves completely immersed in the text, in meaning, nobly and dialogue with other soloists and instruments. I sing Rossini completely seduced by the music I listen, perfectly supporting parts dedicated to the soprano. I think, for example, in the "Crucifixus" from the Petite Messe Solennelle, in the musical climate as serious and rich in pathos that gives meaning to the text and that seduces me and moved me. Rossini sacrum, Besides, It fits well with my vocalism and my idea of ​​beauty is a woman committed musical.Usted, not only with his profession, also it faults that we know exist, but toward which we do not usually look. Tell us about some of these issues and convince us not to be mere espectadores.Sí, the "butterfly children", say that sounds so sweet, but whose disease, bullosa epidermólosis, it's terrible. These children have such fragile skin that require painful daily treatments. They are more exposed than anyone to infections, and for them, even the caresses of the mother can be painful and dangerous. It all started when I met "my first butterfly", sweet and very strong, an example for all of us. Today, research offers some opportunity more, but we are far from having found the ultimate recipe to combat bullous epidermólosis yet. I try to make this horrible disease, getting involved with Debra Association South Tyrol - Alto Adige. I would like to sensitize everyone to collect more and more funds allocated to research, putting my voice available for the necessary collection of funds.

What do Eleonora Buratto usually hours before going on stage? Do you follow any ritual? What is never missing in your suitcase?

Before taking the stage, the only ritual I follow is to pray and repeat the most difficult passages. In my luggage, something that never lacks is a good book and the score of the following production.

He Teatro Real and the Gran Teatre del Liceu They will participate together in one of the most successful initiatives in their respective programs, retransmission of opera in screens installed in squares, parks, museums, theaters, cultural centers, auditoriums and municipalities throughout Spain and in numerous international centers.

A) Yes, the Royal Theater will offer on Friday 28 of July, to 22.00 hours, the retransmission of the opera Tosca from the Liceu, in its Sala Gayarre (access by the public door Felipe V street with free entrance until full capacity), Y the Foyer del Liceu will host the retransmission of The Troubadour, from the Royal Theatre, Saturday 6 July at 21.00 hours.

One of the most famous Italian operas, Tosca, Giacomo Puccini, will be the protagonist of College of the fresco of this year. This production of the Gran Teatre del Liceu and the Teatro de la Maestranza in Seville crowd pleaser season 2013/14 It has an impressive staging of Paco Azorín, faithful to the original. The baton will be carried by the teacher John Fiore and will feature the magnificent voices of the soprano Tatiana Serge as Tosca, the tenor Roberto Aronica in the role of Mario Cavaradossi, and baritone Lucio Gallo as Baron Scarpia.

The Troubadour, Aragón set in the early s. XV, is passionate melodrama that revolves around two brothers whose lives are opposite paths and facing, telling a story of festering hatreds and revenges, loves frustrated, cruelty and intrigue, advancing intensity and unstoppable towards the final catastrophe.

The four acts into which this romantic opera is divided - titled respectively The duel, The Gypsy woman, The son of the gypsy Y The execution– collect the extreme passions and plot complexity posed by the work upon which the libretto is based, chivalric drama the troubadour, from Spanish Antonio García Gutiérrez, what Verdi, collaboration with librettist Salvatore Cammarano his, music puts a great inspiration.

The stage manager Francisco Negrín has designed a dark and symbolic atmosphere for the opera, in which the protagonists transit, between fire and death, toward its inexorable end. Together with him, the performances will have the complicity of the musical director Maurizio Benini, specialist Italian repertoire, in front of Headlines Choir and Orchestra of the Teatro Real and a cast of great voices from the international lyrical scene.

The protagonists of this Verdi drama will be brought to life by the tenor Francesco Meli, like the tormented Manrico, the Troubadour; soprano Maria Agresta will be the voice of Leonora; baritone Ludovic Tézier, will be the role of the evil Count of Luna and the mezzo-soprano Ekaterina Semenchuk will play the passionate and vindictive gypsy Azucena.

One more year, the closure of the opera season of the Teatro Real will connect to the same stage fans across Spain, to enjoy an evening of unique music and share together the passions of tormented characters.

Photograph: Camilla Winther

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Varduhi Abrahamyan 5

Varduhi Abrahamyan 6

Varduhi AbrahamyanSiempre interview under the influence of music in his native Armenia, Varduhi Abrahamyan changed his fondness for the love pop lyric. Since then, It continues to evolve and stepping, increasingly harder, the most important stages in the world. In recent months he is visiting our country playing various characters, Isabella, The L'italiana in Algeri, Carmen or the Princess of Eboli in Don Carlo. A variety of roles thanks to the versatile qualities
his voice.

Brío Clásica: It comes from a family of musicians, so it is clear the origin of their hobby but, When he realized that his instrument was her voice?

Varduhi Abrahamyan: effectively, I feel fortunate to have lived music since I can remember thanks to the fact that my father was a professional tenor; he taught us, both my sister which is soprano- like me, to love music. Actually I intended to follow a different lyrical way -¡me loved and still love pop music!- but once the singing teacher my sister heard me sing and told me that my voice could give much more of himself. That encouraged me to go to the Conservatory in Armenia My native country, where I studied opera singing for seven years- and from that moment I fell in love with opera It was literally a crush! Then I went to France to expand my training matriculándome at the Conservatoire de Marseille. With hard work and dedication I was able to start my career at the Opéra de Paris. It was like a dream come true.

B.C: Their repertoire is very wide, belcanto, baroque, Verdi, Chaikovski… It should not be easy to change registration, as it does?
V. A: Certainly, My repertoire is varied and this makes much more enjoyment of my career. It's always a challenge to change registration but actually, despite the difficulty, with time and experience you get used. The technique is the same, you just have to adapt to every style, which has its demands and peculiarities. Necessary, yes, know in depth each style. Cambiar de estilo entre producciones es un trabajo muy interesante como intérprete y lo disfruto muchísimo.

B.C: Si tuviera que elegir un repertorio más concreto, ¿por cuál optaría, belcanto, baroque…? ¿Cuál sería el motivo de esta elección?

V. A: Me resulta complicado escoger uno porque tengo la suerte de que me gusta todo el repertorio que canto 🙂 Procuro siempre que en mi agenda haya algún título de Rossini, un genio que admiro y que compuso para la cuerda de mezzosoprano; mi voz se adapta perfectamente a su música, tanto al Rossini bufo (as Isabella in L'Italiana in Algeri I thoroughly enjoyed last December in Barcelona) as serious so often I have sung (Semiramide, The Lady of the Lake). But I also love Bizet and Carmen or Eugene Onegin Olga Chaikovsky (Russian speaking also allows me to face the Russian repertoire) or the baroque repertoire offered with Alcina and Ariodante Haendel. I'm now stuck in my first trials of Eboli in Don Carlo and Las Palmas I can only say one thing: ¡Viva Verdi! :-).

B.C: It has a very powerful bass, It is said to be closer to a contralto than a mezzosoprano, How would you describe the characteristics of your voice?

V. A: Naturally my voice has a wide tessitura, It is true, and this allows me to face a mezzo repertoire very varied. I feel very lucky for it.

B.C: December has debuted at the Liceu in Barcelona with Isabella, a role that debuted in Paris 2014, How he has now approached the sparkling star of L'italiana in Algeri?

V. A: Isabella is a delicious character. She is a woman of strong personality and very practical, faced with intelligence all the complicated situations that put you ahead. The truth is that I enjoy very much interpret because from the point of view actoral has many shades and is a challenge. As I always get right into the psychology of the characters I play, Isabella offers endless possibilities me as an actress and as a singer. I sang for the first time at the Opéra de Paris precisely with maestro Riccardo Frizza in the pit, with whom I have again found in the Gran Teatre del Liceu in Barcelona for the production of L'Italiana in Algeri, here with stage direction by Vittorio Borrelli. It has been a great experience, therefore the work done with my castmates as the tune that I felt with theater and Barcelona audiences.

B.C: Had she worked with Riccardo Frizza? What would you highlight your address in this production?

V. A: He is a director who knows the Italian repertoire in general and particularly bel canto as few in the world. It is always a great pleasure to work with him because he understands the singers and their needs and puts his direction the orchestra as the best vehicle for singers we are comfortable and can lucirnos.

B.C: After Liceo, January came to Oviedo to represent Carmen, a role he knows well. It is a multifaceted woman, her many women stay. How is the Carmen de Varduhi Abrahamyan?

V. A: Carmen is a role that I take the skin and has given me a lot of joy throughout my career. I have sung so many times I feel I know every corner of the sheet music of Bizet, but the fascinating thing about my job is that every time I play I discover a new detail, a new hue, it makes is in constant growth and evolution. This is a free and follows its own rules; It is a seductive woman, mysterious, charming and forbidden love Live every moment to its logical conclusion! Freedom coexist in it, the femme fatale, the drama, countless feelings. For this reason it lets face it from many points of view, both vocal and actoralmente.

B.C: When preparing a role as this, Is there any other Carmen in which it is fixed or will inspire or reference?

V. A: Carmen is such a universal operatic character who is hard not to have references; There are several mezzosopranos throughout history who have sung and I have admired, but in the end my version of Carmen is inspired directly from my emotions, and so with all the roles I play. I could not do otherwise.

B.C: Y, without leaving Spain, debuts the role of Princess Eboli in Don Carlo in Las Palmas, How is the process of choosing a new character? What would this shortcut Princess Eboli?

V. A: Eboli is the first role I assume dramatic mezzosoprano and is a challenge, difficult but at the same time an exciting experience. It is a historical figure and in these cases I try to always research, read, Go to the original source to soak his character and mine to live and feel on stage. I feel a thrill of having built now, a good time, and surely I will eventually incorporate other Verdian roles.

B.C: In their profession, Have you fulfilled a dream?

V. A: I have fulfilled several dreams and I still have a lot to fulfill. I could not live without dreams; these, junto con el amor de mi familia, son los que me dan fuerza y energía para sentirme feliz.

Interview: Paloma Sanz

Maxim Mironov

The most famous Russian tenor repertoire of bel canto will debut in the Gran Teatre del Liceu próximo 13 from December, which it will function day 15, 18, 21 Y 23. Maxim Mironov returns to give life to a character rossiniano, after his acclaimed performance as Il Conte d'Almaviva in a new production of The Barber of Seville firmada por Pier Luigi Pizzi, Rossini Opera Festival in Pesaro last summer. This time; returns to dramma giocoso from The Italian Girl in Algiers to interpret, once again, a Lindoro, role debut in the known direction Dario Fo, premiered at the ROF in 2006, and which has achieved great success in major international operatic festivals and coliseums like Aix-en-Provence Festival, Théâtre du Capitole, Teatro Real in Madrid, Teatro del Maggio Musicale Fiorentino, the Royal Opera House of Muscat, Wiener Staatsoper or the Stanislavsky Opera Moscow, he honored with a "Golden Mask", the prestigious National Theater Award, for his portrayal of love with Isabella.

Considered by international critics as the new star Rossini, since more than a decade maestro Alberto Zedda invited him to sing the role of Conte di Libenskof (The trip to Reims, 2005), tenor Maxim Mironov is a regular guest of the Rossini Opera Festival in Pesaro, where he has also been Alberto (Gazette, 2015), y Cavalier Giocondo (The touchstone, 2017).

Winner of the prestigious international competition "Neue Stimmen" in Germany, Maxim Mironov has sung at festivals as prominent as the Glyndebourne Festival, and Rossini Festival in Wildbald or el Festival Stressa, and in the most prestigious opera houses, como el Theater an der Wien, Royal Theatre, La Scala in Milan, the Opéra national de Paris, La Fenice in Venice, the Teatro Comunale Bologna, el Théâtre des Champs Elysees París, la Washington National Opera, or the Staatsoper Berlin, among others. He has worked with musical and stage directors of the stature of Alberto Zedda, Michele Mariotti, Bruno Campanella, Vladimir Jurowski, Gianandrea Noseda and, Pier Luigi Pizzi, Dario Fo, or Daniele Abbado.

In November, He came to market his latest album project "Questo è Rossini"!, which is sponsored by Fondazione Rossini and comitato Rossini150; a new CD, Maxim Mironov in which a selection of chamber arias Italian composer, accompanied by Richard Barker, pianoforte playing a vintage Pleyel, similar to that used by itself Rossini.

Upcoming projects include Cinderella, Teatro alla Scala in Milan, The Barber of Seville at the Staatsoper Unter den Linden in Berlin and La Fenice in Venice, Y Orphée et Eurydice en la Hamburg State Opera y el Festspielhaus Baden-Baden.


The course 2017-18 Baritone Murcia José Antonio López adds more successes and new debuts. After succeeding in the Gran Teatre del Liceu Barcelona with Brahms Requiem, at Manuel de Falla Auditorium of Granada with Handel's Messiah, at Euskalduna de Bilbao with works Mendelssohn y Bach near the Bilbao Symphony Orchestra (FOREST) and the Teatro de la Zarzuela Madrid as one of the protagonists of New Year's Eve Concert, Spanish singer prepares his debut in London with the opera Goyescas of Granados in the season of BBC Symphony Orchestra and Chorus.

Lopez will perform under the baton of Josep Pons at the Barbican Center of the British capital. Spanish singer subsequently re-gresará the Euskalduna Palace in Bilbao to offer a recital of chamber works by Mah ler, Finzi, Barber and Durey by the String Quartet of BOS (22 from January) Great soloists in the cycle with the BOS. Already entered February, Jose Antonio Lopez will debut Ford's character Falstaff of Giuseppe Verdi opera at the Teatro de la Maestranza in Seville, a role that perfectly fits your vocalism and joins, in his Verdian repertoire, titles such as La Traviata, Aida and Otello. Functions will be four days 16, 19, 22 Y 24 February in Marco Gandini production with musical direction of Pedro Halffter.

More information

Celso Albelo

After succeeding with his Duke of Mantua in Verdi's Rigoletto its debut at the Opera de Oviedo, the tenor Celso Albelo will head to Barcelona to return to the stage of the High school, this time playing the role of Nicias de Thaïs from Massenet. With this romantic character from the French repertoire, Albelo will show a different facet to the high school public that knew him only for his bel canto characters, having sung on the stage of La Rambla La Sonnambula and I Capuleti e i Montecchi, both of Bellini. In March he returns to the Liceu to share the stage with Placido Domingo; both singers have worked together before, occasion in which the legendary Madrid artist defined the Canarian interpreter as “the number one Spanish tenors”. Two performances await both of them - in concert version, days 1 Y 4 of March- of this little represented masterpiece of the French repertoire that he will direct Patrick Fournillier in a cast that the sopranos complete Nino Machaidze Y Sara Blanch.

Later, Albelo will be Arturo from I Puritani on a tour of three Italian theaters: the Commune of Modena (16, 19 / III), and the Municipal of Piacenza (24, 26 / III) and the Municipale de Valli (Reggio Emilia, 30 / III and 2 / IV).

Later, and among other actions, Maria Stuarda awaits you at the Carlo Felice Theater in Genoa and Rigoletto at the Chorégies d'Orange Festival (France).

More information;

High school


Fernando Latorre is a singer with a long artistic career, but it is now when it will produce its premiere in the Gran Teatro del Liceo de Barcelona. Latorre feels “very lucky to sing for the first time in this theater, one of the most important in the world and that has witnessed for almost two centuries the most important voices in the world of opera ".

This production of Bohemian in which the singer has already been rehearsing for several days and is "very comfortable", "Bears the signature of the English National Opera and the Concinnati Opera. It will be directed musically by Marc Piollet and in the scenic by Jonathan Miller”. Fernando Latorre will sing the two roles of Bajo Buffo, Benoit and Alcindoro to whom “I have a lot of affection, and for me it is a challenge to tackle them as they require two very different personalities, different ages and a wide palette of vocal colors to make them credible ", says the singer.

La Bohème in which Latorre will celebrate its premiere at the Gran Teatro del Liceo in Barcelona, will have a total of 14 functions between 18 June and 8 next july, and tell, in addition to the Basque singer, with the voices of Tatiana Monogarova Y Eleonora Buratto as Mimi, Nathalie Manfrino Y Olga Kulchynska as Musetta, Matthew Polenzani Y Saimir Pirgu in the role of Rodolfo, Artur Ruciński Y Gabriel Bermúdez like Marcello, David Menendez e Isaac Galan interpreting Schaunard the Paul Gay Y Anatoli Sivko como Hills. The production, set in the first half of the 20th century, will be broadcast live on 8 July in many Catalan municipalities through the initiative "Liceu a la fresco" of the Barcelona theater.

After the La Bohème shows, Fernando Latorre will attend the El Escorial Festival, in which he will participate in the opera of Verdi, Don Carlo, playing the role of Frate. The production, of the playwright Albert Boadella, will have two functions, the days 28 Y 30 July in the town of the Sierra Madrileña.


Current opera

Magazine CURRENT OPERA, in Spanish only publication dedicated exclusively to opera in the world, He has celebrated its first 25 years of life and delivered its Awards 2016 with a party that has brought together the most important representatives of the sector. International stars like Jaime Aragall, Teresa Berganza, Montserrat Caballé, Josep Carreras, Placido Domingo, Juan Pons, Ainhoa ​​Arteta, José Bros, Isabel Rey, Maria Jose Montiel, Stefano Palatchi, Celso Albelo, Maybe Borja O Davinia Rodríguez they did not want to miss the opportunity to celebrate the first quarter century of OPERA ACTUAL in a ceremony that took place today at the Circle Liceo in Barcelona.

Along with the commemoration of the 25 years of the magazine also celebrated the delivery of OPERA ACTUAL Awards 2016, which they have been given to the Director Jesus Lopez Cobos for his international career, the competition Operalia, founded and chaired by Placido Domingo- for his contribution to the lyrical soprano Sara Blanch as most promising young Spanish interpreter. further, and to mark the birthday of the publication, This year has also been awarded the Circle of the Lyceum with the Special Prize 25th anniversary for its continued collaboration with OPERA ACTUAL, which it has sponsored since its foundation.

The party has brought together representatives of the main lyrical programmers country, from the Palau de les Arts in Valencia, Opera de Oviedo or Liceu Barcelona Castell de Peralada Festival, and representatives of various institutions of the Spanish operatic world.

The OPERA ACTUAL Awards were established in 2002, year of the tenth anniversary of OPERA ACTUAL, with the intention to support and highlight paths and entities, with effort and tenacity, They have been devoted to the promotion and dissemination of the opera in Spanish society. Therefore to established artists are rewarded internationally recognized, a
institutions that promote the lyrical genre through their institutional management and Spanish young singers.


Francisco Viñas

Since 1963 the International Singing Contest Francisco Viñas in Barcelona. Thus, homage is paid to the Spanish tenor who played a fundamental role in the dissemination of the work of Wagner in Spain.

During all these years they have been thousands of participants and many venues that have hosted the final. Some of the award-winning voices in their different editions have been as prominent as Ewa Podles, Olga Borodina, SOMI which, Aquiles Machado, Vicente Sardinero, María José Moreno, Violeta Urmana, Javier Camarena, among many others.

Last 24 January the awards of his 53 edition in the Gran Teatre del Liceu and the Teatro Real, co-organizer of the contest, have been presented this past 21 February the winners of this edition.

American mezzo J´nai Bridges, first prize of the Contest, has a great stage presence. Although somewhat static, has a voice with personality and is very elegant on stage.

The also Russian mezzo-soprano Yulia Menniebaeva, has a dark voice color, typical of the mezzo-sopranos of those latitudes. Dense and powerful voice, although with some nasal sounds, He showed off in the Marfa area by Jovánschina, from Modest Músorgski, showing great dominance. He won the Russian Music award for something, apart from the second Prize of the Contest.

Selene Zanetti, Italian soprano who also won the second Prize and the Verdi Prize. His interpretation was the most delicate and full of sensitivity. Loud voice and interesting dark tones, interpreted a sense “As in this dark hour” by Simon Bocanegra, from Verdi, with a temper more typical of an already extensive career.

The most applauded was the Spanish soprano Sara Blanch, fourth prize, Zarzuela Award and Best Spanish Singer Award. Not in vain was I at home. Great security on stage, accompanied by brightness and expressiveness. Very good treble, and a fresh and relaxed sound to interpret “The song of the nightingale” by Doña Francisquita, from Amadeo Vives, “They call me the gorgeous”, from The Barber of Seviila by Giménez and Nieto and an intense “That look at the knight… I also know the magic virtue”, by Don Pascual de Donizetti.

An excellent recital that guarantees a bright future.

The Spanish Sara Blanch


Maria Katzarava will debut in the Gran Teatre del Liceu from Barcelona on 27 January singing Desdemona, the female lead of the opera Otello, from Giuseppe Verdi. Mexican young Georgian soprano reaches the Catalan coliseum after his recent acclaimed debut Spanish Il Duca d'Alba in the Campoamor Theater of Oviedo where he caused a sensation with his talent and temperament scenic, It is hailed by critics as "a revelation". His high school debut - replacing Carmen Giannattasio- will keep it linked to the Verdi repertoire, as it will join Otello's rehearsals days after La Traviata debuted in Italy at the closing of the season at the Teatro Verdi in Padua. “I am very excited about this Desdemona at the Liceu, since it is a great ideal role to sing for the first time in this theater of so much tradition. further, Barcelona is my adopted city, since I have lived there for almost two years ", said the singer, who will also play the Shakespearean character on days 31 January 4 Y 5 February.

Katzarava won in 2008 the First Prize of the Operalia contest, founded and chaired by Placido Domingo and has been imposing his art on large stages such as the Royal Opera House in Covent Garden in London, La Scala in Milan or the Grand Théâtre in Geneva. Among other commitments, Maria Katzarava will be Micaëla (Carmen, Bizet) at the Teatro Communale in Bologna, will travel to Moscow with the company of the Maggio Musicale of Florence under the direction of Zubin Mehta and will play Margherite (Faust, Gounod) in the Grand Theater of Lausana (Switzerland).



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.

Lidia Vineyards-Curtis

Since this young Barcelona interpreter Lidia Vineyards-Curtis He was awarded in Stuttgart in Bachakademie 2013 his career is on the rise and has not stopped reaping success worldwide. Now go back to Madrid to play the Mozart Requiem with the ONE day 22, 23 Y 24 May before continuing its international tour.

Trained as a violinist in the Conservatory of the Liceu and having collaborated with bands like A Spanish Ayre, Baroque assembly Limoges, or the Catalan Baroque Orchestra, He later studied singing specializing in Early Music at the Conservatoire National de Toulouse and the Schola Cantorum Basiliensi. He has collaborated with directors of the stature of Jordi Savall, Jean-Claude Malgoire, Helmuth Rilling O Sigiswald Kuijken, interpreting both large cantatas and oratorios as the St. Matthew Passion and St. John Passion, from Bach, or Messiah, from Händel. Just recorded an album Human tones the Spanish Golden Age for Naxos.

After passing through Madrid with popular Mozartian work, return to Bach's genius to interpret some of his cantatas in Stuttgart with the Bach Ensemble directed by Vokal Kay Johannsen (26 of June), Santiago de Compostela with opera Rinaldo, Handel, Via Stellae Festival (8 of July), to undertake during the summer tour with the Mass in B minor of Bach that will Saarbrücken (22 of July), Hong-Kong (8 of August), Muehlhausen (15 of August), Arnstadt (16 of August), Weimar (18 Y 19 of August), Eisenach (29 of August) y Leipzig (21 of August) directed by Helmuth Rilling all. In September the new course will begin with a tour and recording a CD of Bach cantatas with La Petite Bande under the direction of Sigiswald Kuiken, before its debut at the Gran Teatre of the Liceu of Barcelona with paper in Ascanio in Benvenuto Cellini, Berlioz, directed by Josep Pons.


Between days 20 April 9 May the Teatro Real will offer sixteen functions of La traviata, from Giuseppe Verdi (1813-1901), co-production of the Teatro Real with the Gran Teatre del Liceu from Barcelona, the Scottish Opera de Glasgow and the Welsh National Opera from Cardiff, theaters where this assembly has already been submitted.

The popular Verdi opera will return to Real, on this occasion with staging by the renowned Scottish director David MacVicar, scenography and figurines of Tanya McCallin Y, which will lead the Headlines Choir and Orchestra of the Teatro Real and of the three distributions that will alternate in the interpretation of the opera.

The title role of La Traviata will be assumed by the sopranos Jaho Ermonela, Irina Lungu Y Venera Gimadieva. Patrizia Ciofi, initially planned, has canceled his participation in the opera due to a readjustment in his artistic repertoire. The leading trio is completed by the tenors Francesco Demuro, Antonio Gandia Y Teodor Ilincăi, in the role of Alfredo Germont, and baritones Juan Jesus Rodriguez, angel Ódena, Leo Nucci, in the role of Giorgio Germont.

La Traviata will be the star of the Royal Theater Opera Week activities, with the live broadcast of the 8 May in different areas of Madrid (museums, cultural centers, auditoriums, plazas, etc.) and from other Spanish cities. The performance will also be able to be followed around the world for free through Placo Digital coinciding with the European Opera Days and the International Opera Europe Conference that will bring representatives from close to 150 theaters and lyric festivals from over 40 countries.


Ayer lunes finalizaban en el Gran Teatre del Liceu las representaciones de Siegfried, la ópera de Wagner que interpretaban dos de los fallecidos en el accidente sufrido hoy por el avión que cubría la ruta Barcelona-Düsseldorf. los cantantes Oleg Bryjak y Maria Radner, además del marido y el bebé de esta última. Ambos habían actuado por última vez el pasado sábado y regresaban hoy a sus localidades de residencia.

El barítono Oleg Bryjak, intérprete de Alberich, regresaba a la ciudad alemana, donde residía y formaba parte del ensemble de la Ópera de Düsseldorf/Duisburg. La contralto Maria Radner, Erda en la citada producción y debutante en el Liceu, regresaba a su hogar acompañada de su marido y bebé.

En señal de duelo, el Liceu ha colocado a media asta las banderas de la fachada de La Rambla. Likewise, la Dirección del Teatre ha convocado para mañana a las 12 horas frente a la puerta principal a su personal para realizar dos minutos de silencio.

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.


the mezzosoprano Annalisa Stroppa continues its unstoppable international career taking on new projects. Recognized for its stylistic adequacy romantic bel canto, for his prodigious timbre and phrasing, Italian interpreter has earned a place of exception in the main European stages. After starting the course inaugurating the season in the Gran Teatre del Liceu Barcelona with his acclaimed Rosina (The Barber of Seville, Rossini) and resuming the character in Tel Aviv between November and December, the young singer will return to Barcelona in February
interpret Adalgisa in Norma, Bellini, paper immediately after, already entered March, also she sings at the Calderon Theater of Valladolid. “I love Spain”, says the singer: “His art, your kitchen, music, the language and its people, gentle and always available. I also love the music of Bellini; his is the song of the soul. The Bellini melody
find out the most intimate and deep feelings of human beings, for this I am very happy to present my Adalgisa the Catalan public and Valladolid; It is a difficult role, but really wonderful. Adalgisa is a girl trapped in the nets of his first love, but it grows and matures during the opera. It is a dreamy girl, who suddenly finds face with the harsh reality and deception of Pollione. It's great to give voice to a character so pure; every time I play Adalgisa attempt to convey all the nuances”.

Stroppa in March and April will participate in a new production of Cavalleria rusticana sensual role playing Lola in the Salzburg Easter Festival sharing the stage with Jonas Kaufmann before getting back into the skin of Rosina, this time at the Teatro Filarmonico of Verona. At the Teatro Regio in Turin, in May, será la protagonista de Hansel and Gretel, month in which it will debut at the Opera de Tenerife Smeton playing in Anna Bolena with Celso Albelo Y Mariella Devia. In July waiting one of the milestones in his career: debut at the Teatro alla Scala in Milan, always with a masterpiece of bel canto as Rossini's Otello giving life to the character of Emilia next to the tenors Gregory customer Y Juan Diego Florez.

Maria Stuarda

He Gran Teatre del Liceu He programmed 11 functions between 19 December and 10 of January of 2014 from Maria Stuarda from Donizetti.

the mezzosoprano Joyce DiDonato, after getting this title great success at Covent Garden in London and the Metropolitan in New York, Liceu reaches the stage to sing the title role of Maria Stuarda ; Javier Camarena, the Mexican tenor of the moment is winning , will play the role of Count Roberto Leicester; Silvia Tro Santafe, Valencia's renowned mezzosoprano debuting in the role of Elisabetta and low Michele Pertusi, in the role of Giorgio Talbot interpreters will first deal Maria Stuarda. The singers Majella Cullagh, Marianna Pizzolato, Antonio Gandía y Mirco Palazzi, They will alternate with previous leading roles in opera.

The ópera Maria Stuarda de Gaetano Donizetti, one of the three operas of composer, aRoberto along Devereux and Anne Boleyn are part of the famous "trilogy Tudor", bit is shown at the Liceu (17 times) but some of the representations have left an important mark, and above all , by Montserrat Caballe (1969). The last time he sang, in November 2003, concert version, It starred Edita Gruberová, Sonia Ganassi and Juan Diego Florez.

The staging is a new co-production with the Liceu theater prestigious as the Royal Opera House Covent Garden (London) , Teatro National Opera (Warsaw) (Polish National Opera) y el Theatre Champs Elysees (Paris) with a changing room where female characters look spectacular costumed. The stage direction is by Moshe Leiser and Patrice Caurier also responsible for the Madama Butterfly , which it was performed at the Lyceum March and July 2013.

The conductor Maurizio Benini, regular guest at the Metropolitan Opera House of New York, the bel canto repertoire expert, He is responsible for the musical opera, played by Orchestra and Chorus of the Liceu (led by its chief conductor, teacher Peter Burian).


Austrian director Ralf Weikert will replace the teacher Antoni Ros-Marbà in the musical direction of Arabella, Opera Strauss to be released in Gran Teatre del Liceu the next 17 of November.

During the month of September, the teacher Ros-Marbà suffered a series of episodes of tachyarrhythmia that have been reproduced over the past week and that have led to being low at the last minute, having to undergo a rest treatment by medical prescription, according to the medical statement provided to the Theater.
In front of this situation, the artistic direction and the musical Directorate of the Liceu have opted for Ralf Weikert's mastership and seniority, an option that fully satisfies the Theater given the great quality of the master in such a difficult play and in the face of a sudden change. Weikert joins the Orchestra rehearsals today Monday.

In his long professional career, Weikert has been musical director of the Bonn Opera, artistic director and owner of the Frankfurt Opera, artistic director of the Zurich opera, titular conductor of the Mozarteum Orchestra and the Landestheater from Salzburg.

He is a regular guest at the festivals of Salzburg, Aix en Provence, Bregenz Y Arena of Verona, among others. He has performed in the most important theaters and auditoriums in the world, as the Staatsoper from Vienna, Bavarian State Opera, German Opera de Berlín, MMetropolitan Metropolitan of New York Y San Francisco.