This book has been made with the artist Gerhard Richter.
PURSUING A DREAM
Middle English: of Germanic origin, related to Dutch droom and German Traum, and probably also to Old English drēam ‘joy, music’.
Vain imagining of things that are impossible or considered impossible. Hope, project, which seems to have no likelihood of being realised.
Dreams are an essential part of people's lives, because they often
ambitions that we will later try to achieve during our maturity. Not all of us will achieve what we dream of, but even the romantic idea day lives. There is only one thing that makes a dream impossible to
This season the works we offer you feature the illusory emotional landscapes in which the dreams of a cast of characters, both human and our own, resonate. We are the central figures in the secret they and enthusiastically journey through the intimate emotions of much-
Board of trustees of the Fundació del Gran Teatre del Liceu
Honorary president
Pere Aragonès Garcia
President of the Board
Salvador Alemany Mas
First vice-president
Natàlia Garriga Ibáñez
Second vice-president
Jordi Martí Grau
Third vice-president
Maria Eugènia Gay Rosell
Fourth vice-president
Lluïsa Moret Sabidó
Representatives of the Government of Catalonia
Jordi Foz Dalmau, Irene Rigau Oliver, Josep Ferran
Vives Gràcia, Àngels Barbarà Fondevila
Representatives of the Spanish Ministry of Culture and Sport
Maria Pérez Sánchez-Laulhé, Paz Santa Cecilia Aristu, Àngels Ingla Mas, fourth representative pending designation
Representatives of Barcelona City Council
Xavier Marcé Carol, Sara Jaurrieta Guarner
Representative of Barcelona Provincial Council
Aïda Llauradó Álvarez
Representatives of the Society of the Gran Teatre del Liceu
Manuel Busquet Arrufat, Ignasi Borrell Roca, Josep
Maria Coronas Guinart, Javier Coll Olalla, Àgueda
Viñamata y de Urruela
Representatives of the Sponsorship Council
Helena Guardans Cambó, Elisa Durán Montolio, Eduardo Navarro de Carvalho, Rosario Cabané Bienert
Honorary trustees
Josep Vilarasau Salat
Secretary of the Board (not a trustee)
Joaquim Badia Armengol
General Manager
Valentí Oviedo Cornejo
Executive Comission of the Fundación del Gran Teatre del Liceu
President
Salvador Alemany Mas
Representatives of the Government of Catalonia
Natàlia Garriga Ibáñez, Jordi Foz Dalmau
Representatives of the Spanish Ministry of Culture and Sport
Paz Santa Cecilia Aristu, Ana Belén Faus Guijarro
Representatives of Barcelona City Council
Xavier Marcé Carol, Sara Jaurrieta Guarner
Representative of Barcelona Provincial Council
Aïda Llauradó Álvarez
Representatives of the Society of theGran Teatre del Liceu
Manuel Busquet Arrufat, Javier Coll Olalla
Representatives of the Sponsorship Council
Helena Guardans Cambó, Elisa Durán Montolio
Secretary
Joaquim Badia Armengol
General Manager
Valentí Oviedo Cornejo
Artistic season
Corporate Partners
Thank you to everyone who makes it possible, your commitment is essential to the Liceu.
Thank you!
LICEUNDER35
LICEUAPROPA
Communications media
Thank you!
Benefactors
BOARD OF BENEFACTORS
President
Cucha Cabané
Vice-president
Elena Barraquer
Carlos Abril
Ramon Agenjo
Alfons Agulló
Eulàlia Alari
Muntsa Alcañiz
Salvador Alemany
Laura Álvarez
Mercedes Álvarez
Alicia Arboix
Pere Armadàs
Esperanza Aubert
Luis Bach
Josep Balcells
Marc Balcells
Mercedes Barceló
Simon P. Barceló
Rafael Barraquer
David Barroso
Núria Basi
Mercedes Basso
Carmen Bastardas
Margarita Batllori
David Bermejo
Manuel Bertran
Ignacio Borrell
Agustí Bou
Josep M. Bové
Marta Bueno
Carmen Buqueras
Jordi Calonge
Joan Camprubi
Ramona Canals
Rosa Carcas
Montserrat Cardelús
Alejandro Caro
Aurora Catà
María Cruz Caturla
Ramon Centelles
Guzmán Clavel
Sergio Corbera
Javier Cornejo
Luis Crispi
Maite Cuffí
Rosa Cullell
Cuca Cumellas
Lluís de la Rosa
Ignacia de Pano
M. Dolors i Francesc
Meya Durall
Mercedes Duran
Francisco Egea
M. Isabel Elduque
Fernando Encinar
M. José Enguix
Aranzazu Escudero
Joan Esquirol
Antonio Establés
Patricia Estany
Marisa Falcó
Bettina Farreras
Ignacio Feijoo
Cristina Ferrando
Magda Ferrer-Dalmau
Inés Fisas
Ricardo Fisas
Santiago Fisas
Albert Foraster
Mercedes Fuster
José Gabeiras
Gabriela Galcerán
Gema Galdón
Jorge Gallardo
Beatriz García-Sarabia
Manuel Gari
Pau Gasol
Francisco Gaudier
Anna Gener
Lluís M. Ginjaume
Ezequiel Giró
M. Inmaculada Gómez
Andrea Gömöry
Albert Gost
Casimiro Gracia
Jaume Graell
Quica Graells
Ainhoa Grandes
Francisco A. Granero
Pere Grau
Calamanda Grifoll
Poppy Grijalbo
Helena Guardans
Pau Guardans
Maria Guasch
Bernardo Hernández
Joaquim Herrera
Pepita Izquierdo
Gabriel Jené
Josep Juanpere
Iolanda Latorre
Sofia Lluch
Ma. Teresa Machado
Waltraud Maczassek
Rocio Maestre
Carmen Marsá
Cristina Marsal
Mercedes Marsol
Josep Milian
Verónica Mimoun
Inma Miquel
José M. Mohedano
Joan Molins
Victòria Moncunill
Chelo Mora
Juan Pedro Moreno
Sílvia Muñoz
Josep Oliu
Magda Onandia
Victoria Onyós
Eduardo Ortega
Anna París
Montserrat Pinyol
Ivan Pons
M. Carmen Pous
Jordi Puig
Marian Puig
Ton Puig
Gloria Pujol
Juan Eusebio Pujol
Victòria Quintana
Neus Raig
Carmen Redrado
Juan Bautista Renart
Ferran Ribó
Blanca Ripoll
Joan Roca
Miquel Roca
Pedro Roca-Cusachs
Alfonso Rodés
Salvador Rovirosa
Jacqueline Ruiz
Josep Sabé
Francisco Salamero
Josef-David Sánchez-Molina
Josep Ll. Sanfeliu
Luis Sans
Maria Soldevila
Rafael Soldevila
Josep Tabernero
Manuel Terrazo
Bernat -N. Tiffon
August Torà
Ernestina Torelló
Ana Torredemer
Josep Turró
Joan Uriach
Joaquim Uriach
Marta Uriach
Manuel Valderrama
Carmen Vendrell
Gloria Ventós
Josep Viader
Eduardo Vilá
Pilar de Vilallonga
Josep Vilarasau
Maria Vilardell †
Luis Villena
Joaquim Viñas
Salvador Viñas
Joaquín Viola
Francisco Wendt
Lydia de Zuloaga
INTERNATIONAL BENEFACTORS
Pierre Caland
Johanna Derksen
Maria Rosela Donahower
Carmen Egido
Philina Hsu Chang
Nathaniel Klipper
Omer Ali Kocabeyoglu
Mónica Lafuente
Barry Lynam
Cecilia Nordstrom
Mario Paladini
Brian Pallas
Martina Priebe
Paul Schulz
Elina Selin
Karen Swenson
Verònica Toub
Michael WinstrØm
DANCE CIRCLE
BENEFACTORS
Albert Garriga
Pitu Lavin
Ma. José Matosas
M. Rosa Ollé
Adelaida Planella
Tati Quera
YOUNG BENEFACTORS
Alex Agulló
Max Amat
Lidia Arcos
Ignacio Baselga
Marc Busquets
Diana Casajús
Marta Cuatrecasas
Benito Escat
Luigi Esposito
Patricia Ferrer
Pau Font
Enric Girona
Cristina Gómez
Albert Hernández
Rodrigo López de Armentia
Santiago Lucas
Alexandra Maratchi
Dídac Marsà
Marc Mayral
Blanca Miró
Juan Molina-Martell
Elisabeth Montamat
Felipe Morenés
Juan Moreno
Marta Parent
Miquel Pedrerol
Elisenda Perelló
Santiago Pons-Quintana
Andrea Puig
Julia Puig
Inés Pujol
Pepe Pujol
Toni Pujol
Sara Ramírez
Ana Recasens
Patricia Ripollés
Antonio Roca
Esperanza Schröder
Claudia Segura
Rafael Sicilia
Manuel Torralba
Carlos Torres
Javier Uriach
Patronage Department
93 485 86 31 / mecenes@liceubarcelona.cat
SEASON
2024—2025
OPERA
LADY MACBETH OF MTSENSK 28
LA FORZA DEL DESTINO 42
LA CUINA DE ROSSINI 48 ( Family opera )
MADAMA BUTTERFLY 54
DIE FLEDERMAUS (THE FLITTERMOUSE) 58 ( Concert version)
LA TRAVIATA 66
LA TORRE DELS SOMNIS 72 ( Family opera )
IDOMENEO 74 ( Concert version)
TODAY’S MICRO-OPERAS 78
REQUIEM 84 ( Staged production )
LA MEROPE 90 ( Concert version)
LOHENGRIN 98
LA SONNAMBULA 108
EL MONSTRE AL LABERINT 112 ( Participatory opera )
GIULIO CESARE 122
RUSALKA 128
BENJAMIN IN PORTBOU 140
ÓH!PERA 144
WEST SIDE STORY 146 ( Concert version)
DANCE
AFANADOR 32
LA NIT DE SANT JOAN 94 ( Family dance )
SÉMIRAMIS, DON JUAN 102
HAMMER 134
CONCERTS AND RECITALS
OH TO BELIEVE IN ANOTHER WORLD 36
SONDRA RADVANOVSKY AND PIOTR BECZAŁA CONCERT 40
ELĪNA GARANČA RECITAL 50
AMAZÔNIA 52
EL CONTE DE NADAL DE CHARLES DICKENS 62
MAHLER’S UNIVERS IV 64
TENOR VIÑAS INTERNATIONAL CONTEST 70
ERMONELA JAHO RECITAL 80
DICHTERLIEBE 96
PRETTY YENDE AND NADINE SIERRA CONCERT 106
A NIGHT IN PARIS WITH DEBUSSY AND RAVEL 114
LONDON SYMPHONY ORCHESTRA.
GUSTAVO DUDAMEL 116
MONTEVERDI'S MADRIGALS VI 118
LYRICAL GALA AT THE GRAN TEATRE DEL LICEU 126
LISE DAVIDSEN AND MATTHIAS GOERNE CONCERT 138
CHAMBER
MUSIC
CONSTELLATIONS
SERIES I 150
CONSTELLATIONS
SERIES II 151
LICEUAPRÈN
LA PETITA FLAUTA MÀGICA 153
LA CUINA DE ROSSINI 153
TRENCANOUS-JAZZ 154
EL CONTE DE NADAL DE CHARLES DICKENS 154
LA TORRE DELS SOMNIS 155
LA NIT DE SANT JOAN 155
LA BARCAROLA 156
IT DANSA 156
MIRALLS 157
LICEUNDER35
LADY MACBETH OF MTSENSK 28 AFANADOR 32
OH TO BELIEVE IN ANOTHER WORLD 36
MADAMA BUTTERFLY 54
REQUIEM 82
LA SONNAMBULA 108
INTERGENERATIONAL
OPERA
RUSALKA 132
EXHIBITIONS
INMA FEMENÍA 26
LIU BOLIN 38
ANTONI TÀPIES 46
CLAUDIA PAGÈS 88
SERGIO ROGER 120
"Chasing a dream" is the thread that runs through this season. Over the last few years we have pursued many dreams, some have already come true, and others are still a goal that we keep working on and improving day by day. Thanks to the tenacity and resilience of the Liceu, we have achieved ideas that were thought impossible or unlikely, we have fought to make projects tangible not just figments of our imaginations and, above all, we have worked to create an institution that is vibrant, dynamic and a benchmark. The perseverance and fight in the soul of this theatre has always allowed it to forge new paths over the years. This is the case of Liceu Aprèn, the Theatre's educational project which, with the arrival of Valentí Oviedo, the General Director, gained new impetus. Today, we are proud to say that LiceuAprèn is a dream come true, a brand that encompasses all the educational and pedagogical activities for the youngest children, but also for older ones. LiceuAprèn: Liceu for everyone. In addition, this new season will celebrate the 25th anniversary of El Petit Liceu, founded in 1999 with its first show: La Petita Flauta Màgica. A pioneering proposal that brought to the table a project that was only "small" in terms of its audience. In reality, neither the productions, nor the educational activities, nor any of the proposals that have been
put forward over the years have made the educational project "small". On the contrary, over the years, the Liceu has become a reference point when it comes to making culture, music, the performing arts and the building itself more accessible to children and families, making the theatre bigger and more diverse every day.
If we focus on the 24/25 season, we have many dreams to fulfil, many challenges to meet, including the cancellation of the historical debt that we have been paying back since 2012, the renovation of the screens in the auditorium, and the start of the work to improve the acoustics in the auditorium, among other things. On an artistic level, our dreams are multiplying thanks to the proposal of Víctor Garcia de Gomar, the Artistic Director. In September 2024, the season will kick off with the new production of Lady Macbeth of Mtsenck at the hand of our resident artist, Àlex Ollé, and under the musical direction of Josep Pons, who will conduct the Liceu's Orchestra and Chorus, followed by Dvořák's Rusalka and Wagner's Lohengrin, the latter being the production by Katherina Wagner that had to be cancelled due to the pandemic. One of the major milestones will also be the world premiere of Ros-Marbà's composition Benjamin in Portbou, which will be
performed in a semi-staged version, as well as the return of great musical directors including Gustavo Dudamel and William Christie, among others.
Our long-held dream is, as you all know, our long-awaited second venue, the LiceuMar. This is a much-desired and eagerly awaited dream that is moving forward and which will soon launch a call for ideas for this new cultural building in Barcelona. We must continue striving for this project, which is so necessary for culture in the city and the country as a whole.
Many thanks to all of you: subscribers, audiences, public administrations, patrons, benefactors, workers and collaborators, because it is you who make it possible for the Liceu to be at the forefront, to be a benchmark and to continue to move forward, taking on difficult challenges, because it is through the strength of everyone together that we know we are capable of making our idea a reality. I would like you to see this season, specifically, as a dream come true, an important season where we will reach many milestones, both institutional and artistic, some more difficult than others to achieve, but all equally necessary to the continued progress in the history of our Theatre.
Salvador Alemany President of the Gran Teatre del Liceu
They say that a good life is the continuous pursuit of a good life. This is probably one of the reasons why the human condition craves purpose. The degree of satisfaction derived from that purpose depends on 3 factors: how demanding the goal is; its degree of achievement; and how demanding or satisfying it is for the person. Achieving the goal set implies as a consequence, the generation of dopamine, which generates a state of mind that, added to a good dose of security and confidence, is capable of pushing towards new milestones —more demanding and challenging than the previous ones. This is what is called a virtuous circle.
This virtuous circle is accelerated when the purpose is shared. Working collectively towards a common milestone and achieving it generates an unbeatable state of enjoyment, happiness and growth. Of course, I have omitted to stress that the purpose that drives the path towards a good life ideally ought to be a good purpose. This is easily identifiable: it is that which, just by the fact of striving and working towards it, leads you to a good life.
This year, 2024, it is 30 years since the Gran Teatre del Liceu suffered a fire that shocked us all. In the midst of the tragedy, the Força del Liceu emerged: a coalition of artists, collaborators, patrons, subscribers, society and the public
authorities that made the rebirth of our theatre possible. Thanks to that determination and love of culture, this coming 7 October, the Gran Teatre del Liceu is celebrating the 25th anniversary of its official reopening. The joint effort of so many people who worked together to achieve this goal invites everyone—who in one way or another feels that they are the beneficiaries of that experience— to maintain their commitment to the institution.
From my point of view, the commitment has four basic elements. The first is that today it is essential that, while the world continues to run at great speed, we cultivate spaces to give time to art, and let art create. And that this creation —located within the sacred space of the stage— inspires and transforms all those people who, for a brief instant, have stopped along the way to share their time at the Gran Teatre del Liceu. The second is that, in order to inspire and transform, it is necessary to connect, and connecting with the spectator is accomplished through talent and craft, and this is achieved with hard work and the best people. The third commitment is to keep working tirelessly to make opera an accessible art form; the possibility of being inspired and transformed by art and growing from this transformation must be available to everyone, not just a select few. And the fourth element is to
become aware of the culture of giving. In other words, to be generous based on the conviction that art —not without much effort and time— has a transformative power, and this transformation makes us better collectively.
No one said that a good purpose is easy. What is certain is that if it is shared it is better. 25 years after its reopening, the raison d'être of this Teatre is just as stimulating, if not more so, than on its very first day. We are the beneficiaries of the Força del Liceu that 30 years ago turned the nightmare into a dream, and the dream into a reality; this means that we like challenges and we move forward with the conviction to work and achieve the goals we set ourselves. It must be true that a good life is the continued pursuit of a good life.
Happy 2024/2025 season
Valentí Oviedo
General Director at the Gran Teatre del Liceu
"Of course you can ignore dreams, but that would be a shame, because they are useful."
Gerhard Richter
Over more than four centuries, opera, as a porous and continuously evolving genre, has not ceased to integrate the most advanced technological contributions and the most pertinent challenges and concerns of each society.
Opera also teaches us that all promises can be broken and that any "never" or "always" could become a "perhaps". It is in this constant state of fragility and fear in which man lives, that opera provides us with the inspiration for some necessary models or references.
The season we are bringing you is structured around the idea of pursuing a dream, and how striving to achieve it can lend meaning to our lives, bringing us closer to a scenario of happiness. Parents often teach us to keep our feet on the ground, but also to dream. This is not a contradiction, but it is essential to combine the two elements: satisfaction in the struggle to accomplish the desired challenge. DREAMING is therefore synonymous with healthy ambition and an emotional stimulus that, if well managed, can be an ally (although there is no guarantee that the goal will be achieved). The mere fact of focusing on it makes us attach value to it.
And so, each night an extensive cast of characters strips down to their most intimate selves, to share their aspirations: Katarina and Sergei (Lady Macbeth of Mtsensk) and Violetta and Alfredo (La Traviata) fantasise about running away to celebrate their love far from the social prison; among the cherry blossoms, Cio-Cio-San longs to see the arrival of her Pinkerton on the USS Abraham Lincoln; Walter Benjamin in 1940, fleeing from Nazism and trapped in Portbou, commits suicide in an act of protest with a clear ideal of European freedom; and Rusalka yearns to abandon her difference in order to be united with the prince. A dose of utopia to persist in the fulfilment of this desire, understood as a life project.
A collection of titles where emotional dreamscapes echo these longed-for DREAMS that slumber in all of us. The innocence and effervescence of the Liceu community searching for imagination springs from the threshold between reality and DREAM; the Coliseum on the Rambla, as a consequence, is a universe of sublime beauty and infinite possibilities. From Katerina Ismailova on her adventure to become free, to Elsa and Lohengrin, who embodies the feeling of limitless purity, this season allows us to explore the extent of these DREAMS and to recognise them in all of us.
DREAMS can often be hope born out of fear, and obviously one cannot be happy fleeing fear. We cannot trust those who blindly embrace their own certainties and cling to their aspirations with no regard for doubts and paradoxes. Ambiguity and contradiction are at the heart of life and therefore also at the heart of the season itself. As we head towards the first quarter of the 21st century, it is necessary to review the DREAMS we pursue as a society, to discover if we are really on the best path towards common well-being, without leaving anyone by the wayside.
Replete with the visions shared with Salvador Alemany, Valentí Oviedo, Josep Pons and Àlex Ollé, together with the outstanding group of artists, we begin a season in which we need to cultivate new fantasies and use all our imaginative resources to cultivate a new realm of Beauty at the Liceu. There is only one route through this labyrinth with no way out: to follow the faint light of our DREAM, which will give us back the ability to feel, to see and to know, the foundation of our Art. In keeping with the values and tradition of our institution, you are invited to the 24/25 season to continue creating a new world, pursuing your DREAM.
Víctor Garcia de Gomar
Artistic Director at the Gran Teatre del Liceu
Dear audiences, dear friends,
This season I begin what will be my last at the Theatre. In my last renewal three years ago, I explicitly asked that there would be no extension possible, so that the journey I began in 2012 will inexorably come to an end in the summer of 2026.
I know that you will think that my maths is wrong, that I still have another season to go, but I know from long experience that the final season is always a time of departure, especially after periods as long as mine has been. It will then also be time to take stock.
In any case, the season we are now starting is my last so that I will be able to conclude my 2012 resolutions. In fact, the reason I agreed to the latest renewal was because I considered that there were still important areas for improvement that required special attention and dedication.
Firstly, there was the process of centralising and consolidating the musical groups, through actions including the culmination of our long journey to fill orchestra positions —with a total of forty new members— and the steady process of renewing the Choir; and, secondly, those aspects which are not strictly musical, but which directly affect the "what" and above all the "how" of the sound. These concern the acoustic improve-
ment of the Theatre's auditorium and the study for the enlargement of the pit. All of these aspects have been agreed upon and driven forward by the Presidency and the General Management of the institute.
It is also the time to choose the person who will take over from me as Musical Director of this marvellous Theatre. This person must take up the baton of the task and the transformation that has been taking place over these years, and they must set the course for the future.
In our case, the term "direction" has two clearly defined aspects: on the one hand is the literal musical direction, using a baton, while on the other is the direction we must take within the scope of the music we perform.
Although the power to propose the person who should take over as Musical Director lies essentially with the Artistic and General Direction, for many reasons we also wanted the Orchestra to participate in this process, which is so decisive for the future life of the Theatre.
Although there will be time to take stock of this stage in detail, I would like to point out that in addition to the tremendous work carried out in the musical sphere over the years, we have taken special care of an aspect that I consider
essential, the health of the Orchestra. Together with a musically excellent ensemble, we are also currently enjoying an orchestra in very good human health, a fact, I assure you, that is not at all common. This is also an aspect that we must continue to look after and work on, as if it were a beautiful, exquisite garden.
As for the Choir, the only thing I can say is that I am convinced we are in the best hands, those of Pablo Assante, capable of promoting a renewal process for the Choir similar to that we have been undertaking with the Orchestra over the last few years. I wish him the very best of luck, the wisdom to make the right decisions and the help he needs to carry out his work.
As for the symphonic and chamber music activity planned for this season, which you will find meticulously detailed in this booklet, I would just like to say that it is a clear example of the maturity that places us at the forefront of the international theatres, which we must reflect.
I hope you thoroughly enjoy our proposals,
Josep Pons
Musical Director of the Gran Teatre del Liceu
The Chorus and Orchestra of the Gran Teatre del Liceu with Josep Pons, its resident conductor, and Pablo Assante, the Chorus director.
Àlex Ollé
(STAGE DIRECTOR)
Pursuing a dream can mean chasing a chimera, something that does not exist, placing one's hopes on phantasmagorias. But it also means, and this is the meaning that interests me, determinedly, with dedication and perseverance, pursuing a goal that is difficult to achieve, but which opens up immeasurable horizons. And that is precisely what we on the Artistic Council of the Gran Teatre del Liceu have been striving for in order to make many of the challenges (and dreams) we set ourselves in our first season a reality.
And the 24/25 season is a further step in this direction. For the first time we will present a staging, Requiem, by one
OPERA
At the Gran Teatre del Liceu LADY MACBETH OF MTSENSK, by Dmitri Shostakovich (new production). Stage direction by Àlex Ollé
From 25 September to 7 October 2024
OPERA
At the Gran Teatre del Liceu ÓH!PERA (Micro-opera project). Project direction by Àlex Ollé
From 25 to 27 July 2025
“To pursue a dream, the excitement that unites us, achieve the immeasurable.”
of the most acclaimed creators of recent years, Romeo Castellucci. And a new production of Lohengrin, led by the Liceu, directed by the composer's great-granddaughter, Katherina Wagner. And three new co-productions: Bárbara Lluch's La sonambula; Christof Loy's Rusalka; and Calixto Bieito's Giulio Cesare. We will also be joined by David Mcvicar, the Leiser-Caurier conducting duo, Jean-Claude Auvray... and I myself will have the honour of opening the season with Lady Macbeth of Mtsensk... a veritable dream.
And there are more dreams. The two new co-productions, Afanador, choreographed by Marcos Morao & La Veronal with the Ballet Nacional de España; and Christoph W. Gluck's Don Juan, choreographed by Edward Clug. And even more: Alexander Ekman with the GöteborgsOperans Danskompani performing Hammer.
And I must not forget the Òh!pera project, a true driver for integrating young creators into the world of opera, and the social and educational projects implemented by the Gran Teatre del Liceu.
This, this is what it means to pursue a dream, the thrill that unites us, what drives us forward to pursue, quite simply, the immeasurable.
Gerhard Richter
( PLASTIC ARTIST )
What is your dream?
"Of course you can ignore dreams, but that would be a shame, because they are useful."
RECITAL
At the Gran Teatre del Liceu DICHTERLIEBE, Robert Schumann and Franz Schubert with projections from Gerhard Richter 14 March, 2025
Inma Femenía
( VISUAL ARTIST )
What is your dream?
I could list a number of personal desires and dreams, but in view of the current global situation, I can only wish for peace.
EXHIBITION
Sala principal 19 September 2024
Sebastião Salgado
( PHOTOGRAPHER )
What is your dream?
My dream is that we make the decision to rebuild our ecosystems, replant our forests, protect our indigenous communities, and that we can live in harmony on a habitable planet, one where all species are integrated, and without the constant threat of global warming.
CONCERT
At the Gran Teatre del Liceu SEBASTIÃO SALGADO. AMAZÔNIA, music by Villa-Lobos and Glass, with projection of Sebastião Salgado’s photos 26 November 2024
William Kentridge
( ARTIST )
What is your dream?
You know - the dream where you were trying to escape, and running, but your feet are stuck in the mud and can hardly move forward. You try to shout, but all that comes out of your mouth is a long NOOOOOOOO ..!!!!
....but hang on. We know there is nothing more boring than listening to other people’s dreams.
CONCERT
At the Gran Teatre del Liceu
OH TO BELIEVE IN ANOTHER WORLD, with the Shostakovich Symphony No. 10 and the play by William Kentridge.
18 and 19 October 2024
Míriam Cano
( WRITER AND TRANSLATOR )
What is your dream?
An end to inequality, injustice and violence.
POEMS
The Catalan poet has made a selection of her own poems and verses for all the materials of the 2024/2025 season.
Antoni Tàpies
( ARTIST )
What is your dream?
“(...) my desire to find in art the appropriate techniques that would awaken human consciousness and really transform us.”
Antoni Tàpies, A Personal Memoir. Fragments for an Autobiography. Barcelona: Fundació
Antoni Tàpies, 2009: 230.
EXHIBITION
Saló dels miralls Composició (1991)
From 9 November to 28 December 2024
OPERA
At the Gran Teatre del Liceu TODAY’S MICRO-OPERAS (MUSIC, ART AND THOUGHT). Libretto
8 and 9 February 2025
LAISSEZ FAIRE
Sabràs, quan siguis lluny
Que tot el que ara passa
ja et perfeia
Que havia de ser així
No busquis en el viure
Res més, enllà del viure
Que la constel·lació
De places on t’atardes
Només farà sentit
Quan siguis prou amunt
Per veure’t des de dalt
I entenguis que només calia rodar
Que el món s’anava fent
Que’l nava fent un altre.
Míriam Cano
INMA FEMENÍA: A RAINBOW
AT THE LICEU
EXHIBITION 19 SEPTEMBER 2024
Inma Femenía ( VISUAL ARTIST )
Born in Pego, Alicante (1985), Inma Femenía's work is characterised by the relationship between matter and visual perception, evidencing her connection with the digital sphere. Her work is a close link between the virtual world and the real world, highlighting her interest in the imaginary that we construct through new technology.
Her most recent projects include Arc al Cel, a permanent work at CaixaForum in Valencia; Aire Magenta, a solo exhibition at Max Estrella, Madrid; and Infraleve, a solo exhibition at Bombas Gens Centro de Arte in Valencia.
In addition, throughout her career, she has participated in numerous group exhibitions, both nationally
and internationally, highlights of which include "MK2" (Düsseldorf, 2023), "MG16" (Cologne, 2022), "La Capilla del Antiguo Asilo" (Alcoy, 2021), "The Flat-Massimo Carasi" (Milan, 2019), "Shede Art Centre" (Sichuan, 2018), "IVAM" (Valencia, 2017) and "Praz-Delavallade" (Paris, 2017).
In 2017, she was nominated for The Paulo Cunha e Silvia Art Prize in Porto and in the same year she won the Senyera d'Arts Visuals prize for the best emerging artist in Valencia. Inma Femenía's work has been acquired by different institutions such as the INELCOM collection, the DKV collection, the José Luis Soler Vila Collection (Bombas Gens), the Generalitat Valenciana and the "la Caixa" Foundation. She lives and works in Valencia.
LICEU DE LES ARTS
19 September 2024
Sala Gran
Inma Femenía has gained recognition for her work, which relates matter and visual perception, highlighting the connection with the digital sphere. Her research into the relationship between art and industry has made her a very unique voice on the current scene. She works on the basis of the intrinsic properties of materials (brightness, transparency, ductility), and their relationship with light (both from its technological manifestation through screens and from the natural phenomenon of light). This leads her to manipulate materials to the point where their properties merge with the intervention of the digital.
This experimentation starts from questions such as how our perception is conditioned by the reality that surrounds us, especially given the influence of technology, which results in research that addresses the relationship between the material and the intangible, proposing perceptual experiences in the form of installations or sculptures that formulate different ways of grasping reality.
Each new project presents new challenges to be overcome in relation to the location, the surroundings, the light or the vibrations transmitted by the place itself. Femenía will artificially create the illusion of a rainbow over the main auditorium in the Gran Teatre del Liceu. A metaphor on the domestication of nature: one of humanity's ancient dreams.
LADY MACBETH OF MTSENSK
Dmitri Shostakóvich (1906 1975)
FROM 25 SEPTEMBER TO 7 OCTOBER 2024
Opera
OPERA IN FOUR ACTS
Libretto by Aleksandr Preis and Dmitri Shostakovich based on the Nikolai Leskov homonymous text.
World premiere: 22/01/1934 at the Mikhailovsky Theatre in Leningrad
Barcelona premiere: 13/05/2002 at the Gran Teatre del Liceu
Last Liceu performance: 26/05/2002
Total number of Liceu performances: 9
Premiere
Wednesday 25 September 2024 19.30 h
Approximate running time 3 h 20 min.
Audio description
Saturday 5 October 2024 18 h
SEPTEMBER 2024
WED. 25 19.30 h FRI. 27 19.30 h Turn E SAT. 28 19 h Turn C
OCTOBER 2024
TUES. 1 19.30 h Turn A
THURS. 3 19.30 h Turn B
SAT. 5* 18 h Turn F
SUN. 6 17 h Turn T
MON. 7 19.30 h #LICEUNDER35
(*) Function with audio description
PRICES
All turns: from 10 to 295 € #LICEUNDER35: 20 €
Stage director
Àlex Ollé
Set design
Alfons Flores
Costume design
Lluc Castells
Lighting
Urs Schönebaum
Production
Gran Teatre del Liceu
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Josep Pons
BORÍS IZMÁILOV
Alexei Botnarciuc
ZINOVI IZMÁILOV
Daniel Kirch
KATERINA IZMÁILOVA
Sara Jakubiak [25, 28 Sept. y 1, 3, 6 Oct.]
Ángeles Blancas [27 Sept y 5, 7 Oct.)
SERGUÉI
Pavel Černoch
AKSINYA
Núria Vilà
WORKMAN
David Alegret
STEWARD
Javier Agudo
PORTER
Luis López Navarro
FIRST WORKMAN
Albert Casals
SECOND WORKMAN
Facundo Muñoz
THIRD WORKMAN
Marc Sala
PRIEST/POPE
Goran Juric
SERGEANT
Scott Wilde
POLICEMAN
Jeroboám Tejera
SONIETKA
Mireia Pintó
OLD CONVICT
Paata Burchulazde
GHOST OF BORIS
Alejandro Sánchez
WEDDING GUEST
José Manuel Montero
OPERA
LADY MACBETH OF MTSENSK
Dmitri Shostakóvich (1906 1975)
“In the forest, in the deep forest, there is a lake, round and deep. The water of the lake is completely black. Black like my conscience. And when the wind whistles in the forest, the lake makes waves, great waves of fear.”
KATERINA IZMÁILOVA, ACT IV
Shostakovich’s initial idea was to write a trilogy of operas about the tragic fates of Russian women over the centuries; he only succeeded in writing one: Lady Macbeth of Mtsensk. A masterpiece of the 20th century, it is a bleak, existential drama based on a story by Nikolai Leskov from 1865, a time when Russian literature was making its way into the world through authors such as Tolstoy and Dostoevsky.
The score was a critical success and immediately became popular in the Soviet Union, but fell out of favour dramatically after Stalin attended one of the performances in Moscow in 1936. An anonymous article in “Pravda” denouncing the play caused Shostakovich to fear for his life. It did not return to the stage until 1970. Since that time, it has regained its rightful place.
Lady Macbeth of Mtsensk is a piece that, both musically and narratively, is very cinematic, while politically it is a bizarre aesthetic anomaly during Stalinism. Aside
from the glorification of the proletariat to the taste of the ideologists of the time, this is a real “thriller”. The story takes place deep in the Russian countryside in the 19th century (Mtsensk, about 300 km from Moscow, is the region to which criminals have traditionally been banished throughout history).
The main character is Katerina, a merchant’s wife who, psychologically wiped out, bored with her husband and subjected to the tyranny of her father-in-law, is seduced by a depraved worker in the family factory, and ends up murdering first her father-in-law and then her husband, believing that by doing so she can achieve freedom. The new couple live together until a peasant accidentally discovers the crime, and reports it to the corrupt police of the time. The story ends with the murderous couple’s deportation to Siberia. The pursuit of a dream that is short-lived: betrayed in the poverty of the escape that ends tragically.
FROM 25 SEPTEMBER TO 7 OCTOBER 2024
LADY MACBETH
In Àlex Ollé’s new production, Katerina, imprisoned in her bedroom, represents the ideal of a woman turned into a metaphor for an unattainable future of someone who is supposed to give life, but ends up being the source of death. A woman subjected to the traditional patriarchal system and trapped in an immutable family structure with female sexuality reduced to childbearing. We are talking, then, of an erotic rebellion as the first step in the search for a dream: individual freedom against the tyranny of the family.
But this carnal passion is confused with love, love with surrender, surrender with submission and, finally, submission with sacrifice and the acceptance of suffering. Katerina is alone! With her wounded gaze and an identity to build, she shows herself through violence; killing is the only way out!
Àlex Ollé
Satge director
One of the six artistic directors of La Fura dels Baus, he is currently the resident artist at the Gran Teatre del Liceu. He made his debut at the Liceu in the 2000/01 season with D. Q. (Don Quixote de Barcelona), and has returned on numerous occasions, most recently with Il trovatore (2022/23).
Sara Jakubiak
Soprano (KATERINA ISMAILOVA)
American of German and Polish descent, she graduated from the Cleveland Institute of Music and Yale University. Her repertoire includes roles such as Tatiana (Eugene Onegin), Elsa (Lohengrin) and Elisabeth (Tannhäuser), among others. She is making her debut at the Gran Teatre del Liceu.
Josep Pons
Musical director
Considered one of the most important conductors of his generation, Pons conducts the world’s leading orchestras. His recordings have won him the highest honours: Grammy and Cannes Classical Awards, among others. He made his debut at the Gran Teatre del Liceu in 1993, and has been the musical director since 2012.
Pavel Černoch
Tenor ( SERGUEI)
A regular performer at the Teatro alla Scala in Milan, the Dutch National Opera, the Royal Opera House, Covent Garden and the Salzburg and Glyndebourne Festivals, among others, he is particularly well known for his Czech and Slavic repertoire. He is making his debut at the Gran Teatre del Liceu.
BALLET NACIONAL DE ESPAÑA
DANCE FROM 12 TO 17 OCTUBRE 2024
Dance
AFANADOR
World premiere: 01/12/2023 at the Teatro de la Maestranza in Seville Barcelona premiere
Approximate running time 1 h 30 min.
BALLET NACIONAL DE ESPAÑA
Director Rubén Olmo
Artistic direction
Marcos Morau
Choreography
Marcos Morau & La Veronal, Lorena Nogal, Shay Partush, Jon López
Dramaturgy
Roberto Fratini
Set design
Max Glaenzel
Costume design
Silvia Delagneau
Music composition
Cristóbal Saavedra
Lighting design
Bernat Jansà
Audiovisual
Marc Salicrú
Photography
Ruvén Afanador
OCTOBER 2024
SAT. 12 19.30 h #LICEUNDER35
SUN. 13 17 h Turn T
MON. 14 19.30 h DANCE
TUES. 15 19.30 h Turn PC
WED. 16 19.30 h Turn B
THURS. 17 19.30 h Turn P
PRICES
Premiere (turn T): de 10 a 156 €
Resta de torns: de 10 a 149 €
#LICEUNDER35: 20 €
MESOESTETIC
Patron of the Dance Circle
The Spanish National Ballet is presenting a proposal signed by Marcos Morau at the Gran Teatre del Liceu. The challenge is to set in motion a specific look and to combine, in a flamenco and dance show, the work of the Colombian fashion photographer Ruvén Afanador. Known for his portraits of celebrities from the world of film and music, Afanador is closely linked to flamenco —Afanador has dedicated two books to it (Ángel gitano and Mil besos) and in 2008 he signed the poster for the Bienal de Flamenco.
Breaking the rigid boundaries that separate artistic disciplines, the choreographer Marcos Morau, director of the LaVeronali company, winner of the 2013 National Dance Award, works with the photogra
pher’s ability “to create characters from modelling real people” and his creativity in generating worlds “that emerge from the beauty of light and shadows”, to create a show that is nourished by his photographic approach to flamenco and about how a creator who is not familiar with flamenco and the culture that surrounds it falls in love with its plastic art and is seduced by its language “direct and sharp as a razor”, explains Morau.
This is, then, an exercise in hybridising two languages, photography and dance, in search of “a new universe”, constructing new imaginings from the gaze of another creator in a process of respect and fascination.
The Spanish National Ballet, directed by Rubén Olmo from
Seville, dances this visual flamenco by Ruvén Afanador. In the words of Morau, “Flamenco has a joy with echoes of lament or a lament with echoes of joy that celebrates life. In Andalusia and in flamenco, Afanador finds a refuge, a home for those who are never at home. Through his camera, he fixes and deforms it, creating a gesture, a light that contains a powerful truth, a radical and dark beauty that we cannot stop looking at.”
A work from Morau’s perspective to situate his Afanador characters in the context of his work and to breathe movement into the photograph. To make them come alive and coexist with contemporaneity, as the past coexists with the present and to continue discovering new forms.
SACRIFICI
Brandaves punyal
I pena esbudellada amb ofici
Un dol com de carn de bèstia
Tot just acorada a l’era.
Encara tèbia de mort
Vas fer un crit llarg, de matances
I encabat, res: només esglais petits
Que degotaven coll avall
I feien crosta pels llindars
De fora a endins
Un mirall violent que s’escampava
Embassalant-te.
Míriam Cano
OH TO BELIEVE IN ANOTHER WORLD
CONCERT
18 and 19 OCTOBER 2024
Symphony No. 10 by Dmitri Shostakovich with the animation work of William Kentridge
William Kentridge ( ARTISTA )
William Kentridge (born in Johannesburg, South Africa, 1955) is internationally acclaimed for his drawings, films and theatrical and operatic productions. His method combines drawing, writing, film, performance, music, theatre and collaborations to create works of art rooted in politics, science, literature and history, while maintaining space for contradiction and uncertainty. Kentridge’s work has been exhibited in museums and galleries around the world since the 1990s, including the Museum of Modern Art in New York, the Albertina Museum in Vienna, the Louvre in Paris,
the Whitechapel Gallery in London, the Luisiana Museum in Copenhagen, the Reina Sofia Museum in Madrid, the Kunstmuseum in Basel, Zeitz MOCAA and the Norval Foundation in the Cape, and the Royal Academy of Arts in London. He is a several-time participant at the Documenta in Kassel and the Venice Biennale. His opera productions include Mozart’s The Magic Flute, Shostakovich’s The Nose, and operas by Alban Berg, Lulu and Wozzeck, which have been performed at opera houses including the Metropolitan Opera in New York, the Teatro alla Scala in Milan, the English National Opera in London, the Lyon Opera, the Amsterdam Opera, the Sydney Opera House and the Salzburg Festival.
Symphonic Cycle of the Gran Teatre del Liceu Orchestra
Dmitri Shostakovich’s Symphony NO. 10
Oh to Believe in Another World (film)
W. Kentridge
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU Conductor Josep Pons
Approximate running time 55 min.
“I portrayed Stalin in my next symphony, the Tenth. I wrote it just after Stalin’s death and no one has yet guessed what the symphony is about. It’s about Stalin and the Stalin years. The second part, the scherzo, is a kind of musical portrait of Stalin, of course, there are many other things, but this is the basis” - D. Shostakovich (Testimony: The Memoirs of Dmitri Shostakovich, as related to and edited by Solomon Volkov, Ed. Aguilar, 1991).
William Kentridge is one of the most charismatic visual artists of the present; capable of subtle but highly acidic criticism in the form of a warning in sharp charcoal, he returns to the Liceu after his successful production of Alban Berg’s Wozzeck. We will once again enjoy his prophetic visions in which he pursues the dream of a more just world through the animated film he has created for Dmitri Shostakovich’s Symphony No. 10
Kentridge’s cinematic aesthetic draws on the history of the medium itself, from stop-motion animation to early special effects. Drawing, in particular the dynamic of erasing and redrawing over it, has been a central element of his many works in the fields of animation and film, in which layers of meaning develop only in the process of creating them. Following his stage production of Shostakovich’s The Nose for
the Metropolitan in New York, he returns to the composer to produce this animated piece set in a seemingly abandoned Soviet museum that is made of cardboard and set on a table in an artist’s studio. A tour through the various rooms of the museum, which include a community theatre, a public swimming pool and a quarry surrounded by figures including Mayakovsky, his lover Lilya Brik, Trotsky, Shostakovich as a student, his student Elmira Nasirova, Stalin and Lenin. Puppets in a setting where they are to be understood as collages.
Far from the idea of making Shostakovich a soundtrack for the film, but rather of using this session to present the complex relationship between the composer and the state of the Soviet Union, four decades are presented in perspective: from the days of the 1917 Revolution to the death of Stalin in 1953, passing through the death of Lenin, the suicide of Mayakovsky and the assassination of Trotsky. A time that, against all odds, Shostakovich managed to survive.
Josep Pons, an expert on the Russian composer, will conduct the Gran Teatre del Liceu’s Symphony Orchestra to reveal the secrets of this colossal score.
LIU BOLIN:
THE INVISIBLE MAN
PERFOMANCE
OCTOBER
2024
Liu Bolin
( ARTIST AND PHOTOGRAPHER )
Better known as “The Invisible Man” in media circles. Liu Bolin discusses the social concerns of his home country through his artistic practice, most prominently through his ‘camouflage’ installations. Traversing mediums such as performance, photography, Liu Bolin dissects the tense relationship between the individual and society by ‘disappearing’ into environments which are sites of contention and criticism. His “Hiding in the City” series has been displayed in numerous museums and institutions across the globe. Inspired by his powerful visual messages, artists and institutions and organizations such The Louvre (Paris, France), Harper’s Bazaar Magazine, Centre Pompidou, Ruinart, Moncler, Fred, Renault, JR, Carlos Cruz-Diez, Jon Bon Jovi, Kenny Scharf etc. have invited Liu Bolin to collaborate on creative projects.
In 2015, Liu was selected by United Nations backed campaign The Global Goals to create an image that conveyed 17 goals – including ending poverty, encouraging sustainable development and fight inequality and injustice – where he hid himself within 193 flags of the world. Liu Bolin currently lives and works in Beijing.
Perfomance
October 2024
Chinese artist and photographer born in the province of Shandong (1973) and residing in Beijing, Liu Bolin obtained a diploma in sculpture from the Central Academy of Fine Arts in 2001. His beginnings as a sculptor were interrupted in 2005 by the expropriation and destruction of his workshop, in front of whose rubble he created his first self-portrait.
In his “Urban Camouflage” series, Liu Bolin paints himself using traditional painting techniques with the purpose of integrating his image into an ordinary setting, such as a garden or a newsstand, and then photographs himself. The viewer is confronted with this “camouflage” and encounters the figure of the artist as a foreign element in the landscape, producing unprecedented readings through the perception of what was supposedly invisible.
Although the final medium of the work is photography, the artist enriches his discourse by simultaneously traversing the worlds of sculpture, body painting and performance. A century and a half after the appearance of photography as a medium of expression, artists like Bolin succeed in innovating by creating new possibilities with this technique.
With an acute chameleon-like ability to mimic the environment, a reflection of his social concerns, Bolin reveals a silent protest, almost transparent, that invites reflection on identity, consumption and the presence of the human in the face of the problems that surround us.
SONDRA RADVANOVSKY AND PIOTR BECZAŁA
CONCERT
CONCERT 24 AND 27
OCTOBER 2024
PUCCINI’S CENTENARY
Symphonic Cycle of the Gran Teatre del Liceu Orchestra
Sondra Radvanovsky Soprano
Piotr Beczała Tenor
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Keri-Lynn Wilson
Approximate running time
2 h
Giacomo Puccini, who we will commemorate on the centenary of his death in 2024, is one of the last treasures of traditional Italian opera. His works are objects of fascination all over the world and have touched all generations of music lovers. His seemingly simple yet moving language makes Manon, Turandot, La bohème, Tosca and Madama Butterfly truly unforgettable.
To celebrate the composer’s genius, the Liceu is bringing together two of the voices most beloved by its audiences: Sondra Radvanovsky and Piotr Beczała. Two extraordinary evenings will showcase the most charismatic arias and scenes from Puccini’s lyrical catalogue. The perfect occasion to pay homage to the composer who has best translated the emotions of the characters, but also to review the gallery of strong women who suffer great tragedies on the stage and the collection of men who represent the triggers for the action itself. A compendium of human states of mind that carry the seeds of despair.
Puccini, as an idyllic soundscape, could not find better ambassadors to evoke the tragic dimension that surpasses the literal, to convey universal themes that speak of elements inherent to the human condition such as life, love, desire and death itself.
To return to Puccini is to understand that he is a modern ideal of opera that opened up a new universe of expression. Radvanovsky and Beczała, with their unforgettable voices, will deliver attitudes, emotions and feelings on the stage of the Gran Teatre del Liceu in this memorable Puccinian festival.
OCTOBER 2024
THURS. 24 19.30 h Turn A SUN. 27 17 h Turn T
PRICES
All turns: from 10 to 279 €
LA FORZA DEL DESTINO
Giuseppe Verdi (1813 1901)
FROM 9 TO 19 NOVEMBER 2024
MELODRAMMA IN FOUR ACTS
Libretto by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del destino by Ángel de Saavedra, Duke of Rivas; with a scene adapted from Friedrich von Schiller’s Wallensteins Lager.
World premiere: 10/11/1862 at the Imperial Theater in Sant Petersburg
Barcelona premiere: 21/12/1872 at the Gran Teatre del Liceu
Last Liceu performance: 20/10/2012
Total number of Liceu performances: 63
Premiere
Saturday 9 noviembre 2024 19 h
Approximate running time 3 h 45 min.
Audio description
Tuesday 19 noviembre 2024 19.30 h
NOVEMBER 2024
SAT. 9 19 h Turn E
SUN. 10 17 h Turn T
TUES. 12 19.30 h Turn B
WED. 13 19.30 h Turn PE
FRI. 15 19.30 h Turn D-H
SAT. 16 19 h Turn C
MON. 18 19.30 h Turn A
TUES. 19* 19.30 h Turn P
(*) Function with audio description
PRICES
All turns: from 10 to 299 €
Stage director
Jean-Claude Auvray
Choreography
Terry John Bates
Set design
Alain Chambon
Costume design
Maria Chiara Donato
Lighting
Laurent Castaing
Production
Gran Teatre del Liceu and Opéra national de Paris
CHORUS OF THE GRAN
TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Nicola Luisotti
IL MARCHESE DI CALATRAVA
Alejandro López
DONNA LEONORA
Maria Agresta (9, 12, 15, 18 Nov.)
Saioa Hernández (10, 13, 16, 19 Nov.)
DON CARLO DI VARGAS
Artur Ruciński (9, 12, 15, 18 Nov.)
Amartuvshin Enkhbat (10, 13, 16, 19 Nov.)
DON ALVARO
Brian Jagde (9, 12, 15, 18 Nov.)
Francesco Pio Galasso (10, 13, 16, 19 Nov.)
PREZIOSILLA
Caterina Piva (9, 12, 15, 18 Nov.)
Szilvia Boros (10, 13, 16, 19 Nov.)
IL PADRE GUARDIANO
John Relyea (9, 12, 15, 18 Nov.)
Giacomo Prestia (10, 13, 16, 19 Nov.)
FRA MELITONE
Pietro Spagnoli (9, 12, 15, 18 Nov.)
Luis Cansino (10, 13, 16, 19 Nov.)
CURRA
Laura Vila
MAESE TRABUCO
Moisés Marín
LA FORZA DEL DESTINO
Giuseppe Verdi (1813 1901)
"Beauty and death, two profound things, with so much shade and azure, that we consider them equally terrible and fertile sisters, with the same enigma and the same secret."
VICTOR HUGO, SONNET, 1871
La forza del destino is an opera from Verdi’s heyday. Premiered four years after Un ballo in maschera, a very special moment in his production, it coincides with the prevailing taste for a glimpse of the exoticism of other worlds. Focusing on this fascination with Spanish culture, Verdi wrote Ernani (1844), Il trovatore (1853), Don Carlo (1867) and La forza del destino (1862).
The action begins with the dream of two lovers, Don Alvaro and Leonora, preparing to elope, but the two lovers are surprised by the young woman’s father. Misfortune follows them when Don Alvaro, while throwing his pistols on the ground, unintentionally fires one and kills the father: fortune is capricious and laughs at the fate of men. Only Verdi’s talent could transform a convoluted plot, filled with clichés from the Spanish Romantic school, into an opera that is a quintessential example of the 19th century Italian repertoire and a true musical miracle.
La forza is an adaptation of the play Don Álvaro o la fuerza del sino, a drama in five days in prose and verse by Ángel María de Saavedra y Ramírez de Baquedano, Duke of Rivas, first performed at the Teatro del Príncipe in Madrid in 1835. Verdi and Piave were enthusiastic about the work of this curious character, a great man of Spain, the most famous playwright of his time, a painter and politician who even became president of the government for two days in 1854. To complete the libretto, a scene adapted from the Wallensteins Lager by Friedrich Schiller, one of Giuseppe Verdi’s favourite authors, was added.
Verdi travelled to St. Petersburg, capital of the Russian Empire at the time, in December 1861 to attend the première of his new opera, which had to be cancelled, but finally premiered the following November at the Bolshoi Kamenny (later Mariisnky) Theatre. It was the start of an anecdote
FROM 9 TO 19 NOVEMBER 2024
Maria Agresta
Soprano
She made her professional debut in 2007 and has sung in theatres all over the world including at The Metropolitan Opera House, the Teatro alla Scala in Milan, the Royal Opera House and the Teatro La Fenice in Venice. She made her debut at the Gran Teatre del Liceu with returned with Turandot (2023/24).
charged with “bad luck” that has remained forever associated with this Verdian title, also known as “la Innominable”, a so-called black legend because of its numerous problems both in production and staging, including real deaths on stage.
A great Italian fresco full of plot twists in which the curse of the father hangs heavy and overshadows everything. La Forza, like Rigoletto and Il Trovatore, is also a work of its time. In 1861, Verdi agreed to become a member of parliament to pursue his political ideals. However, “Il Risorgimento” was more ambitious than Verdi wanted, and the composer fell prey to a degree of scepticism. That same dark melancholy pervades the entire score, where the motif of fate recurs throughout the idea of redemption.
In this co-production between the Opéra de Paris and the Gran Teatre del Liceu, directed by Jean-Claude Auvray, the opera becomes a place where dreams shatter against the wall of reality while a faint but toxic song of hope emerges. An immense canvas for this opera with minimalist scenography, full of romantic details and a score that demands sublime performers like Maria Agresta and Saioa Hernández to find all the nuances of Leonora’s emotion (from joy through to the resignation of the last broken heart). Accompanying these is a cast featuring Brian Jagde as Don Alvaro, the man she loves, and Artur Rucinski, Don Carlo, the dark instrument of her destiny. Maestro Nicola Luisotti’s brilliant conducting is a lesson in Verdian style applied to scenes of grand lyricism and refinement, alternating with comic passages.
ANTONI TÀPIES: CENTENARY OF HIS BIRTH
EXHIBITION FROM 9 NOVEMBER TO 28 DECEMBER 2024
Composició, 1991
(Composición / Composition)
Oxide paint on refractory concrete
160 x 243 x 59 cm
Fundació Antoni Tàpies, Barcelona
This work makes a direct reference to death. The pieces that comprise it evoke niches, neatly decorated with a cross and a number. On 316, there is a painted skull; and on the reverse, an inverted angel, reminiscent of funerary monuments in cemeteries. Its wings are full of eyes, like those of the Romanesque seraphs. But while the latter mean that God sees and knows everything, those of Tàpies reflect the artist's willingness to look, which is evident even in his earliest works.
LICEU
© Fundació Antoni Tàpies, VEGAP, Barcelona, 2024
Exhibition
From 9 November to 28 December 2024
Saló dels Miralls
Antoni Tàpies (Barcelona, 19232012) is recognised as one of the most outstanding artists of the 20th century. Influenced by Miró and Klee, he augmented the iconography and magic by incorporating geometrising elements and colour studies. Towards the mid-1950s, the artist achieved international recognition and incorporated new iconographies and techniques, surfaces, the use of everyday objects and varnish into his work, which resulted in a world-renowned plastic creation. Internationally, his work has been exhibited at the Museum of Modern Art and the Solomon R. Guggenheim Museum in New York, the Museum of Contemporary Art (Los Angeles), the Institute of Contemporary Arts (London), the Neue Nationalgalerie (Berlin), the Musée d'Art Moderne de la Ville de Paris, the Jeu de Paume and the Centre Pompidou (Paris), among many others. In 1984 he set up the Fundació Antoni Tàpies in Barcelona with the aim of promoting the study and knowledge of contemporary art, as well as the analysis of its role in the formation of the consciousness of modern man.
LA CUINA DE ROSSINI
FAMILY OPERA NOVEMBER-DECEMBER 2024
David Selvas
Family opera
Music
Gioachino Rossini
Stage director
David Selvas / La Brutal
Arrangements and musical
direction
Andreu Gallén
Dramaturgy
Sergi Pompermayer
Set design
Alejandro Andújar
Direction assistant
Norbert Martínez
Choreography
Ana Pérez
Costumes
Maria Armengol
Lighting
Marc Salicrú
Video artist
Joan Rodón y Emilio Valenzuela (dLux.pro)
Illustrations
Coaner Codina
Production
Gran Teatre del Liceu
Ensemble Conservatori Liceu
Approximate running time 1 h 15 min
Show
FOR ALL AGES
ROSSINI
Frederico de Oliveira
ROSS
Toni Viñals
ISABELLA
Neus Pàmies
CENERENTOLA
Mar Esteve
FIORELLO
Joan Garcia-Gomà
BASILI
Xavi Fernández
GUILLEM TELL
José Manuel Guinot
Rossini is one of the greatest composers of all time. His legendary flair for composition and creative genius are unparalleled.
Legend has it that, as a celebrity, when he heard Vincenzo Bellini's Norma, he stopped writing music. With the aim of bringing the figure and work of Rossini to all audiences, the Gran Teatre del Liceu has put together a show that tells the story of two young people, Ross and Isabella, who, on a journey of friendship and discovery, enter a fascinating world that will take them to the operas of the genius from Pesaro.
* Don't miss the FAMILY WORKSHOP on the same
Recital
Elīna Garanča Mezzosoprano
Malcolm Martineau
Piano
Approximate running time
2 h
Born in Riga (Latvia) and currently living in Spain, Elīna Garanča is considered to be the best mezzosoprano in the world.
After her recent successes in her debut as Kundry in Wagner's Parsifal in Bayreuth, her Princess of Eboli at the opening of the Teatro alla Scala season and as her Amneris in Aida in Berlin in Calixto Bieito's production, she comes to the Liceu in top form to perform her recital.
With a captivating and beautiful timbre, with flawless register changes, with a silky centre, resonant lows and penetrating highs, the Latvian singer is at the heart of each role, living the essence of the music. She always seduces with her voice and inflections, passing smoothly through the registers, sensuality and languor in her phrasing.
Elīna Garanča is a regular guest at the Metropolitan Opera, the Wiener Staatsoper, the ROH Covent Garden, the Salzburg Festival, the Festspielhaus Baden-Baden, the Bayerisches Staatsoper in Munich, the Deutsche Oper in Berlin, Carnegie Hall in New York and the Wigmore Hall in London, among others around the world.
Garanča, who made her debut at the Gran Teatre del Liceu singing Sesto (La clemenza di Tito) replacing Joyce DiDonato in 2006, returned to sing the Seymour in Anna Bolena and a Mozart Requiem in the Basilica of Montserrat during the COVID-19 pandemic, is presenting a recital format with a programme containing songs and arias by 19th century European romantic composers in addition to some zarzuela romanzas, a genre for which she has a great predilection. With an enviable instrument that produces a smooth, velvety and beautiful sound, Garanča will captivate the audience throughout the evening.
PRICES
From 10 to 193 € NOVEMBER 2024 FRI. 22 19.30 h Turn E
AMAZÔNIA
CONCERT
26 NOVEMBER 2024
Heitor Villa-Lobos and Philip Glass with the projection of Sebastião Salgado's work
Sebastião Salgado
( PHOTOGRAPHER )
An economist by training, he began his career as a professional photographer in 1973, in Paris. He worked with photography agencies until 1994, when, together with Lélia Wanick Salgado, he founded Amazonas Images, exclusively dedicated to his work and where his studio is now located. Sebastião Salgado has travelled to more than 100 countries with his photography projects. These, in addition to appearing in the international press, have been published in books such as Otras Américas, 1986; Sahel,
l’homme en détresse , 1986; Sahel: el fin del camino , 1988; An Uncertain Grace , 1995; Trabajadores, 1993; Terra , 1997; Éxodos , 2000; Africa , 2007; Génesis , 2013; _e Scent of a Dream , 2015; Kuwait, A Desert on Fire, 2016; Gold, Serra Pelada Gold Mine , 2019; and Amazônia , 2021. He has received countless photography awards and has been the recipient of prestigious accolades, including the Prince of Asturias Award for the Arts, the Primo Levi Prize in Italy, the Peace Prize of the German Book Trade and the Praemium Imperiale of the Japan Art Association, considered the Nobel Prize for the Arts.
Symphonic Cycle of the Gran Teatre del Liceu Orchestra
Sebastião Salgado Photographer
Camila Provenzale Soprano
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Simone Menezes
In collaboration with Approximate running time 1 h 20 min, aprox.
*The concert is part of the Sebastião Salgado Amazônia exhibition at Les Drassanes Reials (Barcelona), from December 3, 2024, to April 30, 2025.
Preludio (Bachianas brasileiras n.º 4)
H. Villa-Lobos
Metamorphosis I (Aguas da Amazonia) (orch. Charles Coleman)
P. Glass
A floresta do Amazonas
H. Villa-Lobos
On 26 November, the Gran Teatre del Liceu Orchestra will present the extraordinary concert Amazônia by Sebastião Salgado as part of a wider project by the Brazilian photographer who, over the last seven years, has been working in the Amazon and visiting its inhabitants. During the concert, the music will be accompanied by the projection of more than 200 images by the great photographer that sublimate the beauty of nature while warning of the importance of conserving this unique natural environment.
A rhythmic musical programme whose main dish is Villa-Lobos' Suite A floresta del Amazonas, based on the soundtrack of Mel Ferrer's film Green mansions. An exuberant and tropical score where the rivers and seas of Brazil sing, and which depicts the verdancy of the Amazon rainforest.
Salgado's spectacular black and white images will depict the immensity of the Amazon, those landscapes of endless forest and impossible meanders, and they will also include beautiful images of the indigenous people who live in those forests. More than two hundred tribes, some of whom have no contact with the outside world.
A moving evening and a message to challenge us.
NOVEMBER 2024
TUES. 26 19.30 h Turn D-H
PRICES
From 10 to 149 €
About to celebrate his eightieth birthday and more active than ever, the Brazilian artist Sebastião Salgado is one of the most awarded and internationally recognised contemporary photographers. Accompanying the thematic exhibition presented in Barcelona, which features his work, Salgado underlines the fragility of the world and warns of the need to respect and care for it.
MADAMA BUTTERFLY
Giacomo Puccini (1858 1924)
FROM 8 TO 28 DECEMBER 2024
TRAGEDIA IN THREE ACTS
Libretto by Giuseppe Giacosa and Luigi Illica based on the short story Madame Butterfly (1898) by John Luther Long. World premiere: 17/02/1904 at the Teatro alla Scala Milano
Barcelona premiere: 02/08/1907 at the Teatre del Bosc (in Spanish)
Premiere at the Gran Teatre de Liceu: 10/12/1909
Last Liceu performance: 29/01/2019
Total number of Liceu performances: 189
Premiere
Sunday 8 December 2024
18 h
Approximate running time
2 h 50 min
Audio description
Saturday 28 December 2024
19 h
DECEMBER 2024
SUN. 8 18 h #LICEUNDER35
MON. 9 19.30 h Turn B
TUES. 10 19.30 h Turn P
WED. 11 19.30 h Turn PE
FRI. 13 19.30 h Turn E
SAT. 14 18 h Turn PD
SUN. 15 17 h Turn T
MON. 16 19.30 h Turn G
TUES. 17 19.30 h Turn PC
FRI. 20 19.30 h
SAT. 21 18 h Turn F
SUN. 22 18 h Turn PB
MON. 23 19.30 h Turn A
FRI. 27 19.30 h Turn D-H
SAT. 28* 19 h Turn C
*Function with audio description
PRICES
All turns: From 10 to 299 € #LICEUNDER35: 30 €
Stage director
Moshe Leiser i Patrice Caurier
Set design
Christian Fenouillat † Costumes
Agostino Cavalca
Lighting
Christophe Forey
Production
Gran Teatre del Liceu y Royal Opera House
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Paolo Bortolameolli
MADAMA BUTTERFLY (CIO-CIO-SAN)
Sonya Yoncheva (9, 13, 16, 20, 27 Dec.)
Saioa Hernández (10, 14, 17, 21, 23, 28 Dec.)
Ailyn Pérez (8, 11, 15, 22 Dec.)
SUZUKI
Annalisa Stroppa (9, 13, 16, 20, 23, 27 Dec.)
Teresa Iervolino (10, 14, 17, 21, 28 Dec.)
Gemma Coma-Alabert (8, 11, 15, 22 Dec.)
KATE PINKERTON
Montserrat Seró
BENJAMIN FRANKLIN
PINKERTON
Matthew Polenzani (9, 13, 16, 20, 23, 27 Dec.)
Fabio Sartori (10, 14, 17, 21, 28 Dec.)
Celso Albelo (8, 11, 15, 22 Dec.)
SHARPLESS
Lucas Meachem (9, 13, 16, 20, 23, 27 Dec.)
Thomas Mayer (10, 14, 17, 21, 28 Dec.)
Gerardo Bullón (8, 11, 15, 22 Dec.)
GORO
Juan Noval Moro (9, 11, 14, 16, 20, 22, 27 Dec.)
Pablo García López (8, 10, 13, 15, 17, 21, 23, 28 Dec.)
PRINCE YAMADORI
Carlos Cosías
THE BONZE UNCLE
David Lagares
MADAMA BUTTERFLY
Giacomo Puccini (1858 1924)
“Con onor muore chi non può serbar vita con onore.”
1630-1640: Japan establishes the “sakoku” policy, which prohibits immigration and emigration to the country and strictly limits foreign trade: the only place that maintains trade relations with Europe is Dejima, an artificial islet in Nagasaki Bay.
1853: Japan is forced to open two ports for trade with the United States as a direct consequence of the Treaty of Kanagawa, ending centuries of Japanese foreign policy of isolation and closed borders.
One of the effects of opening up Japan’s trade was the emergence of a pronounced interest among Western artists in Japanese decorative arts, aesthetics, clothing and handicrafts. The Universal Exhibitions in London (1862) and Paris (1867) exhibited works by Japanese artists in Europe for the very first time. Artists such as Manet, Degas, Monet, Cassatt, Toulouse-Lautrec and van Gogh, among others, began to incorporate Japanese themes and designs into their own works: Japonisme was born. This interest in Japan helped make Pierre Loti’s works a resounding success, including the novel Madame Chrysanthème (1887), one of the sources of inspiration for Madama Butterfly. The musical field was also influenced by Japonisme: Camille SaintSaëns’s opera La Princesse Jaune (1872), Gilbert and Sullivan’s opera The Mikado (1885) and Sydney Jones’s operetta The Geisha (1896) are just some examples.
Sonya Yoncheva
Soprano (CIO-CIO-SAN)
She studied piano and singing in Plovdiv (Bulgaria) and completed her studies in Geneva. She is a student of William Christie’s Le Jardin des Voix. Throughout her career she has starred in new productions of works like Tosca and Otello. She made her debut at the Gran Teatre del Liceu with Norma (2021/22) and returned with Adriana Lecouvreur (2023/24).
Illica and Giuseppe Giacosa (with whom he had already created La bohème and Tosca) to adapt the tragic story of Cio-Cio-San.
FROM 8 TO 28 DECEMBER 2024
By adapting David Belasco’s Madame Butterfly (based on a folktale by John Luther Long), which he saw in London in 1900, Puccini achieved a score that is both gargantuan and fascinating: a true masterpiece. He once again collaborated with librettists Luigi
Cio-Cio-San, the young Japanese bride of US naval officer Lieutenant Pinkerton, represents a broken dream: she believes she is embarking on a real marriage, but it is actually a short-lived romance, shattered when he abandons her shortly after they marry. She lives her life in the hope of his return; a tragic dream. She, who renounced her religion and community, learns too late that, for Pinkerton, her marriage is merely an illusion, with tragic consequences.
Three years later, Cio-CioSan and her son, Dolore, see Pinkerton’s ship in the harbour. She excitedly awaits his visit, but when Pinkerton and his American wife Kate arrive and want to take
Annalisa Stroppa Mezzosoprano
Her career began in 2011 when she made her debut as Cherubi no in Mercadante’s conducted by Riccardo Muti at the Salzburger Festspiele. Since then, she has performed on the world’s leading stages, including La Scala, Wiener Staatsoper and the Teatro di San Carlo. She made her debut at the Gran Teatre del Liceu with Barber of Seville
the boy to America, Cio-Cio-San says goodbye to her son and takes her own life.
Although the premiere at Milan’s Teatro alla Scala in 1904 was poorly received, in the same year Puccini revised the opera for performances in Brescia. Madama Butterfly quickly became a very popular opera and remains one of Puccini’s most beloved works. Leiser-Caurier’s exquisite production is specifically inspired by the images of Japan in Europe during the 19th century. Sueña Yoncheva, Saioa Hernández and Ailyn Pérez will play the sad oriental heroine ready to sacrifice herself when faced with the cruel reality of betrayal.
Matthew Polenzani
Tenor (BENJAMIN F. PINKERTON)
Since his debut at the Metropolitan Opera in New York in 1997, he has been performing on major stages all around the world, including the Royal Opera House, the Bayerische Staatsoper, the Wiener Staatsoper, the Opéra National de Paris and the Teatro di San Carlo, among others. He is making his debut at the Gran Teatre del Liceu.
DIE FLEDERMAUS
Johann Strauss (1825 1899)
18 DECEMBER 2024
CONCERT VERSION
Opera
Concert version
OPERETTA IN THREE ACTS
Libretto by Carl Haffner and Richard Genée based on the Julius Roderich Benedix Das Gefängnis, and on the vodevil Le Réveillon
World premiere: 05/04/1874 at the Theater an der Wien
Barcelona premiere: 02/02/1961 at the Gran Teatre del Liceu
Last Liceu performance: 20/06/1984
Total number of Liceu performances: 10
Approximate running time 2 h 30 min
CHAMBER CHORUS OF THE PALAU DE LA MÚSICA CATALANA
Xavier Puig, conductor
ORCHESTRA LES MUSICIENS DU LOUVRE
Conductor Marc Minkowski
GABRIEL VON EINSTEIN
Huw Montague Rendall
ROSALINDE
Iulia Maria Dan
FRANK
Michael Kraus
PRINCE ORLOFSKY
Marina Viotti
ALFRED
Magnus Dietrich
IDA
Sandrine Buendia
DR. FALKE
Leon Kosavic
DR. BLIND
Krešimir Špicer
ADELE
Alina Wunderlin
2024
WED. 18 19.30 h Turn B
PRICES
From 10 to 279 €
DIE FLEDERMAUS
Johann Strauss (1825 1899)
“You only live once, but if you do it right, once is enough”
MAE WEST
Die Fledermaus, the Flittermouse, by Johann Strauss is coming to the Gran Teatre del Liceu with Marc Minkowski and his Musiciens du Louvre. This is one of the most famous and well-known Viennese operettas, full of amorous entanglements, games of seduction, identity change and a great deal of humour.
This 1874 operetta, enormously popular for its opening and the potpourri of ideas that are presented in a brilliant and spontaneous way, is a must for New Year’s Eve concerts all over the world.
The plot: to take revenge on his friend Eisenstein, Dr. Falke organises a game of confusion with the consent of Prince Orlofsky. There is a marquis and a “chevalier”, a Hungarian countess and artists by birth; but no one is what they claim. It is a masquerade and the whole ensemble ends up in prison. Finally, when all the masks drop and the extramarital infidelities come to light, the revenge of the flittermouse is evident. To cross the entire city dressed as a bat as humiliation after a long (and crazy) night: revenge that takes on a completely unexpected form. Once the misunderstandings are forgiven, it will all ends in champagne!
Premiered in the same theatre where 80 years earlier Mozart presented The Magic Flute, The Flittermouse is the most celebrated operetta by the “waltz king” and can perhaps be seen as the eighteenth-century cousin that is spiritually closest to the Mozartian universe of the Da Ponte trilogy: full of amorous entanglements, infidelities, farce and cross-dressing, and an infectiously jovial score, it is a prodigy of musical inspiration and elegance.
In the original French libretto —entitled Le réveillon, by the authors of La belle Hélène, Carmen and Manon, no less— the lavish party that occupies the central act of Die Fleidermaus took place on New Year’s Eve. This circumstance partly explains why, although the German adaptation did not preserve this fact, the operetta has established itself in theatres all over the world as a favourite piece for the Christmas holidays.
There was a time when Europe danced an endless waltz. Bourgeois flourishes that appeared to go on forever. The Vienna-born Johann Strauss became the first of a great dynasty of musicians and composers who would transform the genre into extraordinarily fragrant miniatures. The French conductor Marc Minkowski, an expert in this kind of work, knows how to extract all the charm from this score, with the promise of an immediate triumph at the Liceu. Bubbles of Viennese refinement: the art of lightness!
Marc Minkowski
Musical director
Considered one of the most import ant musical figures of this genera tion, he began his musical training studying bassoon, and quickly turned his attention to orchestral conducting. At the age of 19, he founded Les Musiciens du Louvre, with the intention of reviving the baroque repertoire. He made his debut at the Gran Teatre del Liceu with
Marina Viotti
Mezzosoprano
Since her debut as Isabella ( ana in Algeri in 2015, she has sung on stages including the Bolshoi Theatre, the Staatsoper Berlin and the Bayeri sche Staatsoper, among others. She made her debut at the Gran Teatre del Liceu with Reims
EL CONTE DE NADAL DE CHARLES DICKENS
FAMILY CONCERT 21 and 22 DECEMBER 2024
Albert Guinovart
Family concert
Music and piano
Albert Guinovart
Text adapter and set coordinator
David Pintó
Soloists
Ana San Martín
Albert Mora
Sand art performer
Borja González
Veus – Cor infantil Amics de la Unió
Symphony Orchestra of the Gran Teatre del Liceu
With the participation of musicians from thel Conservatori del Liceu
Conductor Josep Vila Jover
Approximate running time
1 h 10 min
2024
21 11.30 h
22 11.30 h
Show
FOR ALL AGES
A Christmas Carol by Charles Dickens, published originally in English in 1843, narrates the story of a stingy and selfish man with apparently permanent scars (Mr Ebenezer Scrooge) and his surprising turnaround after a series of visits from ghosts over the course of Christmas Eve. Written at the height of the Victorian era with a melancholic feeling about the past, Christmas and the values of sticking together against coveting, it enjoyed widespread popularity. With the idea of revealing the nuances of Dickens’ magisterial text, Albert Guinovart gives us an extremely beautiful and sensitive score, full of contrasts. Music at the service of the words spoken by all the characters in the story.
Accompanying the musical action, the sand drawings of Borja González imbue the show with even greater poetry. On a handcrafted light table, in total synchrony with the music and the text, he models the illustrations with sand to evoke the different scenes and the different characters in the story.
VEUS – Cor Infantil Amics de la Unió, together with the Gran Teatre del Liceu Orchestra, come
together to showcase a Christmas classic: art, delicacy and precision!
* Don't miss the FAMILY WORKSHOP on the same day as the show. PRICES
From 10 to 29 €
MAHLER’S UNIVERS IV
SYMPHONY NO. 6 4 JANUARY 2025
Symphonic Cycle of the Gran Teatre del Liceu Orchestra
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Josep Pons, conductor
Approximate running time 1 h 20 min.
Symphony No. 6 on A minor
Gustav Mahler
“The Sixth is his most personal and, moreover, prophetic work.” With these words Alma, Gustav Mahler’s wife, defined the apocalyptic sound language of this symphony. A world in itself that foreshadows and anticipates the composer’s own personal catastrophes: the diagnosis of an incurable heart disease, the death of his daughter Maria at the age of four, the loss of his mother-inlaw at her own daughter’s funeral, professional failures such as the forced resignation from the Vienna Opera...
Dubbed the “Tragic” Symphony, it introduces the audience to the composer’s inner world, revealing the more pronounced emotional peaks and valleys that run throughout the score. The percussion frames the emotional extremes Mahler intended to capture in a number of ways, beginning with the bells on the mountain animals that evoke a nostalgic image of life in the countryside, and later through the famous hammer blows. Each of the three shuddering blows of the fatal hammer represents a misfortune that drowns out happy memories.
The Gran Teatre del Liceu, immersed in the Univers Mahler series, a fascinating trip through the complete symphonies of Gustav Mahler conducted by Josep Pons, chief conductor of the institution’s ensembles, presents this new beautiful and self-referential performance of this pessimistic representation of man’s desperate struggle with his own destiny, and even, perhaps, with death.
Written between 1903 and 1904, the Sixth occupies a unique place in his catalogue of works. With a tragic and unexpected conclusion, it contrasts sharply with the happy period of his life when he married Alma in 1902 and while composing it his second daughter, Anna, was born. An incredible score that recounts the misfortunes of a man who shrinks in the face of an adversity greater than himself and that, despite his misfortunes, turns out to be a journey so emotionally human that it ends up reaffirming life itself.
JANUARY 2025
SAT. 4 19 h Turn C
PRICES
From 10 to 82 €
LA TRAVIATA
Giuseppe Verdi (1813 1901)
FROM 17 JANUARY TO 2 FEBRUARY 2025
OPERA IN THREE ACTS
Libretto by Francesco Maria Piave based on La dame aux camélias by Alexandre Dumas fils
World premiere: 06/03/1853 at the Teatro La Fenice in Venice
Barcelona premiere: 25/10/1855 at the Gran Teatre del Liceu
Last Liceu performance: 30/12/2020
Total number of Liceu performances: 267
Premiere
Friday 17 January 2025
19.30 h
Approximate running time 3 h
Audio description Friday 31 January 2025
19.30 h
JANUARY 2025
FRI. 17 19.30 h Turn E
SAT. 18 18 h Turn PD
MON. 20 19.30 h Turn D-H
TUES. 21 19.30 h Turn PC
WED. 22 19.30 h Turn B
THURS. 23 19.30 h Turn G
MON. 27 19.30 h Turn A
TUES. 28 19.30 h Turn PE
THURS. 30 19.30 h Turn P
FRI. 31* 19.30 h Turn F
FEBRUARY 2025
SAT. 1 19 h Turn C
SUN. 2 17 h Turn T
*Function with audio description
PRICES
All turns: de 10 a 299 €
Stage director
David McVicar
Choreography
Andrew George
Set design
Tanya McCallin
Costumes
Tanya McCallin
Lighting
Jennifer Tipton
Production
Gran Teatre del Liceu, Scottish Opera (Glasgow), Teatro Real, Welsh National Opera
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU Conductor Giacomo Sagripanti
VIOLETTA VALÉRY
Nadine Sierra (17, 20, 22, 27, 30 Jan., 1 Feb.)
Ruth Iniesta (18, 21, 23, 28, 31 Jan., 2 Feb.)
FLORA BERVOIX
Gemma Coma-Alabert
ANNINA
Patricia Calvache
ALFREDO GERMONT
Javier Camarena (17, 20, 22, 27, 30 Jan., 1 Feb.)
Xabier Anduaga (18, 21, 23, 28, 31 Jan., 2 Feb.)
GIORGIO GERMONT
Artur Ruciński (17, 20, 22 Jan.)
Mattia Olivieri (18, 21, 23, 28, 31 Jan., 2 Feb.)
Lucas Meachem (27, 30 Jan., 1 Feb.)
GASTONE
Albert Casals
BARONE DOUPHOL
Josep-Ramon Olivé
MARCHESE D’OBIGNY
Pau Armengol
DOTTORE GRENVIL
Gerard Farreras
LA TRAVIATA
Giuseppe Verdi (1813 1901)
“Marguerite never missed an opening night and spent every evening at the theatre or at a gala. Whenever a play opened, she went to see it, and she was never without three things that she always rested against the edge of her box in the stalls: her opera glasses, a small bag of chocolates and a bouquet of camellias.”
ALEXANDRE DUMAS; THE LADY OF THE CAMELIAS , CHAPTER II
La traviata, or Violetta Valéry, is a Parisian courtesan with a glamorous life who sells her body like Dumas Jr’s Lady of the Camellias, the inspiration for Verdi’s opera. A woman with a light of her own who, ill with tuberculosis, must sacrifice her pure love for Alfredo Germont for the sake of social convention. Alfredo’s father does not approve of the relationship and the family’s reputation is called into question. Violetta, initially consumeristic and vain, becomes the new victim of a capitalist system that devours dreams.
The origins of this story can be traced back to a historical figure: the courtesan Marie Duplessis, who died of consumption in 1847. Shortly before her death, Duplessis had a brief infatuation with Alexandre Dumas (junior), who turned this personal chapter into a semi-autobiographical novel: The Lady of the Camellias, published in 1848. Dumas then adapted the work for the stage, which was first performed at the Théâtre du Vaudeville in Paris on 2 February, 1852.
FROM 17 JANUARY TO 2 FEBRUARY 2025
With brilliant and virtuosic music, she brutally criticises the society of appearances, a machine that destroys personalities; especially when they are women who aspire to be free. Thus, Sempre libera, Violetta’s most famous aria, is a paean, a desperate cry to reclaim a space that she does not yet know she is about to lose.
Giuseppe Verdi often drew inspiration from French theatre. Ernani and Rigoletto were based on works by Victor Hugo, and within months of the premiere of The Lady of the Camellias, Verdi had already decided that it would be the basis for the new opera commissioned by La Fenice de Venècia. Together with librettist Francesco Maria Piave, Verdi
created one of the most realistic dramas of his career, an opera that does not avoid the moral and medical tensions of the source material, themes he considers “contemporary issues”.
Verdi clashed with his contemporaries over his own hypocritical morality.
The role of Violetta calls for an exceptionally versatile singer and actress. It is said —rightly— that the role should ideally be performed by three different sopranos: one for each act. The soprano Nadine Sierra, queen of this theatre, will play the tragic heroine alongside Javier Camarena, the charismatic Mexican tenor who will be her “caro Alfredo”. The trio of leading roles is completed by the Verdian baritone Artur Ruciński. David McVicar’s brilliant production announces the vulnerability of the “camellia” in the harbinger of this broken longing.
Nadine Sierra
Soprano (VIOLETTA VALÉRY)
Throughout her career she has sung in theatres such as the Staatsoper Berlin conducted by Daniel Barenboim, The Metropolitan Opera and the Teatro La Fenice in Venice, among others. She debuted at the Gran Teatre del Liceu with Del dolor a l’esperança (2020/21) and returned with Lucia di Lammermoor (2020/21) and Manon (2022/23).
Ruth Iniesta
Soprano (VIOLETTA VALÉRY)
She has sung in theatres and festivals including the Teatro Real i Auditorio Nacional de Música de Madrid, Teatro Comunale di Bologna, Staatskapelle Berlin, Konzerthaus Berlin, and in the Rossini festival in Pesaro . She made her debut at the Gran Teatre del Liceu with Il viaggio a Reims (2017/18) and returned with Gianni Schicchi (2022/23).
Javier Camarena
Tenor (ALFREDO GERMONT)
Since his debut in Zurich in 2007, his voice has been applauded in the interpretation of a large number of composers, including Bellini, Bizet, Donizetti, Haydn, Mozart, Rossini and Verdi. He made his debut at the Gran Teatre del Liceu in the 2012/13 season with L’elisir d’amore and he has returned several times, most recently with La cenerentola (2023/24).
Xabier
Anduaga
Tenor ( ALFREDO GERMONT)
Born in San Sebastian, he made his international debut as Belfiore (Il viaggio a Reims) in 2016. Since then he has sung in theatres and auditoriums all over the world. He made his debut at the Gran Teatre del Liceu with Del dolor a l’esperança (2020-21) and returned with Don Pasquale (2022/23).
62nd Edition of the Contest
Concert
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Daniel Montané
FINAL TEST
24 JANUARY
FINAL CONCERT
26 JANUARY
2025
Co-organiser theaters
Metropolitan Opera House, Nueva York
National Centre for the Performing Arts of China, Pequín
Opéra national de Paris
Royal Opera House Covent Garden, London
Teatro alla Scala, Milano Teatro Real, Madrid
Collaborating
Deutsche Oper Berlin Los Angeles Opera
San Francisco Opera Staatsoper Berlin
Approximate running time
2 h 30 min
JANUARY 2025
FRI. 24 15 h FINAL TEST
SUN. 26 18 h CONCERT FINAL
PRICES
Final test: from 10 to 15 €
Final concert: from 10 to 29 €
The tenor Francesc Viñas had always wanted to create a work that could help young people to overcome the difficulties encountered at the beginning of a singing career, which he himself experienced. This work was brought to fruition by Dr. Jacint Vilardell in 1963, with the founding of the Tenor Viñas International Singing Contest. The Gran Teatre del Liceu forged an immediate link with the Competition, which has been maintained to the present day. The Liceu, together with some of the leading international theatres, has organised sixty-one editions, in which more than 15,500 contestants have participated, and has revealed many names that have been, and still are, benchmarks in the international lyric world.
This year we are celebrating the 62nd competition and we hope that the results will be just as successful as in previous editions.
LA TORRE DELS SOMNIS
Family opera
Direction and set design
Lluís Danés
Arrangements and musical preparation
Sergi Cuenca
Dramaturgy
Eduard Sola
Circus direction
Ingrid Esperanza
Movement
Ariadna Peya
Set design
Carles Berga
Lighting
Albert Faura
Costumes
Mercè Paloma
Text
Alguer Miquel
Sound and programming
Alfred Tapscott
Coproduction
Gran Teatre del Liceu and Ajuntament de Barcelona
ENSEMBLE CONSERVATORI DEL LICEU
Circus performers
Martina Covone
Toni Gutiérrez
Paola León
Paula Asvin López
Nicolás Pasten
Marta Ruiz
Voice-over
Sílvia Bel
Alguer Miquel
Lluís Soler
JANUARY 2025
SAT. 25 18.30 h
FEBRUARY 2025
SAT. 1 11 h
SUN. 2 11 h
PRICES
From 20 to 25 €
Show FOR ALL AGES
Raquel Del Pino Soprano
Xavi Fernández Baitone
Tina Gorina
Soprano
José Manuel Guinot Tenor
After the presentation of La torre de Nadal in Plaça de Catalunya, La torre dels somnis comes to the Liceu, bringing Puccini's music to the stage from a different perspective.
This new production is a proposal halfway between opera and circus, where we (re)visit the arias and endless melodies written by Puccini. The show bears the stamp of stage director Lluís Danés and the
musical direction of Sergi Cuenca, who also wrote the musical revision of Puccini's work.
The plot explains how the inhabitants of La Torre dels Somnis, the Tower of Dreams, have to defend and protect their dreams and utopias in order to protect their status quo and their own destiny. In a world plagued by the darkest interests, "the impossible", who inhabit the tower, will challenge their own destiny.
The circus aspect of the show features traditional circus skills: balancing acts, ropes, aerial tricks, trapeze and dance.
* Don't miss the FAMILY WORKSHOP on the same day as the show.
Approximate running time 1 h
IDOMENEO
Wolfgang A. Mozart (1756 1791)
29 JANUARY 2025
CONCERT VERSION
Opera
Concert version
DRAMMA IN THREE ACTS
(original: Idomeneo, re di Creta ossia Ilia e Idamante, K. 366) Libretto by Giambattista Varesco based on a play by Campra and Danchet.
World premiere: 29/01/1781 at the Residenztheater in Munich
Barcelona premiere: 16/01/1943 at the Gran Teatre del Liceu
Last Liceu performance: 26/03/2006
Total number of Liceu performances: 24
Approximate running time 3 h 15 min
ZÜRCHER SING-AKADEMIE
ORCHESTRA FREIBURGER
BAROCKORCHESTER
Conductor René Jacobs
IDOMENEO
Emiliano González Toro
IDAMANTE
Olivia Vermeulen
ILIA
Polina Pastirchak
ELETTRA
Kateryna Kasper
ARBACE
Mark Milhofer
HIGH PRIEST OF NEPTUNE
Krešimir Špicer
THE VOICE
Yannick Debus
WED. 29 19.30 h Turn D-H
PRICES
De 10 a 279 € JANUARY 2025
Wolfgang A. Mozart (1756 1791)
«A los que buscan Aunque no encuentren A los que alcanzan Aunque se pierdan A los que viven aunque se mueran.”
MARIO BENEDETTI
René Jacobs’ immersion in Mozart’s operas will go down in the history of music as a benchmark. After having presented the Da Ponte Trilogy and The Magic Flute in Barcelona, it is now the turn of another masterpiece by the composer, Idomeneo. Premiered in Munich in 1781, based on the same adapted libretto that André Campra would use in his Idoménée, a lyric tragedy of 1712, Mozart wrote it when, at the age of twenty-five, he performed his third “opera seria”, after Lucio Silla and Il Re pastore.
With precocious dramatic talent, Mozart assimilated a revolutionary style from Haydn, extracting some lessons on the comic-dramatic nature and adapting it to his own language, thoroughly modernising the genre. Idomeneo, an extraordinary score, therefore represents a major challenge for the composer in terms of blending a new hybrid model (the flexibility of French tragedy with the lyricism of Italian opera).
The Belgian maestro, conducting the Freiburg Barockorchester, will give us the most profound, reflective and human performance ever heard, energetically and imaginatively recounting the story of a king’s promise to the god Neptune to sacrifice the first person he sees if he gets home safely; indeed, it calls into question the whole concept of religion: “Love is worth more than a promise made in fear”, comments Jacobs.
Although Idomeneo was criticised at the time as the latest metamorphosis of an obsolete genre, Mozart bequeathed us a work of true creative fury. René Jacobs, a true specialist in this repertoire, restores the necessary vigour into this enlightening score.
29 JANUARY 2025
The central characters in the plot are the children of the heroes of the Iliad, the Greek epic that recounts the war between the Greeks and Trojans that ended with the destruction of Troy. Idamante has enormous dramatic weight, Ilia is a softer character, Elettra is expressive in her archetypal madness, while Idomeneo, in his nobility, serenely renounces his throne to announce peace, while Neptune grants forgiveness, which was so much to enlightened taste. Jacobs, who always focuses on the choice of voices, achieves a bouquet that is consistently hypnotic, enchanting and astonishing, exploring all the intimate nuances of these vulnerable characters.
René Jacobs
Musical director
With more than 260 recordings to his credit, as well as a career as a singer, conductor and academic, he has become one of the leading names in the field of baroque and vocal music. He made his debut at the Gran Teatre del Liceu in the 2021 /22 season with concert version.
Olivia Vermeulen
Mezzosoprano
Highlights of Olivia’s career include performances with the Bach Collegium Japan and the Freiburger Barockorchester con ducted by René Jacobs, debuts at the Paris National Opera and at the Staatsoper Unter den Linden in Berlin, as well as at the Zurich Opera. She is making her debut at the Gran Teatre del Liceu.
Polina Pastirchak
Soprano (ILIA)
She has won several singing competitions, notably the Simandy József International Singing Competition and the International Concours de Genève. Since 2019 she has been a regular collaborator with René Jacobs and the Freiburger Barockorchester. She made her debut at the Gran Teatre del Liceu with Orfeo ed Euridice (2022/23).
TODAY’S MICRO-OPERAS (ART, MUSIC AND THOUGHT)
A PROJECT BY CCCB, LICEU AND MACBA
OPERA
8 and 9 FEBRUARY 2025
Coinciding with Manifesta 15, which will be held in the city of Barcelona in autumn 2024, three important cultural institutions, the CCCB, the MACBA and the Gran Teatre del Liceu, have come together to reflect on the meaning of “Opera” in the 21st century.
Attempting to recapture that extraordinary spark of a fire that would never be extinguished and that has its origins in the Florence of 1600 where a new discipline was forged through the fusion of earlier ones, there is a necessary rethinking and also the possibility of reconciling the relationship between culture and civil society, investigating and promoting positive social change through contemporary culture as a response to the social sphere of the city and its communities.
Opera seen as an instrument that, through its stories, emanates essential reflections on life, filled with beauty, contrasts, genius and emotions.
Based on a shared idea (ecology, the relationship between man and nature, interspecies interactions and the acoustics of nature), an intergenerational musical itinerary is proposed in the Raval neighbourhood: a circuit featuring three operas in the three venues of the different institutions where you can enjoy three newly created micro-operas. A contemporary and collective approach based on excellence and knowledge where the combined creative teams will reimagine the limits of the lyric genre itself.
CCCB
Librettist
Pol Guasch
Composer
Clara Aguilar
Artist
Silvia Delagneau
Silvia Delagneau
Artist
She is a set designer and creator in disciplines such as theater and visual arts. In her scenic exploration, she is interested in scenography that generates meaning, both conceptually and visually. In 2019, she received the Barcelona City Theater Award. She made her debut at the Gran Teatre del Liceu with The Fox Sisters (Oh!Pera, 2021/22).
LICEU
Librettist
Míriam Cano
Artist
Carlos Bunga
Composer
Fabià Santcovsky
Stage director
Carla Tovias
Carlos Bunga
Artist
Carlos Bunga (1976 Porto) studied at ESAD Caldas da Rainha in Portugal and lives in Barcelona. He often uses everyday materials such as cardboard, adhesive tape or fabrics to create his installations. Straddling sculpture and painting, his works, apparently delicate and fragile, evidence the performative aspect of the creative act.
MACBA
Librettist
Gabriel Ventura
Artist
Rosa Tharrats
Composer
Marina Herlop
Co-stage director
Rosa Tharrats and Gabriel Ventura
Rosa Tharrats
Artist and co-stage director
Rosa Tharrats studied at Elisava and graduated from the Istituto Europeo di Design, both in Barcelona. She has exhibited at the Museu de l'Empordà, at the Bombon Projects Summer Space, and at the Heinrich Ehrhardt Gallery. She has also worked with the artists Donna Huanca and Jordi Colomer, the poet Gabriel Ventura and the filmmaker Albert Serra. She won the Gaudí Award for Best Costume Design in 2014 as well as in 2020.
ERMONELA JAHO RECITAL
RECITAL 16 FEBRUARY 2025
Recital
Ermonela Jaho
Soprano
Rubén Fernández Aguirre
Piano
Approximate running time
2 h
Born in Albania, Ermonela Jaho is synonymous with pure emotion. The Liceu hosts her first solo recital at the theatre after being crowned as one of the queens of this stage.
Winner of the Best Artist of the Year at the International Classical Music Awards, Jaho arrives at the Liceu after achieving major success at the Met in New York.
After her first singing lessons when she was just 6 years old, at the age of 14 she was taken to the Tirana Opera to hear La Traviata: a seminal moment when she decided to become an opera singer. At the age of 19 she was already in Rome to continue her studies at the Accademia Nazionale di Santa Cecilia.
Her vibrant interpretations and her exceptional identification with the roles she performs make Ermonela Jaho an incomparable singer. Lauded in the greatest theatres on the circuit, she has been described as "one of the great interpreters of verismo" and "an unstoppable phenomenon".
Her credo is that "to make others cry, you must first cry yourself". This personal maxim is manifested in the two heroines she has sung most often: Butterfly and Traviata (more than thirty productions of both works). The Liceu has been fortunate to be able to present her in the tragic roles of Cio-Cio San, Desdemona, Antònia, Violetta, Liù and Suor Angelica.
With a carefully chosen programme, which brings together bel canto composers and composers representative of French and Italian Romanticism, we welcome this sensitive and unique artist, synonymous with goose bumps.
FEBRUARY 2025
SUN. 16 17 h Turn T
PRICES
From 10 to 149 €
REQUIEM
Wolfgang A. Mozart ( 1756 1791 )
IN THE BASÍLICA OF THE SAGRADA FAMÍLIA
17 FEBRUARY 2025
Special concert Under35
In the Basílica of the Sagrada Família
Anna Prohaska Soprano
Marina Viotti Contralto
Levy Sekgapane Tenor
Soloman Howard Bass
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Giovanni Antonini
Approximate running time
1 h 30 min
El LiceUnder35 is supporting by:
Réquiem en Re menor, KV 626 (1791)
Meistermusik, KV 477b (1785)
Miserere mei, KV 90 (1771)
Ne pulvis et cinis, KV.Anh 122 (1779)
Solfeggio F-Dur, KV 393/2 (1782)
‘Quis Te comprehendat’, KV.ANH 110 (1781)
O Gottes Lamm, KV 343/1 (1779)
The basilica of the Sagrada Família will be the privileged setting for the performance of Mozart’s Requiem by the musical ensembles from the Gran Teatre del Liceu under the baton of Maestro Giovanni Antonini. The event is the result of a collaboration between the two institutions and is exclusively aimed at audiences under the age of 35 (the age at which the brilliant Wolfgang Amadeus Mozart died).
truly autobiographical document. It was completed by his disciple Franz Xaver Süssmayr, around which many questions remain: Mozart raised the question of death, but his question remained unanswered.
FEBRUARY 2025
MON. 17 19.30 h #LICEUNDER35
FREE PERFORMANCE
Tickets for this concert can be acquired by young people under 35 through a draw to be held in January 2025. More information at liceu.cat
Of all Mozart’s works, opus such as Le nozze di Figaro, Don Giovanni, the “Jupiter” Symphony, the piano and orchestra concertos, The Magic Flute, and the quartets dedicated to Haydn stand out among so many others. But if one work is universally recognised as having a very particular luminous intensity, it is the score of Requiem KV 626.
Shrouded in a halo of legend, the Requiem Mass is the culmination of a period in the composer’s later work, devoted to religious music. Cut short by his untimely death during the process of its creation, it is a
This is the Salzburg composer’s Opus ultimum, in which he was able to express, through this text from the Christian liturgy, all states of mind: from the fear of Judgement (Dies irae) to the hope of God’s clemency (Kyrie), from the anguish of useless suffering (Recordare) to the certainty of an afterlife full of light (Luceat eis). A funeral lament, but above all an intense prayer, pleading for divine mercy. Rarely has a piece of music been so marked by the genius, expression, faith and suffering of a human being. For this evening, some of the composer’s other scores have been included, nourishing a vision of redemption and at the same time of faith in man and his ability to make the world a better place.
The reverberations of Mozart’s sublime unfinished work within Gaudí’s fascinating unfinished temple will spark an elevated conversation with ourselves: a plunge into the depths of the human soul to understand the power of words, music and the enigmas of transcendence.
REQUIEM
Wolfgang A. Mozart ( 1756 1791 )
FROM 18 TO 26 FEBRUARY 2025
Staged production
Premiere Tuesday 18 February 2025
19.30 h
Approximate running time 1 h 30 mi
FEBRUARY 2025
TUES. 18 19.30 h Turn B
WED. 19 19.30 h Turn D-H
FRI. 21 19.30 h Turn G
SAT. 22 19 h Turn C
SUN. 23 18 h Turn F
TUES. 25 19.30 h Turn A
WED. 26 19.30 h Turn P
PRICES
Premiere (turn B): from 10 to 293 €
The remaining turns: from 10 to 279 €
Stage director, costume design and lighting
Romeo Castellucci
Associate satge director
Silvia Costa
Choreography
Evelin Facchini
Dramaturgy
Piersandra di Matteo
Anna Prohaska Soprano
Marina Viotti Alto
Levy Sekgapane Tenor
Soloman Howard Bass
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Giovanni Antonini
Réquiem en Re menor, KV 626 (1791)
Meistermusik, KV 477b (1785)
Miserere mei, KV 90 (1771)
Ne pulvis et cinis, KV.Anh 122 (1779)
Solfeggio F-Dur, KV 393/2 (1782)
‘Quis Te comprehendat’, KV.ANH 110 (1781)
O Gottes Lamm, KV 343/1 (1779)
Wolfgang A. Mozart
( 1756—1791 )
«Since death is the true goal of our existence, I have come to know this true and best friend of humanity so well in recent years that the image of death no longer frightens me.»
WOLFGANG A. MOZART
Wrapped in an aura of mystery, the enigmatic and extraordinary Requiem Mass is not only the culmination of a later stage of Wolfgang Amadeus Mozart’s work, dedicated to religious music, but also the pinnacle of music history. Truncated by the premature death of the composer during its creation and a truly autobiographical document, this work does so much more than look at death and divine judgment. Mozart generates dramatic action capable of renewing the sacred genre, where vocal expression comes to the fore to illuminate an overwhelming experience. His disciple Franz Xaver Süssmayr, who had already assisted him in contemporary works such as The Magic Flute and La clemenza di Tito, completed a score around which many questions remain: Mozart raised the question of death, but his question remained unanswered.
Mozart was able to express, through this text from the Christian liturgy, all the states of mind: from the fear of Judgement (Dies irae) to the hope of God’s clemency (Kyrie), from the anguish of useless suffering (Recordare) to the certainty of an afterlife full of light (Luceat eis). A funeral lament, but above all an intense prayer, pleading for divine mercy. Rarely has a piece of music been so marked by the genius, expression, faith and suffering of a human being.
“Since death is the true goal of our existence, I have come to understand mankind’s true and best friend so well in recent years that the image of death no longer frightens me, rather it is much more reassuring and comforting.” – Wolfgang Amadeus Mozart Mozart’s words on life and death were the starting point for Romeo Castellucci, the leading figure of
FROM 18 TO 26
FEBRUARY 2025
European avant-garde theatre, to interpret the composer’s emblem atic and unfinished requiem. As an expression of humanity’s existen tial fear of mortality, this requiem mass confronts us with the fragility of nature and culture, of humanity and the individual. “We should un derstand and celebrate the end as if it were a feast, where the dance continues. This is transposed and its meaning changes.” Thanks to Castellucci’s theatrical vision, complement ed by other religious pieces by Mozart, this Requiem becomes the ultimate celebration of life, where we transcend the clichés of life’s fleetingness
A co-production originating at the Aix-en-Provence Festival, and Cas tellucci’s first performance at the Gran Teatre del Liceu, it resembles a hymn to life, of extraordinary plastic beauty and irresistible theatrical force. This “Requiem” is the opposite of what one might expect from a mass for the dead; it is not a place of lamentation, but addresses themes such as the fundamental question of time, of the hope of rebirth; it explores the origin and the end, but also the end as origin itself, making it pos sible to celebrate life in its fragility. An end that wants to dream of life, imposing circularity and renewal.
Giovanni Antonini, founder of Il Giardino Armonico and one of the most respected musical directors on the scene, will be the master of this beautiful and essential proposal.
CLAUDIA PAGÈS:
GERUNDIO CIRCULAR
EXHIBITION FROM 18 FEBRUARY TO 6 APRIL 2025
Claudia Pagès ( VISUAL ARTIST )
The work of Claudia Pagès moves the word, the body, music and movement in multiple directions, tracing the continuity of circulation systems, like navigation and transport, along with language and juridical linguistics. Pagès has also focused on the "architectures of containment" that maintain their power through the flow of commodities and capital, paying particular attention to water, paper and language.
Pagès has read, performed and exhibited, among other venues, at: the Sculpture Center (New York), CA2M (Madrid), Joan Miró Foun-
dation (Barcelona), Tabakalera (Donostia), Vleeshal (Middelburg), MACBA (Barcelona), Kunstverein Braunschweig (Germany), La Casa Encendida (Madrid), CAPC (Bordeaux), HAU2 (Berlin) and the Sharjah Art Foundation (UAE).
She received the Mondriaan Werkbijdrage Jong Talent award in 2016, and the Premio Ojo Crítico in 2022. Pagès has been artist-in-residence at Gasworks (London) in 2017, at Triangle France (Marseille) in 2020 and at Rijksakademie2 (À2). She published Her hair (2020) with Onomatopee publishing house and is currently preparing a book with Wendy's Subway and Empúries Narrativa.
LICEU DE LES ARTS
Exhibition
From 18 February to 6 april de 2025
Saló dels Miralls
The work of Claudia Pagès unfolds in multiple ways. In her process, word, body and movement circulate in many directions, tracing a linguistic network of micro-narratives, queer poetry and rhythmic discourse. In her exploration, and with tenacious writing, Pagès brings new possibilities of the voice on stage through music and the presence of bodies. She is particularly interested in distribution, circulation and consumption systems. Her hypnotic works revolve around global maritime routes. The legal jargon and the tireless flow of goods and people that characterise active capitalism.
Depending on the moment of life and circumstances, her art can take on a textual, performative or body-object character, a pure vital impulse to contain and capture the scattered map of habits, pathways, relationships and conversations that make up our day-to-day lives.
She often works by recording thoughts or jotting down fragments of conversations she hears in the street, and constantly moving between language and translation, she obtains a libretto format in which graphics and typography also play an important role. Pagès transforms these collected compositions into stage shows in which objects accompany songs and movements, both by Pagès herself and her collaborators.
LA MEROPE
Concert version
OPERA IN THREE ACTS
Libretto by Apostolo Zeno
World premiere: 1743 at the Teatro delle Dame in Rome
Barcelona premiere: 07/1955 at the Jardí dels Tarongers in Can Bartomeu
Gran Teatre del Liceu premiere
Approximate running time 3 h
ORCHESTRA AKADEMIE
FÜR ALTE MUSIK BERLIN
Conductor Francesco Corti
POLIFONTE
Valerio Contaldo
MEROPE
Emőke Baráth
EPITIDE
Francesca Pia Vitale
ARGIA Sunhae Im
TRASIMEDE
Paul-Antoine Bénos-Dijan
LICISCO
Margherita Maria Sala
ANASSANDRO
Matthew Newlin
THURS. 20 19.30 h Turn E
PRICES
From 10 to 82 € FEBRUARY 2025
LA MEROPE
Domènec Terradellas (1713 —1751 )
“The history of art is nothing more than endless martyrdom”
GUSTAVE FLAUBERT
Domènec Terradellas (Barcelona, 1713 - Roma, 1751), was the most famous Catalan composer of the 18th century. With a fascinating artistic life and a rich and brilliant body of work, the Gran Teatre del Liceu wants to revive his opera La Merope in modern times.
(Allegedly) stabbed to death in Rome at the age of 38 (due to the envy of the composer Niccolò Jommelli), we know little of his biography more than three centuries after his birth. A disciple of Barcelona Cathedral’s chapel master, Francesc Valls, he travelled to Naples, where he was able to study with Francesco Durante, and where he developed a taste for sacred music. It was in the opera houses of Naples that he became acquainted with the appreciation of the lyric genre and where he made an important contribution to the twilight Baroque and the imminent dawning of Classicism.
After his great Neapolitan oratorio Giuseppe Rinocosciutto (1736) came his first great success: La Merope, premiered at the Teatro delle Dame in Rome, 1743. It represented his definitive triumph in Italy. Other titles followed, such as Artaserse (1744), Mitridate (1746) and Bellerofonte (1747), the latter two during his London period as director of the King’s Theatre Haymarket, where Handel had triumphed several years earlier. Terradellas’ final opera, Sesotri (1751) was the first score by a Catalan composer to be premiered on stage in Catalonia, namely at the Teatre de la Santa Creu in Barcelona.
Francesco Corti
Musical director
He regularly holds the baton for Les Musiciens du Louvre, and is a guest conductor for various ensembles including Il Pomo d’Oro, Holland Baroque Society and De Nederlandse Bach Vereniging. Since January 2023, he has also been musical director of the Dottningholm Royal Court Theatre. In addition to conducting, he is also a harpsichordist and organist. He is making his debut at the Gran Teatre del Liceu.
It is Francesco Corti, renowned harpsichordist and conductor, who, at the head of AKAMUS (Akademie für Alte Musik Berlin), is the driving force behind this proposal to bring back to life this score of outstanding orchestral and vocal refinement that has lain dormant for too long. Imaginative music, lively melodies, great theatrical ardour and a keen sense of drama make it imperative to reclaim Terradellas.
20 FEBRUARY 2025
A marvellous artistic biography in which he had dealings with Gluck and competed with others of the quality of Porpora, Galuppi or Hasse.
AMB CORATGE
Ser valent no és només
Esbotzar portes a queixalades
Hi ha un coratge valuós
En la gosadia de desaparèixer lentament
Acompanyant el mànec de la porta
Sense soroll i sense fúria
I marxar quan tothom dorm
Amb el pas ferm de la princesa del pèsol
Cuirassada de valquíria
Míriam Cano
LA NIT DE SANT JOAN
FAMILY DANCE 22 and 23 FEBRUARY 2025
Antonio Ruz
Family dance
Music
Robert Gerhard
Set design
Joan Junyer
Storyline
Ventura Gassol
Director and choreographer
Antonio Ruz
Coordination and musical advisor
Miguel Baselga
Production
Gran Teatre del Liceu y Fundació
Juan March
Dancers
Beatriz Cubero, Raúl Melcón, Joel Mesa, Alexa Moya, Maria Quero, Carlos Roncero, Anna Sagrera, Ariadna Saltó, Aaron Vazquez
Piano
Valèria Blasco, Carlos Bujosa, Clara Santacana
Approximate running time
1 h 10 min
MESOESTETIC
Patron of the Dance Circle
Show
FOR ALL AGES
The production La nit de Sant Joan (Soirées de Barcelone), the second ballet of composer Robert Gerhard (1896-1970), with scenography by Joan Junyer and storyline by Ventura Gassol, would not be performed in 1939 due to the vicissitudes of the Spanish Civil War. The work was created because of the madness for dance that erupted at the beginning of the 20th century, with the backdrop of the European image of an exotic Spain and the great success that Manuel de Falla had in this field.
Inspired by the mythical night of the summer solstice – nit de Sant
Joan – and the celebrations with fire from the Catalan Pyrenees, the music is modern, yet with a folk feeling, evoking melodies from our folklore, where the frenetic beats describe torch dances, the parade of magical figures and the erotic movements of couples who, in intimate union, end up marrying at dawn.
Antonio Ruz wanted – symbolically and creatively – to permeate the choreography with features that connect us to our traditions, such as the symbolism of fire, the sardana dance, castells and mythical bestiary.
* Don't miss the FAMILY WORKSHOP on the same day as the show.
FEBRUARY 2025
SAT. 22 11 h
SUN. 23 11 h
PRICES
From 15 to 20 €
DICHTERLIEBE
RECITAL 14 MARCH 2025
Schumann and Schubert with the projection of Gerhard Richter’s work
Gerhard Richter ( PLASTIC ARTIST )
Gerhard Richter was born in Dresden in 1932. From 1951 to 1956 he studied mural painting at the local University of Fine Arts. In 1961 he left the GDR and moved to Düsseldorf. From 1961 to 1964 Richter studied painting at the Düsseldorf State Art Academy. From 1971 to 1994 he taught there as a professor of painting.
From 1962 onwards, while still a student, Gerhard Richter developed his own artistic oeuvre, initially based on photographic models. He later expanded his
painting to include a wide variety of abstract styles. In addition to paintings, Richter's complex oeuvre also includes objects, drawings, watercolors, overpainted photographs and editions. His works are in the most important museum collections of modern art and are exhibited worldwide. Gerhard Richter is considered one of the most important and influential living artists. He lives and works in Cologne.
Gerald Finley
Baritone
Julius Drake
Piano
Approximate running time 1 h
Selection
of Lieder F. Schubert
Dichterliebe, op. 48 R. Schumann
Dichterliebe, op. 48 (A poet’s Love) is one of the pinnacles of German Romantic lied ’ Written by Robert Schumann in May 1840 from a selection of 16 poems by Heinrich Heine (1797-1856) featured in his Lyrisches Intermezzo, more stylish in its choice of metaphor but containing a dose of irony.
Schumann (1810-1856) admired Heine immensely and sought him out in 1828, when Heine was already a celebrity. The poet welcomed his admirer, then still a law student in training, and showed him around the town. Some years later, when Schumann wrote arrangements of his poetry, he corresponded with him in the hope of forging a closer relationship, but Heine never replied. Schumann felt insulted.
Apart from having one of the best baritones in the world, Gerald Finley, to unravel this gallery of miniatures, each one a self-contained microcosm, we can enjoy the images from one of the greatest artists of our time: Gerhard Richter (Dresden, 1932). With an artistic production that can be classified into three categories, figurative (paintings based on photography or nature), constructivist (more theoretical work on colours and panels) and abstract, Richter has earned this place of prominence. This diversity, derived from constant experimentation and the clash between abstraction and figuration, constitutes a paraphrasing of styles.
MARCH 2025
FRI. 14 19.30 h
Schumann’s musical treatment of the poems creates a complex emotional experience. The presence of love as both declaration and complaint, as resignation in favour of the beloved, is joined by a peculiar sarcasm in the form of reproach. The dynamic contrast between opposing characteristics accentuates the irony and evokes an uncertain atmosphere of desire. The result is very close to modern sensibility.
LOHENGRIN
Richard Wagner (1813 1883)
FROM 17 TO 30 MARCH 2025
ROMANTISCHE OPER IN THREE ACTS
Libretto by Richard Wagner
World premiere: 28/08/1850 at the Großherzogliches Hoftheater in Weimar
Barcelona premiere: 17/05/1882 at the Teatre Principal
Gran Teatre del Liceu premiere: 06/03/1883
Last Liceu performance: 05/09/2012
Total number of Liceu performances: 242
Premiere Mondat 17 march 2025
19 h
Approximate running time 4 h 30 min
Audio description Sunday 30 march 2025 17 h
MARCH 2025
MON. 17 19 h Turn A
WED. 19 19 h Turn B
FRI. 21 19 h Turn C
MON. 24 19 h Turn G
THURS. 27 19 h Turn D-H
SUN. 30* 17 h Turn T
*Function with audio description
PRICES
All turns: de 10 a 299 €
Stage director
Katharina Wagner
Set design
Marc Löhrer
Costumes
Thomas Kaiser
Lighting
Peter Younes
Dramaturgy
Daniel Weber
Production
Gran Teatre del Liceu
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Josep Pons
HEINRICH
Günther Groissböck
LOHENGRIN
Klaus Florian Vogt
ELSA VON BRABANT
Elisabeth Teige
FRIEDRICH VON TELRAMUND
Olafur Sigurdarsson
ORTRUD
Iréne Theorin
HERALD
Roman Trekel
NOBLES
Jorge Rodríguez Norton
Gerardo López
Guillem Batllori
Marc Pujol
LOHENGRIN
Richard Wagner (1813 1883)
“Be pure, be noble; arise”
BUDA
Elsa, accused of killing her brother, the heir to the duchy of Brabant, in her tribulations asks for justice and to be defended by a man she has only seen in her dreams. In the pursuit of this vision, against all odds he appears, transported by a swan, and accepts the challenge, provided that she never asks him where he came from or what his name is.
FROM 17 TO 30
MARCH 2025
Chronologically, Lohengrin stands at the centre of Richard Wagner’s career, both thematically and artistically. Wagner was 37 years old when he penned the final double bar line on Lohengrin: a romantic opera with highly magnetic music. The libretto, of his own devising, is a personal and romantic re-imagining of a medieval legend. It draws on a number of sources: the anonymous 13th century German epic Lohengrin and the story of Parzival by Wolfram von Eschenbach (11601220). Wagner addresses themes ranging from the spiritual (the
role of the divine in human lives) to the political (nation-building in times of transition and migration) to the deeply personal (the central mystery of erotic attraction). For this broad convergence of issues, the composer created a colossal score, impressive in its wealth of themes and textures, theatrically extremely effective, which has been considered the best gateway to his oeuvre and also the work that represents the first steps in his concept of musical drama: leitmotifs, the most sumptuous orchestra, and so forth.
A crowning achievement of Romanticism: it includes Wagner’s own most ethereal music (the Prelude, Elsa’s dream and Lohengrin’s final narration). In counterpoint to these passages, we find music of a military character, such as the fanfares in Act I and III, the wedding celebration music and Ortrud’s invocation to the pagan gods. The heart expresses emotions ranging from the utterance of hope to the
LOHENGRIN
deepest human fears. Lohengrin is thus an allegory for the birth of a communal consciousness of awakening and hope.
Wagner’s monumental masterpiece makes a triumphant return to the stage of the Gran Teatre del Liceu in a new production by Katharina Wagner (great-granddaughter of the composer and director of the Bayreuth Festival). It is a highly anticipated Barcelona debut, especially considering that it was the first work to be cancelled when the pandemic hit the world. With this symbolic opera—also the first by the German composer to be premiered in Barcelona in 1882—Katharina Wagner reveals an atmospheric staging, with a stimulating visual style, a sharp dramatic vision and an astonishing dramaturgical concept.
A winter landscape. Three worlds face each other like cubes suspended in the air. And, in the centre, the hero with an unknown origin and a single destiny: to save the helpless, victims of injustice. Like Elsa, destined to be the wife of the knight from Montsalvat. Revealing her identity will bring down the men of Brabant, despite the emergence of a new order.
With musical director Josep Pons on the podium at the helm of an excellent cast that includes: Klaus Florian Vogt, one of the world’s most acclaimed tenors and a specialist in the Wagnerian repertoire in the title role of the mysterious swan knight; Elisabeth Teige, the true queen of the Bayreuth Festival thanks to roles such as Sieglinde, Elisabeth and Senta and, here, the Duchess Elsa, falsely accused of murder; and Irene Therin, who after successful appearances at the Liceu as Isolde, Turandot... now returns as the cunning Ortrud.
Katharina Wagner
Stage director
She is Richard Wagner’s great-granddaughter and, since 2015, the artistic director of the Bayreuth Festival. She has directed two productions at this prestigious festival: Die Meistersinger von Nürnberg, in 2007, and Tristan und Isolde, in 2015. She is making her debut at the Gran Teatre del Liceu.
Elisabeth Teige
Soprano (ELSA VON BRABANT)
Since her debut at the Bayreuth Festival in summer 2022 as Senta (Der fliegende Holländer), her career has taken her to great stages such as the Bayerische Staatsoper, the Teatro di San Carlo and the Théâtre du Capitole in Toulouse, among others. She is making her debut at the Gran Teatre del Liceu.
Klaus Florian Vogt
Tenor ( LOHENGRIN)
A regular performer at major international theatres and festivals, he made his debut at the Bayreuth Festival in 2007 and at the Salzburg Easter Festival in 2019. He made his debut at the Gran Teatre del Liceu in 2005/06 with Die tote Stadt, and returned with Parsifal (2010/11), Lohengrin, Rusalka (2012/13) and Die Walküre (2013/14).
Iréne Theorin
Soprano ( ORTRUD)
She is a regular voice at the Bayreuth Festival and at the world’s leading opera houses in cities such as London, Milan, New York and Munich. She made her debut at the Gran Teatre del Liceu with Tristan und Isolde in concert version (2012/13),and has returned several times, most recently with the Victoria de los Ángeles centenary gala (2023/24).
BALLET DU CAPITOLE DE TOULOUSE JORDI SAVALL
(1714 1787)
FROM 26 MARCH TO 1 APRIL 2025
SÉMIRAMIS DON JUAN
Christoph Willibald von Gluck
Dance
SÉMIRAMIS, DON JUAN
Christoph Willibald von Gluck (1714-1787)
Sémiramis
Libretto by Voltaire and original choreography by Gasparo Angiolini.
World premiere: 30/01/1765 at the K.K. Theater an der Burg in Vienna
Gran Teatre del Liceu premiere
Don Juan
Libretto by Ranieri de’ Calzabigi based on Molière’s Dom Juan ou le Festin de pierre (1665) with original choreography by Gasparo Angiolini.
World premiere: 17/10/1761 at the Theater am Kärntnertor in Vienna
Gran Teatre del Liceu premiere
Approximate running time 1 h 40 min
BALLET
DU CAPITOLE DE TOULOUSE
Sémiramis
Choreography
Angel Rodriguez
Set design
Curt Allen Vilmer
Leticia Ganan
Costumes
Ana Rosa Chanza
Lighting
Nicolas Fischtel
Don Juan
Choreography
Edward Clug
Set design
Marko Japelj
Costumes
Leo Kulas
Lighting
Tomaz Premzl
ORCHESTRA LE CONCERT DES NATIONS
Conductor Jordi Savall
MESOESTETIC
Patron of the Dance Circle
MARCH 2025
WED. 26 19.30 h DANCE
FRI. 28 19.30 h Turn E SAT. 29 19 h Turn PB
MON. 31 19.30 h Turn A
APRIL 2025
TUES. 1 19.30 h Turn G
PRICES
Premiere (DANCE turn): from 10 to 219 €
The remaining turns: from 10 to 209 €
In a co-production between Toulouse and the Liceu, dreamt up by Jordi Savall, Ballet du Capitole de Toulouse returns to the stage of the Gran Teatre del Liceu to recreate, through gesture, the sensitive and nuanced world of Gluck’s music.
The acclaimed choreographer Edward Clug takes the helm of the company to breathe colour into these impressive scores. Born in Romania (Beius, 1973), Clug escaped the communist repression of dictator Nicolae Ceaucescu by enrolling in dance school. He became a soloist at the National Drama Theatre in Maribor (Slovenia) and choreographed his first production in 1996. Now
director of the ballet company, he has choreographed works for the most prestigious companies in the world: Zurich Ballet, Royal Ballet of Flanders, Aalto Ballet of Essen, National Ballet of Ukraine or NDT, among others.
Jordi Savall, the most prestigious violagambist and one of the conductors who has revolutionised the interpretation of music, has long wanted to make a foray into the world of dance based on the music Gluck wrote for his Don Juan. Written a year before Orfeo et Euridice, the composer revamped the ballet by adapting a play by Molière for Viennese audiences in 1761. Sémiramis followed the year after. These two
works are innovative because they offer, for the first time, a coherent narrative where all the resources of the orchestra are harnessed in the service of expressivity.
Jordi Savall and Le Concert des Nations, Edward Clug and the Ballet du Capitole de Toulouse combine their energies to recapture all the colours of these scores and remind us that, a quarter of a century before Mozart, another outstanding figure was passing across the stages of Europe with all the evocative power music is capable of: C. W. Gluck.
In principio erat verbum (Joan, 1-1, 18 )
Amb la casa encara en flames Ha dibuixat parets d’una dimensió A la cendra calenta de terra –buidar l’espai és canviar el repte de bàndol–encerclada de pell i de fum convoca paraules noves amb què vestir-se conserva dins les ungles la sorra d’allà on ve i esborra els punts de fuga.
Imagineu-la pacient: Se sap llavor i inici.
Míriam Cano
PRETTY YENDE AND NADINE SIERRA CONCERT
CONCERT 6 APRIL 2025
Symphonic Cycle of the Gran Teatre del Liceu Orchestra
Pretty Yende
Soprano
Nadine Sierra
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Pablo Mielgo
Approximate running time 2 h,
The stage of the Gran Teatre del Liceu will host the return of two leading figures from the international stage: Pretty Yende and Nadine Sierra. Two leading sopranos on the world lyric scene.
Pretty Yende, who has already appeared at the Liceu in I Puritani and also in La Traviata immediately after the pandemic, returns to Barcelona after performing at the coronation ceremony for King Charles III of England. Meanwhile, Nadine Sierra has had great success in performances at the Liceu in titles such as Lucia di Lammermoor and Manon. Pablo Mielgo will take to the podium to conduct the Gran Teatre del Liceu’s orchestra.
After the opening of Mozart’s Le nozze di Figaro, we will be able to listen to a sequence of pieces
Soprano PRICES From 10 to 279 €
dedicated to Italian opera in an arc that stretches from the bel canto of Rossini, Donizetti and Bellini to the Romanticism of Verdi. A journey that will then offer gems by Nicolai, Delibes, Lehar and Offenbach, finally coming to a close with Neapolitanas, Rossini’s Taranella and the iconic “I Feel Pretty” from Leonard Bernstein’s West Side Story
South African soprano Pretty Yende’s career began with a series of prestigious awards. She is the first artist in the history of the Belvedere Competition in Vienna to win, in 2010, the highest recognition in both the Opera and Operetta categories. Her studies, which began at the South African College of Music, ended at the Accademia del Teatro alla Scala in 2011. Since her professional debut in Riga in the role of Micaëla in Carmen, she has been performing on the most prestigious international stages.
Florida-born soprano Nadine Sierra completed her studies at the Mannes School of Music in New York, continuing with the Adler Fellowship programme at the San Francisco Opera. Numerous accolades furthered her international career. In 2017, she won the Richard Tucker Award and in 2018 she received the Beverly Sills Artist Award at the Metropolitan Opera. This recital, which has so far only been performed at the Philharmonie in Paris and the Teatro San Carlo in Naples, is an opportunity to enjoy two of the most beautiful voices in the world.
LA SONNAMBULA
MELODRAMMA IN TWO ACTS
Libretto by Felice Romani, based on La Somnambule by Eugène Scribe and Germain Delavigne and La Somnambule ou L’arrivée d’un nouveau seigner by Eugène Scribe and Pierre Aumer.
World premiere: 06/03/1831 at the Teatro Carcano in Milano
Barcelona premiere: 21/04/1836 at the Teatre de la Santa Creu
Gran Teatre del Liceu premiere: 05/08/1848
Last Liceu performance: 17/02/2014
Total number of Liceu performances: 132
Premiere
Wednesday 16 april 2025
19.30 h
Approximate running time 3 h
Audio description Wednesday 7 may 2025 19.30 h
APRIL 2025
WED. 16 19.30 h #LICEUNDER35
TUES. 22 19.30 h Turn A
FRI. 25 19.30 h Turn C
MON. 28 19.30 h Turn G
MAY 2025
FRI. 2 19.30 h Turn PB
MON. 5 19.30 h Turn P
WED. 7* 19.30 h Turn PC
THURS. 8 19.30 h Turn B
*Function with audio description
PRICES
Turn PC: from 10 to 295 €
The remaining turns: from 10 to 299 €
#LICEUNDER35: 20 €
Stage director
Bárbara Lluch
Choreography
Metamorphosis danza (Iratxe
Ansa and Igor Bacovich)
Set design
Christof Daniel Hetzer
Costumes
Clara Peluffo Valentini
Lighting
Urs Schönebaum
Production
Gran Teatre del Liceu, Teatro
Real, New National Theatre
Tokio and Teatro Massimo di
Palermo
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Lorenzo Paserini
COUNT RODOLFO
Fernando Radó
TERESA
Carmen Artaza
AMINA
Nadine Sierra
Caterina Sala (16 apr. and 7 may.)
ELVINO
Xabier Anduaga
Omar Mancini (16 apr. and 7 may.)
LISA
Sabrina Gardez
ALESSIO
Isaac Galán
LA SONNAMBULA
Vincenzo Bellini (1801 1835)
“The world breaks everyone and afterward many are strong at the broken places.”
ERNEST HEMINGWAY
In pursuit of her dream, a young woman is about to marry her beloved. Right at the same moment, the entire village discovers her sleeping at a stranger’s house. Suspicions of infidelity, which everyone believes to be true, make the young fiancé, mad with jealousy, break off their engagement and it takes two acts to find out that sleepwalking is the real culprit behind the mess. It all ends happily: the sight of the girl climbing out of the mill window, putting her life at risk, is the definitive proof of her innocence.
Long before verismo exploited the theme of female infidelity from realistic perspectives, Bellini tackled what was then a thorny taboo with great dramatic delicacy. Set in the rural Swiss Alps, also idealised by the Romantics in works such as Guillem Tell, La fille du regiment and Giselle, this “opera semiseria” in two acts exposes the people of these tranquil regions to the miseries of humanity: mistrust, hostility
and ostracism in the uncertain shadow of vulgar suspicion. The people become the third major character in the opera, revealing the rural harshness that manifests itself more in rancour than solidarity and misery rather than abundance.
The protagonist’s sleepwalking therefore acts as the necessary shock to awaken everyone from a collective nightmare, while providing the climax to a poetic score that eventually became one of the most celebrated and enduring icons of bel canto. The dream phenomenon allows the writer to transcend the realistic aspects of the character, similar to the famous scenes of madness so dear to the Romantics, and its benign character leads to the happy ending demanded by the “opera semiseria” and the sentimental romance of the period.
To decipher the mysteries of the score, deliver the magic bel canto and face the brutal vocal
FROM 16 APRIL TO 8 MAY 2025
LA SONNAMBULA
Bárbara Lluch
Stage director
She has worked in theatres including the Royal Opera House in London, La Monnaie in Brussels, the Teatro Real in Madrid, the Sydney Opera House, the Teatro Colón in Buenos Aires, as well as at the Glyndebourne Festival. She made her debut at the Gran Teatre del Liceu in the 2016/17 season with Macbeth
demand, we will have on stage Nadine Sierra as Amina and Xabier Anduaga as Elvino, the spectacular successors of the legendary lead singers in the premiere: Giuditta Pasta and Giovanni Battista Rubini. Bellini’s extraordinary lyrical inspiration deploys his most refined and beautiful melodies to explain the protagonists’ feelings. Besides Elvino’s incredible aria (“Ah! perché non posso odiarti”) he has a most admirable moment in one of the composer’s most sublime soprano arias, the famous “Ah, non credea mirarti... Ah, non giunge!”, which Amina sings in her trance-like state.
This co-production between the Gran Teatre del Liceu, the Teatro Real in Madrid, the National Theatre of Tokyo and the Teatro Massimo in Palermo, directed by Bárbara Lluch, was an unquestionable success at its premiere. The stage director, after a decade of great
Fernando Radó
Bass baritone (COUNT RODOLFO)
He has sung in theatres including the Royal Opera House in London, the Teatro alla Scala in Milan, the National Opera in Paris, the Teatro Real in Madrid, the Deutsche Staatsoper Berlin, the Opéra Monte-Carlo and the Teatro Colón in Buenos Aires. He made his debut at the Gran Teatre del Liceu in the 2012/13 season with Il pirata
work in London—and with important dates in the most prestigious European theatres—respecting the period in which the opera was set, has sought to de-romanticise it, taking into account the #Metoo context, and brings to Bellini’s bucolic tale a final dramatic twist with a touch of modernity and a feminist perspective.
Premiered in Milan in 1831 (and at the Liceu in 1848) it forms part of Bellini’s admired bel canto trilogy alongside Norma and I Puritani La Sonnambula is a romantic melodrama with all the ingredients of amorous intrigue, ghostly apparitions, dreams coexisting with a curious scientific incursion into the world of sleepwalking, treated as a pretext and at the same time as a phenomenon of the human condition.
Nadine Sierra
Soprano (AMINA)
Throughout her career she has sung in theatres such as the Staatsoper Berlin conducted by Daniel Barenboim, The Metropolitan Opera and the Teatro La Fenice in Venice, among others. She debuted at the Gran Teatre del Liceu with Del dolor a l’esperança (2020/21) and returned with Lucia di Lammermoor (2020/21) and Manon (2022/23).
Xabier Anduaga
Tenor (ELVINO)
Born in San Sebastian, he made his international debut as Belfiore (Il viaggio a Reims) in 2016. Since then he has sung in theatres and auditoriums all over the world. He made his debut at the Gran Teatre del Liceu with Del dolor a l’esperança (2020-21) and returned with Don Pasquale (2022/23).
EL MONSTRE AL LABERINT
PARTICIPATORY OPERA APRIL-MAY 2025
Participatory opera
Music
Jonathan Dove
Libretto
Alasdair Middleton
Translation
Marc Rosich
Conduction
Manel Valdivieso
Direction, set design and lighting
Paco Azorín
Movement director
Carlos Martos de la Vega
Movement assistant
Eulàlia Bergadà
Video
Pedro Chamizo
Costume design
Anna Güell
Production
Gran Teatre del Liceu
TESEU
Roger Padullés
MINOS
Marc Pujol
MADRE
Laura Vila
DÉDALO
Elías Arranz
Approximate running time
1 h
APRIL 2025
TUES. 29 19 h
WED. 30 19 h
MAY 2025
MON. 26 19 h
TUES. 27 19 h
PRICE
15 €
Show
FOR ALL AGES
YOUTH CHOIR FROM DIFFERENT EDUCATIONAL CENTERS
Buia Reixach i Feixes, choir conductor
LICEU’S CONSERVATORY ORCHESTRA
The Monster in the Maze is an opera by Jonathan Dove that is inspired by the classical myth of Theseus and the Minotaur. Paco Azorín’s stage proposal establishes a parallelism between the journey undertaken by the young people of Athens in the myth and the journey undertaken every day by hundreds of people who embark to the Mediterranean in search of a better life.
The Monster in the Maze is conceived as a collective creation in which hundreds of young people from various high schools and educational centres share the stage with music and performing arts professionals. The project aims to offer young people, in addition to an artistic experience, an initiation into culture and thought. A participatory project that gives us the opportunity to get closer to the opera, either by being in the audience or by going on stage.
* Don't miss the FAMILY WORKSHOP on the same day as the show.
A NIGHT IN PARIS WITH DEBUSSY AND RAVEL
CONCERT 4 MAY 2025
Symphonic Cycle of the Gran Teatre del Liceu Orchestra
Javier Perianes, piano
CHOIR OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Josep Pons
Approximate running time 1 h 45 min
COMMEMORATION
of the 150th Anniversary of the Birth of Maurice Ravel
Nocturnes
C. Debussy
Concierto para piano en Sol M. Ravel
Daphnis et Chloé (suites I & II)
M. Ravel
The subtlety of the sonorous representation of a fleeting impression of a specific moment is the ideology of the programme of impressionist music that Josep Pons presents this evening. Music that searches for this sound image, similar to that of French period painting, with the aim of conveying the mood and atmosphere of a given moment to the listener. The creation and development of this musical system involves the tandem of Perianes and Pons, two internationally acclaimed performers.
The insinuation, the sense of rubato elasticity and experimentation with timbre speak to us of the importance of the adjective rather than the noun. New tonal effects that had a definitive impact on the world of music and that we can recognise in the works presented in the session.
While Debussy is the most original creator of powerful music that transports us to spaces of antiquity through dreams with a misty music of distant and unpredictable evocations, Ravel is a bold neoclassical composer with expressionist features, a master of orchestration and a meticulous craftsman of formal perfection, but also of great expressiveness. A beautifully crafted session in which this dialogue between Debussy and Ravel produces a subtle interplay between intelligence and the more hidden outpourings of one’s own heart.
SUN. 4 17 h Turn T
PRICES
From 10 to 82 € MAY 2025
LONDON SYMPHONY ORCHESTRA GUSTAVO DUDAMEL
LONDON SYMPHONY
ORCHESTRA
Gustavo Dudamel, conductor
Marina Rebeka, soprano
Don Juan
Richard Strauss
Shéhérazade
Maurice Ravel
Rapsodie espagnole
Maurice Ravel
Suite de Der Rosenkavalier
Approximate running time
1 h 30 min
Richard Strauss PRICES
For this unique evening, Gustavo Dudamel, a regular at the Gran Teatre del Liceu, will take to the stage at the head of the legendary London Symphony Orchestra. The acclaimed Venezuelan conductor, a leading name in conducting in recent decades, is internationally renowned for his interpretations of both the symphonic and operatic genres. Artistic and musical director of ensembles such as the Los Angeles Philharmonic, the Simón Bolívar Orchestra and the already announced new position at the New York Philharmonic, his leadership extends beyond large auditoriums to classrooms, cinemas and global digital platforms.
A sensitive and committed artist, Gustavo Dudamel is convinced that music can transform lives. Through his energetic leadership on the rostrum, and his tireless advocacy for arts education, he has introduced classical music to
new audiences around the world and has helped provide access to the arts for countless people from disadvantaged communities.
One of the few classical musicians to become a true pop culture phenomenon, Dudamel has appeared in films such as Steven Spielberg’s new adaptation of Bernstein’s West Side Story, Star Wars: El despertar de la Fuerza, Mozart in the Jungle, Sesame Street and The Simpsons
Without a doubt, more than anyone else, Dudamel embodies the idea of pursuing a dream: a violinist since he was a child in an El Sistema “hub”, he still plays with the different orchestras of this music-loving structure, which gives opportunities to children in situations of vulnerability and risk. He accidentally got his first chance at conducting at the age of 13, because the planned conductor was late. He was fated to be one of the greats!
As part of an international tour, Dudamel takes the helm of the legendary London Symphony Orchestra to revisit the best symphonic repertoire of all time, in what will be one of the greatest events of the city’s musical season. A happy collaborative relationship between maestro and orchestra that we will be privileged to witness.
From 15 to 275 €
*On sale March 5, 2024
MONTEVERDI’S MADRIGALS VI
CONCERT 14 MAY 2025
CONCERTO ITALIANO
Rinaldo Alessandrini, conductor
Approximate running time
1 h 20 min
MAY 2025
WED. 14 19.30 h
Il terzo libro de madrigali (1592) C.
Monteverdi
Monteverdi’s madrigals, an essential catalogue in the history of music, represent the culmination of a genre, but in their evolution they also embody the birth of another new genre: opera.
Grouped into nine books and published between 1587 and 1651, we continue this splendid journey through this corpus understood as an exercise in proto-opera and a theatre of emotions.
This third book, published in Venice in 1592 by Riccardo Amadino, is the first documentary confirmation of the composer’s stay in Mantua, where he worked as a viola player at the court of Vincenzo Gonzaga. In many ways this new collection reflects the cultural atmosphere of the city as well as the tastes of its protector and patron. The choice of literary texts includes authors from the court of Ferrara such as Giovanni Battista Guarini and Torquato Tasso.
This Terzo Libro marks a milestone in the exploration of the inner life of the word, which the music captures and amplifies with an innovative sensitivity. On the other hand, the counterpoint richness of some of the madrigals tells us of a certain culmination in the possibilities of the prima prattica. A book that showcases the supreme compositional skills of the creator who sought to present works on a larger scale and a prodigious balance between tradition and innovation with such success in his time that it was reprinted five times in two decades.
Rinaldo Alessandrini, conductor, harpsichordist and a true authority on the composer, will guide us along the paths of this fascinating and luxuriant universe full of precious miniatures: words, music, recital and the concitato style will situate us face to face with the first attempts to represent human passions through text and harmony.
La Botiga del Liceu
SERGIO ROGER:
EL SUEÑO DE LAS BÁQUIDES
EXHIBITION FROM 25 MAY TO 7 JULY 2025
Sergio Roger ( SCULPTOR )
The work of Sergio Roger (Barcelona, 1982) stems from his constant search for inspiration in ancient artistic representations of beauty. The artist reinterprets iconic elements of art history, shattering our preconceived ideas, and presents us with a universe of surprising textile sculptures. Each of his garments is unique, created from rich textiles that he collects himself. Roger questions our perception of the past and understands history as a field that must be re-read with a critical eye. According to the artist, archaeology is full of fiction, since it was originally developed in the 19th century, in the middle of the colonial era, imposing a Eurocentric vision on our way of interpreting the past. Through his creations, Roger invites us to deconstruct our nineteenth-century vision of the past and reflect on the permanence and idealism associated with traditional art. Since graduating from the Berlin Academy of Art (UdK), Sergio Roger has exhibited his work in internationally recognised galleries, including Rossana Orlandi in Milan and Robilant + Voena in London, and Monte Carlo.
From 25 May to 7 July 2025
Saló dels Miralls
The work of Barcelona artist Sergio Roger is rooted in a fascination with life in relation to visual representations of beauty in ancient civilisations, especially the Greco-Roman era and its modern counterparts.
The artist reinterprets and subverts iconic elements of art history, enabling us to free ourselves from preconceived ideas about past civilisations. His subversion is achieved through the materials he uses: where there was marble, he resorts to natural textile fibres.
Each of Sergio Roger's works is unique and created from the finest textiles, most of which date back to the early 20th century: the artist himself carefully sources these materials from antique shops. The selected fabrics include antique clothing and raw silk that bring history and soul to his work.
The technical mastery and intricate workmanship of his textile sculptures are reflected in every seam
and detail. His works stem from in-depth research into ancestral craftsmanship techniques, which are approached with a fresh and contemporary vision, while honouring the story behind each fibre and its role throughout history. Antiquity is the artist's primary source of inspiration. Roger questions our perception of the past and describes history as a field to be reviewed with a critical eye. The artist considers archaeology to be a field of study full of fiction and personal mythology, as it was codified and widely practised in the 19th century, at the peak of colonialism, thus imposing a Eurocentric vision on our way of interpreting the past.
In his presentation in the Saló dels Miralls, Roger invites us to deconstruct our preconceived view of the past and to reflect on the permanence and idealism associated with traditional art.
GIULIO CESARE
Georg Friedrich Händel (1685 1759)
FROM 25 MAY TO 7 JUNE 2025
OPERA IN THREE ACTS
Libretto by Nicola Francesco Haym based on the play by G.F. Bussani.
World premiere: 20/02/1724 at the King’s Theatre in London
Barcelona premiere: 22/12/1964 at the Gran Teatre del Liceu
Last Liceu performance: 29/07/2004
Total number of Liceu performances: 19
Premiere
Sunday 25 May 2025
17 h
Approximate running time 3 h 40 min
Audio description
Saturday 7 June 2025 18 h
MAY 2025
SUN. 25 17 h Turn T
WED. 28 19.30 h Turn B SAT. 31 19 h Turn C
JUNE 2025
TUES. 3 19.30 h Turn A
THURS. 5 19.30 h Turn E SAT. 7* 18 h Turn PD
*Function with audio description
PRICES
Premiere (turn T): from 10 to 254 €
The remaining turns: from to a 251 €
Stage director
Calixto Bieito
Set design
Rebecca Ringst
Costumes
Ingo Kruegler
Lighting
Michael Bauer
Dramaturgy
Bettina Auer
Production
Gran Teatre del Liceu i Dutch
National Opera
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor William Christie
GIULIO CESARE
Xavier Sabata
CURIO
Jan Antem
CORNELIA
Teresa Iervolino
SESTO
Helen Charlston
CLEOPATRA
Julie Fuchs
TOLOMEO
Cameron Shahbazi
ACHILLA
José Antonio López
NIRENO
Alberto Miguélez Rouco
GIULIO CESARE
Georg Friedrich Händel
(1685 1759)
“The actions of a sovereign, whether good or bad, are always an example.”
GIULIO CESARE IN EGITTO (ACT I. SCENE 3)
In the midst of the Roman Civil War (49-45 BC), Julius Caesar discovers that his rival, Pompey, has been cruelly executed by the Egyptian king Ptolemy. While Pompey’s widow, Cornelia, mourns her husband, and her son Sestus vows revenge for the man who killed his father, Ptolemy’s sister and wife, Cleopatra, decides to seduce Caesar to gain his support and tip the balance of power in her favour.
most popular opera, thanks also to its sumptuous orchestration, its prodigious musical inventiveness, its dramatic force and the beauty of its declamation and harmony. Each character is painted with great psychological care, particularly Cleopatra, one of the most beautiful portraits of women in the history of music.
FROM 25 MAY TO 7 JUNE 2025
A love story in three acts between two illustrious figures from Antiquity (Caesar and Cleopatra) and power struggles in Egypt: ingredients that alone account for the immediate success Giulio Cesare enjoyed at its premiere in 1724 at the Haymarket Theatre in London (a private theatre maintained by the enlightened aristocracy). With a libretto by Nicola Franceso Flaym on an earlier one by Bussani set to music by Antonio Sartorio, it soon became Handel’s
The arias in Giulio Cesare are incredibly diverse: some feature virtuosic vocal fireworks, while others are the most extraordinary examples of subtlety that Handel ever wrote. The opera is in the expert hands of William Christie, father of the historicist movement and a specialist in French, English and German baroque repertoire. With an impressive and highly acclaimed discography, Christie will lead the orchestra of the Gran Teatre del Liceu to illuminate this extraordinary title.
On the other hand, stage direc-
GIULIO CESARE
tor Calixto Bieito, renowned for seeking depth of character and contributing a visually striking approach, promises to rouse us from the seat with his interpretation of Giulio Cesare, transforming the parable of baroque opera into a universalist and modern production. To do this, he has a first-class ensemble of singers at his disposal, including the Catalan countertenor Xavier Sabata, who has made a name for himself as a specialist in the genre and who will play the title role to showcase the versatility of a unique voice in his eagerly awaited Handelian debut at the Liceu.
The real battles in Giulio Cesare take place not on the field, but between the characters themselves. This is about self-mastery, the struggle against one’s own feelings and inner conflicts, and it also raises the question of how heroes emerge and what remains with the passing of time.
Calixto
Bieito
Satge director
For 10 years he was the director of the Romea Theatre in Barcelona, and founded the Barcelona International Teatre (BIT), a forum for sharing artistic projects between several theatres. He made his debut at the Gran Teatre del Liceu with Un ballo in maschera in the 2000/01 season and has returned several times, most recently with Orgia (2023/24).
Xavier Sabata
Countertenor (GIULIO CESARE)
He studied singing at the Escuela Superior de Música de Cataluña, and then went on to further studies at the Hochschule für Musik in Karlsruhe. His repertoire ranges from Cavalli to Monteverdi, the baroque repertoire and contemporary opera. He made his debut at the Gran Teatre del Liceu in the 2008-09 season with L’incoronazione di Poppea
William Christie
Musical director
Harpsichordist, conductor, musicologist and teacher, he is a pioneer in the rediscovery of French baroque music and making it accessible to the general public. In 1979 he set up the instrumental ensemble Les Arts Florissants. He made his debut at the Gran Teatre del Liceu with Ariodante (2017/18) and returned with Platée (2020/21), Partenope (2021/22) and Dido & Aeneas (2022/23).
Julie Fuchs
Soprano (CLEOPATRA)
She has sung roles such as Marie (La fille du regiment) at the Wiener Staatsoper, Leïla (Las pesqueras de perlas) at the Théâtre des Champs Élysées in Paris and Giunia (Lucio Silla) at the Teatro Real in Madrid, among others. She made her debut at the Gran Teatre del Liceu with Mitridate, re di Ponto in concert version (2020/21).
LYRICAL GALA
Concert
Marina Rebeka, soprano
Ekaterina Semenchuck, mezzo
Martin Muehle, tenor
Ludovic Tézier, baritone
Approximate running time 2 h
Marina Rebeka
Martin Muehle
“How can you talk if you haven’t got a brain?” asked Dorothy.
“I don’t know, replied Scarecrow, but some people without brains do an awful lot of talking”, replied Scarecrow.
Victor Fleming, : The Wizard of Oz
Ekaterina Semenchuck
Ludovic Tézier
This Lyric Gala organised by the Gran Teatre del Liceu is an irresistible invitation to delight in four extraordinarily divine voices. A quartet of stars of the lyrical firmament revisit some of the most vibrant moments of the Verdian and Verist catalogue as well as operatic literature.
With their great charisma and spectacular voices, we will have the opportunity to journey through the emotions of the most beloved characters of the genre. A gallery of unforgettable, yet vocally demanding characters and scenes, illustrating the extent of the tessitura, the quality of the voice, the intention to contribute to making the character come alive and the enormous difficulty in the apparent simplicity.
After Marina Rebeka’s impressive Norma at the Liceu, from the celebrated Turandot which saw Ekaterina Semenchuk’s debut in the role last season alongside Martin Muehle’s vibrant and heroic Calaf, and with Ludovic Tézier, giving one of the best performances as Conte di Luna in the theatre’s history, the quartet returns to the stage as queens and kings of the most important lyric temples on the planet, fusing their impressive voices to thrill us.
Stars adored by our school audiences and by spectators everywhere, this lyrical gala is the chance to capture in our memories a fleeting note, an aria, a gesture... that will last forever.
6 19.30 h Turn F
From 10 to 356 €
RUSALKA
Antonín Dvořák (1841 1904)
FROM 22 JUNE TO 7 JULY 2025
OPERA IN THREE ACTS
Libretto by Jaroslav Kvapil based on the Undine de La Motte Fouqué, The Little Mermaid by Hans Christian Andersen and the Slavic mythology.
World premiere: 31/03/1901 at the National Theatre in Prague
Barcelona premiere: 21/02/1924 at the Gran Teatre del Liceu
Last Liceu performance: 14/01/2013
Total number of Liceu performances: 14
Premiere
Sunday 22 June 2025 17 h
Approximate running time 3 h 30 min
Audio description Monday 7 July 2025 19.30 h
JUNE 2025
SUN. 22 17 h Turn T
WED. 25 19.30 h Turn B SAT. 28 18 h Turn PB
JULY 2025
TUES. 1 19.30 h Turn A FRI. 4 19.30 h Turn E SUN. 6 18 h INTERGENERATIONAL OPERA
MON. 7* 19.30 h Turn D-H
*Function with audio description
PRICES
All turns: from 10 to 299 € INTERGENERATIONAL SESSION: 35 €
Stage director
Christof Loy
Choreography
Klevis Elmazaj
Set design
Johannes Leiacker
Costume design
Ursula Renzenbrink
Lighting
Bernd Purkrabek
Production
Gran Teatre del Liceu, Teatro Real (Madrid), Staatsoper
Dresden and Palau de les Arts (València)
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Josep Pons
THE PRINCE
Piotr Beczala
Ryan Capozzo (6 July)
THE FOREIGN PRINCESS
Karita Mattila
RUSALKA
Asmik Grigorian
Verity Wingate (6 July)
VODNIK, THE WATER GOBLIN Aleksandros Stavrakakis
JEŽIBABA, A WITCH Okka von der Damerau
HAJNY, THE GAMEKEEPER Manel Esteve
KUCHTÍK, KITCHEN BOY Laura Orueta
LOVEC, HUNTER David Oller
FIRST WOOD SPRITE Juliette Aleksanyan
SECOND WOOD SPRITE Laura Fleur
THIRD WOOD SPRITE Alyona Abramova
RUSALKA
Antonín Dvořák (1841 1904)
“But a mermaid has no tears, and therefore she suffers so much more.”
HANS CHRISTIAN ANDERSEN
“The anonymous water knows all my secrets. The same memory
springs from all sources.”
GASTON BACHELARD, EL AGUA Y LOS SUEÑOS
When Dvorák returned from his travels in America in 1895, he was a different man. Having abandoned the symphony as a genre, he devoted the last decade of his life to two exuberant musical forms, the symphonic poem and opera. The resulting works, extraordinarily poetic, were Dvorák’s attempt to touch the heart of the Czech spirit, depicting in music and drama the stories so dear to his compatriots.
Rusalka —a lyrical fable in three acts— was first performed in Prague in 1901, and is the bestknown and most-loved opera —along with Smetana’s The Bartered Bride— in Czech lyric theatre. Dvorák had already shown his interest in Czech folklore in a group of symphonic poems inspired by the folk ballads of Karel Jaromír Erben, and he emphatically adopted a libretto by Jaroslav Kvapil, centred on an undine or water spirit, inspired by the popular Undine (1811) by Friedrich de la Motte-Fouqué as well as Hans Christian Andersen’s The Little Mermaid (1837).
water spirit—and is condemned to lead men to their deaths. The prince, repentant, returns and asks her for a last kiss, even though he knows it will cost him his life, and dies happily in her arms.
Musically very beautiful, with a certain Wagnerian influence (especially the Tetralogy), it also elegantly captures traditional melodies in its ballads, songs and dances, and through the hearts of nymphs and undines expresses an ideal and romanticised vision of nature.
Asmik Grigorian and Piotr Beczala will star in this new production at the Gran Teatre del Liceu, the Säschsische Staatsoper in Dresden, the Teatro Comunale in Bologna, the Teatro Real and the Palacio de las Artes in Valencia.
FROM 22 JUNE TO 7 JULY 2025
A lyrical masterpiece of Romanticism, it tells of the undine who takes on human form and cruelly suffers the consequences. Rusalka falls in love with the prince who often goes to bathe in the lake, and asks her father, the genie of the waters, to help her become a woman. To achieve this, after the famous “Song to the Moon”, she visits the witch, and takes on some human qualities, albeit limited ones. The prince falls in love with her at first, but her inability to speak and apparent coldness disappoint him, and he soon turns his feelings to an attractive and cruel foreign princess. Rusalka must return to her own environment—now neither human nor
A subtle and psychological approach by Christof Loy, Rusalka is a metaphor for the difficulties of communicating between two worlds. Set in the foyer of a theatre, where the main character is paralysed and on crutches, she is surrounded by characters who live off their memories, and wants to leave to discover other ways of understanding reality. A concept that sets a strong stage for the interactions between the central characters in this wonderful story where hidden longings and darker instincts come to light.
RUSALKA
Christof Loy
Stage director
A regular regisseur at the world’s leading opera houses, he has been recognised with awards such as Director of the Year by Opernwelt magazine on several occasions, and Director of the Year at the International Opera Awards in 2017. He made his debut at the Gran Teatre del Liceu with Die Entführung aus dem Serail (2009/10).
Piotr Beczała
Tenor (PRINCE)
Born in Poland and trained at the Katowice Academy of Music, his career has taken him to great stages such as the Metropolitan Opera in New York, the Teatro alla Scala, the Wiener Staatsoper, the Royal Opera House and the Mariïnski Theatre in Sant Petersburg. He made his debut at the Gran Teatre del Liceu in the 2011/12 season with Faust
Asmik Grigorian
Soprano (RUSALKA)
Co-founder of the Vilnius City Opera and a regular feature in the main opera houses of the world, she has recently sung at the Wiener Staatsoper, the Teatro Real in Madrid, the Salzburger Festspiele and the Teatro alla Scala in Milan. She made her debut at the Gran Teatre del Liceu in the 2017/18 season with Demon
Karita Mattila
Soprano ( THE FOREIGN PRINCESS)
Born in Finland, she has sung in major theatres and festivals around the world directed by great conductors such as Levine, Abbado, Davis, Dohnanyi, Haitink, Pappano, Rattle, Salonen and Sawallisch. She made her debut at the Gran Teatre del Liceu with a recital (1992/93) and returned with Concert Strauss (2002/03) and Fidelio (2008/09).
RUSALKA (INTERGENERATIONAL SESSION)
Antonín Dvořák (1841 1904)
Opera
Intergenerational session
Sunday 6 July 2025
18 h
Approximate running time
3 h 30 min
Price
6 JULY 2025
Extraordinary performance to convey passion for opera
How can those who have enjoyed and loved opera share their experiences, knowledge and legends with a generation that perhaps still feels that this genre does not speak to them?
35 €. Up to 4 seats per purchase
During the purchasing process you must indicate the date of birth and personal details of all attendees.
How can young people who are discovering the genre share the experience with family members who may not have had the opportunity to do the same?
Through this work by Dvořák, the Gran Teatre del Liceu consolidates its initiative of promoting an opera session that can be an experience for all generations. Grandparents can take their grandchildren to the Liceu, or vice versa. Uncles, aunts, godparents, nieces and nephews,
godchildren, and so on, will also be able to enjoy this extraordinary performance of Rusalka to nurture, through opera, the emotional bonds and knowledge between people of different generations. Sharing points of view, discussing the values and messages that permeate the writing, exploring musical and artistic aspects, and learning together.
Rusalka, a lyrical Romantic masterpiece about the water nymph who adopts human form and cruelly pays for its consequences, is an excellent opportunity to inspire a much-needed intergenerational dialogue.
INVENTARI
No és en l’ordre sinó en l’inventari que aprenem el dol que hem causat als objectes observar el desgast, les fissures, el desperfecte de cada cosa que guardes: que et faci mal el set de la faldilla com si fos un tal profund i que l’absència de botons te’n recordi l’estrebada nafra de fils oberts veuràs en la impertérrita taca de vi incrustada a la camisa el pas dels años i la indolència i entendràs que ara ja és tard per fer-ne el teu patrimoni
Míriam Cano
GÖTEBORGSOPERANS DANSKOMPANI
HAMMER BY ALEXANDER EKMAN FROM 29 JUNE TO 5 JULY 2025
Dance
HAMMER
BY ALEXANDER EKMAN
World premiere: 29/10/2022 at the GöteborgsOperan Barcelona premiere
Approximate running time 1 h 50 min
GÖTEBORGSOPERANS DANSKOMPANI
Artistic direction
Katrín Hall
Choreography, direction, set design and lighting
Alexander Ekman
Music
Mikael Karlsson
Dramaturgy
Carina Nidalen
Costumes
Henrik Vibsok
Lighting
Joakim Brink
Choreography assistance
Victor G. Jeffreys II
MESOESTETIC
Patron of the Dance Circle
JUNE 2025
SUN. 29 17 h Turn T
MON. 30 19.30 h Turn D-H
JULY 2025
THURS. 3 19.30 h DANCE
SAT. 5 19 h Turn C
PRICES
Premiere (turn T): from 10 to 219 €
The remaining turns: from 10 to 209 €
Hammer is a show created by Alexander Ekman that premiered during the 2022-2023 season at the hand of the Göteborg Opera Dance Company. This proposal stems from Ekman’s own desire to create a joyful and entertaining work brimming with energy.
In Hammer, a harmonious community shares an altruistic lifestyle inspired by the hippie era. They run, play, sing and enjoy life together. But slowly, the community moves into the modern era with omnipresent vigilance. The group’s behavior becomes increasingly selfish and individualistic. In the second act, we find ourselves in a different place. We now find ourselves with a group of self-conscious people in solitary bubbles.
Eventually, unable to cope with all the false pretensions, they are forced to give up their image-conscious facades and return to an altruistic existence.
Award-winning choreographer Alexander Ekman is bold, unpredictable and innovative, like the GöteborgsOperans Danskompani. His visually powerful work emphasises the self-image of contemporary society, often with a humorous twist. Ekman has created around 50 plays, which have been performed by a great many companies all over the world.
Hammer is a two-act work full of energetic and inclusive dance with a definite contemporary profile. The company’s precision and per-
fect technique coalesce with Alexander Ekman’s choreography in a strong concept where the dancers fly forward in playful communion, like a colourful explosion of everyday creations. The audience, inspired by this absorbing universe as the dancers leave the stage, also receives an invitation that surprisingly becomes a black mirror of cold distance and self-absorption: a call for reflection.
ERMITATGE
Allunya’t discretament
De la multitud
Si et vols lúcida.
Que no et faci nosa, El silenci sobtat És allà quiet esperant
Que alcis la veu
Té menys pressa
Que tu.
Míriam Cano
LISE DAVIDSEN AND MATTHIAS GOERNE CONCERT
CONCERT 2 JULY 2025
Symphonic Cycle of the Gran Teatre del Liceu Orchestra
Lise Davidsen
Soprano
Matthias Goerne
Baritone
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Josep Pons
Vier letzte Lieder
R. Strauss
Liebestod (Tristan und Isolde, act III)
R. Wagner
Lamento del Rey Marke (Tristan und Isolde, act II)
R. Wagner
Despedida de Wotan (Die Walküre, act III)
R. Wagner
Farewell: action, word or expression of courtesy from one person to another when they part or when one of them leaves.
The departure of a loved one, and managing the resulting frustration, has been a subject of music throughout the centuries. It has been the perfect pretext for some great composers to write sublime moments in their repertoire. Three Wagnerian examples lead us to this common thread: King Marke’s acceptance of his nephew Tristan’s betrayal, Brünnhilde’s falling asleep as punishment for Wotan’s marital disloyalty to Fricka, and finally the lament that Isolde sings before Tristan’s corpse: the death of an infinite love faced with the impossibility of consummating it on Earth.
The lament, as a lyric-pathetic figure that has dominated the history of opera, is a protest against fate as a result of adversity. By externalising a pain, relief is sought. This has been central to the emotional expression of opera. Music as a bridge to the disintegration of identity; art as an existential limit.
On the other hand, the Vier letzte Lieder for soprano and orchestra was Richard Strauss’ last composition. His compositional farewell at the age of 82. A sonorous testament, but also the last chapter of post-Romantic lyric literature. Strauss would not live long enough to hear them. The London premiere in 1950 was performed by Flagstad, the London Philharmonic Orchestra and Wilhelm Furtwängler.
At the Liceu we will have Josep Pons, a specialist in these repertoires, and two incomparable voices, Lise Davidsen and Matthias Goerne. Beloved by audiences all over the world, they will offer us these lyrical pearls in which they are true specialists. Lise Davidsen, who promises to be the best Isolde of her generation, will premiere her first Liebestod at the Liceu. A gift for our audiences and the herald of something extraordinary for the world of opera.
BENJAMIN IN PORTBOU
Antoni Ros-Marbà WORLD PREMIERE
19 and 21 JULY 2025
Semi-staged version
OPERA IN TWO ACTS
Libretto by Anthony Carroll Madigan
World premiere
Premiere
Saturday 19 July 2025 18 h
Approximate running time 2 h 30 min
Stage director
Anna Ponces Set and lighting design Playmodes Studio and Andreu Fàbregas Production
Gran Teatre del Liceu
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA OF THE GRAN TEATRE DEL LICEU
Conductor Antoni Ros-Marbà
WALTER BENJAMIN
Peter Tantsits
HANNAH ARENDT
Marta Valero
DORA POLLACK BENJAMIN
Marta Infante
GERHARD SCHOLEM
Joan Martín Royo
ERNST SCHOEN
Pau Armengol
THE ANGELUS NOVUS
Serena Sáenz
ASJA LACIS
Elena Copons
BERTOLT BRECHT
David Alegret
PRICES
All turns: from 10 to 149 € JULY 2025 SAT. 19 18 h Turn F MON. 21 19.30 h Turn A
BENJAMIN IN PORTBOU
Antoni Ros-Marbà
Benjamin a Portbou is an opera the Gran Teatre del Liceu commissioned from the maestro Antoni Ros-Marbà. Written in two acts and 13 scenes from a libretto by Anthony Carroll Madigan, it is centred on the life of the philosopher and literary critic Walter Benjamin.
For Ros-Marbà, composition is an indispensable element of his life; in fact, he was composing before he began conducting. Thinking about music and analysing it is a whole, whether in front of an orchestra or on paper marked out in pencil: the sound must be created. Compositions are a dialogue with the environment and fruit of the imprint of the situation experienced: they become a dip into transcendent spaces full of unavoidable biographical and personal traits.
became friends with Theodor W. Adorno and Gretel Karplus, his wife, with whom he would maintain an extensive correspondence over the years, but his friendship with Bertolt Brecht would be one of the most profound. With the advent of Nazism in 1933, he was expatriated, first to Ibiza and then to Paris. Then to Svendborg (Denmark)—together with Brecht—and then to San Remo.
“Already lost on the high seas of pain, the wave of your existence breaks; forgive the timid song, the most forgotten love; this disperses from the silenced lips of the fool.”
WALTER BENJAMIN, SONNET
For Ros-Marbà, writing this opera was like unfinished business in his long musical career. The opera’s libretto, written by the erudite Tony Madigan, is a work of art in a literary language that begs to be set to music and staged, also thanks to the author’s knowledge of the life and work of Walter Benjamin (Berlin, 1892 - Portbou, 1940).
FRI.
19 and 21 JULY 2025
Benjamin was born into a Jewish family and studied at the universities of Berlin, Freiburg and Munich, where he took part in the anti-war student movements. In 1915, he made friends with Gerschom Scholem, a scholar of Hebrew mysticism, and in 1918, in Berne, with Ernst Bloch, the Utopian theorist. In 1917, he married Dora Sophie Pollack and, after the war, returned to Berlin, where he wrote Critique of Violence and The Translator’s Task. In 1923, in Frankfurt, he
When the war broke out, he refused Adorno’s invitation to move to California, arguing that “there were still positions to defend in Europe”, and he was held in the Nevers camp for three months, he received the safe conduct pass obtained for him by Horkheimer so he could move to the United States. During these months he worked on his “Thesis on the Philosophy of History”, 1940. Deprived of German citizenship in February 1939 and with no permission to leave France—the Germans were advancing on French territory—he sought freedom by crossing the Pyrenees on foot with a group of refugees, but in Portbou, fate awaited them, and they were about to be handed over to the Gestapo.
On the night of 26 September, in a small border hotel in Portbou, he poisoned himself with a lethal dose of morphine and died, as if he had lost the game, in the early hours of the following day, thereby saving his companions in exile. His mortal remains rest in the Portbou cemetery. He wrote a farewell letter to be given to Adorno: “In a no-win situation, I have no choice but to end. My life will be extinguished in a small village in the Pyrenees where no one knows me. I beg you to pass on my thoughts to my friend Adorno
and explain to him the situation I have been forced into. I don’t have time to write as many letters as I would have liked.”
A semi-scenic proposal from Playmodes, the audiovisual research studio in Girona, whose creative, immersive work, projection mapping, lighting, digital scenography and sound design will help us to visually tell the story of this illustrious philosopher, literary critic, translator and essayist’s last chapter; a sensitive idealist and fighter in his quest for a free Europe, but at the same time a victim of a world that besieged him with hostility.
Antoni Ros-Marbà
Conductor and composer
He has been the principal conductor of the RTVE Symphony Orchestra, the OBC, and the Royal Philharmonic of Galicia, as well as the musical director of the Netherlands Chamber Orchestra and the National Orchestra of Spain. In 2012, he was awarded the Gold Medal of the Gran Teatre del Liceu. He made his debut at the Gran Teatre del Liceu in the 1965/66 season with Tassarba.
Playmodes
Set d and lighting design
Playmodes is an audiovisual research studio. They work with customized and self-built technologies. Their blend of creativity, software, and hardware results in immersive installations, projection mapping, building lighting, digital scenography, audiovisual instruments, and sound design. They make their debut at the Gran Teatre del Liceu.
Peter Tantsits
Tenor (WALTER BENJAMIN)
Throughout his career, he has sung in prestigious theaters and auditoriums such as the Concertgebouw in Amsterdam, Berlin Philharmonie, Gewandhaus in Leipzig, Vienna Konzerthaus, as well as the Bayerische Staatsoper in Munich, Cologne Opera, Teatro alla Scala in Milan, LA Opera in Los Angeles, among others. He made his debut at the Gran Teatre del Liceu with Wozzeck (2021/22).
Serena Sáenz
Soprano ( THE ANGELUS NOVUS)
She studied at the Conservatori del Liceu and the Hochschule für Musik Hanns Eisler in Berlin. In 2018, she won the Mozart Prize from the Accademia Chigiana in Siena and the International Singing Contest Tenor Viñas, as well as the Montserrat Caballé Singing Competition. She made her debut at the Gran Teatre del Liceu with Lucia di Lammermoor (2020/21).
ÓH!PERA: MICRO-OPERAS PROJECT
OPERA FROM 25 TO 27 JULY 2025
Project director
Àlex Ollé Coordination
Anna Llopart
Anna Ponces Composers
Carles Prat
Ariadna Alsina
Sirah Martínez
Librettists
Carlota Gurt
Clàudia Cedó
Anna Pazos
Stage directors
Oriol Pla
Berta Prieto
Mercè Vila Godoy
Óh!pera is a project promoted by the Gran Teatre del Liceu in which three small-format operas are designed to be presented on the same evening. A series of young creative teams, selected with the collaboration of four design schools in Barcelona, work for more than a year to design these high-energy operas, each lasting around 30 minutes.
Strolling through the bowels of the Theatre, the spectator will come into contact with the stories of a series of voices trapped in the irreversible cracks of their traumas, unspeakable secrets and impossible dreams. Expectations that will be shared with an audience who will follow this journey in intense proximity.
Composers with links to Barcelona will create based on texts by prominent playwrights; young stage directors who will work with schools of theatre, design and applied arts to produce their productions; local singers; small chamber ensembles from the Liceu Conservatory... A first opportunity at the Liceu and a real challenge for the creators of the future.
The Liceu begins a collaboration with Barcelona City Council's Department of Tourism and Creative Industries, Disseny Hub Barcelona and the city's design schools to promote learning by doing. Àlex Ollé will mentor the project.
ÓH!PERA
Ariadna Alsina
Composer
Her music has been performed by musicians such as Ensemble Sillages, Ensemble Contrechamps, Trio KDM, and Plural Ensemble, and he has received commissions from Radio France, GRAME in Lyon, and the National Center for Musical Diffusion. In 2023, he premiered the piece Split Screen Vestiges at the Manifeste Festival in Paris, a commission from IRCAM and CMBV in Versailles.
Sirah Martínez
Composer
Initially a pianist, she trained at ESMUC and CNSMD in Lyon with a master's degree in composition. She has received commissions from the Académie Opus XXI, PESM of Bourgogne, Radio France, L’Auditori de Barcelona, Ensemble Effusions, Zone(s) de combat, Trio Polycordes, and Ensemble Alkymia. Her works have been performed in countries such as Spain, France, Austria, and Germany.
Carles Prat
Composer
A member of the Palau de la Música Chamber Choir and the Barcelona Cathedral Choir, much of his activity as a composer is focused on choral music. The prestigious ensemble The King’s Singers premiered his work Spring, the Sweet Spring in 2021. Additionally, in 2022, he premiered his first opera, Il Teatro alla moda, at the Teatre Bartrina in Reus.
Supported by:
WEST SIDE STORY
Leonard Bernstein (1918 1990)
CONDUCTING BY GUSTAVO DUDAMEL
29 and 31 JULY 2025
CONCERT VERSION
Opera Concert Version
CHORUS OF THE GRAN TEATRE DEL LICEU
Pablo Assante, conductor
SYMPHONY ORCHESTRA
OF THE GRAN TEATRE DEL LICEU
Conductor Gustavo Dudamel
Nadine Sierra
Juan Diego Flórez
Approximate running time
1 h 20 min
TUES. 29 19.30 h
THURS. 31 19.30 h
MARIA
Nadine Sierra
TONY
Juan Diego Flórez
ANITA
Isabel Leonard
RIFF
Jarrett Ott
BERNARDO
Milan Perišic
BABY JOHN
Tòfol Romaguera
ACTION
Jan Antem
A-RAB
Pau Camero
ROSALÍA
Montserrat Seró
FRANCISCA
Laura Brasó
CONSUELO
Tànit Bono
Leonard Bernstein (1918-1990), composer, conductor and essential sound educator for new generations, is considered one of the most iconic names in the musical history of the United States. He is a necessary bridge between the great European classical tradition and the American approach that unfolds, in its own voice, its multiple cultural, socio-economic and even racial influences.
His most celebrated work is West Side Story, a musical premiered in 1957 with a libretto by Arthur Laurents (1917-2011) and lyrics by the late Stephen Sondheim
(1930-2021). The greatest work in Bernstein’s catalogue, which was in the making for 10 years before it was first performed, was transported from the stage to the cinema screen by Robert Wise in 1961. A runaway success, it received 10 Oscars, including Best Picture, and has since established itself as one of the landmarks of musical filmmaking.
In 2021, Steven Spielberg made a new version with Gustavo Dudamel as musical director and the NY Philharmonic, the orchestra that Bernstein conducted. With a set of striking features, this reworking enlightens us with its aesthetic proposal.
An iconic score offered by Gustavo Dudamel at the helm of the Gran Teatre del Liceu’s orchestra, which brings to the stage the emotions of a young couple, but who, in the manner of Shakespeare’s Romeo and Juliet, are denied their clandestine relationship by their own warring clans. A cherished dream where, sadly, only the death of one of the pair will show the community that they must understand one another and that hatred is a poison for which there is no antidote.
Inauguration of the new Turandot Núria Espert
and L’elisir d’amore Liceu Chorus
performance
Bayreuth Festival Bicentenary of Wagner's birth
Sustainability and Environment
First European theatre with the highest energy e ciency certification
The Legend of the Invisible City of Kitej With stage direction
It is 25 years since the reopening of the Liceu. Since 1999 it has been a journey full of art, culture and opera thanks to your commitment. Each folder is a window into unique experiences, innovative projects and memorable events that have been made possible thanks to your generosity and trust. Be a Patron of the Liceu, we keep opening new folders. Be a Patron of the Liceu, we keep opening new folders.
Henry VIII with Montserrat Caballé
Don Carlos Production by Peter Konwitschny
Liceu a la platja Norma
CONSTELLATIONS CONCERT I
CONCERT 11 MAY 2025
ENSEMBLE OF THE GRAN TEATRE DEL LICEU SYMPHONY ORCHESTRA
Conductor Dani Espasa
Horn Concerto No. 3 in E-flat major, K. 447
(Pablo Cadenas, horn)
W.A. Mozart
Horn Concerto No. 4 in E-flat major, K. 495
(Carles Chordà Sanz, horn)
W.A. Mozart
Horn Concerto No. 5 in F major (Ionut Podgoreanu, horn)
G. Punto [Jan Václav Stich]
Concerto for Two Horns in E flat
F. J. Haydn / A. Rosetti
Concerto No. 1, BWV 1046 in F major
J.S. Bach
Joseph Leutgeb (1732-1811) was a prominent Austrian horn player in the second half of the 18th century and performed many concerts across Europe. In 1763, he became the principal horn in the Salzburg orchestra, where he befriended the Mozart family. He traveled with them to Italy, and Leutgeb remained a close friend of Wolfgang Amadeus until the end of the composer's life.
Mozart ended up writing four concertos and a quintet with strings for horn, specifically with Leutgeb in mind. The composer had a deep affection for the musician and great respect for his skills.
In addition to the last two horn concertos in the Mozart catalog, we will also hear the concerto for two horns initially attributed to Haydn, which is now believed to have been composed by Antonio Rosetti, a native of Bohemia who Italianized his name.
A set of lively scores filled with chromaticism, featuring the typical elegance, playful contrast, and classical style.
CONSTELLATIONS CONCERT II
CONCERT 29 MAY 2025
ENSEMBLE OF THE GRAN TEATRE DEL LICEU SYMPHONY ORCHESTRA
Conductor Lorenzo Ferrándiz
Josep Antoni Casado Trumpet
Astrid Steinchaden Piano
Concertino for Trumpet, Piano and Strings
A. Jolivet
Concerto No. 1 in C minor, Op. 35 for Piano, Trumpet and String Orchestra.
D. Shostakóvich
Suite Pulcinella
I. Stravinsky
In the season marking the 50th anniversary of Dmitri Shostakovich’s passing, alongside his opera Lady Macbeth of Mtsensk and Symphony No. 10, the performance of the Piano and Trumpet Concerto is also featured. An iconic figure of the 20th century and father of a vast creative body, his life and work continue to be subjects of ongoing scrutiny.
This Piano and Trumpet Concerto, successfully premiered in 1933 in Leningrad, reflects a young composer full of energy and humor, yet without renouncing his uniquely personal and characteris-
tic lyricism. It is a masterpiece of eclecticism from a young artist who seems to close a chapter of his biography with this composition. The applause at the premiere would later turn into accusations and uncertainty. The life of this 20th-century Beethoven, navigating between creativity and repression, talent and the mediocrity of censors, and creatively monitored and constrained fantasy under tyranny.
The program is completed with Stravinsky’s Pulcinella Suite, a tribute to 18th-century classical ballet dances commissioned by Sergei Diaghilev and premiered at the Opéra de Paris in 1920, with sets and costumes designed by Pablo Picasso.
MAY 2025
THURS. 29 19.30 h
PRICE
25 €
Liceu and family
Main Patrons: With the support of:
La flautapetitamàgica
IN THE SALA GRAN
28 September 5 and 6 October 2024
La cuina de Rossini
Music
Wolfgang Amadeus Mozart
Stage director
Joan Font (Comediants)
Production
Gran Teatre del Liceu
Recommended for ages 6 and up
Approximate running time 1 h 10 min
IN THE SALA GRAN
16 and 17 November 23, 27 and 28 December 2024
Music
Gioachino Rossini
Stage director
David Selvas / La Brutal
Arrangements and musical direction
Andreu Gallén
Liceu Conservatory Ensemble
Production
Gran Teatre del Liceu
Recommended for ages 6 and up
Approximate running time 1 h 15 min
*Show that is suitable for people with attention deficit and/or autism with the support of AENA.
Trencanous-jazz
IN THE foyer OF THE GRAN TEATRE DEL LICEU
30 November and 1 December 2024 11 and 12 January 2025
Music
Piotr Ilich Chaikovsky
Stage direction and dramaturgy
Joan M. Segura
Musical coordination
Jordi Font
Recommended for ages 6 and up
Approximate running time 55 min
El conte de Nadal de Charles Dickens
Music and piano
Albert Guinovart
Conductor
Josep Vila Jover
Set design and puppets
Zipit Company
Production
Gran Teatre del Liceu
Recommended for ages 8 and up
Approximate running time 1 h 10 min
21 and 22 December 2024
Text adaptation and stage coordination
David Pintó
Sand art
Borja González
La Torre dels somnis
IN THE SALA GRAN
25 January 1 and 2 February 2025
La nit de Sant Joan
Music
G. Puccini
Dramaturgy, direction and scenography
Lluís Danés
Arrangements and musical direction
Sergi Cuenca
Recommended for ages 10 and up
Approximate running time 1 h 10 min
*Show that is suitable for people with attention deficit and/or autism with the support of AENA.
IN THE SALA GRAN
22 and 23 February 2025
Music
Robert Gerhard
Direction and choreography
Antonio Ruz
Musical coordination and consulting
Miguel Baselga
Liceu Conservatory Ensemble
Production
Gran Teatre del Liceu and Ajuntament de Barcelona
Recommended for ages 10 and up
Approximate running time 1 h 10 min
La barcarola
IN THE foyer OF THE GRAN TEATRE DEL LICEU
8 and 9 March 2025
IT Dansa
Dramaturgy, stage direction and video scene
Juan Pablo Mendiola Visual artist Patossa (Patrícia Barrachina)
Musical preparation
Francesc Valldecabres
Production
Gran Teatre del Liceu
Recommended for ages 3 and up
Approximate running time 45 min
15 March 2025
Artistic direction
Catherine Allard
IT Dansa, the Youth Dance Company of the Institut del Teatre
Recommended for ages 10 and up
Approximate running time 1 h 15 min.
March 2025 Saturday 15 18 h 15 €
IN THE foyer OF THE GRAN TEATRE DEL LICEU
5, 6, 12 and 13 April 2025
El monstre al laberint
Original idea and musical direction
Miquel Gené
Stage director
Quim Serra - Factoria Mascaró
Production
Gran Teatre del Liceu
Recommended for ages 3 and up
Approximate running time 45 min
*Show that is suitable for people with attention deficit and/or autism with the support of AENA.
IN THE SALA GRAN
29 and 30 April - 26 and 27 May 2025
Music
Jonathan Dove
Musical direction
Manel Valdivieso
Direction, scenography and lighting
Paco Azorín
Production
Gran Teatre del Liceu
Recommended for ages 12 and up
Approximate running time 1 h
Choir of young people from different educational centers
Choir of young people from different educational centers
SEASON TICKET HOLDERS
SEASON
2024—2025
WHAT DOES IT MEAN TO BE A SEASON TICKET HOLDER?
It means sharing a common space and dedicating time to reflection through art and opera with everyone who loves the Liceu.
It means meeting again at each performance, It means getting away from it all when the lights go down in the auditorium and letting yourself be carried away from the very first note.
Opera, music and art are part of our lives and for this reason we want to keep working to make your experience as a season ticket holder better and better every season.
WITH A LICEU SEASON TICKET YOU WILL ENJOY:
◤ The Liceu experience, which is so much more than just attending a performance. The theatre should be a space for meeting, discovery, in-depth exploration and reflection through the arts. More than 3,800 season ticket holders participated in the activities organised in the last season.
◤ Complete flexibility, which continues to be one of our key features when it comes to designing season tickets. Complete flexibility to make everything compatible. Season ticket holders have made more than 10,600 changes of performance due to work, tastes, schedules and any other unforeseen circumstances that have prevented them from attending the Liceu.
◤ Discounts for season ticket holders and the purchase of additional tickets. More than 17,200 tickets purchased in addition to those included in the season ticket.
SEASON TICKET HOLDERS
MORE THAN JUST A SEASON TICKET
Being a season ticket holder means being part of the Liceu family. Every day we work to make you feel at home, and that is why each season we present activities aimed at season ticket holders, some of them with priority access: guided tours, dress rehearsals, exclusive invitations to premieres, raffles, workshops and conferences, among other things.
REGULAR SEASON TICKETS, COMPLETELY FLEXIBLE
Your commitment to opera and the Liceu requires the utmost flexibility to make it compatible with your day-to-day obligations, tastes and personal situations.
Remember that you have a number of options: your season tickets will continue to be completely flexible and you will be able to make unlimited changes with regard to the shows and performances included in your season ticket, change the opera for another day or even for another show, and with the Available Seat service you will be able to put your seat on sale up to 24 hours in advance for the price you wish.
SEASON TICKET HOLDER DISCOUNTS
Among other advantages, all season ticket holders have a discount of:
◤ 15% on additional seats.
◤ 25% on symphonic concerts, dance performances and recitals.*
In addition, depending on the type of season ticket, there are different levels of discounts. For this season:
◤ 12 AND 9-PERFORMANCE
SEASON TICKETS: 20 %
◤ 6-PERFORMANCE SEASON TICKETS: 18 %
◤ 3 AND 4 PERFORMANCE SEASON TICKETS: 15 %
◤ DANCE SEASON TICKET HOLDERS: 30 %
◤ A LA CARTE SEASON TICKETS: 10 %
* Lyrical Gala 178 Gran Teatre del Liceu Anniversary and West Side Story: 15 % discount.
SEASON TICKET HOLDERS
SEASON
2024—2025
COMPLETE FLEXIBILITY
◤ Change the show, day of the performance, or the seat. You can change the shows linked to your season ticket with no limitations whatsoever.
◤ Available seat. Put your seat on sale up to 24 hours before the performance for the price you wish (the proposed price may not exceed the general price for the area and performance).
◤ Pay in four instalments without a surcharge (1/7/24, 12/9/24, 1/11/24 and 1/1/25).
THE THEATRE'S COMMITMENT TO LICEU SEASON TICKET HOLDERS
SPECIAL DISCOUNTS ON PERFORMANCES, ACTIVITIES, SERVICES AND OTHER AMENITIES
◤ Season ticket discounts of 30%, 20%, 18%, 15% and 10% (depending on the season ticket).
◤ 15% discount on the purchase of additional opera tickets.
◤ 25% discount on the purchase of additional tickets for symphony concerts, recitals and dance performances.
◤ Discount on the restaurant service during the intermission.
◤ Discount in several car parks near the Liceu (on sale at the Liceu box office and auditorium).
◤ Discounts at other cultural venues. Throughout the season we will inform you of all the discounts available for season ticket holders.
PREFERENTIAL SERVICE AND EXCLUSIVE ACTIVITIES
◤ Attendance at the presentation of the new season.
◤ Priority ticket purchases before the general public.
◤ Attendance at dress rehearsals of a selection of the season's operas.
◤ Priority purchases of products from the online shop.
◤ Free preferential access to all talks and meetings with artists organised by the theatre as part of Liceu de les Arts.
◤ Possibility of admission to the post-premiere drinks in the Mirror Hall with the singers and the Liceu's artistic team. Places limited.
◤ Possibility of access to special guided tours that take place periodically during the season.
◤ Personalised advice by telephone and at the box office on how to change performances online.
◤ Gran Teatre del Liceu season ticket accreditation card, also available in the Personal Area in digital format.
◤ Programme designed by the season's visual artist as part of Liceu de les Arts delivered to your home address.
◤ Personalised contact with the Season Ticket Holder Customer Service, via telephone 934 859 913 and email info@liceubarcelona. cat (Monday to Friday from 10am to 6pm), in person at the box office, and inside the auditorium during the performances.
LCLUB
(IN A HIGHLIGHTED BOX)
LCLUB SEASON TICKET HOLDERS ONLY
◤ Card accrediting length of membership.
— Priority access to all activities, meetings and rehearsals.
— Invitations to a selection of the premieres during the Season (places limited).
Detailed information on how to access the various activities can be found at liceu.cat and in the regular emails sent to all season ticket holders.
◤ TURN A
◤ TURN B
◤ TURN C
TURN D-H
ABONOS
LICEU DANCE AND À LA CARTE
LICEU DANCE
SEASON TICKET
The Liceu, in its efforts to support all the performing arts disciplines, is presenting its fourth dance season, consolidating the Liceu Dance season ticket, which every year attracts new ballet enthusiasts:
TURN DANSA
À LA CARTE SEASON
TICKET HOLDER
Choose your favourite shows with a 10% discount.
Tailor-made season tickets with a 10% discount for 3 or more shows.
Season tickets allow you to choose from all the shows during the season. You can select a different area and a different seat for each performance with a minimum of 3 shows per season ticket.
◤ Incorporates the 3 shows in the Auditorium at a 30% discount.
◤ Allows you to enjoy the same seat throughout the entire season.
◤ Automatically renewed year after year.
◤ All the advantages of being a Liceu season ticket holder.
These season tickets will be available from 8 May, 2024.
À la carte season tickets are not renewed automatically, they need to be re-purchased every year. On sale from 10 June, 2024.
«Choose your favourite shows with a 10% discount. Season tickets allow you to choose from all the shows during the season.»
SEASON TICKET CALENDAR
◤ 19 APRIL
— Presentation of the season
◤ FROM 8 TO 24 MAY
— Changes to the season ticket showings and/or seat
— Changes of a la carte season ticket to Set Seat
— Cancellations
◤ FROM 8 MAY AND THROUGHOUT THE SEASON
— New Set Seat season tickets on sale (includes the Liceu Dance season TICKET)
◤ FROM 10TH JUNE AND THROUGHOUT THE SEASON
— À la carte season tickets on sale
◤ FROM 12 JUNE
— Preferential ticket purchase for season ticket holders
◤ FROM 19 JUNE
All tickets for the season on sale —Available Seat
8 9 10 11 12 13 14
16 17 18 19 20 21
23 24 25 26 27 28 29 30 31
◤ 1 JULY
— Payment of tickets (one-off payment / first payment in case of payment in instalments) ◤ FROM 2 SEPTEMBER
— Changes of performance and show as part of the season ticket*.
/30
* Changes to showings can be made through the Personal Area of the Theatre's website (liceu.cat) or by telephone. Changes of performance, show and seat can be made through the Personal Area. Personalised advice will be offered by telephone and at the Theatre's box office.
LICEU SALES CHANNELS AND CUSTOMER SERVICE CENTRE
LICEU SALES CHANNELS
Tickets can be purchased via:
◤ liceu.cat
◤ Telephone: 934 859 913 (from Monday to Friday, 10am to 6pm).
◤ Box office: La Rambla, 51-59. 08002, Barcelona, at the following times:
Monday to Friday, 10am to 7pm.
Saturdays, 10am to 2pm (on performance days, open until the start of the performance).
Sundays and public holidays, closed (on performance days, open 2 hours before the start of the performance, except El Petit Liceu, which opens 1 hour before).
CUSTOMER SERVICE CENTRE
◤ Telephone: 934 859 913 (from Monday to Friday, 10am to 6pm).
◤ E-mail: info@liceubarcelona.cat
The Liceu guarantees the authenticity of your ticket if it comes from an official point of sale. Tickets may be purchased at liceu.cat, at the Liceu box office and from the following authorised sales channels: Time Out, Entradas de Vanguardia, Teatre Barcelona and TRESC.
The general conditions for purchasing tickets through the liceu.cat website are specified in the ticket purchase process.
QR code terms and conditions: Scan the QR code and consult the Liceu's general rules and services available during performances.
FAMILIES
El PETIT LICEU
The family offer also includes discounts of up to 40% when buying tickets for the whole family for different shows:
◤ 20% when purchasing 4 or more tickets for the same show at El Petit Liceu.
◤ 20% when purchasing tickets for 3 or more El Petit Liceu shows (Petit Liceu Pack).
◤ 40% when purchasing 4 or more tickets for 3 or more El Petit Liceu shows (Petit Liceu Pack).
You will also be able to attend the free workshops prior to El Petit Liceu shows.
SESSION FOR ALL AGES: RUSALKA
Función única para transmitir la pasión por la ópera. Precio: 35 €. ?
An opera session where different generations can share experiences and knowledge: those who enjoy and love opera and those who have not yet been touched by the genre.
More information, on page 132.
Extraordinary performance to convey passion for opera. Fixed price 30 euros. ?
GROUPS AND SPECIAL CONDITIONS
SPECIAL OCCASIONS
OPERA GIFT BOX
At Christmas, give the Liceu. The Liceu offers a gift box with a choice of operas and dance performances and special conditions. On sale on the website and at the box office from December.
COME TO THE LICEU FOR A UNIQUE PRICE (2 x 180 euros)
2 tickets for 2 different shows at an unbeatable price. This is the Liceu's suggestion for the start of the new year and the second part of the season.
Promotion limited to 1,000 seats, for specific performances and for a limited time.
GIFT VOUCHER
Give the gift of the Liceu with a voucher redeemable for tickets starting at 20 euros (valid for up to 2 years). Give the gift of emotion in one of the most iconic theatres in our country.
SPECIAL DAYS
World Opera Day, International Dance Day and other special dates are the ideal occasion to connect with new audiences through limited 24 or 48-hour discounts in specific zones.
GROUPS
THE LICEU IN THE REGION
Groups and associations have the chance to experience opera and come to the Liceu to see public, participatory and free lectures on the season's shows, held all over Catalonia. More information and conditions: territori@liceubarcelona.cat
TRAVEL AGENCIES AND GROUPS
The Liceu has special conditions for travel agents and groups, both when purchasing tickets and for preferential ticket reservations. More information and conditions: info@liceubarcelona.cat
LICEUNDER 35 COMMUNITY
A world of benefits for the under 35s (p. 174).
LICEUAPROPA
The accessible and inclusive Liceu for people in vulnerable situations (p. 176).
Full information at liceu.cat
PRIORITY ACCESS TO TICKETS
Priority ticket purchase access for LiceUnder35 sessions 1 hour before they go on general sale.
ACCESS TO EXCLUSIVE RATES.
TICKETS AT 30 EUROS
Purchase tickets for all operas, concerts and ballets from 72 hours before the performance. You will be able to choose from all the available tickets in any part of the theatre (limited seating).
Tickets sold exclusively at liceu.cat and only to registered members of the LiceUnder35 Community.
UNIQUE ACTIVITIES AND SPECIAL DISCOUNTS
Meet the artist: encounters where you can meet the artists and stage directors and ask everything you've always wanted to know!
Get ready for the opera: talks to contextualise the Under35 operas at Casa SEAT.
Guided tours: discover the history of the theatre and visit its hidden nooks and crannies.
Exclusive draws: take part!
Special discounts: for performances at the theatre and other cultural facilities.
Enter exclusive draws and take advantage of special discounts.
If you are a member of the community but have already turned 36, don't panic, you can still enjoy many benefits!
Special prices so you can continue to enjoy the opera! Follow us on social media to keep up to date with all the latest news!
LICEU APROPA
Because we are committed to accessibility, because we believe that music is an instrument for improving people's lives, and because we want to guarantee the inclusion of everyone, the Liceu implements programmes, services and benefits for people in vulnerable situations based on equity and excellence Feel part of the Liceu. Live the Liceu.
The LiceuApropa social programme is made possible thanks to the support of:
PROGRAMME
OPERA ACCESSIBLE FOR ALL
The Liceu comes to your organisation to explain opera as you've never heard it before: an adapted talk about opera featuring musicians from the orchestra in person. Finish the experience by enjoying a rehearsal at the Liceu. Free activity with limited places for social organisations.
With the support of LOTERÍAS.
MUSIC WORKSHOPS FOR CHILDREN WITH ASD AND THEIR FAMILIES
Introduce your child with ASD to singing and opera with adapted workshops. Enjoy a cultural activity consisting of a workshop followed by attendance at a special performance of one of El Petit Liceu's shows.
Limited spots available.
With the support of AENA.
LICEU FRIENDLY PERFORMANCES
Introduce your child with ASD to singing and opera with adapted workshops. Enjoy a cultural activity consisting of a workshop followed by attendance at a special performance of one of El Petit Liceu's shows.
Limited spots available.
With the support of AENA.
COME INSIDE THE LICEU
Do you want to discover how the Liceu Choir and Orchestra rehearse and the spaces where they rehearse? Do you want to top it off with a guided tour of the opera house? Sign up for Come Inside the Liceu.
Activity for social organisations. Price: €3 per person. Maximum 12 people per group. Book a place for your group and experience the unknown Liceu. Requests will be attended according to availability.
TOUCH LICEU
If you are visually impaired and want to get full information about the show with an audio description, Touch Liceu! In a
totally unique way, access the Tailoring and Characterisation services and, with the help of the people in charge of these services, touch costumes and wigs, experience many different fabrics, shapes and textures. Exclusive activity for social entities of Apropa Cultura. Limited places for up to 25 people. Price: €3.
COME TO THE LICEU WITH APROPACULTURA
We want to make access for groups with disabilities or in vulnerable situations a reality. How? By making more than 4500 tickets available to social organisations that form part of the ApropaCultura programme for the entire Liceu programme on the
main floor or amphitheatre for €3. Follow the booking calendar on the apropacultura.cat website.
RHYTHMS IN COMPANY
LiceuApropa is part of the ‘Rhythms in Company’ project, a support programme that offers musical workshops to people with severe mental disorders who are hospitalised or receiving outpatient treatment.
OPERA PRIMA
The LiceuApropa continues to work in the participatory and co-created line Ópera Prima, with newly created operas. Premiere of new regional operas: 2026-2027 season.
For more information: liceuapropa@liceubarcelona.cat
LICEU APROPA
The accessibility improvements at the Liceu are:
◤ A Free access for the companions of disabled people
◤ Provision of 10 more places for people in wheelchairs
◤ Improvement of the audio description service offered live for all operas through the LiveVoice app
SERVICES AND ADVANTAGES
PEOPLE WITH DISABILITIES
Discounts
◤ Audio description service for one performance of each staged opera (see dates at the bottom of each title). The service can now be used through the LiveVoice app and from any location of the Theatre.
◤ Orientation map in Braille and relief in the historic foyer.
◤ Wheelchair users: 80% discount for the user and 50% for one companion.
◤ People not in wheelchairs*:
— Under 18 years old: 30% discount for people with disabilities. Free for 1 partner.
◤ Catalan, Spanish and English surtitles above the proscenium arch in all operas
◤ Catalan, Spanish and English surtitles on the screens in the main hall
◤ Fixed shot stage screens in seats with partial or no visibility
The first row of the upper floors does not have screens.
◤ The number of places reserved with a special discount for wheelchairs users is increased, up to a total of 16. For partners, the total places are 20.
◤ 5 Wheelchairs available to the public
◤ Platform lift in the historic foyer
◤ Lifts at the Carrer Sant Pau entrance
◤ Adapted services for the main floor, amphitheatre, second floor and foyer
◤ Braille guides about the opera house’s public areas.
◤ Hearing loop in the hall, lockers, cloakroom in the Rambla and foyer for people with cochlear implants and/or hearing aids.
◤ Plot summaries of all the operas staged, adapted to international easy-to-read criteria, both in Catalan and Spanish (for people with intellectual disabilities, reading difficulties, aphasia and others). Available at https://www. liceubarcelona.cat.
Over 18 years old: 30% discount, for people with disabilities. Free for to 1 companion. 30% for 3 members of the same family.
* Identification with accreditation card from the Generalitat de Catalunya and ID card. Exclusive purchase at the ticket office.
UNEMPLOYED
◤ 30 % discount on the day of the performance, 3 hours before the start of the show, at the box office, with proof of unemployment (Sundays and public holidays, from 2 hours before).
SINGLE-PARENT FAMILIES, LARGE FAMILIES AND FOSTER FAMILIES
◤ Adapted, anticipatory guides with pictograms for access to the opera house and all the Petit Liceu shows (for people with attention deficit and/or autistic spectrum disorder). Available on the Liceu website.
For more information: liceuapropa@liceubarcelona.cat
◤ 30 % discount on Petit Liceu shows at the time of purchase at the box office.
◤ Collectives of the social program Apropa Cultura.
◤ Prices from 3 to 5€ for the entities of this social platform.
More information about LiceuApropa at: liceuapropa@liceubarcelona.cat
Many thanks!
LiceuAprèn
With the aim of contributing to the musical and artistic education of children and young people, LiceuAprèn offers essential support for their growth through a top-quality, innovative educational proposal.
LiceuApropa
It aims to guarantee access to culture for people in vulnerable situations, using it as a tool for their social integration. It also strives to be a benchmark among cultural facilities, offering accessible, emotionally transforming and personally enriching experiences.
Supported by AENA GRIFOLS
AGBAR
LOTERÍAS Y APUESTAS DEL ESTADO
EY
GRUPO SIFU
Main Sponsor FUNDACIÓN LACAIXA
Supported by FUNDACIÓ MÚSICA FERRER-SALAT
FUNDACIÓ CONSERVATORI DEL LICEU
FUNDACIÓN ACS
FUNDACIÓ BOSCH I AYMERICH
CONSORCI DE LA ZONA FRANCA BARCELONA
INIBSA
CUATRECASAS
CEMENTOS MOLINS
MOVENTIA
FCBARCELONA
THE ANIMALS OBSERVATORY
BON PREU ESCLAT FUNDACIÓ GASOL
RENFE
MATHOLDING
Thanks to the companies involved in the Sponsorship and Patronage program, we continue consolidating strategic projects for the future.
LiceUnder35
An initiative dedicated to promoting culture among young people under the age of 35, facilitating their access to the Liceu. Through this program, the Liceu removes barriers and adjusts its language to deconstruct the traditional cultural consumption of opera. The aim is to offer new experiences that support and guide the UNDER35s in their journey of discovery and appreciation of this artistic genre.
Supported by CASA SEAT
ESTRELLA DAMM GESSAMÍ
TIMEOUT THE SOCIAL HUB
Óh!pera
Liceu offers young people in the creative fields the opportunity to gain professional experience in the operatic genre through mentoring. Thanks to the commitment of the affiliated companies, the Liceu consolidates its connection with local creators, contributing to the continuous development of artistic talent in Barcelona.
Supported by FUNDACIÓ MÚSICA FERRER-SALAT FUNDACIÓ CONSERVATORI DEL LICEU SABADELL FUNDACIÓ EDMOND DE ROTSCHILD FOUNDATIONS
OPERAS
CONCERTS AND RECITALS
DANCE
CONSTELLATIONS SERIES
EL PETIT LICEU
SEASON 2024—2025
EXHIBITIONS
1
LADY MACBETH OF MTSENSK 19.30 h (Turn A) 2 3
LADY MACBETH OF MTSENSK 19.30 h (Turn B) 4 5
LA PETITA FLAUTA MÀGICA 11 h
LADY MACBETH OF MTSENSK 18 h (Turn F)
6
LA PETITA FLAUTA MÀGICA 11 h
LADY MACBETH OF MTSENSK 17 h (Turn T)
7
LADY MACBETH OF MTSENSK 19.30 h (#LICEUNDER35) 8 9 10 11 12
AFANADOR 19.30 h (#LICEUNDER35) 13
AFANADOR 17 h (Turn T)
14
AFANADOR 19.30 h (DANCE) 15
AFANADOR 19.30 h (Turn PC) 16
AFANADOR 19.30 h (Turn B) 17
AFANADOR 19.30 h (Turn P) 18
OH TO BELIEVE IN ANOTHER WORLD
19.30 h (#LICEUNDER35) 19
OH TO BELIEVE IN ANOTHER WORLD 19 h (Turn C) 20 21 22 23 24
SONDRA RADVANOVSKY AND PIOTR
BECZAŁA CONCERT 19.30 h (Turn A) 25 26 27
SONDRA RADVANOVSKY AND PIOTR
BECZAŁA CONCERT 17 h (Turn T) 28 29 30 31
Sondra Radvanovsky and Piotr Beczała.
ANTONI TÀPIES: CENTENARY OF HIS BIRTH Until 28/12
LA FORZA DEL DESTINO 19 h (Turn E) 10
LA FORZA DEL DESTINO 17 h (Turn T) 11 12
LA FORZA DEL DESTINO 19.30 h (Turn B) 13
LA FORZA DEL DESTINO 19.30 h (Turn PE)
LA FORZA DEL DESTINO 19.30 h (Turn D-H) 16
LA CUINA DE ROSSINI 11 h
LA FORZA DEL DESTINO 19 h (Turn C) 17
LA CUINA DE ROSSINI 11 h 18
LA FORZA DEL DESTINO
19.30 h (Turn A) 19
LA FORZA DEL DESTINO 19.30 h (Turn P) 20 21 22
ELĪNA GARANČA RECITAL 19.30 h (Turn E) 23 24 25 26 AMAZÔNIA 19.30 h (Turn D-H) 27 28 29 30
TRENCANOUS-JAZZ 11 h
A scene from La forza del destino
A scene from Madama Butterfly
1
TRENCANOUS-JAZZ 11 h 2 3 4 5 6 7 8
MADAMA BUTTERFLY 18 h (#LICEUNDER35)
9
MADAMA BUTTERFLY 19.30 h (Turn B)
16
MADAMA BUTTERFLY 19.30 h (Turn G)
10
MADAMA BUTTERFLY 19.30 h (Turn P) 11
MADAMA BUTTERFLY 19.30 h (Turn PE) 12 13
MADAMA BUTTERFLY 19.30 h (Turn E)
23
LA CUINA DE ROSSINI 11 h
17
MADAMA BUTTERFLY 19.30 h (Turn PC) 18
DIE FLEDERMAUS (EL MURCIÉLAGO) 19.30 h (Turn B) 19 20
MADAMA BUTTERFLY 19.30 h
MADAMA BUTTERFLY 19.30 h (Turn A) 24 25 26 27
LA CUINA DE ROSSINI 11 h
MADAMA BUTTERFLY 19.30 h (Turn D-H)
14
MADAMA BUTTERFLY 18 h (Turn PD)
21
EL CONTE DE NADAL DE CHARLES DICKENS 11.30 h
MADAMA BUTTERFLY 18 h (Turn F)
28
LA CUINA DE ROSSINI 11 h
MADAMA BUTTERFLY 19 h (Turn C)
15
MADAMA BUTTERFLY 17 h (Turn T)
22
EL CONTE DE NADAL DE CHARLES DICKENS 11.30 h
MADAMA BUTTERFLY 18 h (Turn PB)
29 30 31
MAHLER’S UNIVERS IV 19 h (Turn C) 5 6 7 8 9
TRENCANOUS-JAZZ 11 h 12
TRENCANOUS-JAZZ 11 h 13 14 15
LA TRAVIATA 19.30 h (Turn E)
LA TRAVIATA 18 h (Turn PD)
LA TRAVIATA 19.30 h (Turn D-H)
19.30 h (Turn PC)
19.30 h (Turn B)
LA
h (Turn A)
h (Turn PE)
h (Turn D-H)
LA TRAVIATA 19.30 h (Turn G)
TRAVIATA 19.30 h (Turn P)
TENOR VIÑAS INTERNATIONAL CONTEST. FINAL TEST 15 h
LA TRAVIATA 19.30 h (Turn F) A scene from La traviata
LA TORRE DELS SOMNIS 18.30 h
TENOR VIÑAS INTERNATIONAL CONTEST. FINAL CONCERT 18 h
A scene from Requiem
1
LA TORRE DELS SOMNIS 11 h
LA TRAVIATA 19 h (Turn C) 2
LA TORRE DELS SOMNIS 11 h
LA TRAVIATA 17 h (Turn T) 3 4 5 6 7 8
TODAY’S MICRO-OPERAS Diversos pases 9 TODAY’S MICRO-OPERAS Diversos pases 10 11 12 13 14 15 16
ERMONELA JAHO RECITAL 17 h (Turn T) 17
REQUIEM 19.30 h At the Sagrada Família
CLAUDIA PAGÈS: GERUNDIO CIRCULAR Until 06/04
REQUIEM 19.30 h (Turn B)
REQUIEM 19.30 h (Turn A)
REQUIEM 19.30 h (Turn D-H)
LA MEROPE 19.30 h (Turn E)
REQUIEM 19.30 h (Turn G)
LA NIT DE SANT JOAN 11 h
REQUIEM 19 h (Turn C) 23
LA NIT DE SANT JOAN 11 h
REQUIEM 18 h (Turn F)
19.30 h (Turn P)
LOHENGRIN 19 h (Turn A)
LOHENGRIN 19 h (Turn B)
LOHENGRIN 19 h (Turn G)
SÉMIRAMIS, DON JUAN 19.30 h
LOHENGRIN 19 h (Turn D-H)
DICHTERLIEBE (EL AMOR DEL POETA) 19.30 h
BARCAROLA 11 h
LOHENGRIN 19 h (Turn C)
DANSA 18 h
11 h
SÉMIRAMIS, DON JUAN 19.30 h (Turn E)
SÉMIRAMIS, DON JUAN 19 h (Turn PB)
LOHENGRIN 17 h (Turn T)
SÉMIRAMIS, DON JUAN
19.30 h (Turn A)
scene from Lohengrin
A NIGHT
(Turn PB)
SONNAMBULA
h (Turn P)
(Turn PC)
SYMPHONY ORCHESTRA. GUSTAVO DUDAMEL 19 h
PARIS WITH DEBUSSY AND RAVEL 17 h (Turn T)
CONSTELLATIONS CONCERT I 18 h
SERGIO ROGER: EL SUEÑO DE LAS BÀQUIDES Until 07/07
GIULIO CESARE 17 h (Turn T)
from Giulio Cesare
h (Turn D-H) A scene from Hammer
CESARE 19.30 h (Turn A)
CESARE 19.30 h (Turn E)
GALA 19.30 h (Turn F)
CESARE 18 h (Turn PD)
17 h (Turn T)
h (Turn PB)
17 h (Turn T)
1 RUSALKA 19.30 h (Turn A) 2 LISE DAVIDSEN & MATTHIAS GOERNE CONCERT 19.30 h (Turn B) 3 HAMMER 19.30 h DANCE 4 RUSALKA 19.30 h (Turn E) 5 HAMMER 19 h (Turn C)
6 RUSALKA 18 h (Opera entre generaciones) 7 RUSALKA 19.30 h (Turn D-H) 8 9 10 11 12 13 14 15 16 17 18
BENJAMIN IN PORTBOU 18 h (Turn F) 20 21
BENJAMIN IN PORTBOU 19.30 h (Turn A) 22 23 24 25
ÒH!PERA 18 h and 19.30 h
ÒH!PERA 18 h and 19.30 h 27 ÒH!PERA 18 h and 19.30 h 28 29
A scene from Rusalka
AAbramova, Alyona 129
Afanador, Ruvén 33, 34
Agresta, Maria 43, 45
Agudo, Javier 29
Aguilar, Clara 79
Albelo, Celso 55
Albrich, Ferran 99
Alegret, David 29, 141
Aleksanyan, Juliette 129 Alessandrini, Rinaldo 93, 118
Allen Vilmer, Curt 103
Alsina, Ariadna 144
Anduaga, Xabier 67, 109, 111
Andújar, Alejandro 49
Ansa, Iratxe 109
Antem, Jan 123, 147
Antonini, Giovanni 83, 85, 87
Armengol, Pau 67, 141
Arranz, Elías 113
Artaza, Carmen 109
Assante, Pablo 19, 20, 29, 41, 43, 55, 67, 83, 87, 99, 109, 115, 129, 141, 147, 196
Auvray, Jean-Claude 22, 43, 45 Azorín, Paco 113, 157
B
Bacovich, Igor 109
Baráth, Emőke 91
Bates, Terry John 43
Beczała, Piotr 40, 41, 184
Bénos-Djian, Paul Antoine 91
Berga, Carles 73
Berzhanskaya, Vasilisa 43
Bieito, Calixto 22, 51, 123, 125
Blancas, Ángeles 29
Bolin, Liu 38
Boros, Szilvia 43
Bortolameolli, Paolo 55
Bosi, Carlo 43
Botnarciuc, Alexei 29
Buendia, Sandrine 59
Bullón, Gerardo 55
Bunga, Carlos 79
Burchulazde, Paata 29
C
Calvache, Patricia 67
Camarena, Javier 67, 69
Camero, Pau 47
Cano, Míriam 25, 79
Cansino, Luis 43
Capozzo, Ryan 129
Casals, Albert 29, 67
Castellucci, Romeo 22, 83, 85, 87
Caurier, Patrice 55
Černoch, Pavel 29
Chambon, Alain 43
Charlston, Helen 123
Christie, William 16, 56, 93, 123, 124
Clug, Edward 22, 103, 104 Coma-Alabert, Gemma 55, 67
Contaldo, Valerio 91
Copons, Elena 141
Corti, Francesco 91, 92
Cosías, Carlos 55
Cuéllar, Francesc 79
Cuenca, Sergi 73, 155
DDanés, Lluís 73, 155
Dan, Iulia Maria 59
Davidsen, Lise 138, 162, 171, 193
Debus, Yannick 75
Delagneau, Silvia 33, 79
Del Pino, Raquel 73
de Oliveira, Frederico 49
Dietrich, Magnus 59
Dove, Jonathan 113, 157
Drake, Julius 97
Dudamel, Gustavo 14, 16, 117, 147
EEkman, Alexander 22, 135, 136
Elmazaj, Klevis 129
Enkhbat, Amartuvshin 43
Espasa, Dani 150
Esteve, Manel 129
Esteve, Mar 49
FFacchini, Evelin 83, 87
Farreras, Gerard 67
Femenía, Inma 15, 26, 27
Fenouillat, Christian 55
Fernández Aguirre, Rubén 81
Fernández, Xavi 49, 73
Ferrándiz, Lorenzo 151
Finley, Gerald 97
Fleur, Laura 129
Flores, Alfons 29
DIRECTORY OF ARTISTS
Fuchs, Julie 123
GGalán, Isaac 109
Galasso, Francesco Pio 43
Gallén, Andreu 49, 153
Ganan, Leticia 103
Garanča, Elina 51
Garcia-Gomà, Joan 49
García López, Pablo 55
Gardez, Sabrina 109
George, Andrew 67
Glaenzel, Max 33
Goerne, Matthias 138, 162, 171, 193
González, Borja 63, 154
González Toro, Emiliano 75
Gorina, Tina 73
Grigorian, Asmik 129, 130
Groissböck, Günther 99
Guasch, Pol 79
Guinot, José Manuel 49, 73
Guinovart, Albert 62, 63, 154
HHall, Katrín 135
Herlop, Marina 79
Hernández, Saioa 43, 45, 55, 57
Hetzer, Christof Daniel 109
Howard, Soloman 83, 87
IIervolino, Teresa 55, 123
Infante, Marta 141
Iniesta, Ruth 67
JJacobs, René 75, 76, 77
Jagde, Brian 43, 45
Jaho, Ermonela 14, 80, 81
Japelj, Marko 103
Junyer, Joan 95
Juric, Goran 29
K
Karlsson, Mikael 135
Kasper, Kateryna 75
Kentridge, William 24, 36, 37
Kirch, Daniel 29
Kosavic, Leon 59
Kraus, Michael 59
LLagares, David 55
Leiacker, Johannes 129
Leiser, Moshe 55
Leonard, Isabel 147
Lluch, Bárbara 22, 109, 111
Löhrer, Marc 99
López, Alejandro 43
López, Gerardo 99
López, Jon 33
López, José Antonio 123
López Navarro, Luis 29
Loy, Christof 22, 129, 130
Luisotti, Nicola 43, 45
MMartineau, Malcolm 51
Martínez, Sirah 144
Martín Royo, Joan 141
Mattila, Karita 129
Mayer, Thomas 55
McCallin, Tanya 67
McVicar, David 22, 67, 69
Meachem, Lucas 55, 67
Menezes, Simone 53
Mielgo, Pablo 107
Miguélez Rouco, Alberto 123
Milhofer, Mark 75
Minkowski, Marc 59, 60, 93
Montané, Daniel 71
Montero, José Manuel 29
Mora, Albert 63, 196
Morau, Marcos 33, 34
Muehle, Martin 127
Muñoz, Facundo 29
N
Newlin, Matthew 91
Nogal, Lorena 33
Noval Moro, Juan 55
O
Olivé, José Ramón 67
Olivieri, Mattia 67
Ollé, Àlex 16, 18, 22, 29, 31, 144
Oller, David 129
Olmo, Rubén 33, 34
Orueta, Laura 129 Ott, Jarrett 147
PPadullés, Roger 113
Pagès, Claudia 88, 188
Pàmies, Neus 49
Partush, Shay 33
Paserini, Lorenzo 109
Pastirchak, Polina 75
Pérez, Ailyn 55, 57
Perišic, Milan 147
Perianes, Javier 115
Pintó, David 63, 154
Pintó, Mireia 29
Playmodes 141, 143
Podgoreanu, Ionut 150, 196
Polenzani, Matthew 55
Ponces, Anna 141, 144
Pons, Josep 16, 18, 19, 20, 29, 37, 65, 99, 101, 115, 129, 139, 196
Prat, Carles 144
Prestia, Giacomo 43
Prohaska, Anna 83, 85, 87
Provenzale, Camila 53
Puig, Xavier 59
Pujol, Marc 99, 113
RRadó, Fernando 109
Radvanovsky, Sondra 41, 184
Rebeka, Marina 117, 127
Reixach i Feixes, Buia 113
Relyea, John 43
Rendall, Huw Montague 59, 61
Richter, Gerhard 2, 18, 23, 96, 97
Ringst, Rebecca 123
Rodríguez Norton, Jorge 99
Roger, Sergio 120
Romaguera, Tòfol 147
Ros-Marbà, Antoni 140, 141, 142
Ruciński, Artur 43, 67, 69
Ruz, Antonio 94, 95, 155
SSáenz, Serena 141
Sagripanti, Giacomo 67
Sala, Caterina 109
Sala, Marc 29
Sala, Margherita Maria 91
Salgado, Sebastião 23, 52, 53
Sánchez, Alejandro 29
San Martín, Ana 63
Santcovsky, Fabià 79
Sartori, Fabio 55
Savall, Jordi 102
Sekgapane, Levy 83, 87
Selvas, David (La Brutal) 48, 49, 153
Semenchuck, Ekaterina 127
Seró, Montserrat 55, 147
Shahbazi, Cameron 123
Sierra, Nadine 106
Sigurdarsson, Olafur 99
Špicer, Krešimir 59, 75
Stavrakakis, Aleksandros 129
Steinchaden, Astrid 151
Stroppa, Annalisa 55
Sunhae, Im 91
TTantsits, Peter 141
Tàpies, Antoni 46, 185
Teige, Elisabeth 99, 101
Tejera, Jeroboám 29
Tézier, Ludovic 127
Tharrats, Rosa 79
Theorin, Iréne 99
Trekel, Roman 99
VValdivieso, Manel 113, 157
Valero, Marta 141
Ventura, Gabriel 79
Vermeulen, Olivia 75
Vila Jover, Josep 63, 154
Vila, Laura 43, 113
Vilà, Núria 29
Villamor, Ester 79
Viñals, Toni 49
Viotti, Marina 59, 83, 87
Viviani, Gabriele 43
Vitale, Francesca Pia 91
Vogt, Klaus Florian 99, 101 von der Damerau, Okka 129
Wagner, Katharina 99, 101 Wilde, Scott 29
Wilson, Kery-Lynn 41
Wingate, Verity 129
Wunderlin, Alina 59 Y
Yende, Pretty 106
Yoncheva, Sonya 55, 57
GENERAL MANAGER
Valentí Oviedo
Executive Secretary
Ariadna Pedrola
Chief legal officers
Elionor Villén
Clàudia Coll
Vanesa Figueres
Lola Pozo Flor
ARTISTIC DIRECTION AND PRODUCTION
Víctor Garcia de Gomar
Leticia Martín Ruiz
Planning
Yolanda Blaya
Contract administration and extras
Albert Castells
Meritxell Penas
Executive production
Sílvia Garcia
Lídia Gilabert
Muntsa Inglada
Míriam Martín Ferrer
Joan Rimbau
Special event production
Deborah Tarridas
Surtitles
Anabel Alenda
Gloria Nogué
MUSICAL DIRECTION
Josep Pons
Antoni Pallès
Department Direction
Josep M. Armengol
Núria Piquer
Music archives
Elena Rosales
Irene Valle
Répétiteurs
Rodrigo de Vera
David-Huy Nguyen-Phung
Jaume Tribó
Véronique Werklé
Musical Stage
Management
Lluís Alsius
Ángel Armenteros
Luca Ceruti
Micky Galindo
Orchestra
Kai Gleusteen
Oscar Alabau
Enric Albiol
Olga Aleshinski
Nieves Aliaño
César Altur
Andrea Amador
Joaquín Arrabal
Sandra Luisa Batista
Joan Andreu Bella
Lluís Bellver
Francesc Benítez
Jordi Berbegal
Josep M. Bernabeu
Claire Bobij
Kostadin Bogdanoski
Josep Bracero
Bettina Brandkamp
Esther Braun
Merce Brotons
Pablo Cadenas
Javier Cantos
Josep Antón Casado
Andrea Ceruti
J. Carles Chordà
Carles Chordà
Francesc Colomina
Albert Coronado
Charles Courant
Savio de la Corte
Birgit Euler
Juan Pedro Fuentes
Alejandro Garrido
Juan González Moreno
Ródica Mónica Harda
Piotr Jeczmyk
Lourdes Kleykens
Magdalena Kostrzewszka
Aleksandar Krapovski
Émilie Langlais
Paula Lavarías
Jing Liu
Kalina Macuta
Sergii Maiboroda
Darío Mariño
Manuel Martínez
Juanjo Mercadal
Aleksandra Miletic
Albert Mora
David Morales
Liviu Morna
Mihai Morna
Salomé Osca
Emili Pascual
Ma Dolors Paya
Enric Pellicer
Raúl Pérez
Cristoforo Pestalozzi
Ionut Podgoreanu
Alexandre Polonski
Sergi Puente
Annick Puig
STAFF LIST OF THE GRAN TEATRE DEL LICEU
Ewa Pyrek
Joan Renart
Ma José Rielo
Artur Sala
Guillermo Salcedo
Fulgencio Sandoval
Cristian Sandu
Javier Serrano
Oleg Shport
João Paulo Soares
Oksana Solovieva
Barbara Stegemann
Raul Suárez
Tiziana Tagliani
Renata Tanellari
Guillaume Terrail
Franck Tollini
Yana Tsanova
Marie Vanier
Bernardo Verde
Jorge Vilalta
Matthias Weinmann
Chorus
Pablo Assante
Alejandra M. Aguilar
Andrea Antognetti
Pau Bordas
Margarita Buendía
José L. Casanova
Alexandra Codina
Carlos Cremades
Miguel Ángel Curras
Mercedes Darder
Dimitar Darlev
Gabriel Antonio Diap
Mariel Fontes
Jordi Galán
María Genís
Elisabeth Gillming
Ignasi Gomar
Oihane González de Vinaspre
Olatz Gorrotxategi
Lucas Groppo
Gema Hernández
M. Carmen Jiménez
Sung Min Kang
Yordanka Leon
Glòria López
Raquel Lucena
Mónica Luezas
Elizabeth Maldonado
Aina Martín
Xavier Martínez
José Antonio Medina
Ivo Mischev
Raquel Momblant
Daniel Muñoz
M. Àngels Padró
Plamen G. Papazikov
Eun Kyung Park
Natalia Perelló
Marta Polo
Joan Prados
Sunday Ramos
Miquel Rosales
Yulia Safonova
Sara Sarroca
Olga Szabo
Cristina Tena
Igor Tsenkman
Nauzet Valerón
Alessandro Vandin
Ingrid Venter
Alexandra Rosa Zabala
Helena Zaborowska
Guisela Zannerini
LiceuAprèn
Jordina Oriols
Julia Getino
Carles Gibert
Margarida Olivé
Gemma Pujol
Josep Maria Sabench
LiceuApropa
Irene Calvís
COMMUNICATION AND PUBLICATIONS DEPT.
Nora Farrés
Press
Joana Lladó
Digital
Christian Machío
Publications
Sònia Cañas
Archives
Marc Gaspà
Audiovisual
production
Clara Bernardo
Santi Gila
Berta Simó
Design
Lluís Palomar
ECONOMY AND FINANCE DEPT
Ana Serrano
Direction
Cristina Esteve
Financial control
M. Jesús Fèlix
Gemma Rodríguez
Accounting
Núria Ribes
M. Carme Aguilar
María José García
Jaume Masana
Roser Pausas
Treasury and insurance
Jordi Cabrero
Purchasing
M. Isabel Aguilar
Javier Amorós
Eva Grijalba
Anna Zurdo
MARKETING AND COMMERCIAL DEPT.
Mireia Martínez
Marketing
Montse Cardona
Teresa Lleal
Agnès Pérez
Judith Ruiz
Business Intelligence
Jesús García
Subscriptions and tickets
Marisa Calvo Fernández
Clara Cebrián
Aroa Lebron
Marian Márquez Gracia
Sonia Puig-Gròs
Marta Ribas
Gemma Sánchez
PATRONAGE, SPONSORSHIP AND SPECIAL EVENTS DEPT
Helena Roca
Patronage and sponsorship
Paula Gómez
Laia Ibarz
Sandra Oliva
Sandra Modrego
Mireia Ventura
Special events
Isabel Ramón
Marcos Romero
Paulina Soucheiron
Public Relations
Pol Avinyó
Laura Prat
Mireia Salanqueda
Customer Service
Bruna Bassó
Maria Bericat
Aina Callau
Helena Cardona
Marc Carulla
Marian Casals
Rosa Castillo
Noel Colon
Alba Contreras
Eloi Duran
Ainara Elejalde
Clara Enrich
Duna Esteve
Ainara Elejalde
Elia Figueras
Oriol Fontanals
Talita Gabarre
Ariadna Gil
Lola Gras
Oriol Janué
Candela Mansilla
Martina Mesado
Mar Montserrat
Victòria Moragas
Marta Niell
Xavier Pérez
Marc Roucaud
Anna Rueda
Anna Rueda
Berta Sagrera
Lara Sánchez
Jana Sandiumenge
Jana Saumell
Marc Sevilla
Maria Solé
Maria Torradeflot
Mar Torrents
Carlos Torres
Raquel Torres
Laia Valls
Martina Vera
Francisco Zambrano
HUMAN RESOURCES AND
GENERAL SERVICES DEPT
Jordi Tarragó
Personnel office
Jordi Aymar
Mercè Siles
Training and occupational safety and health
Rosa Barreda
Reception
Cristina Ferraz
Christian López
Medical services
Mireia Gay
Security
Ferran Torres
Computer services
Raquel Boza
Pilar Foixench
Sara Martín
Xavier Massotti
Nicolás Pérez
Installation and maintenance
Susana Expósito
Helena Ferré
Sunday García
Isaac Martín
TECHNICAL DEPARTMENT
Xavier Sagrera
Technical office
Marc Comas
Guillermo Fabra
Paula Miranda
Natalia Paradela
Eduard Torrents
Stage service
coordination
María de Frutos
Miguel Ángel García
Txema Orriols
Staff administration
Cristina Viñas
Judit Villalmanzo
Logistics and transport
José Jorge González
Eloi Batalla
Lluís Suárez
Machinery
Albert Anguera
Ricard Anguera
Joan A. Antich
Natalia Barot
Pere Bonany
Albert Brignardelli
Raúl Cabello
Ricard Delgado
Sebastià Escutia
Emili Fontanals
Ramon Llinas
Eduard López
Gonzalo Leonardo López
Francesc X. López
Begoña Marcos
Aduino J. Martínez
Roger Martínez
Eduard Melich
Bautista V. Molina
Esther Obrador
Albert Peña
Esteban Quífer
Carlos Rojo
Jordi Segarra
Marc Tomàs
Lighting technology
Susana Abella
Juan Boné
Sergi Escoda
Oriol Franquesa
Jordi Gallues
J. Pere Gil
Anna Junquera
Toni Larios
Joaquim Macià
Antoni Magrina
Vicente Miguel
Enric Miquel
Alfonso Ochoa
Carles A. Pascua
Robert Pinies
José C. Pita
Ferran Pratdesaba
Artur Sampere
Josué Sampere
Audiovisual technology
Jordi Amate
Antoni Arrufat
Albert Ballbé
Guillem Guimerà
Gerard Mora
Amadeo Pabó
Josep Sala
Antoni Ujeda
Angel Vílchez
Properties shop
Javier Andrés
Stefano Armani
José Luis Encinas
Emma García
Miguel Guillén
Antoni Lebrón
Ana Pérez
Lluís Rabassa
Jaume Roig
Josep Roses
Vicente Santos
Stage management
Llorenç Ametller
Albert Estany
Immaculada Faura
Xesca Llabrés
Jordi Soler
Costumes
Amaranta Albornoz
Rui Alves
María del Mar Cañavate
Esther Chércoles
Sheila Escudero
Rafael Espada
David Farré
Claudia Fascio
Cristina Fortuny
Carme González
Esther Linuesa
María Norbelly Londoño
Jaime Martínez
Patricia Miranda
Elisabeth Nicolau
Imma Porta
Teresa Revenga
Blanca Rodríguez
Dolors Rodríguez
Gloria Royo
Javier Sanz
Joan Sanz
Montserrat Vergara
Alba Viader
Patrícia Viguer
José Francisco Ybarra
Character design
Susana Ben Hassan
Monica Núñez
Liliana Pereña
Miriam Pintado
Núria Valero
SEATING PLAN
SEASON
2024—2025
ZONE A
Central dress circle boxes
ZONE 1
Orchestra stalls, Dress circle
ZONA 2
Orchestra stalls, Orchestra boxes, Orchestra proscenium boxes, Dress circle, Dress circle boxes, Dress circle proscenium boxes, 2nd tier centre, 3rd tier centre
ZONE 3
Orchestra stalls, Orchestra boxes, Dress circle, Dress circle boxes, 2nd tier centre and sides, 3rd tier centre
ZONE 4
Orchestra boxes, Orchestra proscenium boxes, Dress circle proscenium boxes, 2nd tier centre and sides, 2nd tier proscenium boxes, 3rd tier centre and sides, 4th tier centre
ZONE 5
Orchestra boxes, 2nd tier sides, 3rd tier sides, 4th tier centre, 5th tier centre
ZONE 6
2nd tier sides, 2nd tier proscenium boxes, 3rd tier sides, 3rd tier proscenium boxes, 4th tier centre and sides, 5th tier centre
ZONE 7
3rd tier sides, 4th tier sides, 5th tier centre and sides
ZONE 8
3rd tier proscenium boxes, 4th tier sides, 4th tier
GRAN TEATRE DEL LICEU
La Rambla, 51-59
08002 Barcelona
Telephone: 934 859 900 info@liceubarcelona.cat liceubarcelona.cat
TAQUILLAS
Teléfono: 934 859 913 (de lunes a viernes de 10 a 18 h) info@liceubarcelona.cat
FOYER
Sant Pau, 7 08002 Barcelona
TEATRE-AUDITORI DE SANT CUGAT
Plaça de Victòria dels Àngels, 1 08172 Sant Cugat del Vallès
METRO
Line 3 (Liceu)
Operates: Monday to Thursday, Sunday and holidays until midnight. Friday night until midnight. Saturday all-night service
AUTOBUSES
Lines V13 and 59
PHONE FOR SPECIAL ATTENTION 902 787 397
PARKING
– Plaza de Catalunya – La Rambla, 88-94 (Rambla de Sant Josep) – La Rambla (opposite pl. J. Xirau) – Av. Catedral – C. Hospital
BICING (BICYLE RENTAL)
Stations: – 55 i 57 · La Rambla – 379 · Pl. Sant Miquel – 415 · La Rambla del Raval, 13
Published by: Departamento de Comunicación and Ediciones del Liceu
Design and layout: Byron Books, SL (Huygens Editorial)
Contents: Víctor Garcia de Gomar
Cover and inside pages: © Gerhard Richter 2024 (0009, 19022024)
Printed by: Vanguard Graphic
© of this edition: Fundació Gran Teatre del Liceu © of the texts and photographs: the respective authors
The Gran Teatre del Liceu has obtained the following certifications:
EMAS (Eco Management and Audit Scheme)
ISO 14001 (Environmental Management System)
ISO 50001 (Energy Management System) Emblem of Guarantee of Environmental Quality
Photo credits: Darío Acosta, 127; Paco Amate, 117, 147; Rokas Baltakys, 131; Manfred Baumann, 147; Bearbeitet, 51; Fadil Berisha, 81; Antoni Bofill, 41, 44, 57, 63, 69, 95, 100, 113, 139, 153, 154, 155, 156, 157, 184, 185, 186, 187, 189; Liu Bolin, 38; Edouard Brane, 61; Sylviane Brauer, 61; Roberta Bruno, 45; Merche Burgos, 34; Elena Cherkashyna, 69, 111; J. Cornejo, 69; Joaquín Cortes i Román Lores, 79; Merri Cyr, 69, 111, 147; Javier del Real, 56, 110, 131, 132, 190; Gemma Escribano, 111; Janus Fouché, 36; Fay Fox, 45, 57; Don Freeman, 143; Fundació Antoni Tàpies, 46; Paula G. Furió, 23; Christoph Gloag, 101; Harald Hoffmann, 101; Igor Studio, 20, 21, 31; Jorquera, 52; Andreas Kasper, 77; Petr Kurečka, 31; Salva López, 120; Jonathan Manchón, 69; Philippe Matsas, 77; David Maroto, 143; Kemal Mehmet, 85; Olivier Metzger, 125; Norbert Miguletz, 24; Jean Baptiste Millot, 131; Michele Monasta, 57; Marcia Navarro, 23; Michael Novak, 77, 125; Oscar Ortega, 125; Sergi Panizo, 49, 153, 176, 177, 178; Simon Pauly, 127; David Pinzer courtesy of Gerhard Richter Archive Dresden, 23, 96; Ashley Plante, 31; Elisa Rinaldi, 45; Monika Rittershaus, 124, 131, 191, 193; David Ruano, 22, 73, 125, 154, 155, 156, 157; Elie Ruderman, 127; Lennart Sjöberg, 136, 192; Pascal Victor/ ArtComPress, 84, 188; Mikhail Vilchuk, 127.
